new-york

Matthew Antezzo

Basilico Fine Arts

Matthew Antezzo’s work is not so much conceptual as high-concept: his grisaille paintings are based on photographs of ephemeral manifestations of early-’70s art copied from back issues of Artforum and other magazines. Beneath each image, on a separate predella-style canvas, he paints the caption. Some of the works are famous, others forgotten. Where is Maggie Lowe now? (Antezzo’s Maggie Lowe, Explosion: Hostess Twinkies and Explosive, 1971, certifies her as a “bad girl” avant la lettre.) Antezzo sets himself up as this decade’s answer to Simon Linke. Whereas, in the ’80s, Linke painted contemporary ads with bravura brushwork to signify all that remained or wished to remain separate from the market system, Antezzo focuses on the past with a student’s nostalgia for the putative purity of the “dematerialized” art of twenty years ago, though he knowingly contradicts this dematerialization by

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