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Bart Exposito
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Bart Exposito

I was born in Amarillo, Texas and completed my education at the California Institute of the Arts. Since this time, approaching two decades now, I have worked as an artist and educator residing primarily in Los Angeles and most recently in New Mexico. I make paintings and drawings that have their basis in abstraction, but almost always incorporate some degree of recognizable imagery. Terms such as pop abstraction, neo hard-edge, and post painterly abstraction, to name a few, have been used to describe my work, situating it within a larger painting discourse. Stylistically, the work is bold with clean and graphic lines that are used to describe the forms within the paintings and drawings.

More recently, however, and for reasons I attribute to living in New Mexico, the work has become less singularly flat and graphic, engaging, instead, a variety of spaces and techniques. Existing in an environment of such indescribable beauty has impacted the way I the treat surfaces in my paintings and drawings. Ambient washes collide with flat surfaces in ways that relate to my own experiences of the land and the skies here in New Mexico. This, of course, is nothing new considering the extensive history of artists residing in New Mexico similarly affected by the landscape. While the mainstays of my visual vocabulary such as typography, architecture, and mid-century design, to name a few, have remained intact, they have been complicated by these new experiences in ways not altogether different than artists of the past. The result is work that sets out to achieve a visual complexity that upholds the notion that painting and the language of painting can occupy a space inherent to its own, affected by its surroundings, allowing me to conflate such disparate visual tendencies to create a personal, idiosyncratic, and nuanced body of work that could not have been produced in any other environment than New Mexico itself.

Prior to relocating to New Mexico and throughout the years I spent living and working in Los Angeles, I had been an artist and teacher with an extensive history that included regional, national, and international exhibitions as well as a teaching history that includes Otis College of Art and Design, University of California Los Angeles, and the University of Southern California. My work has been the subject of multiple solo exhibitions in the major national art centers and has been included in multiple museum and curated group exhibitions both nationally and abroad. Additionally, I have been a visiting artist and have lectured at numerous institutions including universities, art schools, and museums.

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BIO/CV

Education

  • 2000

    MFA, California Institute of the Arts, Valencia, CA

  • 1998

    BFA, University of Texas, Austin, TX


Selected Solo Exhibitions
  • 2014

    Bart Exposito, Thomas Solomon Gallery, Los Angeles, CA

  • 2011

    Paper Primitives, Thomas Solomon Gallery, Los Angeles, CA

  • 2010

    Bends, Thomas Solomon Gallery, Los Angeles, CA

  • 2008

    Strange Loops, Finesilver Gallery, Houston, TX

  • 2007

    New Work, Claremont Graduate University, Claremont, CA

  • 2005

    Paintings, Black Dragon Society, Los Angeles, CA

  • 2003

    Paintings, Daniel Weinberg Gallery, Los Angeles, CA

  • 2002

    Paintings & Drawings, curated by Libby Lumkin, Donna Beam Gallery, University of Nevada, Las Vegas, NV
    Paintings & Drawings, Daniel Weinberg Gallery, Los Angeles, CA
    Paintings & Drawings, Bill Maynes Gallery, New York, NY

  • 2001

    Bart Exposito, curated by Anna Helwing, Hot Cocoa Lab, Venice, CA
    Roomtone, Acuna-Hansen Gallery, Los Angeles, CA 


Selected Group Exhibitions
  • 2017                     

    Monique van Genderen & Bart Exposito, TAI Modern, Santa Fe, NM

  • 2014

    Art Los Angeles Contemporary, Thomas Solomon Gallery, Santa Monica, CA

  • 2013

    Forty Years at the Daniel Weinberg Gallery, Ambach & Rice Gallery, Los Angeles, CA

  • 2012

    Summer Group Exhibition, Michael H. Lord Gallery, Palm Springs, CA
    Abstraction, Michael H. Lord Gallery, Palm Springs, CA
    Architectural Disposition, Thomas Solomon Gallery, Los Angeles, CA
    Vous Play, JB Jurve Gallery, Los Angeles, CA

  • 2011

    Unfinished Paintings, curated by Kristin Calabrese and Joshua Aster, Los Angeles Contemporary Exhibitions, Los Angeles, CA
    Greater LA, organized by Eleanor Cayre, Benjamin Godsill and Joel Mesler, New York, NY
    GOLDMINE: Contemporary Works from the Collection of Sirje and Michael Gold, University Art Museum, California State University, Long Beach, CA (catalogue)

