Paul Bloodgood, Objects in Pieces, 2011, oil on board, 48 x 58".

Paul Bloodgood

Newman Popiashvili

Paul Bloodgood, Objects in Pieces, 2011, oil on board, 48 x 58".

Modernism shares with Romanticism a fascination with the fragment, with things that are broken yet by that very fact seem to offer the possibility of recombining to create something new. Collage is only the most obvious manifestation of this outlook, and its history is now a century long. So “Objects in Pieces,” the title of the most recent exhibition by Paul Bloodgood—a veteran, by now, of the New York art scene, but a seriously underknown one—might sound a bit generic. As a gallery press release explains, however, it takes on a more determinate meaning in relation to Bloodgood’s recent work: “In October 2010, the artist suffered a brain injury, which altered his optical system. Bloodgood lost the ability to make perceptual closure, to ‘make whole’ images from objects viewed only in part. The works in this show straddle Bloodgood’s two visual worlds. Before, he would

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