new-york

Robert Bittenbender, Gethsemane, 2018, mixed media on canvas board, 30 × 32 1⁄2 × 3".

Robert Bittenbender

LOMEX

Looking at Robert Bittenbender’s assemblages and works on paper, you’d almost think that there is still some kind of bohemia in New York, that somewhere out there a few artists are trying to live their lives in the interstices of the market economy, breathing life into its detritus, taking Apollinaire’s famous advice to “paint with whatever material

you please, with pipes, postage stamps, postcards or playing cards, candelabra, pieces of oil cloth, collars, painted paper, newspapers.” Bittenbender’s exhibition “Cosmo Freak” included six pieces, all dated 2018: two wall-hung, three-dimensional accumulations (Alphabet Soup and Cracked Actress); a pair of more planar, low-relief constructions incorporating painting and drawing but nevertheless a little too volumetric to be thought of as collages (Gethsemane and Electric Thirties); and a duo of paintings—one on paper (Saturina), the other on

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