Munich, Staatsgalerie Moderner Kunst, Sieben amerikanische Maler, April - June 1991, p. 53, no. 16, illustrated in colour
New York, Brooklyn Museum of Art, A Family Album: Brooklyn Collects, March - July 2001
Wolfsburg, Kunstmuseum Wolfsburg, Eric Fischl: Paintings and Drawings 1979-2001, September 2003 - January 2004, p. 41, illustrated in colour
G. Roger Denson, ‘Eric Fischl’, Flash Art, March 1991, p. 132, illustrated in colour
Holland Cotter, ‘Postmodern Tourist’, Art in America, April 1991, p. 156, illustrated in colour
Pilar Viladas, ‘Posh Spice’, The New York Times, 29 October 2000, p. 82, illustrated in colour
Arthur C. Danto, Robert Enright and Steve Martin, Eric Fischl: 1970-2007, New York 2008, p. 199, illustrated in colour
The absence of any explanation of the monkey’s presence, or indeed of the relationship between the two characters, consolidates the picture’s status as a dream: we find ourselves, as viewers, privy to something we simply do not know how to explain. Well documented and widely exhibited – at Mary Boone Gallery, New York in 1990; the Brooklyn Museum of Art in 2001; and the Kunstmuseum, Wolfsburg in 2003 – this painting is a standout example of the artist’s melding of traditional figuration with an uncanny glimpse into the strangeness of contemporary life.
Born in New York in 1948, Fischl graduated from the California Institute of Arts – also attended by his friend and peer David Salle – in 1972. Teaching at Nova Scotia College of Art and Design in Halifax from 1974-78, Fischl’s first solo exhibition took place at the Dalhousie Gallery in Nova Scotia in 1975 and was curated by Bruce W. Ferguson. It was in 1980s New York, however, where Fischl moved in 1978, that the artist acquired his reputation for producing large-scale scenes of middle-class suburban life into which the viewer, in spite of themselves, is transported as an unseen voyeur. The pictures thus possess a thrilling, illicit nature; as though we are witness to something ordinarily off limits. The powerful undercurrent of sexuality that pervades much of Fischl’s painting serves as an extended metaphor for the sinister machinations behind much of the American dream. While Fischl’s work has debts – undoubtedly to filmmakers David Lynch, Alfred Hitchcock and Edward Hopper – his is a remarkably original strain of figurative art. Indeed, Fischl’s descriptions of his own suburban childhood recall the famous cherry trees of Lynch’s: “The dysfunction behind freshly painted doors across perfectly manicured lawns mocked my feelings of chaos beneath… Would everything be OK? Was I safe? I looked hard for clues… I paid close attention to body language – to gesture. Tensions held in the body are disclosed through shifting weight, turning, twisting. I see a lot and I try to capture it in paint” (Eric Fischl in conversation with Amy Abrams, ‘The View from Sag Harbor: Q+A with Eric Fischl’, Art in America, 2012, online).
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale