|Matt Bollinger at Galerie Zurcher|
This work is collaged paper, an early work from the series. Painter Jenny Dubnau told me about this show.
|Detail of the collaged paper|
|Memento of the times: Rolling Stones' Hot Rocks.|
|Self portrait of the artist|
|Handmade audio recounting Bollinger's father Skip's stories about the first car he bought.|
|Matt Bollinger drawings|
|Videos in the back streaming drawings in a sketchbook being made, revised and added on to, complete with scratchy sounds of the pen. It's a beautiful show by a talented painter, his fourth at Zurcher.|
|At 11R, a three-person exhibition with Ree Morton, Rebecca Morris, and Josh Blackwell.|
|These two-sided plastic bags are lavishly stitched and embroidered by Blackwell. They are similar, but more complex than what he showed last year at Songs for Presidents. The back view of this bag is two more images down.|
|A third, front view only. On the website Romano Grave Blackwell speaks of his interest in fashion:|
"My interests, and consequently my practice has tended to fall between, around, and outside of established disciplines. Fashion is fluid in that it speaks to many discourses: art and film history, sociology, economics, psychology, anthropology, and political science. Yet it does not sit comfortably within any of these silos. I have always been interested in fashion, but I didn’t think of it as essential to my work as an artist until I began teaching. My first teaching job was a cultural studies seminar I devised called “Fashion and Modernism.” The course evolved out of research into historic costumes designed by avant garde artists like Sonia Delaunay, Varvara Stepanova and Ernesto Thayaht as well as fashions by Paul Poiret and Elsa Schiaparelli. Drawing connections between Modernism as an historical movement and the sociological implications of fashion at the turn of the twentieth century, I found new and continuing interests in domesticity, leisure, work, and the readymade. Fashion’s interface with artists and the art world during this period was vital; color, pattern, and form were politically charged and visually agitated. These notions continue to influence and shape my own work."
|Rebecca Morton's painting (Blackwell's three works to the right). A fresh combination.|
|Barbara Friedman's solo exhibition Decollation at Buddy Warren Gallery.|
Barbara Friedman's site:
Above, the face-off between ruff and roof that fuels the diverse and multiple works in the show.
|The roof becomes a body...in one painting, the four sides become a Gumby splayed over the surface.|
|The swipes are beautiful, creating strange and organic forms; I found the edits less convincing as spatial boundaries.|
|Rosenbaum showed two huge paintings on either side of the second floor in addition to smaller works. The smaller works made double patterns, as this one above. On Rosenbaum's website, linked here, you can observe his painting process in a video that reveals his interest in Gutai and T'ai Chi in making his work. Rosenbaum's website.|