New York

Cecile Abish, James Reineking, and Stuart Shedletsky

Bykert Gallery downtown

Painting, photography, and sculpture seem—at the moment—to be mutually informative in a special way, Painting and sculpture continue to be immersed in that concern with material documentation stimulating of the most advanced work in these disciplines for the past decade. Such concerns address themselves to a spatial and temporal distortion that is physically engendered, rather than being a function of a conceptually abstract presentation of structure. Photography is, after all, a feature of industrialism that has altered the ordinary associations of “documentation” itself, in its provision of an automatic—mechanical—mediation of material appearance. 

In a group exhibit that she shared with four others—three painters and a sculptor—Cecile Abish showed a work comprised of ten photographs, of which nine were taken from about the same position and one was not. The photographs form a sequence:

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