an exhibition of small and large scale oil paintings by Canadian painter, Matt Bahen, recognized for his human scale works on canvas addressing themes of loss and the question of how to carry on. His use of a thick and heavily applied impasto technique emphasizes the visceral quality of the delivery and subject.
Belgium-based painter Alain Biltereyst’s small works on plywood are concerned with everyday, contemporary life. The artist is inspired by geometric forms that he sees on a daily basis, such as logos on currency, advertising on the sides of trucks, and fences against a landscape. He strives to interpret this ‘Geo Land’ into works that are “as simple and poetic as possible.” Formal repetition and color choices reflect the artist’s background in graphic design and fascination with commercial and other urban signs, where the lines between culture and subculture are blurred. Beneath the hard edge geometry of each composition, lies a painterly gesture, implying a depth in the otherwise flat composition. - thru June 22
the first comprehensive exhibition in the United States of this under-recognized French art movement. Supports/Surfaces was a loose confederation of about 15 artists mostly from the south of France (Nimes, St. Etienne, Nice, Etc.) who made work marked by an interest in materiality, expansive ideas of what a painting could be and often a lyrical use of bright color. There is no manifesto, but the writings and ideas of Freud, Marx, Clement Greenberg, Michael Fried and Chairman Mao were tossed together along with a deep interest in Matisse, another artist associated with the south of France. Everyday items used as art materials were as radical then as they are commonplace now. Witness the dishrags of Dola, the painted sunshade umbrellas of Viallat, the lathe constructions of Dezeuze or Saytour’s bolt of raw fabric in the seminal piece “Deployed”. Supports/Surfaces artists may or may not have been the ﬁrst to pick up such materials, but what they did with them formally is the key to what sets the group apart from say Arte Povera in Italy or the more famous French group BMPT. In their hands there was a coupling of base material, the format of painting and the poetics of unprogrammatic form and color that simultaneously questioned and reaffirmed painting. Presented with Galerie Bernard Ceysson. thru July 20
read Sharon Butler’s comprehensive review & essay at Two Coats
pictured: Pierre Buraglio, Montage, 1981, Mixed media on canvas Mark Devade, Untitled, 1967, Ink on canvas
Saturday is off to a good start, my morning ensemble complementing the milky coffee from Broome Street General. Spent last night at the Troubadour watching Korey open for Harriet’s album release. All sets were truly incredible. Back to bed now for me…
A building on Broome Street in Soho, between Broadway and Mercer Street. According to www.oasisnyc.net, a great resource for finding out things about buildings in New York City, it was built in 1900, and it looks it. This is classic architecture.
There are certain buildings and places in this city that I feel compelled to take pictures of any time that I go by. This is definitely one of them, and it seemed like a lot of people had the same feeling when I went by there today. There’s something to it - the shape, the layout, the architectural design that seems to attract people.