Born in Lewes, Delaware 1969

Lives and works in New York



1992 B.F.A. California Institute of the Arts, Valencia, CA



Museum of Modern Art, New York

Whitney Museum of American Art, New York

FRAC – Fonds Regional d’Art Contemporain, France

Portland Museum of Art, USA



2017 Untitled, Galeria Múrias Centeno, Lisbon

2016   Cabin of the Accused, Survey Exhibition, Blaffer Art Museum, Houston

Campoli Presti, Paris

These Pellets Here This Powder There, Miguel Abreu Gallery, New York

2015 Peaceful Photographers, Campoli Presti, London

Peaceful Photographers, Campoli Presti, Paris

2014 Warmilk Mendes Wood, São Paulo

On Fridays We Have Half Days, Miguel Abreu Gallery, New York

A Moveable Feast – Part V, Campoli Presti, Paris

2013 Blake Rayne: A Whole New Season of Lost, 1301PE, Los Angeles

2012 Wild Country, Campoli Presti, London

2011 Formalist Sidewalk Poetry Club, Miami Beach

Shade Subscription, Capitain Petzel Gallery, Berlin

Coastal Graphics, Sutton Lane (Campoli Presti), Paris

2010 Folder and Application, Miguel Abreu Gallery, New York

2009 The World of Interiors at War, Terri and Donna, Miami

2008 Sutton Lane (Campoli Presti), Paris

Dust of Suns, Miguel Abreu Gallery, New York

2007 The Disappearance of Red Pistachio Shells / The Dawn of the Californian Nut Industry (1979), Sutton Lane c/o Ghislaine Hussenot, Paris

2006 Wallace Nutting with Julia Hill, Sutton Lane (Campoli Presti), London

Empedocles/Hölderlin, Cézanne/Gasquet, Straub/Huillet, Dominique Païni & Blake Rayne: two fims, one text & paintings, Miguel Abreu Gallery, New York

2005 Untitled Painting, Kevin Bruk Gallery, Miami, FL (Cat.)

Untitled Painting, Reena Spaulings Fine Art, New York

2003 August Evening Walkout, from Three of the Four Season», Greene Naftali, New York

2001 Winter Part II, from Three of the Four Seasons, Greene Naftali, New York

2000 Winter Part I, from Three of the Four Seasons, Johnen + Schöttle, Cologne, Germany

1999 Fall Bouquet, from Three of the Four Seasons, Galerie Rüdiger Schöttle, Munich, Germany

1998 Autumn Drive, from Three of the Four Seasons, Greene Naftali, New York

1997 The Arrangement, Newsantandrea arte contemporanea, Savona, Italy

1996 Model, Greene Naftali Gallery, New York



2017 TRUTH BISTRO, curated by Gabriel Lima, Kai Matsumiya, New York

2016 Group Exhibition, Campoli Presti, Paris

Tre Amici, Tre Amici Restaurant, Long Branch

Tales of Ratiocination, Campoli Presti, London

Small Choice in Rotten Apples, Off Vendome, New York

2015 Free Radicals: Contemporary Art, 1988-2008, curated by Christian Rattemeyer, High Museum of Art, Atlanta, GA (Forthcoming)

Works on Paper, Greene Naftali Gallery, New York

Pure Paint for Now People, curated by Lydia Gravis and Matthew Choberka, Mary Elizabeth Dee Shaw Gallery, Ogden City, Utah

Call and Response, Gavin Brown’s enterprise, New York

BLUEPRINT, curated by Sebastiaan Bremer, Florian Idenberg and Jing Liu, Storefront for Art and Architecture, New York 

2014 Postcodes: Kind, Coletor, São Paulo

PLIAGE / FOLD Gagosian Gallery, Paris

2013 Chat Jet: Painting ‹Beyond›The Medium, curated by Sandro Droschl and Christian Egger, Künstlerhaus, Graz, Austria

Une Tradition Matérielle, FRAC Poitou-Charentes Angoulême, Angoulême, France

2012 I Think and That Is All That I Am, Thomas Duncan Gallery, Los Angeles, CA

Accrochage, an installation of recent works by gallery artists and others, Miguel Abreu Gallery, New York

2011 System Analysis, Langen Foundation, Dusseldorf

New York to London and Back: The Medium of Contingency, Thomas Dane Gallery, London

2010 Systems Analysis, West London Projects, London

Nikolas Gambaroff, Michael Krebber, R. H. Quaytman, Blake Rayne, Bergen Kunsthall, Norway

Rationalisme Appliqué: Blake Rayne & Scott Lyall, 1301 PE, Los Angeles, CA

Swell: Art 1950 – 2010, Metro Pictures, New York

Besides, With, Against, And Yet: Abstraction and The Ready-Made Gesture, curated by Debra Singer, The Kitchen, New York

