Bio/Biblio

Philip Taaffe in the studio, 2000 © Chris Felver

PHILIP TAAFFE was born in Elizabeth, New Jersey in 1955, and studied at the Cooper Union in New York. His first solo exhibition was in New York in 1982. He has traveled widely in the Middle East, India, South America, and Morocco, where he collaborated with Mohammed Mrabet on the book Chocolate Creams and Dollars, translated by Paul Bowles (Inanout Press, New York: 1993). Taaffe lived and worked in Naples from 1988-91. He has been included in numerous museum exhibitions, including the Carnegie International, two Sydney Biennials, and three Whitney Biennials. In 1990 his work was the subject of an extensive critical study in Parkett no. 26 (Zurich & New York). His work is in numerous public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Whitney Museum of American Art; and the Reina Sofia, Madrid. In the year 2000, the IVAM museum in Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, Robert Rosenblum, and Robert Creeley. In 2001 an extensive survey of his work was presented by the Galleria Civica of Trento, Italy (with texts by Vittoria Coen and Francesco Pellizzi). In 2004 the Galleria d’Arte Moderna in San Marino (Italy) presented a survey of paintings and drawings based on the artist’s explorations with floating pigments and the paper marbling process, accompanied by the Skira publication, Carte annuvolate (Cloud Papers) with esssays by Peter Lamborn Wilson and John Yau. In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980-2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer, and Brooks Adams. Philip Taaffe presently works and lives in New York City, and West Cornwall, Connecticut.

 

PHILIP TAAFFE BIBLIOGRAPHY

Books and Catalogues:

2014

  • Wilson, Peter Lamborn and Jack Hirschman. Philip Taaffe: Rangavalli. Trento, Italy: Studio d’Arte Raffaelli
  • Poirer, Matthieu. Post-Op: Du perceptuel au pictural. 1958–2014. Pais: Galerie Perrotin  p. 6, 29

2013

  • Philip Taaffe: Recent Work. New York, Luhring Augustine Gallery
  • Between the Lines: A Coloring Book of Drawings by Contemporary Artists. Vol. 4. New York, NY: RXArt, 2013, pp. 36–37.

2012

  • Philip Taaffe: Recent Paintings and Drawings Aspen, Baldwin Gallery
  • Grachos, Louis, Douglas Dreishpoon and Heather Pesanti. Decade: Contemporary Collecting 2002-2012, Buffalo, NY: The Buffalo Fine Arts Academy, 2012, p. 178, 219, 302, 344.
  • Manguel, Alberto. Philip Taaffe: Paintings. Köln: Galerie Jablonka.

2011

  • Philip Taaffe: Drawings and Paintings Jablonka Galerie/Jablonka Pasquer Projects, Cologne New Paintings, Böhm Chapel, Huerth
  • Philip Taaffe: Anima Mundi Dublin, Irish Museum of Modern Art

2010

  • Philip Taaffe: Unveilings Bologna, MAGI’ 900
  • Philip Taaffe: Works On Paper New York, Gagosian Gallery
  • Nickas, Bob. Painting Abstraction: New Elements in Abstract Painting. Phaidon.
  • Grabar, Oleg. Ornement/ Ornemental Perspective.
  • Giulio Bargnellini. Philip Taaffe. Magi 900. Bologna.

2009

  • Philip Taaffe: Opere recenti/Recent Work.Texts by Alan Jones. Poems by Peter Lamborn Wilson. Trento: Studio d’Arte Raffaelli, 2009

2008

  • Philip Taaffe: The Life of Forms. Text by Kay Heymer, Brooks Adams, Markus Bruderlin, Holger Broeker, Philip Taaffe. Publisher: Hatje Cantz, 2008
  • Grabar, Oleg. The Tensions of Visual Creativity, in Philip Taaffe. Jablonka Galerie, Abu Dhabi International Fine Arts and Antiques Fair.
  • Adams, Brooks; Broeker, Holger; Brüderlin, Markus; Heymer, Kay. Philip Taaffe:Das Leben der Formen. Werke 1980-2008, (The Life of Forms. Works 1980-2008) Kunstmuseum Wolfsburg, Germany/Hatje Cantz.

2007

  • White, Edmund, David Moos & Marina Warner. Philip Taaffe. New York: Gagosian Gallery.
  • Rimanelli, David. Philip Taaffe: Works from the Portalakis Collection. Athens: The Portalakis Collection.

