On View

‘Rochelle Feinstein: Love Vibe’ at On Stellar Rays

Installation view. (Photo by Adam Reich/On Stellar Rays)

A small piece of fresco on panel hangs between the door and a projected rectangle of light. The projection is clean and pale, but the horizontal brushstrokes of the fresco are the kind of dense, marine color that might have been used to symbolize a green screen in the Renaissance. A comic-strip-style speech balloon extends across the bottom with a chipper, black-and-white phrase: “Love Your Work.” Inside the gallery is Love Vibe, a single installation of six oil paintings, each just over six feet square, showing the same speech balloon in reverse against notional panels of a similar dark green, on white walls, over a floor the color of spoiled butter. It’s a painting of looking at painting as a social performance, with “love your work,” thanks to the legions of jaw-clenching schmucks who try to achieve some petty glamour by dropping their pronouns, operating both as the empty tribute of insincere well-wishers and the mean-spirited advice, from society at large, to anyone lucky enough to be making art instead of driving a truck or stealing on Wall Street. At least, that’s how the phrase sounds by itself; but captured in Ms. Feinstein’s sweetly goofy balloons and reiterated in six earnestly unflattering angles, it’s almost tamed. Read More

On View

‘John Houck: A History of Graph Paper’ at On Stellar Rays

'Stamp -X, Stamp -Y,' 2013. (Courtesy the artist and On Stellar Rays)

John Houck shoots rigorously simple photographs. And then, with the kind of creative technical ultra Montanism that photography itself once provoked in painting, he prints them, repositions them as backdrops to the objects they already picture and shoots them again. The result is a Cubist view of time in which shadows are cast and connections are severed in strict linear sequence but the present is always flat. And even that linearity of construction is deceptive: Because the photos in the show all revolve around childhood objects that the artist’s parents kept aside for him and only recently returned, we can see the elastically cyclical time contained in objects themselves, particularly now that mass production and mechanical reproduction have dissolved the boundary between the physical world and the meaning we assign it. Read More

On View

‘Maria Petschnig: Petschnigs’ at On Stellar Rays

Still from Maria Petschnig's  'Petschsniggle' (2013). (Courtesy the artist and On Stellar Rays)

Everything in our virtual life is clean, transparent, and meaningless. But there’s a nagging disconnect between a body image that’s been catastrophically challenged and dissolved and the body itself, which hasn’t gone anywhere. We’re like children playing hide-and-seek in a house we no longer believe in. So before projecting her videos Vasistas and Petschsniggle onto the walls of On Stellar Rays, Austrian-born, New York-based artist Maria Petschnig covered those walls with hastily slapped up wood paneling and installed a drop ceiling of acoustic tiles. Read More

human resources

On Stellar Rays Now Represents John Houck

Houk's 'Untitled #111, 262,143 combinations of a 3×3 grid, 4 colors' (2012), creased archival pigment print, 60 by 40 inches. (Courtesy the artist and On Stellar Rays)

Lower East Side mainstay On Stellar Rays announced today that it will represent artist John Houck, and present a one-person show with him next year. Mr. Houck’s perhaps best known for intricate—and really very beautiful—abstract photographs that he makes by repeatedly rephotographing contact sheets. He prints these with grids of color generated by a software program of his own design, and then creases them in various ways. Read More


Going off the Grid: Wiley at Beauchene, ‘Towards a Warm Math’ at On Stellar Rays, Simon at Callicoon

3 Photos

Chris Wiley, 11, 2012

Chris Wiley is interested in meaning. Not meaning as a verb, requiring a particular, limited object to act upon, but meaning as a noun, a slippery, nebulous object to be acted upon in its own right. Though it exists only provisionally, it can still be diagnosed, highlighted, elicited, created, arranged, denied, misrepresented or implied—not to mention interpretively postulated by a viewer or reviewer. But if meaning is the medium, the product will have to be a practice. Read More