49:. Drawing on their experience with the magazine, in 1984 Collins & Milazzo began working together as curators to transform the group show into a critical statement. Collins & Milazzo brought to prominence a new generation of artists in the 1980s. It was their exhibitions and writings that originally fashioned the theoretical context for a new kind of
216:
Contemporary Arts Center, Cincinnati, Ohio, March 31 - May 6, 1989; Richard F. Brush Art
Gallery, St. Lawrence University, Canton, New York, October 12 - November 15, 1989; Santa Fe Community College Art Gallery & Museum, Gainesville, Florida, February 4 - March 18, 1990; Mendel Art Gallery & Museum, Saskatoon, Saskatchewan, Canada, July 1990.
215:
I.C.I. Exhibition: University Art
Gallery, The University of North Texas, Denton, Texas, August 29 - September 30, 1988; J.B. Speed Art Museum, Louisville, Kentucky, November 7, 1988 - January 2, 1989; Alberta College Gallery of Art, Calgary, Alberta, Canada, February 9 - March 9, 1989; The
946:"Hybrid neutral : modes of abstraction and the social / Collins & Milazzo, guest curators ; essays by Tricia Collins and Richard Milazzo, and by Gary Indiana"
560:
512:
742:
1085:
432:"Center for Curatorial Studies, Bard College Receives Donation of the Papers of Influential Curator Tricia Collins | Bard College Public Relations"
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17:
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105:
Still Life With
Transaction II: Former Objects, New Moral Arrangements, and the History of Surfaces.
1167:
1008:
990:
723:
654:
50:
288:
Regione
Autonoma della Valle d’Aosta, Chiesa di San Lorenzo, Aosta, Italy, May 29 - June 28, 1992.
865:
93:
Still Life With
Transaction: Former Objects, New Moral Arrangements, and the History of Surfaces.
699:
Art at the End of the Social: Exhibition at the
Rooseum, Malmö, Sweden, July 29-October 2, 1988
1033:
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39:
991:""The New Poverty II" Meyers/Bloom Gallery 12/3/1988-1/8/1989, 1988 | CCS Bard Archives"
593:
35:
1252:
234:
Stux
Gallery, in cooperation with Leo Castelli, New York, February 3 - March 4, 1989.
724:""Modern Sleep" American Fine Arts, Co. 10/17-11/16/1986, 1986 | CCS Bard Archives"
228:
Meyers/Bloom
Gallery, Santa Monica, California, December 3, 1988 - January 8, 1989.
101:
Florida State
University Gallery & Museum, Tall., Fla., Aug. 31-Sept. 30, 1984.
65:. It was through this context that the work of many of the artists associated with
1009:""Pre/Pop Post/Appropriation" Stux Gallery 2/3-3/4/1989, 1989 | CCS Bard Archives"
1186:
674:"FAMILIAR IDEAS IN THREE NEW EXHIBITS : COMMODITY-CULTURE ART RIDES AGAIN"
1235:"Who's Afraid of Duchamp, Minimalism, and Passport Photography? | Exhibition"
945:
99:
Natural Genre: From the
Neutral Subject to the Hypothesis of World Objects.
282:
New Era Building, sponsored by Leo Castelli, New York, October 3–28, 1991.
95:
International With Monument Gallery, New York, March 28 - April 21, 1984.
579:
It's All True: Imagining New York's East Village Art Scene of the 1980s
400:
It's all true: Imagining New York's East Village art scene of the 1980s
58:
402:, University of Maryland, College Park, Dissertations Publishing, 1999
137:
Tibor De Nagy Gallery, New York, December 7, 1985 - January 4, 1986.
1168:""Who Framed Modern Art or the Quantitative Life of Roger Rabbit""
655:""Spiritual America" CEPA 5/3-6/15/1986, 1986 | CCS Bard Archives"
413:"The New Museum "Ungovernables" - a Cheat Sheet - artnet Magazine"
246:
Massimo Audiello Gallery, New York, January 6 - February 17, 1990.
252:
Tony Shafrazi Gallery, New York, September 15 - October 27, 1990.
