reviews

Melissa Kretschmer, Green Sleeve, 2016, vellum, gesso, gouache, beeswax, plywood, 84 × 27 × 2". From “Painting After Postmodernism: Belgium–USA.”

“Painting After Postmodernism: Belgium–USA”

Vanderborght/Cinéma Galeries | The Underground

Melissa Kretschmer, Green Sleeve, 2016, vellum, gesso, gouache, beeswax, plywood, 84 × 27 × 2". From “Painting After Postmodernism: Belgium–USA.”

“Painting After Postmodernism: Belgium–USA” was a refreshing antidote to the hustle and bustle of the current art scene; none of the eight Americans and eight Belgians in the show, curated by art historian and critic Barbara Rose, was among the usual suspects. More than 250 paintings were installed at two locations. Most were on display at the Vanderborght, a six-story International Style building from the 1930s. Natural light from a glass-enclosed atrium in the center of the former department store enhanced the pleasure of viewing art that was often colorful, with textured surfaces and bold, emphatic shapes.

In effect, the exhibition comprised sixteen solo shows, allowing visitors to encounter these artists’ oeuvres in depth and across a range of time. Adding to the sense of discovery, the artists all express themselves in what’s become an exotic artistic idiom, one that is

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