If Part One presented the various problems and dysfunctions of the artworld by a mid-career generation, Part Two offers some potential remedies by a younger generation who, despite all of the barriers, manage to keep a sense of humor and create reaffirming (and occasionally hilarious) art. What would be the choice, anyway? To cease making art altogether?
-Nick Lawrence, gallery owner/curator
Part II demonstrates a generational difference from Part I; these artists have a different mindset. They grew up with the Internet, Simpsons, 9-11, saw road artists climb to fame, spent a decade in their lives at war, and entered mature life at the pinnacle of a great downturn. The American fantasy they were assured their entire lives looks worthless. Their degrees do not always help get them jobs; freight and volume new york is as when the carpet was pulled out from under them. These artists have plenty of confidence which is paralleled using a sarcastic sense of humor even facing this despairing uphill fight.
Lyon's paintings swirl between a hallucination and a flippant joke. They're comical and address the artwork craze by referencing the speed of the Internet, the speed of NYC, as well as the speed of life. Who has time to waste? These paintings are seconds. They ask you to say, "fuck it," and act on impulse. They are to the point and fast, with thick lines, bold level colours, and cheeky short text. Text like Need it and Fuck it. A bug-eyed spike-toothed cartoonish body carries a narrative throughout the series. Control is lost by this character, vanishes, reappears, and acts on those terrible impulses everyone has, but pretends not to have.
There is a simple daring grunginess to the job that reminds one among 80's street artists. There's this "who cares" approach, plus a feverish need to create artwork that's clear in his work. The paintings seem interesting to make, are interesting to check out, and they're - of course - amusing.
De Miguel's paintings are witty, mischievous, facetious, naughty, cheerful, and untroubled. The game is about chance not strategy. These paintings do not look strategic. They are fair, good natured, and possibly contemptuous of the art world, although not cynical about artwork.