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| Jay Batlle | |
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New York 1976 |
| Click to enlarge images (if larger image has been loaded) |
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Pickling In A Hot Bath
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity.
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Sweet, Sour, and Unusual
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity. |
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In Two Minutes, It's All Done
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity. |
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A Tender Celebration
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity. |
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Making Ravioli, Inside Out
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity. |
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Have No Fear, It's Only Candy
2006 |
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| This selection represents highlights from an ongoing body of work titled “The Minimalist Series”. The paintings combine fragments of teaser lines and recipes from Mark Bittman’s New York Times culinary column, “The Minimalist”, with canonized masterpieces by artists such as Manet, Fragonard, Delacroix or John Singleton Copley. Each piece has the original recipe cutout from the Times glued on the back of the canvas, along with a reference to the appropriated image. The formal finishing touches that bind text and image are elegant dabs, drips and swirls of paint, mimicking the elaborate marbled effects of a sauce plated on a dish in an upscale restaurant.
The pictures pay tribute to two privileged activities that are susceptible to much media hype in U.S. society: gourmet cooking and art. The use of iconic images combined with the formal structure of a recipe levels their cultural impact, just as a viewer may place as much importance on a museum trip as a good meal in a restaurant. Thus the works question the socially constructed notion of lifestyle. They examine the extracurricular pursuits through which people define their identity. |
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| Education and biography | |
| Education: UCLA, Los Angeles, CA 1998 Bachelor of Arts de Atelier’s 63, Amsterdam, The Netherlands 1999-2000 Postgraduate Studio Fellowship Program Awards/Grants: UCLA, Los Angeles, CA 1996-1998 Levenson Scholarship de Atelier’s 63, Amsterdam, The Netherlands 1999-2000 Full Paid Fellowship Solo Exhibitions: 2007 Last Minute Reservations, AFP Gallery, Fuller Building NY, NY Joie de Vivre (site-specific), Jolie Restaurant, Brooklyn, NY 2005 Epicurean Drawings, Andrew Roth Gallery, New York, NY Excellent Napkins, 1000eventi Gallery, Milano, Italy 2003 The Trouble with Having an Interior Designer for a Mother, 1000eventi Gallery, Milano, Italy 2002 Ten Sculptures, Esso Gallery, New York, NY Two Person Exhibitions/Performances: 2007 The “Myways” Readings, at Whitney Museum, NY Short stories by Rita McBride et al., Printed Matter, Inc.; Whitney Museum of American Art; Arsenal Pulp Press. 2006 2006 The “Myways” Readings, at Printed Matter, New York, NY Short stories by Rita McBride et al., Printed Matter, Inc.; Whitney Museum of American Art; Arsenal Pulp Press. 2006 2003 Free at Last, with Matthew Ronay, curated by Ken Freed, Loop Gallery, Berlin,Germany BatllePagk, with Paul Pagk, curated by Adrian Dannat, Thomas Erben Gallery, New York, NY Reviews: 2007 Joie De Vivre, The Art Newspaper, New York Diary, Adrian Dannatt, NBC, The Morning Show, (Steak Tartar segment) Mcbrooklyn.blogspot.com (Image) 2006 ArtForum Berlin, Artnet, Horticulture Berlin, October,18th The Monty Hall Problem Artnet, L.A Confidential, Emma Gray, August 21st 2005 Epicurean Drawings Art and Auction, Reena Jana, April Issue (Image) The Art Newspaper, New York Diary, Adrian Dannatt, March Issue (Image) The Village Voice, Kim Levin, March 21st 2004 Relentless Proselytizers New York Times, Ken Johnson, August 6th The Village Voice, Kim Levin, July 21st I, assassin Frieze Magazine, Michael Wilson, May, Issue 63, The New York Magazine, K.R. Feb. 23rd (Page 76) 2003 What Am I Doing Here? The Art Newspaper, Adrian Dannatt, July-August Issue n.138 BatllePagk The Art Newspaper, Adrian Dannatt, October-November Issue, n.242 (Image) The New York Times, Ken Johnson, May 25th The Trouble with Having an Interior Designer for Mother Flash Art Italia, (Image) Tema Celesta, Milovan Farronato (Image) 2002 New Attitudes in Sculpture Beaux-Arts, Jean Poderas, August Issue Catalogue of the exhibition, Kenneth L. Freed, May 2002 The Boston Herald Review, Mary Sherman, April 21st Now is the Time The New York Times, Art in Review, Holland Cotter, March Selected Group Exhibitions: 2007 Rock, Paper, Scissors Judy Goldman Gallery, Boston, MA Summer Group Show, Anita Friedman Fine Arts, New York, NY Arte Povera Now and Then, Perspectives for a New Guerilla Art, Esso Gallery, New York, NY Music to My Eyes, Esso Gallery, New York, NY 2006 The Food Show, The Hungry Eye, curated by Rob Edelman & Gina Flore, The Chelsea Museum, New York, NY Mutiny, curated by Dave Hunt, The Happy Lion, LA, CA Seeing Blue, curated by Charlie Scheips, Gallery at Buck House, New York, NY The Monty Hall Problem, curated by Slater Bradley, Blum & Poe Gallery, Los Angeles, CA Flex Your Textile, curated by Travis Boyer/Ginger, John Connelly Presents, New York, NY 2005 No Facsimile, Fluorescent Gallery, Knoxville, TN 2004 I, Assassin, Wallspace Gallery, NY Relentless Proselytizers, curated by David Hunt, Feigen Contemporary Gallery, New York, NY 2003 Labor Day, Rare Gallery, New York, NY City Mouse/Country Mouse, curated by David Hunt, Williamsburg, Brooklyn, NY Cut the Mustard, Esso Gallery, New York, NY What Am I Doing Here? Esso Gallery, New York, NY Confabulation, curated by Peter Dudek, Hunter College, NY, NY 2002 Accrochage, Esso Gallery, New York, NY New Attitudes in Sculpture, curated by Kenneth L. Freed, Gallery @ Green Street, Boston, MA Now is the Time, curated by Ken Freed with Essay by David Hunt, Dorsky Gallery, Queens, NY Published Writings: 2006 Highways Short stories by Rita McBride et al., Printed Matter, Inc.; Whitney Museum of American Art; Arsenal Pulp Press. 2006 2004 Interview with James Welling Issue Magazine, New York, NY. September 2004 2001 Liminal Nostalgia Press Release for Rita McBride, Alexander & Bonin Gallery, New York, NY. April 2001 2000 In a Times Squared Burger King Normative Structures Collapse, Emerging Artist Series, P.S.1, Queens, NY. September 2000 |
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| Future shows | |
| 2007 "And, Who Are You?"Sara Tecchia Roma Gallery, NY,NY | |
| Website: jaybatlle.com | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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