FAX, Para/Site Art Space, Hong Kong, SAR

FAX, curated by Joao Ribas (The Drawing Centre) and Independent Curators International, The Torrance Art Museum, Torrance, CA

2009 Collatéral, curated by Yann Chevalier, Le Confort Moderne, Poitiers, France

« The Practice of Joy Before Death; It just would not be a party without you » a Die Störung Situation, Scaramouche Gallery, New York

Practice vs. Object, organized by Margaret Liu Clinton, Miguel Abreu Gallery, New York

The Space of the Work and the Place of the Object, Sculpture Center, Long Island City, NY

2008 Art|39|Basel – Art Premiere, with Scott Lyall, Miguel Abreu Gallery, Basel, Switzerland

2007 Regroup Show, Miguel Abreu Gallery, New York

Thanksgiving, Sutton Lane c/o Ghislaine Hussenot, Paris

Form as Memory, Miguel Abreu Gallery, New York

For the People of Paris, Sutton Lane c/o Ghislaine Hussenot, Paris (Cat.)

2006 Make Your Own Life: Artists In and Out of Cologne, Institute of Contemporary Art, University of Pennsylvania, PA (touring: Henry Art Gallery, University of Washington, Seattle, Museum of Contemporary Art, North Miami)

In Dialogue: Cecily Brown, Jacqueline Humphries, Blake Rayne, Pieter Schoolwerth, Josh Smith, Charline von Heyl, Elizabeth Dee Gallery, New York

2004 The Sublime is (Still) Now, Elizabeth Dee Gallery, New York

Establishing Shots, curated by Christian Rattemeyer, Artists Space, New York

The New Romantics, Greene Naftali, New York

2003 Nature Boy, Elizabeth Dee Gallery, New York

Everybody Knows This is Nowhere, Kevin Bruk Gallery, Miami, FL

2002 Painting as Paradox, curated by Lauri Firstenberg, Artists Space, New York

2001-02 Surrounding Interiors: Views Inside the Car, Museum of Art, Fort Lauderdale; Davis Museum and Cultural Center, Wellesley Massachusetts, The Frederick R. Weisman Museum, University of Minnesota, MN

2001 Extended Painting, Monica De Cardenas, Milano, Italy

Group Show, Kevin Bruk Gallery, Miami, FL

2000 New, New, New, curated by Patrick Callery, AdHoc in conjunction with The New Museum, New York

3ness, curated by Dike Blair, Jim Dams & Edith Doove, Museum Dhondt- Dhaenens, Belgium

Trailer, Greene Naftali, New York

1999 Group show, Johnen + Schottle, Cologne, Germany

Malerei, Kunsthalle INIT, Berlin, Germany

Foul Play, Thread Waxing Space, New York

Free Coke, Greene Naftali, NY

Part I. Quadrants – Answer yes, no, or don’t know, Andrew Kreps Gallery, NY

Cruise Control, Cristinerose Gallery, New York

1998 I LOVE NEW YORK – crossover of contemporary art, Museum Ludwig, Cologne, Germany

Encyclopedia 1999, Turner & Runyon, Dallas, TX

Surfacing the Surface, DFN Gallery, New York

Painting: Now and Forever, Part I, Pat Hearn / Matthew Marks Gallery, NY

Super Freaks-Post Pop & the New Generation, Part II, Odyssey, Greene Naftali, New York

1996-97 100 Photographs, American Fine Arts, Co., New York

1996 The Garage Project: Form 6 Lumina; Thomas Baldwin & Blake Rayne, sponsored by the Mak Center for Art and Architecture, The Schindler Apartments, Los Angeles

1995 Tell Everyone, Greene Naftali Gallery, New York

1994 Crash, Threadwaxing Space, New York

Blake Rayne & Scott Lyall, John Good Gallery, New York



2017 Galvez, Paul. “Blake Rayne ,” Artforum, Vol. 55, No. 7, March 2017, pp. 273-274

Hawley, Anthony. “Proposing Painting as a Form of Refusal,” Hyperallergic, February 21, 2017

2016 “Blake Rayne, ‘These Pellets Here This Powder There’,” Time Out New York, May 30

2014 « Blake Rayne, ‘On Fridays We Have Half Days », Time Out New York, May 15-21

2012 Braithwaite, Hunter. “Critic’s Pick: Formalist Sidewalk Poetry Club,”, Dec. 27

2011 Beeson, John. “Mode of Production,” Texte zur Kunst, No, 84, December

Macaes, Bruno. “Blake Rayne’s Shade Subscription,”, October 11

Schwabsky, Barry & Stockholder, Jessica. Vitamin P2, published by Phaidon System Analysis, Langen Foundation, Germany (cat.)