  • 2010

    Painting, curated by Roger Herman, LA Art House, West Hollywood, CA
    Ecstatic Structure, with Warren Isensee and Stanley Whitney, Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS

  • 2009

    Fantastic LA, curated by Barry Blinderman, University Galleries, College of Fine Arts, Illinois State University, Normal, Illinois
    An Exhibition of Selected Skills of the Unemployed, WPA, Los Angeles, CA
    Summer Group Show, Thomas Solomon Gallery at Cottage Home, Los Angeles, CA co-organized with Sister and China Art Objects
    Abstract America, Saatchi Gallery, London, England (catalogue)
    Cut, Thomas Solomon Gallery at artLA, Santa Monica, CA
    Loveable Like Orphan Kitties and Bastard Children, curated by Kristen Calabrese and Joshua Aster, Green Gallery East, Milwaukee, WI

  • 2008

    Keeping it Straight, Riverside Art Museum, Riverside, CA
    Pruess Press at RENTAL Gallery, New York, NY
    Heavy Corner, curated by Kristen Calabrese, Creative Artists Agency, Los Angeles, CA
    LA Potential, curated by Lioba Reddeker, Hangart 7, Salzburg (catalogue)

  • 2007

    No Jerks, Trudi at Rental Gallery, Rental Gallery, New York City, NY
    Automatons, Black Dragon Society, Los Angeles, CA
    Painting ! Design, curated by David Pagel, Claremont Graduate University, Claremont, CA (catalogue)
    Paper Bombs, organized by Bart Exposito, Jack Hanley Gallery, Los Angeles, CA

  • 2006

    Picture Postcards From a Neon Wilderness, Lukas Feichtner Gallery, Vienna
    Bring the War Home, curated by Drew Heitzler, Qed Gallery, Los Angeles, CA
    Bring the War Home, curated by Drew Heitzler, Elizabeth Dee Gallery, New York, NY
    Three Paintings, Daniel Hug Gallery, Los Angeles, CA

  • 2005

    In Between Bandwidths: Bart Exposito & Ry Rocklen, with text by Michael Ned Holte, Black Dragon Society, NADA Art Fair, Miami, FL
    Christmas in July, Black Dragon Society, Los Angeles, CA
    In the Abstract, Angles Gallery, Santa Monica, CA

  • 2004

    Painting & Sculpture, Mark Moore Gallery, Los Angeles, CA
    Wake Up & Apologize, Hayworth Gallery, Los Angeles, CA

  • 2003

    Small Work, Margo Victor Presents, Los Angeles, CA
    Game Over, Galerie Grimm/Rosenfeld, Munich
    Bart Exposito, Aaron Parazette, Susie Rosmarin, Texas Gallery, Houston, TX

  • 2002

    Summer Invitational, Bill Maynes Gallery, New York, NY
    Pierogi 2000, Flat Files, Pierogi Gallery, Brooklyn, NY

  • 2001

    Sketchy, Acuna-Hansen Gallery, Los Angeles, CA
    The Stuff Dreams is Made of, curated by David Pagel, Frankfurt Art Fair, Frankfurt
    Cloud 9, curated by David Pagel, Ginsler Architecture, Santa Monica, CA
    Ars Moralis, Bea Schlingelhoff/Galerie fur Gegenwarstkunst, Bremen
    Jacques de Beaufort, Bart Exposito, Monique van Genderen, Rosamund Felsen Gallery, Santa Monica, CA

  • 2000

    For Example, Acuna-Hansen Gallery, Los Angeles, CA
    Proun, organized by Bart Exposito, Black Dragon Society, Los Angeles, CA
    New School, Works on Paper Gallery, Los Angeles, CA


Awards
  • 2018

    Pollock-Krasner Foundation Grant


ARTIST STATEMENT

I was born in Amarillo, Texas and completed my education at the California Institute of the Arts. Since this time, approaching two decades now, I have worked as an artist and educator residing primarily in Los Angeles and most recently in New Mexico. I make paintings and drawings that have their basis in abstraction, but almost always incorporate some degree of recognizable imagery. Terms such as pop abstraction, neo hard-edge, and post painterly abstraction, to name a few, have been used to describe my work, situating it within a larger painting discourse. Stylistically, the work is bold with clean and graphic lines that are used to describe the forms within the paintings and drawings.

