October 19th, 2009
Bram Bogart “Le Vent dans les Couleurs" 2005, 80x90cm
It wasn’t until November of 2007, when, at the Bernard Jacobson Gallery in London I first saw some Bram Bogart paintings. I had seen reproductions, but only about a year earlier. Despite his strong profile in Europe, having numerous shows over a period of more than fifty years, it is shocking that he is not better known in the UK and America. Having met Bogart at the opening of another display at Bernard Jacobson in September 2009, which focused mainly on larger works, it is even more surprising that at eighty-eight the frailties of his advanced age have not dampened his creativity. There were two new smaller pieces that offered sumptuous colour and a mind-boggling power of simplicity, which can only come with experience.
In Bram Bogart we have an artist who has been going strong for half a century. The heavy plaster-like material has served him well throughout this time. There have been many changes, but the distinctive style has remained. This is an unusual achievement, which I can only partly explain by pointing to the influences he has incorporated into his art. Throughout, there has been the strong adherence to a European Matter painting aesthetic, but much influence has also been drawn from American art. I see similarities with Rothko and Hofmann. From the Colour Field era, there’s the symmetry of Noland and the edges/spaces of Olitski. More recently the colourfulness and aggression of New New has surely found its way into Bogart’s strange mixture.
When I first saw Bogart’s paintings, it reminded me of how I reacted to seeing an exhibition of paintings by another never say die octogenarian, Hans Hofmann, at the Tate Gallery in 1988. Bedazzled by the colour, texture and scale, these were more than just big canvases with strong colour and large surface sweeps. They had a life of their own; they dominated the space. Bram Bogart’s pictures also have great impact on a space. Their physical presence, uncomplicated colours and child-like play doughish nature take your eye on a journey of joy and discovery.
Bram Bogart “Rose-Marie” 2007 - 73x67cm
When I first saw Bogart’s paintings, it reminded me of how I reacted to seeing an exhibition of paintings by another never say die octogenarian, Hans Hofmann, at the Tate Gallery in 1988. Bedazzled by the colour, texture and scale, these were more than just big canvases with strong colour and large surface sweeps. They had a life of their own; they dominated the space. Bram Bogart’s pictures also have great impact on a space. Their physical presence, uncomplicated colours and child-like play doughish nature take your eye on a journey of joy and discovery.
Tags: Bogart, Bram, Bram Bogart, new new painting
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October 19th, 2009
Lucy Baker "Time Passes"
Having only discovered this movement in 2006 through the website of Dr Kenworth Moffett, there is still much for me to learn. I am only able to offer a glimpse into a wide-ranging, yet related mix of artists. In terms of a movement, one is reminded of the Impressionists for their strong group identity allied to a remarkable display of individual talent. When you see New New in a collective setting, there is clearly a sense of shared identity. However, there is also an instant recognition of personal styles, in a way that is easier to spot than with some earlier movements. This is a testament to the vast amount of ground they have unearthed.
I will only mentioned some of the artists that belong to this movement. Much more can be seen and read from Moffett’s website: and from the sights of the artists. In a nutshell they are collectively where painting has been for over twenty years. Born out of Colour Field painting, especially from the more audacious works of Jules Olitski and Larry Poons. I was immediately struck by how New New offered a progression from the heavy textures and ethereal colours of Olitski. When it seemed like where do you go after Olitski, they look as though they knew exactly where to go and my, were there lots of places too. Olitski’s colours seem pretty normal now as the New New have used hues that are garish, fluorescent, iridescent, interference, metallic, transparent, glittery, and so on. Gels, glossy and sculptured surfaces, collaging with all manner of materials, new surfaces, shaped surfaces, innovative techniques, and the list goes on.
Bruce Piermarini “Bridge Yellow”
When seeing these paintings for the first time in the flesh, they are immediately impressive for their object qualities of vibrancy, glossiness and striking originality. At the same time they can rattle your eye, as they are so different from any other school of painting. But as they become more familiar, their relationship to earlier art becomes clearer. This is not just in regard to the directly preceding painters, but also going back further. It surprises me that some consider this art to be lacking in a correlation to traditions of visual art. I see many historical associations. For instance: Lucy Baker with Miro and Pollock. Bruce Piermarini with Leger and Picasso. Irene Neal with Munch and Soutine and Jerald Webster with Matisse, to name but a few examples.
Irene Neal “Floating”
Seeing New New from a painter’s perspective, from one seeking advancement in his own work, I cannot compliment these guys enough. Although I now look to be part of something else that is cooking, New New is still very much alive. I would suggest to anyone that has modernist painting aspirations, not to ignore or bypass this movement, lest risk missing an essential ingredient in the recipe for contemporary painting. There is now less contact among the members, as the group ethos, having served its primary purpose, gives way to further individual development . For instance, Irene Neal’s work now exploits lexan , not only as her working surface, but she also plays with areas of the material itself and in so doing, expands her art. Piermarini continues to be Piermarini with his constant reinventions. Perhaps now we see his biggest change ever as he suddenly goes flat and into the realms of illusion, immense colourfulness and detail.
Roy Lerner “Defiant”
Jerald Webster now brings greater spontenaety and explores shape, whilst continuing to enlarge on his mastery of colour. Marjorie Minkin turns to more subtlety but does not compromise on the physicality of her pictures. They still command a high degree of presence and beauty, but in a way that demands more engagement from the viewer. Graham Peacock maintains his hallmark colour, shapes and contours, but now brings illusionist processes, which create optical effects. Off course all of these procedures can sound like it’s just about techniques, but far from it. Despite these innovations, as with all great art, this is merely to serve what it’s really about – the communication of truth in a way that challenges how we visually perceive it. If one looks at and carefully considers these works, we see into a labyrinth of visions, statements, emotions, experiences and at the same time remain in contact with the sensuous nature of paint.
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