Supports/Surfaces is Alive and Well
Cherry and Martin
January 18 - March 15, 2014
Los Angeles, CA
From left: Claude Viallat, Daniel Dezeuze, Noël Dolla, Louis Cane
Cherry and Martin
January 18 - March 15, 2014
Los Angeles, CA
From left: Claude Viallat, Daniel Dezeuze, Noël Dolla, Louis Cane
Jean-Michel Meurice
Toile trouée
1964
Mixed media on canvas
32.75 x 25.5 inches, 83 x 65 centimeters
Toile trouée
1964
Mixed media on canvas
32.75 x 25.5 inches, 83 x 65 centimeters
Bernard Pagès
Assemblage
1977
Assemblages of chestnut wood and rattan, 6 part
27 x 26 x 1.5 inches, 68.58 x 66.04 x 3.81 centimeters
Assemblage
1977
Assemblages of chestnut wood and rattan, 6 part
27 x 26 x 1.5 inches, 68.58 x 66.04 x 3.81 centimeters
Supports / Surfaces
Cherry and Martin
January 24 - March 4, 2017
Los Angeles, CA
From left: Marc Devade, André-Pierre Arnal
Cherry and Martin
January 24 - March 4, 2017
Los Angeles, CA
From left: Marc Devade, André-Pierre Arnal
Pierre Buraglio
Masquage Vide
1979
Masking tape on tracing paper
21.75 x 15.75 inches, 55.5 x 40 centimeters
Masquage Vide
1979
Masking tape on tracing paper
21.75 x 15.75 inches, 55.5 x 40 centimeters
Supports / Surfaces
Cherry and Martin
January 24 - March 4, 2017
Los Angeles, CA
From left: Daniel Dezeuze, Patrick Saytour
Cherry and Martin
January 24 - March 4, 2017
Los Angeles, CA
From left: Daniel Dezeuze, Patrick Saytour
Biography
Supports/Surfaces is one of the major avant-garde groups of 60s and 70s France. The artworks made by these artists are breathtaking, and resonate as deeply today as they did when they were first made. Supports/Surfaces bears comparison with the rigorous intellectual attitude of contemporaneous movements like Minimalism, Arte Povera and Mono-Ha, and the expanded painting approach of artistic peers like Alan Shields, Lynda Benglis and Ed Clark.
As curator Bernard Ceysson points out, “The cohesive element binding Supports/Surfaces artists was their own theoretical debate, which took place among a number of artists over a period of time in various manifestations.” The curators of the recent Hunter College exhibition, “Critical Gestures/Contested Spaces: Art & Politics in 1960s France,” write, “The theoretical, political and cultural terrain of 1960s France was characterized by anti-colonialism, commodity fetishism and extreme leftism. Operating within this zeitgeist, artists experimented with a range of practices that questioned authorship, explored new collective forms of art-making, and opened up new modes of aesthetic experience.”
Like those artists associated with the earlier Nouveau Réalisme of Pierre Restany and Yves Klein, or the BMPT group of the late 60s (Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni), Supports/Surfaces interrogated the growing post-war mass-media driven consumer state, famously described by Guy Debord as the ‘spectacle.’ As the name would suggest, Supports/Surfaces artists included in this exhibition specifically oriented themselves towards the physical properties of the painting itself: stretcher and canvas, paint and paintbrush. Artists associated with Supports/Sufaces, including such figures as André-Pierre Arnal, Pierre Buraglio,Louis Cane, Marc Devade, Noël Dolla, Daniel Dezeuze, Jean-Michel Meurice, Bernard Pagès, Patrick Saytour and Claude Viallat took on the tools, materials and processes of painting in radical new ways to address the actions of maker and viewer alike.
Supports/Surfaces is one of the major avant-garde groups of 60s and 70s France. The artworks made by these artists are breathtaking, and resonate as deeply today as they did when they were first made. Supports/Surfaces bears comparison with the rigorous intellectual attitude of contemporaneous movements like Minimalism, Arte Povera and Mono-Ha, and the expanded painting approach of artistic peers like Alan Shields, Lynda Benglis and Ed Clark.
As curator Bernard Ceysson points out, “The cohesive element binding Supports/Surfaces artists was their own theoretical debate, which took place among a number of artists over a period of time in various manifestations.” The curators of the recent Hunter College exhibition, “Critical Gestures/Contested Spaces: Art & Politics in 1960s France,” write, “The theoretical, political and cultural terrain of 1960s France was characterized by anti-colonialism, commodity fetishism and extreme leftism. Operating within this zeitgeist, artists experimented with a range of practices that questioned authorship, explored new collective forms of art-making, and opened up new modes of aesthetic experience.”
Like those artists associated with the earlier Nouveau Réalisme of Pierre Restany and Yves Klein, or the BMPT group of the late 60s (Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni), Supports/Surfaces interrogated the growing post-war mass-media driven consumer state, famously described by Guy Debord as the ‘spectacle.’ As the name would suggest, Supports/Surfaces artists included in this exhibition specifically oriented themselves towards the physical properties of the painting itself: stretcher and canvas, paint and paintbrush. Artists associated with Supports/Sufaces, including such figures as André-Pierre Arnal, Pierre Buraglio,Louis Cane, Marc Devade, Noël Dolla, Daniel Dezeuze, Jean-Michel Meurice, Bernard Pagès, Patrick Saytour and Claude Viallat took on the tools, materials and processes of painting in radical new ways to address the actions of maker and viewer alike.
Exhibitions
News & Press
Exhibition: October 13 - December 31, 2017-- Support/Surfaces The Beginning, 1966-1970, Carré d'Art-Musée d'Art Contemporain, Nimes, France
Article: "Art Galleries-Uptown: Claude Viallat," The New Yorker, June 2017.
Article: Farago, Jason. "Claude Viallat," The New York Times, June 16, 2017, p. C16, (excerpt).
Exhibition: November 16 - December 21, 2014 -- Supports/Surfaces, 356 Mission, Los Angeles, CA
Exhibition: November 4 - December 14, 2014 -- Supports/Surfaces, Cooley Gallery, Reed College, Portland, OR
Exhibition: June 28 - November 2, 2014 -- VIALLAT, a retrospective, Musee Fabre, Montpellier, France
Article: Rubenstein, Raphael. "Matisse Etc. (Part 2)," The Silo, December 1, 2014
Article: Rubenstein, Raphael. “Theory and Matter,” Art in America, September 2014, p. 108 – 117.
Article: Smith, Roberta. “Supports/Surfaces,” New York Times, June 27, 2014, p. C24.
Article: "Art Galleries-Uptown: Claude Viallat," The New Yorker, June 2017.
Article: Farago, Jason. "Claude Viallat," The New York Times, June 16, 2017, p. C16, (excerpt).
Exhibition: November 16 - December 21, 2014 -- Supports/Surfaces, 356 Mission, Los Angeles, CA
Exhibition: November 4 - December 14, 2014 -- Supports/Surfaces, Cooley Gallery, Reed College, Portland, OR
Exhibition: June 28 - November 2, 2014 -- VIALLAT, a retrospective, Musee Fabre, Montpellier, France
Article: Rubenstein, Raphael. "Matisse Etc. (Part 2)," The Silo, December 1, 2014
Article: Rubenstein, Raphael. “Theory and Matter,” Art in America, September 2014, p. 108 – 117.
Article: Smith, Roberta. “Supports/Surfaces,” New York Times, June 27, 2014, p. C24.