More recently, however, and for reasons I attribute to living in New Mexico, the work has become less singularly flat and graphic, engaging, instead, a variety of spaces and techniques. Existing in an environment of such indescribable beauty has impacted the way I the treat surfaces in my paintings and drawings. Ambient washes collide with flat surfaces in ways that relate to my own experiences of the land and the skies here in New Mexico. This, of course, is nothing new considering the extensive history of artists residing in New Mexico similarly affected by the landscape. While the mainstays of my visual vocabulary such as typography, architecture, and mid-century design, to name a few, have remained intact, they have been complicated by these new experiences in ways not altogether different than artists of the past. The result is work that sets out to achieve a visual complexity that upholds the notion that painting and the language of painting can occupy a space inherent to its own, affected by its surroundings, allowing me to conflate such disparate visual tendencies to create a personal, idiosyncratic, and nuanced body of work that could not have been produced in any other environment than New Mexico itself.

Prior to relocating to New Mexico and throughout the years I spent living and working in Los Angeles, I had been an artist and teacher with an extensive history that included regional, national, and international exhibitions as well as a teaching history that includes Otis College of Art and Design, University of California Los Angeles, and the University of Southern California. My work has been the subject of multiple solo exhibitions in the major national art centers and has been included in multiple museum and curated group exhibitions both nationally and abroad. Additionally, I have been a visiting artist and have lectured at numerous institutions including universities, art schools, and museums.

  • Bart Exposito

    Symmetry & Shadow, 2004. Original article at ArtForum.com PARKER JONES 8545 Washington Blvd. January 8 – February 26 Bart Exposito’s slyly engaging hard-edged abstractions simultaneously evoke the muted interior design palettes of the ‘70s, the Neo-Geo slickness of the ‘80s, and the vector-based graphic design familiar from electronic music album covers of the mid-to-late ‘90s. Four […]
  • ‘Bends’ at Thomas Solomon Gallery: Review by George Melrod

    Bart Exposito, ‘Bends (Blue),’ 2010, Acrylic and pastel on canvas, 84 x 72” Photo: Joshua White, Courtesy of the artist and Thomas Solomon Gallery Review by George Melrod Original review at visual art source.com Painter Bart Exposito has been pushing forward in one, very specific direction for nearly a decade and almost every stage of […]
  • Bart Exposito displays a love of line and a certain playfulness at Susanne Vielmetter

    Bart Exposito, “Untitled,” 2015, acrylic on canvas, from his exhibition, “Strange Alphabet,” at Susanne Vielmetter Los Angeles Projects. (Robert Wedemeyer / Susanne Vielmetter Los Angeles Projects) Original article at LA Times.com If Agnes Martin had been a penmanship teacher who didn’t care whether her students followed the rules, her lessons might look like Bart Exposito’s […]
  • 5 Questions with Bart Exposito

    Bart Exposito “Untitled”, 2015 Acrylic on canvas 60″ H x 48″ W (152.4 cm H x 121.92 cm W) Gallery Inventory #EXP106 Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer   10 Jul 2015 Original article at Elephant.art Bart Exposito’s paintings have previously referenced geometry and corporate logos, drawing parallels […]
  • DECIPHERING BART EXPOSITO’S “STRANGE ALPHABET”

    Original article at New American Paintings.com After living in Los Angeles for 14 years, Bart Exposito knew the exact moment returning to life as usual in sunny California was no longer an option. In 2012, after participating in a residency at the Santa Fe Art Institute, his mind was made up and as he put it, “I […]

Bart Exposito

Symmetry & Shadow, 2004.
Original article at ArtForum.com

PARKER JONES
8545 Washington Blvd.
January 8 – February 26

Bart Exposito’s slyly engaging hard-edged abstractions simultaneously evoke the muted interior design palettes of the ‘70s, the Neo-Geo slickness of the ‘80s, and the vector-based graphic design familiar from electronic music album covers of the mid-to-late ‘90s. Four works on paper, all set against white grounds, look like smoothed-out versions of Joanne Greenbaum’s awkward yet graceful paintings, but unfortunately lose some of her human touch in the process. The five paintings are stronger. In a departure from his earlier works, the forms here never quite touch the edge of the frame, though Out of the Loop, 2004—a cross between a shaped Stella canvas circa 1967 and a stylized trumpeting elephant—requires two abutting canvases to contain its graphic marks. Green, 2004—which mixes shades of avocado, olive, and forest with white and off-white—is the flattest of these very flatly rendered paintings, and, though remarkably poised, the most susceptible to charges of being “merely design.” (One could easily imagine a tessellated version expanding across the wall.) Exposito has always skirted the line between schematic-looking diagrams and fully-fledged compositions, and in this show the latter largely prevails. Best is the delightfully complex Symmetry and Shadows, 2004, which pushes and pulls against the picture plane with the dynamism of “Wild Style” graffiti.

