PRESS AND COMMENTS

"There's Peter Riesett's Dining Room, Ellicott City, MD, in which an empty, wallpapered room, its green carpet faded in places, pays bittersweet tribute to a life come and gone.

"Riesett's work reveals the mostly empty interiors of his grandparents' homes after his grandfathers passed away a few years apart. Two of the photos, so subtle the hurried viewer is apt to walk right by them, show just empty walls marked with nail holes and stained around the outline of wall hangings. Another reveals the inside of a closet, where a mustard-colored hanging bag bulges with some forgotten garment.

"Riesett, a Brooklyn artist, returned to the homes often to gain a depth of emotion in his artistry. 'With every visit the void and absence of life became greater within these walls,' he writes in his artist statement.

"That void can speak to the viewer in varying ways. 'You could argue that his work is a little morbid,' Gaffney [Nick Gaffney, curator of the exhibit] said. 'But I think there's a sense of humor to it, too.' "
- Sarah M. Earle, from the Concord Monitor review of Inner Worlds


"Most of them are working in styles that seem derived from William Eggleston and/or Nan Goldin, with Roe Ethridge and Pete Riesett taking an exceptionally clear-eyed, weirdly reverent view of the everyday..."
- Vince Aletti, from The Village VOICE review of Bystander


"...still-life photos that question the sacred, profane, or mundane status of objects, like Pete Riesett's diminutive plastic snowman in a Snowman in a Red Field, 2001..."
- Martha Schwendener, from ARTFORUM review of Bystander


"There are still lifes from Pete Riesett, side-by-side shots of suburban dining room cabinets in which the good china is interspersed the souvenir tchotchkes".
- Holland Cotter, from The New York Times review of Bystander


"Pete Riesett's photographic documentation of domestic tableaux of refrigerator magnets collected from tourist locations and other low art collecting pursuits present cultural cliche as cumulative pathos".
- Tom McGlynn, from the catalogue essay, Surface Considerations