Magazine article Artforum International

Bart Exposito. (Reviews)

Magazine article Artforum International

Bart Exposito. (Reviews)

Article excerpt

DANIEL WEINBERG GALLERY

Abstract but with glancing references to new technology and modular design, Bart Exposito's paintings demonstrate that the hard-edge vernacular has always resonated with the concept of futurity, even the futuristic (which despite its promise of what-has-not-yet-been paradoxically conveys a groovy sci-fi anachronism--Lost in Space meets Esquivel, as in Tracy Morgan's brilliant Saturday Night Live Astronaut Jones skit). When Exposito's works succeed, they create dynamic virtual movement and interrogate all aspects of the picture plane, especially the edges. When they fail-as almost all the drawings and many of the paintings do--the result is just graphic design, the kind of stylization that appears on album covers for electronica groups. Take BME 75 (all works 2002), which presents interlocking C-shaped forms in stark white, hot red, and silvery blue; a sharky ivory is used between the white and red, but rather than create space it merely cements the Cs into a logo. Almost smugly centered on its square canvas, the image never questions its own formalization or challenges the viewer's point of view.

Compare BME 75's lazy straightforwardness with the puzzling energy of BME 78 or BME 76. It's like going from chisenbop to algebra--though the paintings remain simple. Exposito's winning palette of sky blues, desert greens, and Tupperware pinks and keen deployment of black line already earn a connection to John Wesley, who likewise achieves his dazzling, hypnotic effects with the most parsimonious of gestures and in utter flatness. …

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