new-york

Alison Rossiter

Yossi Milo Gallery

Alison Rossiter’s photographs—made without a camera, using expired, vintage photo paper—are a lot like paintings. She applies developer as a painter might, dipping the edge of a paper into a bath to create a slender, Barnett Newman–esque zip or letting the liquid pool into a lopsided shape that, when paired with a similar print in a diptych, yields a semisymmetrical blot. (When the developer is applied, these expired papers turn black.) Rossiter made one group, a series of tornado-like forms that fade into penumbral regions rippling with sepia and gray, by pouring the developer—an action that recalls Morris Louis, as Matthew Witkovsky noted in Artforum this past March. The comparison is instructive: As Clement Greenberg observed, by pouring thinned oil paint for his “Veils” in the late 1950s, Louis kept the pigment from adhering to the textile surface, thereby transforming the canvas into

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