The Medium of Contingency, published by Urbanomic in association with Ridinghouse (cat.)

2010 Gambaroff, Krebber, Quaytman, Rayne, Bergen Kunsthall, Norway (cat.)

Burns, Aileen. “Gambaroff, Rayne, Quaytman, Krebber.” Art in America, Nov/Dec

2009 Busta, Caroline. «Frames and Networks», review in Texte Zur Kunst, No. 77

Lewis, David. Review “Collatéral,”, Critic’s Picks, July 13

Ho-Sing, Nikki. “A Solid Existence,” Tokion, V 2.9, March

Johnson, Ken. “Aesthetic Withdrawal in the Quest for Ideas,” in The New York Times, January 22

2008 Lewis, David. «Blake Rayne», review in frieze, October 6

Marshall, J. Piper. Review «Blake Rayne», Art Papers, July/August

Basta, Sarina. «Blake Rayne», Review, Texte zur Kunst, No.70

Coburn, Tyler. «Blake Rayne», Review, ArtReview, Issue 24, July/August

Bentley, Kyle. «Blake Rayne», Review, Artforum, Summer

Doran, Anne. «Blake Rayne», Time Out, May 8-14, pg. 62

Salz, Jerry. «Critics pick: Blake Rayne», New York Magazine, May

Cotter, Holland. «Blake Rayne», The New York Times, April 24

2007 Lavrador, Judicael. «Blake Rayne», Les Inrockuptibles. No.600, May 29

Bauche, Nicolas. «For the People of Paris»,

2006 Burton, Johanna. «Sufficient Grounds», Artforum, October

Institute of Contemporary Art, University of Pennsylvania, «Make your own life: Artists in and Out of Cologne», (cat.)

Moreno, Gean. «Blake Rayne», Artpapers, May/June

Lewitt, Sam. «Club you canÕt get into», in Texte Zur Kunst, issue 63, September 2006

2004 Sholis, Brian. “Critic’s Pick: …The New Romantics’”,, January

Glueck, Grace. “The New Romantics”, The New York Times, January 23

2003 Kelsey, John. Review “Blake Rayne: Greene Naftali”, Artforum, September

McAllister. John, Review “Blake Rayne …August Evening Walk Out’”,Time Out New York, May 29-June 5

Johnson, Ken. “Art Review: Blake Rayne”, The New York Times, May 23.

2001 Aukeman, Anastasia. Review, “Blake Rayne at Greene Naftali”, Art in America, April

Simpson, Bennett. Review, “Blake Rayne”, frieze, Issue 58, April

2000 Brennan, Michael. “Painter’s Journal”,, November

Griffin, Tim. Review, “The Winter Line”, Time Out New York, November 16 – 23., p. 82

Review, “The Winter Line”, The New Yorker, November 13

Blair, Dike. “Some Thoughts, 3 Things, and 9 Artists”, 3ness, Museum Dhondt-Dhaenens, exhibition catalogue

Griffin, Tim. “Blake Rayne”, purple prose, Summer

1999 Roos, Von Renate. “Des Pudels Kern” Review Galerie Johnen + Schottle, Kolner Stadt-Unzeiger, June 22

Jocks, Heinz-Norbert. “I Love New York”, Kunstforum, January-Februrary, p. 346

1998 “Ich kaufe gern”, Das Wichtigste, July 11

Skelton, Carl. “Painting Now and Forever Part 1”, dART International, Fall

Blair, Dike. “Autumn Drive”, The Thing,, October

“Mob Rule #16: Are You Being Installed?”, NY Arts Magazine, #25 October, p. 7-8

“I Love New York-crossover of contemporary art”, Museum Ludwig Koln 1998, exhibition catalogue

Conley, Kevin. “Autumn Drive”, The New Yorker, October 12, p.19-20

Blackburn, Meg. “Autumn Drive”, NY Arts Magazine, #24 September, p.38

Schmerler, Sarah. “Autumn Drive”, Time Out New York, October 1-8, issue no. 158, p. 64

1997 Berruti, Antonella. “The Arrangement”, Juliet

Conti, Viana. “The Arrangement”, Flash Art, vol. XXX no. 205

1996 Anastas, Rhea. “Notes toward a Criticism for Artists Who Write”

Greene Naftali Gallery, New York 1996, exhibition catalogue

Dee Mitchell, Charles. “Blake Rayne at Green Naftali,”, in Art in America, November

Daniel, Pinchbeck. “Interview,”, in The Art Newspaper, September, vol, X, Issue 84

Schwabsky, Barry. “Blake Rayne,”, in Artforum, October



2010 Fellowship at the American Academy in Berlin

2001 Richard and Hinda Rosenthal Foundation Award from the American Academy of Arts and Letters



Assistant Professor & Director of Graduate Studies Columbia University, School of the Arts (2003-2009)

Solo exhibition

21 Sep, 2016-14 Oct, 2016

Campoli Presti, Paris

Blake Rayne
21 September – 14 October 2016
Campoli Presti, Paris

Campoli Presti is pleased to announce Blake Rayne’s eight solo exhibition with the gallery.

