Los Angeles

Richard Jackson

Rosamund Felsen Gallery

Using the contexturalization of painting as his material paradigm, Richard Jackson’s installations have consistently exploited a dialectic between the illusionistic and the literal. His theoretical springboard would appear to be Michael Fried’s well-known, late-’60s distinction between art and objecthood. According to Fried, the Minimalist (literalist) practice of creating environmental situations, in which artwork, beholder, and surrounding space create a contingent, experiential gestalt was not art. Because the active viewer became the subject of the piece, the actual artwork was necessarily transformed into a mere object. In contrast, true art must be by definition its own subject: perpetually present, transforming its literal properties (shape, formal syntax, surface) through illusion, so that it always transcends the sum of its discrete parts. Jackson’s career so far has been concerned

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