Peter Bardazzi

The New York Times

Art Revelations By Hilton Kramer

"Peter Bardazzi (Cordier & Ekstrom Gallery, 980 Madison Avenue at 76th Street):

Mr. Bardazzi's paintings, with their dramatic compression of fragmented forms

in vertiginous motion, almost instantly invite comparison with the classic futurist

paintings of Balla and Boceioni (and at times, too, with the Duchamp paintings

of the “Nude Descending a Staircase” period). Amazingly, it is a comparison they

withstand with an easy authority. There is a remarkable command of pictorial

space in these paintings, and an impressive virtuosity in the draftsmanship that

sustains their every detail."

 

 

The New York Times

Art – The Whitney Museum of American Art Biannual - By John Canaday

“Peter Bardazzi: On a canvas covered with freely sketched amorphic linear

suggestions in dark crayon, patches here and there are modeled, to coalesce

into curled and intertwining forms that look as much like clustered natural

growths or concretions as painterly inventions — a description that should

indicate by its inadequacy that Mr. Bardazzi's is a truly original style of abstraction.”

ARTFCITY

 Bushwick Open Studios - by Paddy Johnson,  Whitney Kimball and Corinna Kirsch.

“I’ve had a soft spot for Peter Bardazzi’s work ever since I saw it at the Bobby Redd
Project Space/Bushwick church during open studios a few years ago. They’re nothing
like anybody else’s imagery. Look hard in his Futurist swooshes; you’ll find references
to macho culture in everything from jungle patterns, cartoon weapons, Kurosawa films,
gangsters, and Tatlin’s Tower. He once compared his interest in looking to the end of
the Great Train Robbery,in which an actor famously fires a gun directly at the audience.
The paintings are like that; charged, fast, and point-blank.”

 

Isolating The Apocalypse and The Unique Image, published by Lunch Ticket