2004

  • Philip Taaffe: Carte Annuvolate. Texts by Peter Lamborn Wilson, Gianni Romano, Walter Gasperoni. Milan: Skira; San Marino: Galleria d’Arte Moderna e Contemporanea
    della Repubblica di San Marino

2003

  • Katz, Vincent. Philip Taaffe: Recent Paintings & Drawings. Zurich: Thomas Ammann Fine Art.

2002

  • Wilson, Peter Lamborn. Philip Taaffe: Carte annuvolate. San Marino: Galleria d’Arte Moderna e Contemporanea/ Skira, Milan.
  • Philip Taaffe: Illuminations. Poem by Wallace Stevens. Trento: Studio d‘Arte Raffaelli.
  • Lipsey, Roger. Philip Taaffe: Ten Paintings. Köln: Galerie Jablonka.

2001

  • Fong, Pamela; Troupe, Quincy. Philip Taaffe: Confluence. San Diego: University of California, San Diego.
  • Bulteau, Michel. Philip Taaffe: Ouevres Récentes. Paris: Galerie Thaddaeus Ropac.
  • Coen, Vittoria; Pellizzi, Francesco. Philip Taaffe. Trento: Galleria Civica.

2000

  • Creeley, Robert; Juncosa, Enrique; Rosenblum, Robert. Philip Taaffe. Valencia: IVAM Institut Valencià d’Art Modern.
  • Wehrenberg, Charles. Philip Taaffe, New York: Gagosian Gallery.

1999

  • Ricard, Rene. Philip Taaffe. New York: Gagosian Gallery.
  • Philip Taaffe: Recent Paintings. [Notes by the artist.] Aspen: Baldwin Gallery.

1998

  • Liebmann, Lisa. Philip Taaffe. Zurich: Thomas Ammann Fine Art.
  • Diacono, Mario. Philip Taaffe. Boston: Mario Diancono Gallery.
  • Brakhage, Stan; Taaffe, Philip. Composite Nature. New York: Peter Blum Edition.
  • Philip Taaffe. Poem by James Merrill. Athens: Rebecca M. Camhi Gallery

1996

  • Cooke, Lynne. 10th Biennale of Sydney. Sydney: Biennale of Sydney.
  • Adams, Brooks. Philip Taaffe. Vienna: Wiener Secession.

1994

  • Crone, Rainer. The Decorative As a Figure of Abstraction. Munich: Cantz, Sammlung Goetz, pp. 56-57.
  • Grabar, Oleg. Philip Taaffe: Recent Paintings. New York: Gagosian.
  • Jay, Ricky. The Magic Magic Book. New York: Library Fellows of The Whitney Museum of American Art.
  • ———-. Nuevas Abstracciones. Madrid: Museo Nacional Centro de Arte Reina Sofia.

1993

  • ———-. Philip Taaffe. Japan: The 3-D Museum of Visual Art, Bijutsu Shuppan-Sha, pp. 70-71.
  • Grachos, Louis. Philip Taaffe. Miami: Center for the Fine Arts
  • Mrabet, Mohammed. Chocolate Creams & Dollars. New York: Inanout Press

1992

  • Kaufmann, Ruth. Stubborn Painting: Now and Then. New York: Max Protetch Gallery.
  • Dickoff, Wilfried. Philip Taaffe. Köln: Galerie Max Hetzler

1991

  • ———-. Who Framed Modern Art or the Quantitative Life of Roger Rabbit. New York: Sidney Janis Gallery. 8
  • ———-. Circa 1991. New York: W.W. Norton & Co./ The Whitney Museum of American Art.
  • ———-. Strange Abstraction. Tokyo: Touku Museum of Contemporary Art, pp. 14-18, 76-79.
  • Murkens, Romie. Art Now Posterbook, Vol. 1. Berlin: Benedikt Taschen Verlag Berlin GmbH.
  • Wheeler, Daniel. Art Since Mid Century: 1945 to the Present. New York: Vendome Press.
  • Hoffman, Katherine. Exploration: The Visual Arts Since 1945. New York: Harper Collins, p. 307.
  • Taaffe, Philip. Presentation on the Embankment. New York: Gagosian Gallery.
  • Kultermann, Udo. Amerikanische Malerei heute. Pantheon, pp. 167-175.
  • Rosenblum, Robert. Warhol As Art History. New York: Rizzoli, pp. 22-27.
  • ———-.Towards a Definition of New Art. New York: Rizzoli, pp. 43- 69.
  • Kaufman, Ruth & Mike Mertz. Stubborn Painting: Now & Then. New York: Max Protech Gallery.

