BEST KNOWN OF THE UNKNOWNS
Hollander doesn't enter any yearly exhibitions, in his own perverse way he values his semi-obscurity. It enables him to continue at his own pace with infinite minor variations in style and approach, shamelessly exhibiting everything he paints. He withholds nothing. If some of his paintings seem unfinished it is only that he's run out of steam on that particular canvas - has nothing more to say at that particular moment and doesn't give a damn about the end result. seldom glances at a canvas after its finished and yet can recall every brush mark of every canvas he ever painted with photographic fidelity.
He has no ax to grind ax to grind, no point of view. He paints what he feels: the unvoiced things going on within his own consciousness. He won't discuss his intentions or inner meanings with collectors, won't discuss technique with his fellow artists, refuses to philosophize. He's much more likely to engage you in conversation on horses or bull fighting or mountain climbing or skiing. A nature worshiper, a family man.
It takes a lot of poking and prying to get him to do any talking about art. He views the current art scene with an amused infuriated tolerance. With the astuteness of his years of involvement with PR and advertising techniques while a film maker, he admires the by play with which trends are formed and dissolved with willy-nilly abandon. The collector, the critic, the gallery owner, the curator, all seem to him to have taken on more importance than the artist. His comment is that the art business seems to have taken the advertising credo one step further. On Madison Avenue at least, the PRODUCT remains the one really important object. Not so on gallery row. He reads Art News for laughs.