new-york

Josiah McElheny, Window Painting I, 2015, hand-formed cut and polished gray glass, low-iron mirror, gray architectural sheet glass, oak, sumi ink, 50 1/2 × 19 1/2 × 7 1/2".

Josiah McElheny

Andrea Rosen Gallery

Josiah McElheny, Window Painting I, 2015, hand-formed cut and polished gray glass, low-iron mirror, gray architectural sheet glass, oak, sumi ink, 50 1/2 × 19 1/2 × 7 1/2".

This show by Josiah McElheny conveyed the force of his preoccupation with history as a creative medium—with the way in which it is made and, at points, seems to make itself when social, aesthetic, and practical agendas converge. No moment epitomizes his vision more perfectly than the turn of the twentieth century, with its mentality of abstraction. Organized as an address to “painting,” this show featured thirteen objects presented as abstract paintings, though fashioned from materials rarely associated with the medium. Included among these works were two black-and-white videos manufactured from outtakes of lost films by Maya Deren, and two small photograms ostensibly based on forms by Kandinsky and Malevich but equally resembling the diatom, the single-celled organism encased in silica studied in the early twentieth century by German biologist Ernst Haeckel and by the esoteric

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