images of selected works 1995 to 2012

Newgate Newgate
The Greatest Snow on Earth installation view The Greatest Snow on Earth installation view
This Is the Place or In Our Lovely Deseret This Is the Place or In Our Lovely Deseret
Pluribus: State 31, 1999 Pluribus: State 31, 1999
Godbold (The West Texas Rapture) Godbold (The West Texas Rapture)
Sunflower Sunflower
Bloody Red Sun of Fantastic LA Bloody Red Sun of Fantastic LA
The Blood and Sins of this Generation The Blood and Sins of this Generation
Smoghead Smoghead
Heartland Heartland
Heavensent Heavensent
Self Centered Self Centered
Peaceable Kingdom (Mystic Light) Peaceable Kingdom (Mystic Light)
The Peaceable Kingdom of The Bronx The Peaceable Kingdom of The Bronx
Transformations(...make it to Mexico!) Transformations(...make it to Mexico!)
Cheer Up (blacklight) Cheer Up (blacklight)
The Zabriskie Point The Zabriskie Point
Mile High Sinkhole Mile High Sinkhole
Downpour Downpour
Asunder and Up Asunder and Up

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Note: Unless otherwise specified, all measurements are in inches, once again highlighting the unfulfilled promise that "You will be the first generation of Americans to grow up using the metric system."

Credits, acknowledgements and a couple of quotes: Website design by Dave Barber.

Within the deeper history of image-making, psychedelia is yet another manifestation of those anti-academic strategies that arise in the seventeenth century concurrent with the rise of the academies. They manifest themselves first in the Rococo, then reappear periodically in Pre-Raphaelite, Art-Nouveau, Pop, Populuxe, Psychedelic, Las Vegas, and Wild Style graffiti incarnations – all of which are characterized by visual maneuvers that have been permanently out of academic fashion for nearly three hundred years, and show no signs of becoming otherwise (dealing as they do with extravagant permissions, rather then reductive disciplines and institutional prohibitions). All of these styles flourish and survive in opposition to everything that academic Western civilization is about, and so, not surprisingly, they all manifest a conscious orientalism whose focus shifts radically form generation to generation. Most hark back to pre-Renaissance strategies of patterning and elaboration – to that Venetian moment before East and West diverged. So, in general, we might say that these anti-academic styles prioritize complexity over simplicity, pattern over form, repetition over composition, feminine over masculine, curvilinear over rectilinear, and the fractal, the differential, and the chaotic over Euclidean order. They celebrate the idea of space over the idea of volume, the space before the object over the volume within it. They elevate concepts of externalized consciousness over constructions of the alienated interior self. They are literally and figuratively "outside" styles. Decorative and demotic, they resist institutional appropriation and always have. . . What these anti-academic styles do not represent, however, is a radical tradition. They each signify a dissent from their own present and resemble one another only insofar as all post-enlightenment academic styles resemble one another. So all these psychedelic styles function as dialectical repudiations, spinning angrily away from the centrist ideology of their particular moment. To achieve the Rococo one merely turns the Baroque inside out, privileging space over volume. To become a Pre-Raphaelite, one need only repudiate Joshua Reynolds, point by point with Fra Angelico in mind. To generate a Psychedelic style, then, one need only do Albers backwards – inside out, too much and exactly wrong - or willfully elaborate any other unctuous manifestation of elitist taste.

Dave Hickey from "Freaks" taken from the collection "Air Gutair" 1997 Art Issues Press

Going by my own questionable standards, stoned is a more mental state. It's ultra–self-aware and oversensitive, if belly-button-oriented. The stoned sensibility is easily fixated, fascinated, or surprised. Stoned meanders, fills in space with small or repeating marks and gestures, or gets super-focused. It loves spirals, circles, and patterns, bright colors and endlessly embellished areas. It's located more in the fingers than the arm; the eyes, not the gut. While it's physically tingly, it's also very out-of-body. Stoned is prone to being anal-retentive. Contemporary stoned art includes Matthew Barney, Takashi Murakami, Ugo Rondinone, Sarah Sze, Lane Twitchell, Leo Villareal, and Julie Mehretu.

Jerry Saltz from "Blotto, Meet Buzzed" originallly appearing in the Village Voice

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