New York

Rosemarie Castoro

Syracuse University, Lubin House

Rosemarie Castoro’s work takes on an autonomy drawn both materially and thematically from her earlier development. In 1970–71 Castoro worked on environmentally scaled panels covered with charcoal hatchings. In 1971–72 she exhibited large flat graphite “broom-strokes.” More recently she has been concerned with what she calls “exoskeletal auras”—usually figures or their outlines (radiating auras) in crowd situations, for example groups at an exhibition opening or units marching in a parade. In her current show she again deals with people; however, the forms are no longer figural representations of people but rather they are about people. More precisely these “suspensions,” as she prefers to call them, deal with the life cycles of people—as she indicates in the titles: Growing, Tunnel (the passage of life?), and Burial.

In an accompanying log, Castoro suggests various sexual connotations in

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