(“Paris De Noche” at Night Gallery)
In a sense you don’t want to fault these three for making such perfect lozenges of product/commodities, because 1; they all really look great, and 2; to do so, would require faulting every painting ever made for its perfect commodic form: painting's content valuable for the support on which it rests, the sexy container. Similar to Seth Price for whom the packaging was the product and Dispersion as content, the three here take to crafting the package itself, in re-making the support as a form: ladders as frames, trucks as canvas, and corrugated metal as painting; each a product inseparable from its package whose functional content remain to be seen.
See too Pentti Monkkonen at High Art , Andrei Koschmieder at Real Fine Arts
