new-york

Eric Fischl

Edward Thorp Gallery

For me, Eric Fischl realizes the goal of the Real Life movement more successfully than Lawson. Fischl exposes the media fiction of eroticism by confronting it with its own implicit possibility of perversion. In comparison, Lawson’s exposé of the social fiction of personal tragedy is tentative. One might say that Fischl’s “casting” and sense of social texture, as reflected in his “lurid” handling as well as in his scenes, are more pointed than Lawson’s. Lawson does not really grasp the sordidness of the American type; he doesn’t have Fischl’s flair for the sleazy and vicious, but rather a once fashionable European sense of the hollow man. There is nothing neutered about the nakedness, psychological as well as physical, of Fischl’s visceral specimens. And Fischl throws off the controls of formalism, which he implicitly regards as conveying an obsolete sense of alienation. His work in this

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