1990

  • Moszynska, Anna. Abstract Art. London: Thames & Hudson.
  • Diacono, Mario. The Iconographic Abstraction. New York: Perry Rubenstein Gallery.
  • ———-. Closed Fires: A Non-Introduction to The Last Decade or A Reprise of Joan Didion’s The White Album. New York: Tony Shafrazi Gallery.

1989

  • Vidal, Gore. Philip Taaffe. New York: Mary Boone/Pat Hearn Gallery.
  • Collins, Tricia & Richard Milazzo (Translation by Giovanna Minelli). Hyperframes: A Post-Appropriation Discourse. (“The Yale Lectures”). Vol. 1. Paris: Editions Antoine Candau.

1988

  • Fairbrother, Trevor, David Joselit & Elisabeth Sussman. American Art of the Late 80’s: The Binational. Bonn: VG-Bildkunst, pp. 198, 243.
  • Bonuomo, Michele. Interview with Philip Taaffe. Naples: Lucio Amelio Gallery.

1987

  • Burroughs, William.; Taaffe, Philip. Drawing Dialogue. New York: Pat Hearn Gallery
  • Diacono, Mario. Philip Taaffe. Boston: Mario Diacono Gallery.
  • Cameron, Dan. NY Art Now: The Saatchi Collection. London: Collier Searle Matfield, Ltd., pp. 13-56.
  • Armstrong, Richard, Richard Marshall & Lisa Phillips. Biennial 1987, Whitney Museum of American Art. New York: W.W. Norton & Company, pp. 11-15.
  • Frank, Peter & Michael McKenzie. “New, Used & Improved: Art for the 80’s.” New York: Abbeville Press, p. 92.
  • Pincus-Witten, Robert. Postminimalism into Maximalism: American Art 1966 – 1986. Ann Arbor: UMI research Press.

1986

  • Saltz, Jerry. Beyond Boundaries: New York’s New Art. New York: Alfred Van der Marck Editions, pp 69-71.
  • Bleckner, Ross. Philip Taaffe. New York: Pat Hearn Gallery.
  • Cortez, Diego. Philip Taaffe. Hamburg: Galerie Ascan Crone.
  • Cameron, Dan. Art & Its Double. Barcelona/Madrid: Fondacio Caixa de Pensiones.
  • Weiermair, Peter. Prospekt ’86. Frankfurt: Frankfurt Kunstverein.

1985

  • Smith, Roberta. Vernacular Abstraction. Tokyo: Wacoal Art Centre.
  • Solomon, Thomas. A Brave New World: A New Generation. Copenhagen: Charlottenborg Exhibition Hall.

 

Articles and Reviews:

2015

  • Schwendener, Martha “A Creative Landscape:” The New York Times, April 17
  • D’Agostino, Paul “Natural History…” The L Magazine. February
  • “Goings on About Town: Art” The New Yorker. February
  • Yau, John “Master of Many…” Hyperallergic. February
  • Colman, David “Double Vision” Architectural Digest. January
  • Laster, Paul “Painting is about capturing light” TimeOut New York, January 13
  • Laster, Paul “Pattern Recognition” Time Out New York. January

2014

  • Stein, Charles “In Conversation: Philip Taaffe…” The Brooklyn Rail. Dec 2014 / Jan 2015

2013

  • “Philip Taaffe” Art Studio America: Contemporary Artist Spaces
  • Earnest, Jarrett. “ARTSEEN: Suspended Turns – On Philip Taaffe’s ‘Sardica II’,” The Brooklyn Rail, July/August 2013, pg. 56.
  • Yau, John. “Painting as an Occult Practice: Philip Taaffe’s Recent Work,” Hyperallergic, June 3, 2013.
  • Laster, Paul. “Philip Taaffe, ‘Recent Work’,” Time Out New York, Issue 909, May 30 – June 5, 2013, pg. 39.
  • Plagens, Peter. “Crude Profundity and Patterns,” The Wall Street Journal, May 11, 2013, p A22.
  • Scott, Andrea K. “Critic’s Notebook: Imaging Systems,” The New Yorker, May 20, 2013.

