new-york

Michael Raedecker

Andrea Rosen Gallery

Since he first attracted notice some five years ago, Michael Raedecker has rightfully been admired for his distinctive coupling of homespun materials and the “high” practice of painting. Often he has used thread and yarn to “sketch” the contours of the generic modern landscape—say, an empty driveway bordered with well-spaced, overly pruned trees—consistently revealing the formal qualities inherent, if rarely considered, in string (known, of course, to the Renaissance painters who regularly employed it for perspective studies). Layered onto a thick application of paint, Raedecker’s strands—thin and shimmery or fat and fuzzy—elegantly describe spare lines in space, though their unshakable “craftiness” hints at one of modernism’s most repressed elements: the domestic.

In Raedecker’s most recent exhibition, summarily titled “that’s the way it is,” these dissident strains were far more in

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