A central figure in shaping current debates about painting, Rayne’s places painting within a economy of signs, revealing the components of the pictorial language and the processes through which they are defined.

Rayne’s last series of works relate to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne’s lines shift between their uncontrolled direction and their geometrical determination, namely the frame.

In this new series of paintings, a white looping line is created by a steel banding stencil that travels around the edges of the canvas. The line is lightly dusted with colored layers of sprayed acrylic paint. The paperclips that initially held the banding together were released to allow for expansion into final shape of each of the line compositions.

The repeated use of stencil techniques in Rayne’s practice reveals a script of image production through an operation that belongs to the applied arts. Other activities that conventionally belong to a painter’s domain such as folding, spraying, stretching and rolling also form part of the catalogue of procedures that has allowed Rayne to reveal, mask and test painting’s historical forms.

Blake Rayne (b. 1969), lives and works in New York. Recent one-person exhibitions of Rayne’s work include Peaceful Photographers (Campoli Presti, London and Paris, 2015), Warmilk (Mendes Wood, São Paolo, 2014), On Fridays We Have Half Days (Miguel Abreu Gallery, New York, 2014), Blake Rayne (1301PE, 2013), Wild Country (Campoli Presti, London, 2012), Blake Rayne (Formalist Sidewalk Poetry Club, Miami Beach, 2011), Shade Subscription (Capitain Petzel Gallery, Berlin, 2011), Coastal Graphics (Sutton Lane, Paris, 2011), and Folder and Application (Miguel Abreu Gallery, New York, 2010). He has also been featured in group exhibitions such as PLIAGE/FOLD (Gagosian Gallery, London, 2014) Chat Jet: Painting the Medium (Künstlerhaus, Graz, 2013), System Analysis (Langen Foundation, Neuss, 2011) and New York to London and Back: The Medium of Contingency (Thomas Dane Gallery, London, 2011), as well as Bergen Kunsthall, The Kitchen, Sculpture Center, Artists Space, Reena Spaulings, Greene Naftali, and American Fine Arts. Rayne will have his first institutional solo exhibition at the Blaffer Art Museum in Houston, Texas in October 2016. His work is held in the collections of the Museum of Modern Art, Collection FRAC Poitou-Charentes, Portland Museum of Art, and the Whitney Museum of American Art.

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Liz Deschenes / Jutta Koether / Daniel Lefcourt / Scott Lyall / Sean Paul / Eileen Quinlan / Blake Rayne / Reena Spaulings / Cheyney Thompson
10 June – 23 July 2016
Campoli Presti, Paris

Campoli Presti is pleased to present a group exhibition featuring works by Liz Deschenes, Jutta Koether, Daniel Lefcourt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson. This generation of artists, which the gallery has represented since the beginning, has markedly contributed to redefine notions on medium-specificity and artistic agency. Their work was recently included in the exhibition “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art in New York which has travelled to the Centre Pompidou in Paris and is currently on view.

Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Liz Deschenes has recently worked without a camera to produce reflective photograms. These are obtained by exposing sheets of photosensitive paper to the ambient light of night before fixing them with silver toner. Deschenes’ work is increasingly concerned with architectural and historical contexts of exhibition display. Spatial factors and tangible conditions of display become inscribed in the physicality of the artwork rendering the photograph as a framing-device that intends to ‘bracket’ the space and activate the viewer. The reflective surface of the new photograms on view engages the movements of the viewer and the surrounding architecture.

Jutta Koether’s practice often involves appropriations of literature and art history masters, negotiating questions of aesthetic consensus and of the social-economical networks in which artistic practice operates. Based on Helios and Phaeton by Nicolas Poussin, Koether’s work presented in the exhibition alludes to the geometrical landmark of Western Art while defining a field of play. Locked in the material structure around it, the figure is engaged in a broader movement, organising different zones of contact. By addressing the attraction between archaism and metrics, Koether’s systematic application of paint engages the viewer in a micro-contemplation, comparable to the visual experience of picking up pennies from the ground. The painting forms part of a broader series of works that explores the allegorical figure of Fortune’s wheel and the medieval goddess Fortuna, a metaphor of role of chance in time’s passage.

