new-york

Philippe Decrauzat

Elizabeth Dee Gallery

The so-called neo-geo artists of the 1980s—New York painters Peter Halley, Ashley Bickerton, Philip Taaffe, and a few others—promoted an ironic distance from the often doctrinaire history of abstract painting, arguing that various art styles and effects be understood as nothing more than a series of ready-mades borrowed and brought together. Seeking to reveal complicity between the maker, viewer, and consumer in appreciating its own clearly simulated results and slick synthetic finish, this work, so the rhetoric went, could maintain its critical stance toward painting as an overt commodity fetish while also managing to take advantage of a flush art market.

Philippe Decrauzat’s composite style of reference and reproduction recalls this stance. His paintings, sculptures, installations, films, and printed ephemera borrow motifs from Op art, Minimalism, Constructivism, experimental film, and

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