— Brian Sholis

‘Bends’ at Thomas Solomon Gallery: Review by George Melrod

Bart Exposito, ‘Bends (Blue),’ 2010, Acrylic and pastel on canvas, 84 x 72” Photo: Joshua White, Courtesy of the artist and Thomas Solomon Gallery

Visual Art Source

Review by George Melrod
Original review at visual art source.com

Painter Bart Exposito has been pushing forward in one, very specific direction for nearly a decade and almost every stage of the journey along the way has been compelling. And now, like a spelunker following a narrow passage in a cave only to burst through to a brilliant new chamber, he has brought forth a sumptuous new body of work that is also a logical extension of everything he has done to date. Texas-born and LA-based, Exposito got his MFA at CalArts in 2000. Since then, he has been examining abstracted form via a peculiar flatness of surface and his own uniquely reductive panache, mixing fragments from the modernist lexicon with elements of design, vernacular culture, and even seemingly traditional indigenous patterns. From one angle, his works suggested funky gameboards or a teenager’s track for his Hot Wheels cars; from another, abstracted Northwest Coast Indian masks; from another, mid-1970s hypergraphics. All of these works were distinguished by forceful use of lines and outlined planar volumes, and a yummy palette that veered from pale baby blue to faded avocado to the sort of bland mustards, golds, and browns that one might expect to see on 1970s dishware.

Exposito’s newest work, as displayed this spring at Thomas Solomon Gallery in Chinatown, continued his dynamic deconstruction of planar form and color. Titled “Bends,” the show consisted of a suite of five paintings, each quite large at 7-by-6 feet. Made of acrylic and pastel on canvas, each composition is bisected by a curving, thick black line, marking off an area of flat steel gray, while along the curve, forms cluster against a washy color field of orange, blue, yellow, green, or red, respectively, as installed at the gallery. These shapes vary from simple shadowed rectangles, to slices of ovals, to arcing triangles recalling segments from a camera’s iris, splintered to its constituent elements. As laid out, these forms resemble sails, wings, Judd-like shelves, or even, with their implied hints of landscape, retro-futuristic sci-fi illustrations. His compositions are invigorated by the contrast in textures between these flat, planar shapes and the gauzy jewel-like color fields that form their background. The result was like entering a stunning hall of geodes: although the forms are all extensions of the same code, one is nonetheless dazzled by their sensual dialogue, and by the artist’s control of such contrasting elements within such a succinct and nuanced vocabulary.

Bart Exposito displays a love of line and a certain playfulness at Susanne Vielmetter

Bart Exposito, “Untitled,” 2015, acrylic on canvas, from his exhibition, “Strange Alphabet,” at Susanne Vielmetter Los Angeles Projects. (Robert Wedemeyer / Susanne Vielmetter Los Angeles Projects)

Original article at LA Times.com

If Agnes Martin had been a penmanship teacher who didn’t care whether her students followed the rules, her lessons might look like Bart Exposito’s new paintings at Susanne Vielmetter Los Angeles Projects.

A great love of line animates “Strange Alphabet.” Its 10 variously sized acrylics on canvas articulate Exposito’s passion for soft colors, particularly the ways their shifts in tint resonate with one another.

Some hum wonderfully, their delicate pinks, tans and whites creating mini-symphonies you could listen to all day. Others glow with the weathered confidence of old-timers, their faded olives, burnished oranges, sun-bleached blues and yolk yellows providing just the right measure of heft. Too cool to be pushy, their equanimity is not to be messed with.

Playfulness also plays an important role in Exposito’s paintings. Made of spare arrangements of lines, some thick, others thin, some ruler-straight, others gracefully curved, each of the Texas-born, Los Angeles-educated, New Mexico-based painter’s compositions lures your imagination into action. Their gentle precision is exemplary.

Always extending from the top to the bottom edges of tautly stretched canvases, Exposito’s configurations resemble spindly cartoon characters. They could not be more different from the over-pumped superheroes and preposterous villains that appear in big-budget Hollywood productions. The levity of doodles fuels Exposito’s scarecrow-style improvisations.

