Richard Milazzo is a critic, curator, publisher, independent scholar and poet from New York City. In the 1970s, he was the editor and co-publisher of Out of London Press. He is the co-founding publisher and editor of Edgewise Press. In the 1980s, under the rubric of Collins & Milazzo, he co-curated numerous Collins & Milazzo Exhibitions and co-wrote with Tricia Collins essays on art and art theory.[1]
He is the editor of Edgewise Press, a small press art publication house founded by Milazzo[6][7] in 1995. It maintains editorial offices in New York and Paris and is dedicated to publishing small, uniformly packaged, paperback books on art criticism, art theory,[8] aesthetics, philosophy, fiction and poetry.[9][10]
Among the many publications of those years were Radical Consumption and the New Poverty (New York: New Observations, 1987); Art at the End of the Social (Malmö, Sweden: The Rooseum, 1988); and Hyperframes: A Post-Appropriation Discourse in Art, the lectures they delivered as Senior Critics at Yale University in 1988 and 1989.[13] They were reissued in an Italian edition by Campanotto Editore in Udine in 2005. In 2014 Milazzo authored the book Peter Nagy: Entertainment Erases History (Works 1982 to 2004 to the Present) for Eisbox Projects.[14]
The idea of neo-conceptual art (sometimes later termed post-conceptual art) articulated by Tricia Collins and Richard Milazzo in the early 1980s in New York City,[15] brought to prominence a new generation of artists through their copious writings and curatorial activities. It was their exhibitions and writings that originally fashioned the theoretical context for a new kind of neo (or post) conceptual art; one that argued simultaneously against Neo-Expressionism and The Pictures Generation.[16] It was through this context that the work of many of the artists associated with Neo-Conceptualism (or what some of the critics reductively called Simulationism and Neo Geo) was first brought together.[17][18][19][20]
^Alison Pearlman, Unpackaging Art of the 1980s, University of Chicago Press, 2003, p. 191
^Annette W. Balkema, The Photographic Paradigm, Henk Slager, 1997, p. 69
^Kirwin, Elizabeth Seton, It's all true: Imagining New York's East Village art scene of the 1980s, University of Maryland, College Park, Dissertations Publishing, 1999
^Collins, Tricia and Milazzo, Richard (1986) "The New Sleep: Stasis and the Image-Bound Environment," Differentia: Review of Italian Thought: Vol. 1, Article 16.
^Collins, Tricia and Milazzo, Richard (1991) "Everything Changed More than Once," Differentia: Review of Italian Thought: Vol. 5, Article 8.
^[1] Peter Halley, Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art, has been anthologized in Peter Halley: Selected Essays 1981–2001, Edgewise Press in 2013.
^GianCarlo Pagliasso, Hyperframes : un discorso sulla post-appropriazione in arte Pasian di Prato : Campanotto, 2005
^Peter Carravetta, Language at the Boundaries: Philosophy, Literature, and the Poetics of Culture, Bloomberg Press