2012

  • Denson, G-Roger “Going Forward in Reverse,” huffingtonpost.com, September

2011

  • Dillon, Noah “Alchemy & Inquiry,” Brooklyn Rail, June
  • Luke, Ben “Philip Taaffe,” London Evening Standard, April 8
  • Gosling, Emily, “Kinda Kinaesthetic,” designweek.com, April 8

2010

  • Brody, David,” Philip Taaffe at Gagosian”, ArtCritical.com, Feb.
  • Naves, Mario, “Philip Taaffe Works On Paper”, Cityarts.info, Jan.
  • Landi, Ann, “The Ecstatic Esthetic”. ARTnews, Mar.

2009

  • Cortez, Diego, “Philip Taaffe”. Interview, Jun-Jul.
  • Green, Tyler.” Brought to Light, Microscopy and Taaffe.” Modern Art Notes, Feb 27.
  • Rigney, Robert. “Philip Taaffe at Jablonka, Berlin.” ARTnews, Jun.

2008

  • Coggins, David. “Heirloom Varities.” Art In America, Oct, pp. 158 – 167. 9
  • Nickas, Bob. “Review: Phillip Taaffe at Kunstmuseum Wolfburg”, Artforum, May.
  • Koroxendis, Alexandra. “An Artist Looks Into the Past.” Ekathimerini.com, Jan 23.
  • Karcher, Eva, “Mr Universe”. Vogue Germany, Mar.
  • ———-. “Artnet News. “PHILIP TAAFFE IN WOLFSBURG.”” Artnet.com, Mar 6.

2007

  • Coggins, David. “Review: Phillip Taaffe at the Gagosian Gallery (Madison Avenue)”.
  • Modern Painters, May, p. 95.
  • Adam, Alfred Mac. “Review: Phillip Taaffe at the Gagosian Gallery (Madison Avenue)”.
  • ARTnews, May, p. 156.
  • Princenthal, Nancy. “Review: Phillip Taaffe at the Gagosian Gallery (Madison Avenue)”.
  • Art In America, May, pp. 195-196.
  • Smith, Roberta. “Between the Precise Layers, A cultural Narrative.” The New York Times, Mar 16, p B27, B31.
  • Cohen, David. “Ornamental Agility.” The New York Sun, Mar 1, pp. 11, 16.
  • Bowles, Hamish. “memory artist.” Vogue, Feb, pp. 238-243, 273.

2006

  • ———-. “New Prints Review.” art on paper, Nov/Dec, pp. 60-75.
  • Adams, Brooks. “Time After Time.” Art in America, Feb, pp. 56-63.

2005

  • Thea, Carolee, “The East Village, Voice,” Modern Painters, Feb, pp.96-99.

2004

  • Yau, John. “Animilistic Light.” Art on Paper, Jul/Aug, cover, pp. 32-35.

2002

  • Liebmann, Lisa. “Best of 2002: A Special Issue.” Artforum, Dec.
  • Cotter, Holland. Review: ‘The Heavenly Tree Grows Downward’ Selected Works by Harry Smith, Philip Taaffe and Fred Tomaselli.” The New York Times, Sep 20.
  • Glueck, Grace. Review: “For Wall Street’s Sake: Art to Lure Visitors Downtown.” The New York Times, Jun 14.
  • Attias, Laurie. Review: Philip Taaffe at Thaddaeus Ropac, Paris. ARTnews, Feb, pp. 134- 135.

2000

  • Moos, David. “Philip Taaffe: The Bees Know He Will Be Great.” artext, No. 71, Nov/Jan 2001.
  • Gooch, Brad. First Break: Philip Taaffe. Artforum, May.
  • Bonetti, David. “So, where are we now?” Art New England, Dec 1999/Jan.
  • Knight, Christopher. Review: “An Upward Spiral: Philip Taaffe at Gagosian.” Los Angeles
  • Times, Dec 1.

1999

  • Yood, James. “Post-hypnotic: University Galleries of Illinois State University Normal, Illinois.” Artforum, Apr.
  • Paparoni, Demetrio. “Matissiana.” tema celeste, May-Jun.
  • Kimmelman, Michael. Review: Philip Taaffe at Gagosian Gallery (SoHo). The New York Times, May 28.
  • Naves, Mario. “Hindered by Impeccable Taste.” The New York Observer, Jun 14.
  • ———-. Review: Philip Taaffe at Gagosian Gallery, SoHo, Time Out New York, Jun 17-24.
  • Saltz, Jerry. “Pattern & Dissipation.” Village Voice, Jun 22.