Throughout his career, Daniel Lefcourt has continually engaged the space between painting and technical imaging. Lefcourt’s work reflects on contemporary image production and the digital economy of images while negotiating the reality of material procedures. His production techniques use aspects of photography, computer modelling, digital fabrication, and sculptural casting. For his Plot Fill and Cast series, Lefcourt has used computer-controlled router, digital scanning and machining techniques as the basis for a play with written and visual communication and the languages of painting. His new body of work from 2016 collapses both series, exploring the space between writing, drawing and painting. Entirely mechanically produced, Untitled (Machine Painting), 2016 is based on geometric drawings that program the path of the brush. Developed from Lefcourt’s interest in digital technologies, the works push the boundaries of painting, juxtaposing the mechanical with the chance of the material.

Scott Lyall’s recent series of works research on the status of digital colour as a code that is constantly translated, transformed, and materialized; continually delaying or deferring its meaning. His printing technique extends this act of translation as it turns information directly into colour. The canvases are produced by combining ink and its erasure, in multiple passes, through a UV-based printer. These graphic assemblages of colour data – ‘non-images’ in a certain way – form visual atmospheres that shift depending on different viewpoints, inscribing within the process an actual experience of ‘colour’.

In Sean Paul’s Arrangement 15, Front/Top/Bottom/Right/Left/Back, a still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape; the black squares function as tokens, which allow the spatial geometry of the still life to be discerned. Following standard practices of technical representation, used for example in the fields of architecture or product design, the still life is pictured from six perpendicular planes forming a box of views composed of the front, back, left, right, top and bottom angles. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. Madame Leblanc, Rerversed, 2012 is based on the Ingres masterpiece “Madame Leblanc”. This print admits 4 different folds, therefore 8 possible configurations on the wall. It is imagined as being folded upon an idealized architectural plane. The type of fold represented above is mapped into a 90 degree convex angle of an existing space.

Eileen Quinlan explores photography’s capacity to be both record of physical facts and deceptive illusion. Employing analogue techniques in an era of digital manipulation, Quinlan creates atmospheric abstract images using the standard tricks of commercial film photography. Based entirely in the studio, Quinlan’s work uses pre-digital photography techniques—such as gels, strobes, smoke and mirrors—to create mesmerizing abstract compositions of light, colour, and texture. Her works recall the pure abstraction of Modernist painting, but are actually direct representations of the items used to create backdrops in commercial photography. The polaroid plays an important role in Quinlan’s practice, often employed as a first take when photographing the still lifes she stages in the studio.

Blake Rayne’s last series of paintings related to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne freely paints the line tracing the surface in an intuitive movement that recalls automatic writing techniques, evoking the wandering and errant traces of digital interfaces. His new body of work from 2016 further explores these concerns by collapsing line and process. For Untitled, 2016 a steel banding commonly used in the shipment of crates was utilized as a soft stencil to create a white looping line lightly dusted with aerated acrylic paint in layers of various colours. The paperclips that initially held the banding together were released to allow for expansion into the final shape of each of the line compositions, now appearing as silhouettes.

Reena Spaulings’ The Dealers (2007) and The New Dealers (2013) were portraits of gallerists based on images downloaded from’s ‘Scene & Herd’ and other art world-related websites depicting friends and professional colleagues that Spaulings worked with over the years. The portraits from 2013 – the second instalment of the series first shown at Kunsthalle Zürich in 2007 – featured a more recent generation of art dealers, exposing the increasing social interests that rule the art market by turning the traders into commodities themselves. Executed in active brushstrokes the portraits play with various features of expressionist figurative painting from the 80s, such as the preference for parody or working from found images. These irreverent portraits of prominent gallerists reflect Spaulings’ interest in art’s status as an exchangeable commodity, whilst addressing the specific displacements, social networks and ambiguities Reena Spaulings inhabits in her double identity of both artist and gallerist. The Complete Dealers features a rack with promotional postcards based on the paintings of both generations of dealers, on a display that evokes their rotating popularity and the visibility features of a retro marketing tool.

Cheyney Thompson’s work focuses on the technology, production and distribution of painting within the context of current abstract economy. Thompson presents us with a visual equivalency for the intangibly complex processes governing our economic systems. The works on paper on view are based on the « Drunken Walk » algorithm, an aleatory path that is used in financial theory to predict stock prices. The algorithm belongs to the study of certain seemingly random types of motion, from botanist Robert Brown’s 19th-century observations of pollen floating on water as well as mathematician Louis Bachelier’s early 20th-centry application of Brown to model fluctuations in stock markets. In this case the “random walk” taken by Thompson’s entity produced a new sequence of values, which he then mapped onto a path, akin to the path of a labyrinth.


Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has an upcoming survey exhibition at the ICA Boston opening on 28th June. She recently had solo exhibitions at the Walker Art Center, Minneapolis and at MASSMoCA, North Adams. Deschenes’ work was recently included in Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum, New York and in Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York. Past exhibitions include a solo exhibition at Secession, Vienna (2012-2013); the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).

Jutta Koether was born in Cologne in 1958. She lives and works between New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Koether has an upcoming survey exhibition at Brandhorst Museum, Munich in 2017. Her work was part of Painting 2.0, Expression in the Information Age at Brandhorst Museum travelling to Mumok, Vienna. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011), Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Kölnischer Kunstverein, Cologne (2006). She was included in the Shanghai Biennial in 2014, in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work was recently on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Scott Lyall is part of the collection of the Whitney Museum, New York. Lyall’s work was recently on view at the Whitney Museum, New York as part of Collected by Thea Westreich and Ethan Wagner. Past exhibitions include The Colour Ball at The Power Plant in Toronto (solo); the little contemporaries at Sculpture Center, New York (solo); When Hangover Becomes Form (with Rachel Harrison), Contemporary Art Gallery, Vancouver; Anti-Establishment, curated by Johanna Burton, at the CCS Bard Hessel Museum; Schnitte im Raum, Museum Morsbroich, Leverkusen; Tentation d’Hazard, The Montreal Biennial 2011; Collatéral, Le Confort Moderne, Poitiers; The Lining of Forgetting, Austin Museum of Art, Weatherspoon Art Museum; and SITE Santa Fe, 7th International Biennial 2008.

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Past solo exhibitions include Communication in the Presence of Noise and Service Relations, Thomas Duncan Gallery, Los Angeles; A Moveable Feast, Part II, Campoli Presti, Paris; and Every Hair of the Bear, Front Desk Apparatus, New York and Symposium, Sutton Lane (Campoli Presti), London. Recent group exhibitions include Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York; Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY and Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

Eileen Quinlan lives and works in New York. Her work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work was recently shown at the Museum of Cycladic Art, Athens and presented at Bergen Kunsthall, Norway in 2015. It formed part of Collected by Thea Westreich Wagner and Ethan Wagner at Whitney Museum of American Art, New York (2015/16) and New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009.

Blake Rayne lives and works in New York. His work is included in the permanent collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York and Fonds Regional d’Art Contemporain, France (FRAC). His upcoming survey solo exhibition at the Blaffer Art Museum de Houston, Texas will open in October 2016. His work recently was on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. Past exhibitions include Künstlerhaus Graz, Austria (2013), Langen Foundation, Germany (2011), Kunsthalle Bergen (2010), The Kitchen, New York (2010) and Le Confort Moderne, Poitiers (2009).

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial. Group shows include: Une Histoire, Centre Pompidou, Paris, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting, Tate St. Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and The Venice Biennale, Italy in 2003.

For more information or images please contact Ines Dahn

Tales of Ratiocination

23 Feb, 2016-02 Apr, 2016

Campoli Presti, London

Martin Barré
Christian Bonnefoi
André Cadere
René Daniëls
Sheila Hicks
Jacqueline Humphries
Barbara Kasten
Charles Mayton
Michel Parmentier
Blake Rayne
Carol Rama
Amy Sillman
Cheyney Thompson

Tales of Ratiocination
23 February – 2 April 2016
Campoli Presti, London

Tales of Ratiocination focuses on the delineation of a chain of operations, a subtle reasoning that establishes a set process for the making of artworks. For Edgar Allan Poe, ‘ratiocination’ meant the use of analytical powers to solve mysteries, using different kinds of information to explore, question and sometimes satirize the certainty of a deductive method. The artists in the exhibition share a common concern with developing compositional or even anti-compositional strategies that explore the role of the artist and the historically set rules of artistic agency.

Martin Barré, André Cadere and Michel Parmentier deliberately introduce an anomaly into their method to destroy its underlying logic and to question the artist’s gesture. In 1977, Martin Barré stated that painting was a game between the rule and the subversion of the rule. His diagonal markings reveal the interdependence of the canvases, diverting the calculation of a geometric order. The striped pattern of André Cadere‘s Barres de bois rond, (round bars of wood) follows a distinctive sequence. Each colour succeeds the previous one in a constant mathematical permutation that includes a systematic error. The diameter of the wooden segment equals its length and, in each case, the colour of one segment is represented by a number. The segments are set together in order resulting from a permutation which includes random shifts – and an error results from the inversion of two segments in the sequence. In 1983 Michel Parmentier reiterated his 1965 horizontal stripe folding technique, changing its colour arbitrarily each year for three years, so as to detach himself from a personal preference and to objectify the nature of colour.

