Contributed by Jonathan Stevenson / In enlisting the stretcher itself and other materials not customarily used in art as part of a painting’s aesthetic content in addition to the traditional media on the canvas, the avant-garde Supports/Surfaces movement echoed the popular ferment in 1960s and 1970s France that challenged the […]
Contributed by Jonathan Stevenson / Painting is persistently and emphatically alive and well. Indeed, the notion that it is dead — or, more kindly, moribund — is so vapid and hidebound that merely saying that the notion is a cliche is itself a cliche. Yet in putting the lie to it one more time, the Bushwick gallery Transmitter’s succinctly penetrating group show “Material Mutations, part one: The Canvas” brings fresh insights in what might otherwise be an eye-rollingly redundant conversation.
In 2011, seeing a relationship to the casualist tendency in contemporary art, I posted about Claude Viallat’s work and the inventive art movement known as “Supports/Surfaces” that took hold in the mid-1960s in the south of France. Expanding the notion of painting, Supports/Surfaces artists stressed the experimental use of non-art […]