1998

  • Kuspit, Donald. Review: Philip Taaffe at Peter Blum, Artforum, Apr.
  • Hogrefe, Jeffrey. “Taaffe’s Tortured Transition.” The New York Observer, May 18.
  • Koplos, Janet. Review: Philip Taaffe at Peter Blum. Art in America, Jun.
  • Hilty, Greg. “Snakes and Daggers.” Frieze, Jun-Jul-Aug.
  • ———-. “Philip Taaffe.” ARTI International, May-Jun-Jul.

1997

  • Hofleitner, Johanna. “Philip Taaffe: Wiener Secession,” Flash Art, Mar/Apr.

1994

  • Adams, Brooks. “The Tabernacle of Philip Taaffe.” The Print Collector’s Newsletter Jan/Feb, pp. 206-210.
  • Liebmann, Lisa. “Taaffe’s Temple.” Elle Decor, Dec/Jan, pp. 24-30.
  • Lewis, Jim. “The Beauty Addict.” Bazaar, Jan, pp. 100-104; 128; 132.
  • Smith, Roberta. “Philip Taaffe, Beyond mere Painting”, New York Times, Apr 29, p. 38.
  • Choon, Angela. “Taking Roads Less Traveled”, Art and Antiques, May.
  • Katz, Vincent. “Traveling Man”, Paper Guide, May, p.34.
  • Clarkson, David. “Spotlight, Philip Taaffe”, Flash Art, summer, p.114.
  • White, Edmund. “Philip Taaffe, Al Quasbah, 1991”, Artforum, summer, pp. 66-67. 10

1992

  • Smith, Roberta. “Abstraction: A Trend That May Be Coming Back.” The New York Times, Jan 10, p. C28.

1992

  • Bevan, Roger. “Aldo Rossi Designs Young Art at Hayward.” The Journal of Art Newspaper 15, Feb, p. 9.
  • Platero, di Mario. “A Gagosian piace il Bel Paese.” Il Sole 24 Ore, Feb 23, p. 27.
  • Whitford, Frank. “Schlock of the New, Frank Whitford on Trivial Pursuits at the Hayward.” The London Sunday Times, Feb 23, p. 14.
  • Welish, Marjorie. “Abstraction, Advocacy of…” Tema Celeste, Mar, p. 75-80.
  • Kuspit, Donald. “Fin de Siècle Abstraction: The Ambiguous Re-Turn Inwards.” Tema Celeste, Mar, pp. 53-55.
  • Johnson, Ken. “Philip Taaffe at Gagosian.” Art in America, Mar, pp. 115-116.
  • Carrier, David. “Afterlight: Exhibiting Abstract Painting in the Era of Its Belatedness.” Arts Magazine, Mar, pp. 60-61.
  • ———-. “Milky Wave: Over-Sea.” Floriade, Mar/Apr, p. 165.
  • Bell, Tiffany. “Les peintures de Kelly aujourd’hui.” Artstudio, spring, pp. 158-171; 172-175.
  • Casadio, Mauiuccia. “Philip Taaffe: Hypnotic Painter.” Interview, May, pp. 96-101; 129.

