PRINT October 1981


The paintings have to be dead; that is, from life but not a part of it, in order to show how a painting can be said to have anything to do with life in the first place.

—David Salle, Cover, May 1979

IT ALL BOILS DOWN to a question of faith. Young artists concerned with pictures and picture-making, rather than sculpture and the lively arts, are faced now with a bewildering choice. They can continue to believe in the traditional institutions of culture, most conveniently identified with easel painting, and in effect register a blind contentment with the way things are. They can dabble in “pluralism,” that last holdout of an exhausted modernism, choosing from an assortment of attractive labels—Narrative Art, Pattern and Decoration, New Image, New Wave, Naive Nouveau, Energism—the style most suited to their own, self-referential purposes. Or, more frankly engaged in exploiting the last manneristic

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