New York

Bram Bogart

Jacobson Howard Gallery

Bram Bogart offers platters of painterliness, one might say, served up raw yet uncannily refined, even in such turbulent works as Geen twijfel (No Doubt), 2005. But it’s not that simple, even if one regards Bogart’s strikingly material paint, often alive with primary color—as it is in the passionately red Een kleur (One Color), 2005, and Rode Rouge (Red Red), 2008—as the bizarre conclusion of what began with the intense brushwork of his countryman Vincent van Gogh. Intensity has become intimidation in Bogart’s paintings: Van Gogh’s painterliness looks restrained compared to Bogart’s, which projects—erupts—into space, confronting us with its materiality. Clement Greenberg once wrote that “every fresh and productive impulse in painting . . . has manhandled into art what seemed until then too intractable, too raw and accidental, to be brought within the scope of aesthetic purpose.” By this

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