1991

  • ———-. “[Rene Ricard:] From Kant toe Kitsch and Back Again.” (part 2), Tema Celeste 29, Jan-Feb.
  • Kaneda, Shirley. “Philip Taaffe.” Bomb, spring, pp. 36-41.
  • Smith, Roberta. “A Selection of Work from the 80’s at the Whitney.” The New York Times, Mar 8.
  • Karcher, Eva. “So dealt Go-Go.” Forbes, (German Edition), Apr 4, pp. 146-148.
  • Kimmelman, Michael. “At the Whitney, A Biennial That’s Eager to Please.” The New York Times, Apr 19, pp. C1, C24.
  • Kaneda, Shirley. “Paintings and its Others, In the Realm of the Feminine.” Arts Magazine, summer, pp. 58-64
  • Perkowits, Sidney. “True Colors.” The Sciences, May/Jun, pp.26-27.
  • McEvilley, Thomas. “Two Big Shows: Post Modernism and its Discontents.” Artforum, summer, pp.89-103.
  • Lingemann, Susanne. “Flaute bringt Bewegung ins Kunstmarkt-Karussell.” Art #6, Jun, pp.22; 103-107.
  • Amelio, Lucio, and Franco Mollina. “The McDonald’s of Art.” Tema Celeste, May/Jun, p. 35.
  • Smith, Roberta. “Works From the 80’s With a Certain Optimism.” The New York Times, Sep 21.
  • Moore, Alan. “Processing Myth: Collins & Milazzo at the Core of the Nouveau Vogue.” Cover Magazine, Oct.
  • Kuspit, Donald. “The Last Decade.” Artforum, Dec.
  • Cottingham, Laura. “The Last Decade.” Contemporanea 23, Dec.
  • Liotta, Christine. “Who Framed Modern Art or the Quantitative Life of Roger Rabbit.” Tema Celeste 31, May/Jun.
  • Decker, Andrew. “Art A GoGo.” New York Magazine, Sep 2, pp. 39-44.
  • Kimmelman, Michael. “At Carnegie 1991, Sincerity Edges Out Irony.” The New York Times, Oct 27, pp. 31, 34.
  • Zinsser, John. “Geometry and its Discontents.” Tema Celeste, autumn, pp. 72-76.
  • Rosenblum, Robert. “After Abstract Painting.” Tema Celeste, autumn, p. 80.
  • Cullum, Jerry. “Interview with Collins & Milazzo.” Art Papers, Sep/Oct, pp. 28-31.
  • Levin. “Conceptual Abstraction.” The Village Voice, Nov 26.
  • Kazanjian, Dodie. “Cultural Mix Master.” Vogue, Dec, pp. 239-244; 310.
  • Larson, Kay. “Art.” New York Magazine 24, No. 47, Dec 2.
  • ———-. “Art.” The New Yorker, Dec 9, p. 17.
  • Kimmelman, Michael. “Art in Review: Philip Taaffe and Gagosian Gallery.” The New York Times, Dec 20.
  • Smith, Roberta. “Art & Photography.” The New York Times, Dec 29, p H31.
  • Tuchman, Phyllis. “Philip Taaffe’s Art of Inclusion.” New York Newsday, Jan 2, p. 69.
  • Weinstein, Matthew, “Philip Taaffe at Gagosian Gallery.” Artforum, Feb, pp. 109-110. 11
  • Saltz, Jerry. “Re-animator, Philip Taaffe’s Necromancer, 1991.” Arts Magazine, Mar, p. 17.

1990

  • Hayat, Yves J. “The Art Collector, Volume 1.” Galleries Magazine, 1990, p.121.
  • Dickhoff, Wilfried. “We Are Not Afraid.” Parkett, No. 26, pp. 64-68; 70-75; 103-107.
  • Perrone, Jeff. “History is in the Making.” Parkett, No. 26, pp. 80-87.
  • White, Edmund. “A Propos: Philip Taaffe.” Parkett, No. 26, pp. 91-93 ; 95-97.
  • Pellizzi, Francesco. “Fragment on Ornament.” Parkett, No. 26, pp. 98-101.
  • Denson, G. Roger. “Philip of Naples and the Evocative Geometry of History.” Parkett, No. 26, pp.108-114.
  • Collins, Tricia and Richard Milazzo. “Rene Ricard: Sinking to the Bottom of Discourse.” (part 1), Tema Celeste, Jul/Aug .

1989

  • Leigh, Christian. “Art on the Edge of a Nervous Breakdown.” Contemporanea, Jan.
  • Cyphers, Peggy. Review: Philip Taaffe at Pat Hearn/Mary Boone. Arts, Sep, p.100.
  • ———-. “Philip Taaffe: Pat Hearn Gallery/Mary Boone Gallery.” Art & Antiques, Sep, p.35.
  • Bankowsky, Jack. “Philip Taaffe at Mary Boone Gallery; Pat Hearn Gallery.” Artforum, Oct, pp.169-170.
  • McCoy, Pat. “Philip Taaffe: Pat Hearn, Mary Boone.” Flash Art, Oct, p.130.
  • Zimmer, William. “Philip Taaffe: Pat Hearn, Mary Boone.” ArtNews, Oct, pp.195-196.
  • Morris, Sarah. “Collins & Milazzo.” Flash Art 149, Nov/Dec, pp.168-169; 176.
  • Koslow, Francine A. “Collins & Milazzo: Curators or Commodities Brokers.” Contemporanea II, No. 9, Dec.
  • Vidali, Roberto. “Collins & Milazzo.” Juliet Art Magazine 45, Dec.