173:
Massimo Audiello Gallery, New York, February 13 - March 15, 1987.
167:
American Fine Arts Co., New York, October 17 - November 16, 1986.
131:
Daniel Newburg Gallery, New York, September 11 - October 5, 1985.
928:"Jeff Koons: Shiny on the Outside, Hollow on the Inside, Part 2"
262:
Who Framed Modern Art or the Quantitative Life of Roger Rabbit.
119:
C.A.S.H./Newhouse Gallery, New York, March 15 - April 14, 1985.
292:
Who’s Afraid of Duchamp, Minimalism, and Passport Photography?
264:
Sidney Janis Gallery, New York, January 10 - February 16, 1991
240:
John Gibson Gallery, New York, October 14 - November 11, 1989.
276:
Claudio Botello Gallery, Turin, Italy, May 9 - June 15, 1991.
222:
Massimo Audiello Gallery, New York, September - October 1988.
197:
Scott Hanson Gallery, New York, January 6 - February 9, 1988.
191:
John Gibson Gallery, New York, October 10 - November 7, 1987.
155:
Margo Leavin Gallery, Los Angeles, July 12 - August 23, 1986.
1102:"The Last Decade: American Artists of the '80s | Exhibition"
113:
White Columns, New York, December 4, 1984 - January 5, 1985.
487:
Indiana, Gary (2018-11-13). "The Collins-Milazzo effect".
513:"Specific Object : Tricia Collins / Richard Milazzo"
45:
From 1982 to 1984 the pair founded, edited and published
530:
528:
526:
258:
Antoine Candau, Paris, September 26 - December 31, 1990.
244:
The Last Laugh: Irony, Humor, Self-Mockery and Derision.
270:
Fay Gold Gallery, Atlanta, Georgia, March - April 1991.
143:
Diane Brown Gallery, New York, March 8 - April 2, 1986.
42:, mainly in New York in the mid-1980s to early 1990s.
203:
Diane Brown Gallery, New York, May 24 - June 18, 1988.
34:
were a series of art exhibitions curated by the team
565:. Fine Arts Gallery, Florida State University. 1984.
213:
Hybrid Neutral: Modes of Abstraction and the Social.
125:
Postmasters Gallery, New York, May 3 - June 2, 1985.
1029:
Art After Appropriation: Essays on Art in the 1990s
893:"Review/Art; Group-Show Survey: Downtown Galleries"
771:
Vile Days: The Village Voice Art Columns, 1985–1988
537:
Art After Appropriation: Essays on Art in the 1990s
489:
Vile Days: The Village Voice Art Columns, 1985–1988
627:Christian, Abraham David; Gallwitz, Klaus (2003).
354:
352:
350:
348:
335:"ART; Now on View, New Work by Freelance Curators"
185:Galerie Albrecht, Munich, June 4 - July 18, 1987.
209:The Rooseum, Malmö, Sweden, July - October 1988.
250:The Last Decade: American Artists of the ’80s.
161:S.L. Simpson Gallery, Toronto, September 1986.
691:
689:
687:
294:Annina Nosei Gallery, New York, October 1992.
87:Civilization and the Landscape of Discontent.
8:
966:Gallery Going: Four Seasons in the Art World
18:Civilization and the Landscape of Discontent
857:Art: 'Media Post Media,' A Show of 19 Women
452:, University of Chicago Press, 2003, p. 116
179:Lia Rumma Gallery, Naples, May - July 1987.
89:Gallery Nature Morte, New York, March 1984.
696:Collins, Tricia; Milazzo, Richard (1988).
81:Selected Collins & Milazzo exhibitions
47:Effects : Magazine for New Art Theory
827:Milazzo, Richard; Bleckner, Ross (2007).
630:Abraham David Christian: Bronzeskulpturen
582:. University of Maryland at College Park.
482:
480:
478:
476:
1087:Contemporanea International Art Magazine
1055:Contemporanea International Art Magazine
463:"Allan McCollum | Collins & Milazzo"
107:Galerie Jurka, Amsterdam, November 1984.
