new-york

Rosemarie Castoro

Tibor De Nagy Gallery

Rosemarie Castoro’s ensembles of standing panels look like they come out of an attempt to take painting off the wall. Forcing a painting to stand free (or to lean, as John McCracken does it) is a way of asserting that certain literal elements of a painting are sculptural. She reduces marking on the surface to the most sculptural element in painting or drawing, namely modeling, but a kind of magnified, allover treatment which is more understood than seen as modeling. Each surface is plastered with a layer of gesso and paste and then scored with a coarse brush. When this mixture has dried, it is then rubbed with graphite until the whole surface appears to be covered with enlarged pencil cross-hatchings. This kind of marking doesn’t result in the illusion that the surface is warped or folded or transparent. Instead it is a bare presentation of the way these illusions could be produced. The

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