Correspondingly Cheyney Thompson’s Stochastic Process Paintings combine algorithms employed by financial theorists to predict market patterns with colours taken from Albert Munsell’s 19th century three dimensional colour system. This succession of random, scientifically dubious steps, provides a system that registers the repetition of an inexact rule, commenting on the subject’s ability to enunciate it.

The intentional reiteration of a pattern, often applied in a playful fashion, operates as a means to speculate around the stability of a method. The use of motifs such as the bowtie in René Daniëls‘ and Charles Mayton‘s work reflects their interest in painting as an instrument of encoded meaning, introducing different mechanisms without resulting in closed iconographic interpretations. Carol Rama describes the repeated use of strips of rubber as joyful, following her unceasing commitment to adding everyday life materials into her works. Sheila Hicks‘ playful yet reverential subversions of weaving traditions result in laborious abstract compositions.

Christian Bonnefoi finds the strategy of his paintings in the physical threads moving through his paintings. The minimal gaps and transparencies of the material lead to his attempted direction, usually alluding to the figure of the labyrinth to describe the eternal back and forth between his intentional manipulations and the visual end. Describing a comparable continuous process, Jacqueline Humphries has said, “I start a painting by finishing it, then may proceed to unfinish it, make holes in it or undo it in various ways, as a kind of escape from that finitude.”

Amy Sillman‘s layered abstractions are based on the tension between an affective and a formal method, negotiating between the improvisatory and the structural aspects of thinking itself. Blake Rayne’s Wild Country series equally explore the properties of a fluctuating movement, as its wandering line moves across the surface of a layered background, in an intuitive movement that recalls automatic writing.

Barbara Kasten designates the studio as an environment of transitory structures that exist only to be photographed. Following the compositional vocabulary of constructivism, Kasten transfers rules from other artistic fields into photography, expanding its limits.

For further information or visuals please contact

Peaceful Photographers

08 Jun, 2015-17 Jul, 2015

Campoli Presti, Paris

Peaceful Photographers

04 Jun, 2015-04 Jul, 2015

Campoli Presti, London

A Moveable Feast – Part V

25 Jan, 2014-15 Feb, 2014

Campoli Presti, Paris

A Moveable Feast – Part V
Blake Rayne
25 January – 8 February 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce the fifth iteration of the ongoing exhibition A Moveable Feast with a display of works by Blake Rayne. The exhibition comprises a selection from his 2007 project, The Disappearance of Red Pistachio Shells at the dawn of the Californian Nut Industry (1979) at Sutton Lane, Paris. In addition to these paintings, this exhibition also features the introduction of a new print for this occasion.

Over the past 15 years, Rayne, through his diverse catalogue of procedures, that consist of, but are not exclusive to, processes of translation, appropriation, folding, spraying, brushing and rolling, and…., has significantly contributed to the transformation of the discourse regarding painting today.

The exhibition The Disappearance of Red Pistachio Shells at the dawn of the Californian Nut Industry (1979) marked and accelerated conversations that challenged and altered assumptions regarding definitions of medium specificity.

The works that counted as paintings from this show were constructed through the marking of scenes available from the field of cultural abstraction. Each painted process results in a layer, the accumulation of these layers results, perhaps, with the display of a strata that consist of processes of division and displacement. It is this belief structures that inform this recounting stories inherent to processes of cultural abstraction that Rayne’s work hopes to bring to form.

Blake Rayne has exhibited widely throughout Europe and America and his work is included in many collections worldwide including the MoMA, Whitney Museum of American Art and FRAC (National Fund for Contemporary Art, France).

Wild Country

13 Oct, 2012-16 Dec, 2012

Campoli Presti, London

Blake Rayne
Wild Country
13 October – 16 December 2012
Campoli Presti, London

Campoli Presti is pleased to present Wild Country, Blake Rayne’s fifth solo exhibition with the gallery.

On view is a new series of paintings and an assemblage of objects entitled “wild country multiplex” which features a diverse set of materials including hand blown glass objects, printed matter and a looping digital file projected onto live set Greek yoghurt culture strained and in the process of becoming cheese.

Each painting is composed of vodka, pigment and urethane, which have been methodically applied in various glazes. The paintings have each been produced within a set time frame – between 4 am and sunrise.

A set of wooden oak barrels shapes the exhibition space, both perfuming it and contributing to a scenography that is traversed by distinct references to production techniques, craft and current economy.

