Lever House Essay

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On the day after the opening of his new installation project, Tom Mc Glynn (Rail): I recall the first time I ever encountered an image of one of your paintings.

It was printed on a press release for an early show—circa 1985—at International with Monument, which was located on East 7th Street.

Even now your body of work constitutes a fairly idiosyncratic thread in the tradition of abstraction.

What was the development of your work prior to that time?

I think that the early eighties were very much a struggle for dominance between the Pictures artists and the Neo-Expressionists.

It’s always been my point of view that the rise of Neo-Expressionism was tied not only to individualistic Reagan-esque values but to the serious economic recession in the early eighties as well.

I can recall a sense of cultural drift and uncertainty that the theoretical center of the art world was not then holding. By 1980, a younger generation was definitely asking, where should we go with this?

Rail: Then the Neo-Expressionist wave broke with painters like Julian Schnabel and Enzo Cucchi. It was as if a long period of cultural deferment had ended.

Your interpretation will always be filtered through your own cultural lens.

The only way to have any claim to critical rigor is to focus on your own culture.

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