 | Interview MagazinePulimood, Steve. “Rachel Beach Paints the Rainbow in Brooklyn,” (March 24, 2009).Rachel Beach makes sculptural abstractions for which Tomma Abts' art is a relevant comparison, although their working methods are vastly different. The latest body of work "Towers and Portals", her strongest material to date, is a pleasurable medley that cuts at the core of a half century of abstract painting: What comes first in the process of making an image? Color or shape? Scale or proportion? Composition or detail? (full article) |
 | Art in AmericaRuble, Casey. “Rachel Beach: Bespoke,” Art in America, (October 2008), p.184-5; illus.Envision the trippiness of Op art combined with the solidity and vernacular references of Richard Prince's muscle-car hoods, and you might approach the work in “History Repeating.” Co-opting elements of architectural and furniture detailing and raw building materials, Beach's slick sculpture-painting hybrids playfully investigate the gray areas between flatness and volume, illusion and reality. (full article) |
 | The Brooklyn RailVartanian, Hrag. “Flip: Rachel Beach and Nora Herting,” Brooklyn Rail, (April 2008), p.51; illus.Beach creates posh donut forms whose empty cores are accented by trompe l’oeil painting that presents a rich illusion of space. In these circular sculptures, there appears to be a correlation between the thickness of the hidden plywood armature and the illusionistic bands painted on the surface. From various angles, the painting appears to recede into the surface of the work. (full article) |
 | ARTCATChristopher, Reiger. “Rachel Beach at Like the Spice,” Artcat (April 2009).Beach's seductive sculpture-paintings are postmodern, playful explorations of relativistic perception. Using oil paint and a technique called veneered marquetry, the artist creates trompe-l'oeil forms that easily segue from a two-dimensional to a three-dimensional reading and likewise maneuver between ornamentation and cleverly subversive commentary. Remarkably, the works are as sincere as they are arch. (full article) |
 | WagMag Brooklyn Art GuideStevens, Rodger. “Critics Pics – Flip,” WagMag, (March 2008).Beach’s sculptures, with their arresting silhouettes and precious interiors, are descendents of architectural design motifs – moldings, cornices, banisters, and the like – but they have evolved into sensual, almost living, creatures, with luscious contours and richly pigmented skins. (full article) |
 | FlavorPillCourson, Patricia. “Rachel Beach - Rabbit Hole,” FlavorPill, (January 2008).Rachel Beach crafts wood sculptures that radiate a bewitching energy. She draws from the legacies of minimalist sculpture and optical art, but adds her own signature fluidity and elegance. (full article) |
 | New City ChicagoPowell, Kate Tierney. “Rachel Beach - Rabbit Hole,” New City Chicago, (January 2008).Beach successfully plays with the viewer’s perception of spatial relationships, depth, illusionism and the traditional roles of specific media to make a new type of art form, like Frank Stella had with his shaped canvases, that both is and isn’t what it seems. (full article) |
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