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View of “R. H. Quaytman,” 2013. Foreground: Passing Through the Opposite of What It Approaches, Chapter 25 (After James Coleman’s slide piece), 2012 (12 3/8 x 20“). Background: Passing Through the Opposite of What It Approaches, Chapter 25 (After James Coleman’s slide piece), 2012 (37 x 60”).

R. H. Quaytman

The Renaissance Society

View of “R. H. Quaytman,” 2013. Foreground: Passing Through the Opposite of What It Approaches, Chapter 25 (After James Coleman’s slide piece), 2012 (12 3/8 x 20“). Background: Passing Through the Opposite of What It Approaches, Chapter 25 (After James Coleman’s slide piece), 2012 (37 x 60”).

The screenprinted and gessoed varnished panels of R. H. Quaytman speak foremost, perhaps, to a discourse of painting, but also to that of photography, sculpture (the panels are thick, often painted on multiple sides, and at times may be physically handled by viewers), and even literature (exhibitions are organized according to “chapters”), among other forms. For Quaytman’s recent exhibition at the Renaissance Society, “Passing Through the Opposite of What It Approaches, Chapter 25,” projection emerged as a central theme. Not only did pictorial references—works featuring installation views of a James Coleman slide show, an X-ray previously exhibited by Isa Genzken of the German artist’s own skull—to this subject abound, but the near holographic quality of Quaytman’s surfaces rendered these images as if projected. Likewise, mixtures of pigment and gesso seemed to glow from

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