The time element present in the production of the paintings and the use of live materials create an awareness of time lapse ̵ a state suspended in between, between the end of the credits and exiting the cinema, when the project has ended and social interactions are exhausted, before anticipation.

Blake Rayne lives and works in New York. Past exhibitions include Shade Subscription at Capitain Petzel, Berlin (2011), Nikolas Gambaroff, Michael Krebber, R.H. Quaytman, Blake Rayne at Kunsthalle Bergen, Norway (2010) and Besides, With, Against, And Yet: Abstraction and The Ready-Made Gesture at The Kitchen, New York (2010). His work is part of the permanent collections of MoMA, New York and FRAC Poitou-Charentes.

De America

06 May, 2011-15 Jul, 2011

Indipendenza Studio, Rome

Coastal Graphics

14 Apr, 2011-14 May, 2011

Sutton Lake (Campoli Presti, Paris

Coastal Graphics
Blake Rayne
14 April – 14 May 2011

Sutton Lane is pleased to present:

Coastal graphics, the fourth solo show exhibition at the gallery
by Blake Rayne.


On View

a Roe Ethridge photograph,
a row of four paintings, felt hungover.
a sculptural arrangement, Open Containers Free Spirits
and brand new work,
Bar Code.

– a coaster on top of the glass indicates,”went to smoke.”

Art Basel Miami Beach: Art Nova

02 Dec, 2010-05 Dec, 2010

Miami Beach

no images were found

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

no images were found

Please visit West London Projects website

Art Cologne: Open Space with Blake Rayne

22 Apr, 2009-26 Apr, 2009

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

New Paintings

12 Sep, 2008-18 Oct, 2008

Sutton Lane (Campoli Presti), Paris

Blake Rayne
September 12 – October 18, 2008
Sutton Lane, Paris

Blake Rayne’s second exhibition at Sutton Lane Paris revolves around a number of paintings, each of which results from a standard operation of construction. Rayne primes, folds and directs an aerosol spray of pigment onto a roll of linen from which sections are then chosen, sewed and cropped into a consistent scale.

Rayne’s paintings, which situate themselves between a history of reflexive material procedures and structures of linguistic description, produce the canvas as a site of conflict between an impossible autonomy and a dispersed referentiality. If Rayne doubles the readymade weave of his canvas in a textile patterning, one whose folding and merging he chromatically designates, then these paintings are also textualized as scripts of production: displacing material process into the flat, graphic space of linguistic signs.

Displayed alongside these canvases are the crates in which they were shipped. The latter, hung on the walls along side their supposed content, are cast as the gestural co-presence of painting’s movement from studio, to display, to storage.

The logic of painterly abstraction which Rayne deploys, thus extended into a gesture of folding – of closing and re-opening – the gallery, weaves container and contained in an imbricated and inextricable relationship: one structuring the other according to the un-sutured fabric of cultural abstraction.

Blake Rayne is a professor of Visual Arts and director of Graduate Studies at Columbia University, New York. He has recently participated in Art/39/Basel Premiere (with Scott Lyall).

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

For the People of Paris

13 Jan, 2007-10 Feb, 2007

Sutton Lane (Campoli Presti), London

Wallace Nutting and Julia Hill

13 May, 2006-23 Jun, 2006

Sutton Lane (Campoli Presti), London

Blake Rayne
13 May – 23 June 2006

Sutton Lane is pleased to present the first exhibition of works by New York artist Blake Rayne in London. The exhibition consists of 13 paintings and is dedicated to Wallace Nutting and Julia Butterfly Hill.

Rayne is interested in staging an obsolete historical orientation towards painting as a way of creating a discord with the way paintings and other images ask to function in the present.

The paintings focus on process and refuse any interest in producing thematic or communicative representations. Each painting is constructed through a sequence of « layers ». Each layer is thought of as a discreet process with its own concerns and without the aim to produce a synthesis of the layers. The layers of process aren’t seen meaningful in themselves, neither do they function as a meaningful strategy. The paintings act as a display of the steps and highlight the procedures, such as selection, translation, and transformation. By making paintings that display their narrative of production, Rayne « mimics » other narratives or conditions of production under which paintings are produced.

For example the « image » in the abstract paintings is only the result of a process of warping the canvas and therefore only a record of one stage of the paintings production in time. Like light on photo sensitive film, spray paint falls onto the folded canvas, but unlike in a photogram there are non external referents i.e. pins, dust etc. creating evidence of their existence in the representation.

Blake Rayne is a professor of Visual Arts and director of Graduate Studies at Columbia University, New York. He is currently participating in the touring exhibition ‘Make Your Own Life: Artists In and Out of Cologne’ at the ICA Philadelphia.