1988

  • Russell, John. “Philip Taaffe.” New York Times, Jan 3.
  • McCracken, David. “Different Views of a Post-modernist World.” Chicago Tribune, Apr 15.
  • McEvilley, Thomas. “Marginilia: On Son of Sublime.” Artforum, May.
  • Woodruff, Mark. “Collins & Milazzo: Doing It Their Way.” Taxi, Sep.
  • Smith, Roberta. “80’s Art with a Passport to West Germany.” The New York Times, Oct 2.
  • McEvilley, Thomas. “Marginalia: Fils du Sublime.” Art Press 130, Nov.
  • Collins, Tricia and Richard Milazzo. “Art at the End of the Social.” Translated by Stefan Sandelin.Malmo, Sweden: The Rooseum, Jul-Oct .
  • ———-. “Ross Bleckner.” Galeries Magazine 27, Oct/Nov.

1987

  • Nairne, Sandy. “State of the Art: Ideas & Images in the 1980’s.” London: Chatto & Windus, pp. 223.
  • Heartney, Eleanor. “The Hot New Cool Art: Simulationism.” ArtNews, Jan, pp. 130-137.
  • Liebmann, Lisa. “M.B.A. Abstractionism.” Flash Art, Jan/Feb.
  • Kuspit, Donald. “‘What It Is’ at Tony Shafrazi.” Artscribe, Jan/Feb, p. 70.
  • Morgan, Stuart. “Frankfurt: ‘Prospect 86’ at the Kunstverein and Schirn Kunsthalle.” Artscribe, Jan/Feb.
  • Becker, Robert. “Philip Taaffe.” Interview, Mar.
  • Smith, Roberta. “Philip Taaffe.” The New York Times, Mar 27.
  • ———-. “New Abstraction V.” The Print Collector’s Newsletter, No. 18, Mar/Apr.
  • ———-. “A Spectacle of Capability: Belcher, Taaffe, Vaisman.” Flash Art International, No. 133, Apr, p. 58.
  • Indiana, Gary. “Negative Sublime Revisited.” Village Voice, Apr 7.
  • Brenson, Michael. “Whitney Biennial’s New Look.” The New York Times, Apr 10.
  • Indiana, Gary. “Another Review of the Whitney.” Village Voice, Apr 28.
  • Levin, Kim. “Minimalisn’t.” Village Voice, Apr 28.
  • Cameron, Dan. “Art and Its Double.” Flash Art, May, pp. 57-71.
  • Perl, Jed. “Artburn.” Vogue, May, pp. 308-310; 368.
  • Zimmer, William. “‘Post Abstract Abstraction’ in Ridgefield.” The New York Times, Jul 5, p. 18.
  • Glueck, Grace. “What Do You Call Art’s Newest Trend: ‘Neo-Geo’…Maybe.” The New York Times, Jul 6.
  • Perrone, Jeff. “Fashion is the Real Thing in Abstraction.” Arts Magazine, Jul.
  • Smith, Roberta. “Art: ‘Generations of Geometry,’ an Abstract Show.” The New York Times, Jul 17. 12
  • Bonetti, David. “Talking Abstract.” Art in America, Jul.
  • McGill, Douglas C. “Art People: Neo-Geo’s Newest.” The New York Times, Jul 24.
  • Panicelli, Ida. “Customs: Ida Panicelli on the Whitney.” Artforum, summer, pp. 11-12.
  • Pincus-Witten, Robert. “Electrostatic Cling.” Artscribe, Jul.
  • Heartney, Eleanor. “Philip Taaffe at Pat Hearn.” ArtNews, Sep, p. 206.
  • Collings, Matthew. Interview (part 1): “Collins & Milazzo: Posthumous Meanings,”
  • Artscribe International, Sep/Oct, pp. 42- 49.
  • Collins, Tricia & Richard Milazzo. “Radical Consumption and New Poverty: A Discourse on Irony and Superfluity.” New Observations, No. 51, Oct.
  • Ottomon, Klaus. “Neo-Geo.” Bijutsu Techo, Dec.
  • Collins, Tricia, and Richard Milazzo. “Tropical Codes.” Kunstforum, Dec 1987-Jan 1988.
  • Wei, Lily. “Talking Abstract.” Art in America, Dec, pp. 112-123.
  • Collings, Matthew. “Collins & Milazzo: Posthumous Meanings.” Interview, pt.II, Artscribe International, Sep/Oct.