If you squint at the biggest, and let your mind hang loose, you just might see a goose-stepping gander, its loopy lines — and loopier associations — derailing conventional wisdom. As soon as you see one bird, others pop into view, including a grinning chicken, a sprinting swan, an egret darting through a labyrinth of TV antennae and an ostrich whose neck is too short for it to bury its head in the sand.

A grumpy frog can be found in Exposito’s “Strange Alphabet.” So can several olives, each lounging luxuriously, as if on the beach.

Exposito packs great pleasure into his deliciously efficient paintings. Knowing when less is more and, equally important, when more is more, his painterly penmanship invites endlessly satisfying readings.

Susanne Vielmetter Los Angeles Projects, 6006 Washington Blvd., Culver City, (310) 837-2117, through Aug. 22. Closed Sundays and Mondays. www.vielmetter.com

5 Questions with Bart Exposito

Bart Exposito “Untitled”, 2015 Acrylic on canvas 60″ H x 48″ W (152.4 cm H x 121.92 cm W) Gallery Inventory #EXP106 Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer

 

10 Jul 2015
Original article at Elephant.art

Bart Exposito’s paintings have previously referenced geometry and corporate logos, drawing parallels with graphic design and creating a flat surface, that is almost flatter than flat. Elephant caught up with the artist as his most figurative show yet, Strange Alphabet, opens at Susanne Vielmetter Los Angeles Projects.

Where are you right now (and is it where you want to be)?

I presently live in a small community outside of Santa Fe New Mexico called Lamy. There’re some houses and a train depot and not much else. It’s perfect! I had my sights set on New Mexico for a while. It’s been a really significant and positive change after 14 years in LA.

Who or what first turned you on to visual art?

It was kind of always there for me, although not cultivated until my mid-twenties. At that point my good friend Todd Ledford turn me on to a lot of amazing art. He’s a great artist himself and runs a really cool record label called OESBEE (Olde English Spelling Bee). We’ve had close to twenty years of really great art and music dialogue.

How does location influence your work?

The high desert landscape and being surrounded by nature has had a big impact on my work. I know it might be cliché considering the history of art in this environment, but the landscape is a very powerful and seductive force out here.

What can we expect to see in ‘Strange Alphabet?

This show is a collection of mostly paintings and some works on paper that fall under this title. The title itself steered a lot of the decisions while making the paintings. This work is the most figurative I’ve made to date and has some resemblance to typographic characters, hence the title.

Which piece of your own work are you the fondest of?

Well, it would have to be piece(s) as opposed to any singular piece. I make small studies as a jumping off point. These drawings are the most direct works I make. There’s no finishing or fussing with these pieces. The prospect of just doing these and scrapping the rest is an ongoing temptation.

Bart Exposito, Strange Alphabet is open at Susanne Vielmetter until 22 August.

Bart Exposito “Untitled”, 2015 Acrylic on canvas 77″ H x 59″ W (195.58 cm H x 149.86 cm W) Gallery Inventory #EXP109 Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer
Bart Exposito “Untitled”, 2015 Acrylic on canvas 24″ H x 18″ W (60.96 cm H x 45.72 cm W) Gallery Inventory #EXP107 Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer
Bart Exposito “Untitled”, 2015 Acrylic on canvas 60″ H x 60″ W (152.4 cm H x 152.4 cm W) Gallery Inventory #EXP111 Courtesy of the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer

 

DECIPHERING BART EXPOSITO’S “STRANGE ALPHABET”

New American Paintings, ,
Original article at New American Paintings.com

After living in Los Angeles for 14 years, Bart Exposito knew the exact moment returning to life as usual in sunny California was no longer an option. In 2012, after participating in a residency at the Santa Fe Art Institute, his mind was made up and as he put it, “I just decided right then I wasn’t leaving.” He marks his return to L.A. with Strange Alphabet at Susanne Vielmetter Los Angeles Projects, which showcases his latest body of work as a continuation of his interest in design, typography and affinity for line. – Claude Smith Albuquerque/Santa Fe Contributor

Exposito’s decision to relocate wasn’t entirely spontaneous, though it wasn’t until later in life that he and his wife began to really consider what their lives in New Mexico–specifically the Santa Fe area–would look like. “We wanted to move here eventually, in fact we thought it would happen much later in life, but after doing the residency, I pretty much had my mind made up right then” he said. Eventually settling in Lamy–a small town about 20 miles north of Santa Fe–both he and his wife began to look for jobs and Exposito ultimately landed a job as Assistant Professor of Painting and Drawing at the University of New Mexico in Albuquerque.