69:(or what the critics reductively called
304:
873:
863:
741:Oliva, Achille Bonito (12 June 2000).
1026:Welchman, John C. (11 January 2013).
915:. Artnews Associates. September 1991.
268:Outside America: Going into the 90’s.
149:CEPA, Buffalo, May 3 - June 15, 1986.
7:
1188:Outside America: Going Into the 90's
926:Milazzo, Richard (1 February 2015).
833:. Distributed Art Pub Incorporated.
328:
326:
1140:. F-R Publishing Corporation. 1990.
744:Los manifiestos del arte posmoderno
333:Alexander, Max (19 February 1989).
220:Primary Forms, Mediated Structures.
141:Time After Time (A Sculpture Show).
53:that argued simultaneously against
768:Indiana, Gary (13 November 2018).
27:Series of American art exhibitions
25:
672:Muchnic, Suzanne (26 July 1986).
359:Pearlman, Alison (15 June 2003).
256:All Quiet on the Western Front? .
32:Collins & Milazzo exhibitions
1090:. Contemporanea, Limited. 1990.
1058:. Contemporanea, Limited. 1990.
891:Smith, Roberta (18 June 1988).
365:. University of Chicago Press.
830:The Paintings of Ross Bleckner
747:(in Spanish). Ediciones AKAL.
77:) was first brought together.
1:
969:. Harcourt Brace Jovanovich.
207:Art at the End of the Social.
450:Unpackaging Art of the 1980s
362:Unpackaging Art of the 1980s
616:(in French). Artdata. 1987.
232:Pre-Pop Post-Appropriation.
1275:
1124:. Artscribe Limited. 1991.
774:. MIT Press. p. 388.
535:Welchman, John C. (2013).
491:. MIT Press. p. 109.
389:, Henk Slager, 1997, p. 69
539:. Routledge. p. 31.
398:Kirwin, Elizabeth Seton,
387:The Photographic Paradigm
1185:Collins, Tricia (1991).
430:Relations, Bard Public.
1259:Visual arts exhibitions
1121:Artscribe International
950:Smithsonian Institution
813:Artscribe International
313:"Collins & Milazzo"
63:The Pictures Generation
61:Picture Theory work of
1207:. M/E/A/N/I/N/G. 1992.
633:(in German). Kehrer.
576:Kirwin, Liza (1999).
1172:ccsarchives.bard.edu
1013:ccsarchives.bard.edu
995:ccsarchives.bard.edu
800:. Peter Licht. 1987.
728:ccsarchives.bard.edu
659:ccsarchives.bard.edu
385:Annette W. Balkema,
286:Theoretically Yours.
1223:(in Italian). 1992.
1191:. Fay Gold Gallery.
226:The New Poverty II.
183:The Ironic Sublime.
171:The Antique Future.
51:Post-conceptual art
1156:(in French). 1991.
1074:. G. Politi. 1991.
963:Perl, Jed (1991).
897:The New York Times
816:. Artscribe. 1987.
517:specificobject.com
339:The New York Times
147:Spiritual America.
129:Persona Non Grata.
1039:978-1-136-80136-5
976:978-0-15-134260-0
840:978-2-930487-01-4
781:978-1-63590-037-8
754:978-84-460-1110-1
709:978-0-945295-03-7
678:Los Angeles Times
640:978-3-933257-30-7
594:"The New Capital"
546:978-1-136-80136-5
498:978-1-63590-037-8
467:allanmccollum.net
448:Alison Pearlman,
372:978-0-226-65145-3
195:Media Post Media.
135:Cult and Decorum.
67:Neo-Conceptualism
55:Neo-Expressionism
16:(Redirected from
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702:. Rooseum.
123:Paravision.
117:Final Love.
299:References
274:A New Low.
201:Off White.
159:Ultrasurd.
1153:Art press
1071:Flash Art
876:ignored (
866:cite book
613:Parachute
1253:Category
1239:ArtFacts
1106:ArtFacts
57:and the
1220:Taxiart
912:ARTnews
75:Neo Geo
59:Neo-pop
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