Richard Artschwager

Walter Kelly Gallery

Richard Artschwager’s celotexboard paintings, done since 1964, are views of home interiors drawn in charcoal that is allowed to seep through two tones of white acrylic. Up close, they are mystical and fuzzy, taking on the texture of the grainy board. From far away, they focus into mathematically precise patterns—a recap of Seurat. In his 1966–1967 diptychs and triptychs, a photo is fragmented, the images transferred to board sections and then reassembled optically, if not physically, by a continuous textural treatment. A section of marbleized formica interrupts these image fragments. It is photography, reborn as pictorial form, dimly anticipating photo-Realism.

Then, in 1967, he concocted little sculptures to give a room’s walls, corners, and fixtures a new function for art. And in 1970, when Soho and LA art students spray-painted fences, hydrants, viaducts, and stoplights with Artschwager’s

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