Like many of the New Image painters of the ’70s, Chicago-born Richard Sedivy emerged from the reductive exercises of Minimalism. His early work consisted of series of broken masonite that explored fundamental Minimalist issues such as sequential format and frontality. Since then, Sedivy has branched out into more image-oriented issues, in particular the ideology of the language of representation and the role of sign and symbol in pictorial composition.

His current paintings depict common objects and architectural form (pillars, post-and-lintel supports) against lush, almost romantic “landscapes”