1986

  • Levin, Kim. “The Unresponsive Eye.” The Village Voice, Jan 28.
  • Taaffe, Philip. “Sublimity, Now and Forever, Amen.” Arts Magazine, Mar.
  • Decter, Joshua. “Cult and Decorum.” Arts Magazine, Mar.
  • Siegel, Jeanne. “Geometry Desurfacing: Ross Bleckner, Alan Belcher, Ellen Carey,
  • Peter Halley, Sherrie Levine, Philip Taaffe, James Welling.” Arts Magazine, Mar.
  • ———-. “Philip Taaffe.” Flash Art, Apr, pp. 68-69.
  • Silverthorne, Jeanne. “Philip Taaffe at Pat Hearn.” Artforum, Apr, p. 108.
  • Perl, Jed. “Art.” The New Criterion 4, Apr, pp. 57-62.
  • Ottman, Klaus. “Supermannerism.” Flash Art, Apr, pp. 59-61.
  • Kuspit, Donald. “Young Necrophiliacs, Old Narcissists: Art About the Death of Art.” Artscribe International, Apr.
  • Pincus-Witten, Robert. “Entries: The Scene That Turned on a Dime.” Arts Magazine, Apr, pp. 20-21.
  • Foster, Hal. “Signs Taken for Wonders.” Art in America, Jun, pp. 80-91, 139.
  • Smith, Roberta. “Philip Taaffe at Pat Hearn.” Art in America, Jun, pp. 125-126.
  • Taylor, Paul. “The Return of (Conceptual) Art.” Parkett, No. 9, Jun.
  • Cameron, Dan. “Paravision.” Fugura (Seville, Spain), No. 6.
  • McGill, Douglas C. “The Lower East Side’s New Artists.” The New York Times, Jun 10.
  • “Flash Art Panel: From Criticism to Complicity.” Flash Art, Jul.
  • Munhnic, Suzanne. “Commodity-Culture Art Rides Again.” Los Angeles Times, Jul 26.
  • Jones, Alan. “Paravision: An Interview with Tricia Collins and Richard Milazzo.” Galleries 14, Aug-Sep, pp. 41-47; 93-94 (106-109 English).
  • Knight, Christopher. “L.A. Invasion of ‘it’.” Los Angeles Herald Examiner, Aug 10.
  • Relya, Lane. “Cool Art, Hot Commodities.” L.A. Weekly, 8, No. 38, Aug 15-21.
  • Westfall, Stephen. “The Synthetic Sublime.” L.A. Weekly, 8, No. 38, Aug 15-21.
  • Tompkins, Calvin. “The Art World: Between Neo-and Post -.” The New Yorker, Nov 24.
  • Siebert, Charles. “How a Painting Happens.” Esquire, Dec, pp. 169-173.
  • Nemeczek, Alfred. “Neo-Geo Weder Trend Nocj Stil.” Art, Dec.
  • Schjeldahl, Peter. “A Visit to the Salon of Autumn 1986.” Art in America, Dec, pp. 15-21.
  • Audiello, Massimo. “Philip Taaffe.” Vanity, Dec.

1985

  • Robinson, Walter. “Philip Taaffe.” Art in America, Jan 1985.
  • Brenson, Michael. Review: Chi Chi Show. The New York Times, Apr 9.
  • Indiana, Gary. “Just an Opinion.” The Village Voice, Jun 25.
  • Koehler, Jutta. “Ploetzlich ein Begriff.” Koelner Stadtanzeiger, Jul 2.
  • Indiana, Gary. “The Collins & Milazzo Effect.” The Village Voice, Jul 2.
  • W.K., “Endphase de Kunst.” Koelner Stadtanzeiger, Jul 2.
  • Cameron, Dan. “The Other Philip Taaffe.” Arts Magazine, Oct, p. 18.
  • Kohn, Michael. “Philip Taaffe.” Flash Art, Nov, pp. 72-73.
  • McCormick, Carlo. “Popometry.” Artforum, Nov.
  • Evans-Clark, Philip. “Neo-Surrealism, or The Archetype of the Artist as an Ostrich.” Arts Magazine, Dec.
  • Politi, Giancarlo, and Helena Kontova. “Two Italians in New York.” Flash Art. Dec. 13
  • ———-. “Philip Taaffe.” Wolkenkratzer Art Journal, Dec.

1984

  • Smith, Roberta. “Art & Its Double.” The Village Voice, Oct 23, p. 45.
  • Carr, C. “Shock of the Old.” The Village Voice, Oct 30.

1982

  • Walker, James. “A Sense of Place.” Artscribe, No. 38, Dec.