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 Seasons», 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)

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

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.

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

Art Cologne: Open Space with Blake Rayne

22 Apr, 2009-26 Apr, 2009

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).

Art Basel Miami Beach: Art Nova

02 Dec, 2010-05 Dec, 2010

Miami Beach

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

Please visit West London Projects website

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.”

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.

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).

For the People of Paris

13 Jan, 2007-10 Feb, 2007

Sutton Lane (Campoli Presti), London

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

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Peaceful Photographers

08 Jun, 2015-17 Jul, 2015

Campoli Presti, Paris

Peaceful Photographers

04 Jun, 2015-04 Jul, 2015

Campoli Presti, London

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.

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