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Working on the confluence of Minimalism, post-Minimalism, and efficiency, Rosemarie Castoro’s works synthesize the static presence of sculpture with the dynamic physicality of the human physique. Probably the most illuminating component within the exhibition is a black-and-white {photograph}, Self-portrait, New York, 1970, that reveals the artist hanging horizontally from the ceiling utilizing ropes whereas putting a pose harking back to a ballet dancer in mid-leap. The hints at Castoro’s curiosity in kinesthetics, knowledgeable by documentation of performances by her contemporaries. Impressed by the actions arrested by the digicam’s lens, Castoro aimed to create materials permanence from fleeting movement.
For example, a bunch of works from Castoro’s “Brushstrokes” sequence literalizes essentially the most romanticized gesture in artwork, the brushstroke, heightened to an nearly comical apex by the cult of Summary Expressionism. Castoro bestowed a three-dimensional presence to the final word certificates of authenticity, the signature of an artist’s hand, by rendering it in Masonite as a wall reduction. The truth that cautious molding, reducing, and floor remedy with graphite and marble mud was crucial for his or her manufacturing testifies to the artist’s wry humor.
Whereas Castoro was clearly engaged with the numerous practices of her friends—reminiscent of the fabric experimentation of Eva Hesse, or Carl Andre’s seriality—her work’s Pop sensibility distinguishes it from that of her colleagues (its affinity with Lichtenstein’s personal sequence of “Brushstrokes” is tough to overlook). Nevertheless, her aesthetic was distinct from the brilliant and colourful artificiality of Pop. It was grungier, with the standard of underground graphics. Such an impression could seem contradictory for an artist who was unambiguously entangled with the considerations of the Nineteen Sixties New York avant-garde. This incongruity is what liberates Castoro’s works from the confines of previous actions and firmly locations them within the modern register.
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