TOXIC, Let’s Lose Your Mind, 1984.
TOXIC, Let’s Lose Your Mind, 1984.
Kenny Scharf, Double Bubble Emotion and Trouble, 1983.
LADY PINK (Sondra Fabara), M. T. A., 1983.
LAK (Ricardo Lakenpool), Untitled, 1984.
United Graffiti Artists, Collaborative No. 1, 1972.
BLADE (Steven Ogburn), In Memory of ?, 1984.
TOXIC, Let’s Lose Your Mind, 1984.
LADY PINK (Sondra Fabara) and Jenny Holzer, The Breakdown Comes When You Stop Controlling Yourself and Want the Release of a Bloodbath, 1983.
LEE, Study for ‘The Bearer’, 1983.
FUTURA 2000, Interkosmos, 1984.
THE ARBITRATOR KOOR (Charles William Hargrove, Jr.), Through the Columns KOOR’s Remanipulator, 1983.
Rapid Enamel, Installation View, 1984.
Rapid Enamel, Installation View, 1984.
A-ONE (Anthony Clark), Liquid, 1983.
Rapid Enamel, Installation View, 1984.
PHASE 2, Crystal Phase, 1984.
Rapid Enamel, Installation View, 1984.
THE ARBITRATOR KOOR (Charles William Hargrove, Jr.), Three Dimensional Letter ‘K’, 1981.
QUIK, R. I. P., 1984.
PART, Fudge, 1984.
A-ONE (Anthony Clark), A-One, 1983.
LEE (Lee Quinones), Study for ‘Three Deaths on a Hill’, 1984.
DAZE, Anger, 1983.
LEE (Lee Quinones), Three Deaths on a Hill, 1984.
Henry Chalfant, SEEN, Mitch, 1980.
Henry Chalfant, QUIK, 1980.
Henry Chalfant, LEE, 1979.
Henry Chalfant, SEEN, Hand of Doom, 1980.
Henry Chalfant, DIEN ROLIEO, 1982.
Henry Chalfant, BLADE, 1980.
Henry Chalfant, RAUL, Wayne Sach, 1982.
Henry Chalfant, DOC, 1980.
Henry Chalfant, NOC, Stylewars, 1981.
RAMMELLZEE, Untitled, 1983.
American graffiti art now enjoys considerable acclaim in Europe, where it is widely exhibited and has begun to enter major public collections. Only recently has critical attention come to focus on this work here in America, and a larger public dialogue is still lacking in this country. This exhibition is intended to commence such a dialogue. The exhibition will be the first by an American institution to attempt a qualitative survey which will also include the working drawings for the graffiti works.
This exhibition is curated by Richard Flood.
