TABLE OF CONTENTS

PRINT December 1966

A Conversation with Joe Raffaele

TWO EXTREMES ANIMATE CONTEMPORARY ART. One presents the world in terms of abstract formulae, the world as conception. The other, feeding on empirical reality, represents the world as perceived. As a result of his one-man show in 1965, Joe Raffaele, almost alone, became the champion of the latter view without ever falling into illustration. In his recent exhibition at the Stable Gallery he enlarges the seemingly limited prospects of his art. At first it appeared that the fascination of Raffaele’s work lay in the immediately striking, rather sexual, interdependencies of glossy high-life fragments relating to the cinema and sun-worship (nudism). Raffaele’s new work implies the replacement of traditional unifying pictorial schema through the contrast and analogy of “literary” or allusory ones.

Eyes, Mouth, Fish; Watch; Canyon; Operation, a recently completed work will serve as representative

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