By the turn of the 21st century, Robert Longo was, as he puts it, sitting at the top of the junk pile.
He had once been a leading protagonist in the “Pictures Generation.” Alongside fellow artists like Cindy Sherman, Richard Prince, Louise Lawler and David Salle, he became one of the most collected, exhibited and talked about visionaries of the early 1980s, rising to prominence during the golden age of contemporary art through his “Men in the Cities” series, which depicted suited, dancing silhouettes drawn in charcoal.
But he was punished for it — and cast aside.
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