Los Angeles

Michael Rashkow

China Art Objects

The stripped-down, rectilinear structures in “Quadrangles,” Michael Rashkow’s second solo show, flirt teasingly with Constructivism, combining geometric economy with precise but experimental facture. Having particular resonance with El Lissitzky’s Prouns of the early ’20s—two-dimensional works acting as “the station where one changes from painting to architecture”—the pieces here straddle flatness and inhabitable volume. They approach “the wall” as a thick substance, one that might be manipulated, moved through, or displaced.

Rashkow’s procedure was most clearly articulated in the south gallery at China Art Objects, where three constructions performed (in the artist’s words) “little wall activities,” proceeding incrementally from two dimensions to three. For Gauge (all works 2009), the artist cut a large square hole in the wall and fit a scratched sheet of aluminum snugly inside. Pentacore

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