Steven Parrino (1958–2005) was a modernist mannerist grasp with an intuition for annihilation. His graphic oeuvre, which brings one thing of the excessive vitality of hardcore punk music to the delicacy of drawing, appears to hail from a misplaced golden age when an artist might nonetheless inhabit a psychological area separate from mainstream popular culture. Loevenbruck’s modest batch of works on paper from 1989 onward spotlight Parrino’s melancholy aesthetic and distinctive sensibility, which mingled the cynical with the transcendent.
Parrino, who got here of age in a late-Seventies artwork scene dominated by the rhetoric concerning the demise of portray, was lay in historic reference, not abstraction. As with lots of the artists related to Gallery Nature Morte, the Eighties-era neo-Conceptualist East Village hang-out the place he first confirmed, Parrino started enjoying with insincere signifiers that he ultimately got here to like. In his graphic work, a semiotic suspicion, in line with Man Debord’s Society of the Spectacle—from which Parrino nicked a phrase for his 2003 ebook, No Textual content—took on a type of subdued hysteria. Parrino relished the confrontations that could possibly be created by injecting campy components into severe high-art and/or punk references. The black rectangle in Black Flag, 2003, which appropriates and rotates a kitsch drawing Raymond Pettibon made for a Black Flag band flyer, could be learn as a Pierre Soulages canvas. In addition to the apparent nod to Malevich’s well-known 1915 portray, the black sq. in Untitled, 2003, additionally suggests La Monte Younger’s Black Album file cowl from 1969. By way of these nested references, Parrino made it clear that an artist doesn’t work in a vacuum, however in a area of lifeless clichés.