The New York TimesRoberta, Smith. “Rachel Beach: ‘GATHER-ER’,” (March 25, 2011).
This artist seems bent on breathing new life into so-called formalist sculpture by playing a lively, possibly African-based sense of geometric angularity against subtle shifts in material, color and surface. (full article)
HyperAllergicVartanian, Hrag. “Sculpture Today: A Discussion with Joy Curtis & Rachel Beach,” (March 25, 2011). (full article)
Interview MagazinePulimood, Steve. “Rachel Beach Paints the Rainbow in Brooklyn,” (March 24, 2009).
The latest body of work 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.
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,” (April 2008), p.51; illus.
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. The exterior and interior shadows cast by the sculptures become an integral part of the composition. The light—both real and illusory—defines each object’s mood and temperament. (full article)
BOMB MagazineMaliszewski, Lynn. “Procedural Musings – Rachel Beach” (July 2010).
Beach’s objects straddle a line between two existences, clouding the viewer’s vision of truth. Her scheme is fully realized in-person where the battle between object and image materialize. In her skillful handling of paint and sculpture, Beach puts the mind and retina at odds. (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. (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... 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,” (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)