Exposito’s studio–which doubles as his living room–was neatly organized; older drawings and works on paper hung throughout the space. An easel in the corner of the room held a new work–the first completed since his show opened in July. Standing over a desk, he thumbed through a small stack of drawings, many of which revealed visible evidence of erasures and edits. Not surprising, many of them look like his paintings, but with more memory, and full of evidence suggesting a long-term relationship. Pointing to a couple he says, “I’ll even go back into these older ones and start reworking them and trying to get something new to come out of them rather than starting a blank sheet of paper.”

A self-described drawing enthusiast, he “tweaks” these small drawings until things begin to work. Referencing several versions of a painting from Strange Alphabet, one can begin to see the progression, and it’s all about process. “Once I get a form that I’m happy with, I really try to exploit it as much as I can, really just moving through these processes once I have a form that I’ve refined over a period of time” he explained, adding, “Things click on paper, but with this latest body of work I feel like I’ve been able to get the paintings to the places that the drawings are, or I can control a painting the way I can control a drawing.”

With Strange Alphabet, Exposito is further eschewing the line between figuration and abstraction. Repurposing much of his iconic, exquisite line quality, he begins to toy with rudimentary figuration–or drop occasional hints that at least allude to figuration. Reappearing concentric circles that look suspiciously like eyeballs could just as easily be mistaken for the dots on the letter “i”, both of which convey a certain ambiguity that is decidedly satisfying. “You could say that everything is really direct and rather simple, but upon closer inspection maybe you can start to see how certain things have other functions, and in a way, become generative,” Exposito said, while adding, “I’m taking these geometric forms and shapes, lines and circles and pushing them into these representational spaces or recognizable spaces so they do become figure and letter-like.”

Exposito’s compositions display a certain visual economy that at times is so effective it’s as though he’s creating paintings in as few strokes as possible, offering just enough clues for the viewer to solve the puzzle, or at the very least, appreciate the view. When discussing older work he reveals that he “used to really over complicate things,” often adding details and elements that he now feels weren’t entirely necessary. It’s immediately apparent that his latest body of work has been significantly paired down. “I was thinking about all of that while building this body of work and I really resisted that temptation. I wanted these to be simple, nothing extraneous,” Exposito said.

When I ask him how living in New Mexico has influenced his work, he offers, “I think about that in relation to different spaces out here–the sky versus the ground and whatever exists between those two things,” adding, “It’s not really intentional, it is sometimes with color, but with everything else it’s just sort of this process of osmosis.”

It’s apparent that Exposito doesn’t regret his decision to leave L.A. He offers, “It really forced me to rethink everything, but coming out here has really helped me hit the reset button.” Aside from the slower pace and much needed space, living in the country definitely has its benefits. “We just sit out here at night–especially during the monsoon season with the clouds and the sky, I keep expecting to see a unicorn,” he says with a laugh. “It really is something amazing.”

—

Bart Exposito received an MFA from the California Institute of the Arts in 2000. He has had solo exhibitions at the Nerman Museum of Contemporary Art, Overland Park, KS; Thomas Solomon Gallery, Los Angeles, CA; and the Black Dragon Society, Los Angeles, CA. His work was featured in the 2011 “Greater LA” exhibition curated by Eleanor Cayre, Benjamin Godsill, and Joel Mesler in New York, NY; “Goldmine: Contemporary Works from the Collection of Sirje and Michael Gold,” University Art Museum, California State University, Long Beach, CA; and “Keeping it Straight” at the Riverside Art Museum, Riverside, CA.

Claude Smith is an Albuquerque-based arts administrator, curator and writer. 

  • Monique van Genderen & Bart Exposito
    June 30, 2017–July 23, 2017
  • A Blue Bird
    A Blue Bird
  • Scribes
    Scribes
  • Untitled
    Untitled
  • Untitled
    Untitled
  • Untitled
    Untitled
  • Untitled (green)
    Untitled (green)
  • Untitled (red/orange)
    Untitled (red/orange)

Tuesday–Saturday
10am–5pm

 

1601 Paseo de Peralta
Santa Fe, NM 87501
(505) 984 1387

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