Review of Albert Dicruttalo and Mitch Jones joint show at Andrea Schwartz Gallery May 1 - June 14, 2013 in San Francisco, CA
Proving that postminimalists, too can have soul are sculptor Albert Dicruttalo and painter Mitch Jones. Dicruttalo studied computer-aided design and worked as chief assistant for the veteran sculptor Bruce Beasley, so there's a shared sensibility in the interpenetrating geometric forms that both artists use: instead of Beasley's pulled polygons, however, Dicruttalo combines hemispheres and sectioned tubes on his computer screen, as well as in drawings and maquettes, and he fabricates them in his Oakland foundry. Though geometric and abstract, works like Deus Ex Machina have deliberate psychological readings, evoking the human condition without anthropomorphism; they're intellectual puzzles with a surprising emotional weight. The human factor in Jones' abstract Rhyme and Rhythm paintings emanates from the collaged elements that he resurrects and recontextualizes: handwritten sheets from old ledger books, newspaper articles, and illustrated pages from ancient books with steel engravings. He cuts these faded documents so that they become illegible, or rotates them, and pastes them into strips suggesting handwriting, or into columns, alternating the monochrome elements with blocks of pure oil paint, which Jones likens to doors or windows, citing the traditional metaphors for pictorial space. From a distance, we read the works as abstractions, or mysteriously coded data: up close, we discern that these "dynamic visual symphonies" to use the artist-musician's words, are built of scraps of human history. "Dicruttalo/Jones" runs from May 1 to June 14 at Andrea Schwartz Gallery.