•  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
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Current Exhibition

R.H. Quaytman

Other ResourcesArticlesBiography

SELECTED WORKS BY R.H. Quaytman

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R.H. Quaytman
Chapter 12: iamb

2008

Silkscreen, gesso on wood

51 x 51 cm
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R.H. Quaytman
Chapter 5: New Age

2005/2009

Silkscreen and oil on wood

82.2 x 133 cm
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R.H. Quaytman
Chapter 10: Ark (Storefront, L.E.S.)

2008-2009

Silkscreen, oil on wood

51 x 82.2 cm
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R.H. Quaytman
Chapter 12: iamb (Red Checkers With Edges)

2001-2008

Silkscreen and oil on wood

51 x 82.2 cm
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R.H. Quaytman
Chapter 12: iamb/Captions

2008

Oil on wood

31.5 x 51 cm
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R.H. Quaytman
Chapter 12: iamb, (Checkers)

2008

Silkscreen, gesso on wood

50.8 x 50.8 cm
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R.H. Quaytman
4. Exhibition Guide, Chapter 15 [Diagonal Pink]

2009

Silkscreen, gesso on wood

82.3 x 133 cm
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R.H. Quaytman
14. Exhibition Guide, Chapter 15 (ICA Archive 3, Art For U.S. Embassies)

2009

Oil, silkscreen, gesso on wood

82.3 x 51 cm
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R.H. Quaytman
17. Exhibition Guide, Chapter 15 (ICA Archive 4, Art For U.S. Embassies)

2009

Silkscreen, gesso on wood

51 x 82.3 cm
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R.H. Quaytman
18. Exhibition Guide, Chapter 15 (ICA Archive 5, Art For Corporations)

2009

Silkscreen, gesso on wood

51 x 82.3 cm
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R.H. Quaytman
22. Exhibition Guide, Chapter 15 [Jagged Edge Painting In Model]

2009

Oil, silkscreen, gesso on wood

51 x 82.3 cm
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R.H. Quaytman
27. Exhibition Guide, Chapter 15 (DvS 6)

2009

Silkscreen, gesso on wood

31.5 x 51 cm
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R.H. Quaytman
Chapter 13: Constructivismes 2009

2009

Mixed media on plywood panels; 9 elements plus shelf

Dimensions variable

OTHER RESOURCES

artfacts.net
Additional information and images – R.H. Quaytman

artnet.com
Various other resources and images – R.H. Quaytman

vilmagold.com
Vilma Gold gallery London – selected images, biography and press

miguelabreugallery.com
Representing gallery, New York

artinamericamagazine.com
Art in America, R.H. Quaytman in her New York Studio

whitney.org
R.H. Quaytman at Whitney Biennial 2010
R. H. Quaytman’s paintings to date, which are organized into chapters, can be seen as an ongoing archive in which each new painting or series is informed by what came before it. A single image or event acts as a starting point for each chapter. For example, Distracting Distance, Chapter 16, which was specifically conceived for the Biennial, references the Whitney’s building and history. The central motif is the Marcel Breuer–designed window in this space, which appears in Quaytman’s restaging of the Museum’s Edward Hopper painting A Woman in the Sun (1961).

nytimes.com
Pae White’s nearly-40-foot-long digitally woven tapestry of a wisp of smoke is rather amazing. Maureen Gallace’s modest still lifes of summer homes on Cape Cod, Mass., are dreamy. R. H. Quaytman’s photo-based paintings nest together in shimmering rectangles.

icaboston.org
Boston-born artist R.H. Quaytman incorporates optical abstractions, silkscreened photographs, diamond dust layers, and hand-painted trompe l’oeil elements into her works. Using these diverse techniques, she weaves personal, art historical, and formal narratives to explore the many contexts in which painting can be seen and understood. Presented in groups she considers “chapters,” Quaytman's works invite the viewer to look from one painting to another, considering individual works within the context of the group.

nytimes.com
The paintings in R. H. Quaytman’s exhibition are cerebral, physically thought out and resolutely optical. They engage painting on every level in a restrained way; they also engage one another.

artinfo.com
R. H. Quaytman produces her paintings in thematic, chronologically numbered series, which she deems "chapters." Evoking the organization of a book, her approach playfully engages with an archival structure: a self-imposed system of producing, naming, and organizing (her last exhibition presented a chapter of paintings "filed" on a storage rack) which critiques the archive’s viability as a way of transmitting meaning.