| RECENT POSTS DATE 6/11/2022 DATE 6/2/2022 DATE 6/1/2022 DATE 5/22/2022 DATE 5/21/2022 DATE 5/20/2022 DATE 5/18/2022 DATE 5/17/2022 DATE 5/15/2022 DATE 5/15/2022 DATE 5/14/2022 DATE 5/13/2022 DATE 5/12/2022 DATE 5/11/2022 DATE 5/9/2022 DATE 5/8/2022 DATE 5/6/2022 DATE 5/5/2022 DATE 5/4/2022 DATE 5/4/2022 DATE 5/2/2022 DATE 4/29/2022 DATE 4/26/2022 DATE 4/26/2022 DATE 4/25/2022 DATE 4/23/2022 DATE 4/20/2022 DATE 4/17/2022 DATE 4/16/2022 DATE 4/15/2022 DATE 4/15/2022 DATE 4/15/2022 DATE 4/12/2022 DATE 4/12/2022 DATE 4/10/2022 DATE 4/10/2022 DATE 4/8/2022 DATE 4/7/2022 DATE 4/6/2022 DATE 4/4/2022 DATE 4/2/2022 DATE 3/31/2022 DATE 3/30/2022 DATE 3/30/2022 DATE 3/27/2022 DATE 3/24/2022 DATE 3/22/2022 DATE 3/22/2022 DATE 3/19/2022 DATE 3/19/2022 DATE 3/19/2022
| | |  CORY REYNOLDS | DATE 6/5/2019“Blue Cell with Triple Conduit” (1986) is reproduced from Peter Halley: Paintings of the 1980s, the new catalogue raisonné from JRP|Ringier, launching tonight at Mast Books. In his essay, “Facts Are Useless in Emergencies” (a phrase borrowed from the Talking Heads’ song “Crosseyed and Painless,” quoted in a 1981 Halley essay), Paul Pieroni comments on Halley’s pointed use of industrio-suburban materials like Day-Glo paint and Roll-a-Tex® additive as representing his “disillusionment with the idea of art as a privileged object somehow separate from the world of neon-pink detergent packaging or stucco domestic interiors. Against notions inherited from previous generations—principally that an original, autonomous, self-referential art could have a transformative effect on society, or resist its worst effects—Halley’s painting relinquishes itself to stylistic repetition, brazen semio-clash and exaggerated formal hyper-realization. For Halley all that remains are models which, in line with Baudrillard’s theory of the simulacra, endlessly orbit in contemporary culture.” JRP|RINGIER Hbk, 11 x 10.75 in. / 144 pgs / 215 color / 35 b&w.
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