Background
Brian Belott was born in 1973, in East Orange, New Jersey, United States. His father was a commercial artist.
30 Cooper Sq, New York, NY 10003, United States
In 1994, Brian attended the Cooper Union, from where he was thrown out.
209 E 23rd St, New York, NY 10010, United States
In 1995, Brian received a Bachelor of Fine Arts degree from the School of Visual Arts in New York City.
30 Cooper Sq, New York, NY 10003, United States
In 1994, Brian attended the Cooper Union, from where he was thrown out.
209 E 23rd St, New York, NY 10010, United States
In 1995, Brian received a Bachelor of Fine Arts degree from the School of Visual Arts in New York City.
https://www.amazon.com/Early-Works-Brian-Belott/dp/1511961406/?tag=2022091-20
2015
(Brian Belott's first book is a compendium of all his disp...)
Brian Belott's first book is a compendium of all his disparate artistic practices, including collage, drawing, found photography and sound mixing, and it is also his first CD.
https://www.amazon.com/Brian-Belott-Wipe-that-Clock/dp/097897221X
Brian Belott was born in 1973, in East Orange, New Jersey, United States. His father was a commercial artist.
In 1994, Brian attended the Cooper Union, from where he was thrown out. Later, in 1995, he received a Bachelor of Fine Arts degree from the School of Visual Arts in New York City.
Brian's selected solo exhibitions include "Touching Fantasy Through Color", Canada gallery, New York City (2003), "What's Going On", Kenny Schacter, New York City (2004), "Books, books, books, books, books, books and books", Canada gallery, New York City and "Adult Soda", Stux Gallery, New York City (both 2005), "Brian Belott Lost and Found Slide Show", Community Outreach Gallery, Ontario, Canada (2007), "Jelly Harp", Galerie Zürcher, Paris, France (2009), "A Goosh Noosh", Zürcher Studio, New York City (2012), "Dr. Kid President Jr.", 247365 gallery, New York City (2015), "Puuuuuuuffs", Moran Bondaroff gallery, Los Angeles (2016), "Brian Belott", Gavin Brown's enterprise, New York City (2018), among others.
Among the artist's important group exhibitions are "OY", Kenny Schacter Project, New York City (1997), "Black Out", Space 1026, Philadelphia, Pennsylvania (2002), "New York's Finest", Canada gallery, New York City (2005), "Bits and Pieces: The Collage Impulse", Lehman College Art Gallery, New York City (2007), "De-Nature", Jolie Laide Gallery, Philadelphia, Pennsylvania (2010), "The New York Moment", Musée d'Art Moderne, Saint-Etienne, France (2014), "Unorthodox", The Jewish Museum, New York City (2015), "Objects Like Us", The Aldrich Contemporary Art Museum, Ridgefield, Connecticut (2018) and others.
In November 2017, Brian Belott performed "People Pie Pool", a massive ensemble work, commissioned for Performa 17 in New York City. The performance involved (in part) five comedians, a handful of basketball players, four academic lecturers, exercise instructors, an improv troupe, dancers, marching bands and an "orchestra", that performed with can openers, golf balls and tissues.
In 2007, the artist published the book, entitled "Wipe That Clock Off Your Face". In 2015, he published another book - "Early Works".
In 2019, Belott participated in Whitney Biennial at the Whitney Museum of American Art.
Currently, the artist lives and works in New York City.
Brian Bellot is best known for his more or less constant flow of performance art pieces (both his own projects and as a participant in the work of other artists) and as a Pied Piper for the neo-beat wing of the downtown art scene. Also, he gained prominence for his frozen paintings, rock-bedecked calculators, as well as for setting his hair on fire.
Brian's works are kept in public collection of the Museum of Modern Art in New York City and Rubell Family Collection, Miami, Florida.
(Brian Belott's first book is a compendium of all his disp...)
Belott's practice encompasses a rich vocabulary of drawing, sound, paper collage, bookmaking, sculpture, frozen sculpture, painting on glass and performance. His work is in constant flow, led by a relentless curiosity, one, that is aware of art history, yet operates without the anxiety of its influence. His studio is like a creative chemistry lab, where he studies the aesthetic effects of combining various materials, almost to the point of absurdity. With these experiments, Brian resurrects the mannerisms of Modernism and frees his imagination as he purposefully relinquishes control, foregoing the trappings of orthodoxy. Paper is Brian's medium of choice, because it records both intentional and unintentional gestures, which become an important part of the final composition.
Quotations: "My whole Dada angle is overloading the audience and disintegrating language and meaning, taking apart language and watching it crumble."
