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Disturbing Innocence features over 50 historical and contemporary artists whose use of dolls, toys, mannequins, robots, and other surrogates forms a deep and powerfully expressive genre. The exhibition poses profound questions surrounding social constructs of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness. Inspired by Fischl’s own childhood in suburban Long Island, NY, and his early career as an artist working in New York City in the 1980’s, Disturbing Innocence presents a subversive and escapist world at odds with the values and pretensions of polite society.
Inez van Lamsweerde and Vinoodh Matadin
Kirsten, Star, 1997
© Inez & Vinoodh / Courtesy Gagosian Gallery
Eric Fischl is an internationally acclaimed American painter and sculptor. His artwork is represented in many distinguished museums throughout the world and has been featured in over one thousand publications. His extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries.
Installation view of Disturbing Innocence, 2014
Fischl was born in 1948 in New York City and grew up in the suburbs of Long Island. He began his art education in Phoenix, Arizona where his parents had moved in 1967. He attended Phoenix College and earned his B.F.A. from the California Institute for the Arts in 1972. He then spent some time in Chicago, where he worked as a guard at the Museum of Contemporary Art. In 1974, he moved to Halifax, Nova Scotia, to teach painting at the Nova Scotia College of Art and Design. Fischl had his first solo show, curated by Bruce W. Ferguson, at Dalhousie Art Gallery in Nova Scotia in 1975 before relocating to New York City in 1978.
Mummified Barbies by EV Day photo worleygig.com
Fischl’s suburban upbringing provided him with a backdrop of alcoholism and a country club culture obsessed with image over content. His early work thus became focused on the rift between what was experienced and what could not be said. His first New York City solo show was at Edward Thorp Gallery in 1979, during a time when suburbia was not considered a legitimate genre for art. He first received critical attention for depicting the dark, disturbing undercurrents of mainstream American life.
Installation view of Disturbing Innocence, 2014
John Wesley Caryn and Robin, 1968
Private Collection ©John Wesley. Image courtesy of Fredericks & Freiser, New York
via flagartfoundation.org
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