David Schoffman. Currado Malaspina. Micah Carpentier. This capricious trio of provocateurs is generally known as the founding body of Paris’ New Pestilence School. Thirty years have past since their last joint exhibition. A well-publicized and ecstatically vengeful falling out disbanded the group in the late 80’s, estranging the artists ever since.

 

It is by dint of Delia Cabral’s remarkable diplomacy (as well as the death in 1996 of Carpentier, easing the task by a third) that this historic reunification was made possible.

 

David Schoffman, the least ideological of the three, paints lusciously sensual oil paintings recalling the extravagant visual excesses of the Italian Baroque. Ribbons of flowing fabric drift like kites across fields of richly clotted color. His works are glimmering celebrations of sybaritic overindulgence.
David Schoffman, Cohanim #3

Currado Malaspina combines petulance and infatuation with his pruriently suggestive monotypes. Known for his scabrous obsession with sex, Malaspina’s work reflects a dark and delinquent beauty.  His drowsy draftsmanship and aversion to subtlety yield surprisingly savory results.

 

 

Micah Carpentier, the intellectual vicar of the group was a man well acquainted with tragedy. Hit by a speeding lorry in his native Havana, Carpentier left behind a warehouse of tawdry paper bags covered with the brilliant scribbles of a master. Selected examples, assembled for the first time, will give American viewers their first glimpse of this mercurial visionary.

 

 

Micah Carpentier, Bag #17 

David Schoffman. Currado Malaspina. Micah Carpentier. This capricious trio of provocateurs is generally known as the founding body of Paris’ New Pestilence School. Thirty years have past since their last joint exhibition. A well-publicized and ecstatically vengeful falling out disbanded the group in the late 80’s, estranging the artists ever since.

 

It is by dint of Delia Cabral’s remarkable diplomacy (as well as the death in 1996 of Carpentier, easing the task by a third) that this historic reunification was made possible.

 

David Schoffman, the least ideological of the three, paints lusciously sensual oil paintings recalling the extravagant visual excesses of the Italian Baroque. Ribbons of flowing fabric drift like kites across fields of richly clotted color. His works are glimmering celebrations of sybaritic overindulgence.
David Schoffman, Cohanim #3

Currado Malaspina combines petulance and infatuation with his pruriently suggestive monotypes. Known for his scabrous obsession with sex, Malaspina’s work reflects a dark and delinquent beauty.  His drowsy draftsmanship and aversion to subtlety yield surprisingly savory results.

 

 

Micah Carpentier, the intellectual vicar of the group was a man well acquainted with tragedy. Hit by a speeding lorry in his native Havana, Carpentier left behind a warehouse of tawdry paper bags covered with the brilliant scribbles of a master. Selected examples, assembled for the first time, will give American viewers their first glimpse of this mercurial visionary.

 

 

Micah Carpentier, Bag #17