In his current exhibition, Belott degrades the modernist grid, making it lumpy with swollen puffs that participate in the artwork’s visual order while satirizing it.
Belott’s “frozen artworks” signify duration in the interval between the water freezing and the ice melting.
Children’s scribbles may appear random but they often repeat shapes, like the mandala or the Greek cross, that suggest the beginning of language.
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.
On Saturday I visited Underemployed at Zurcher Studio on Bleecker Street. I read the press release for the show and got excited. First of all, the show is curated by an artist, Josh Blackwell. The premise of the show hinges on Oscar Wilde. His quote from The Decay of Lying: An Observation gives Blackwell’s exhibition form: “The ancient historians gave us delightful fiction in the form of fact; the modern novelist presents us with dull facts under the guise of fiction.” The art in this exhibition tickled my fancy and my funny bone, but I’m not sure that much of it stood up on its own.