The Man
The Man

2015

20’X24"‘X12’

A pile of puppet skulls, reverting back to childhood through the familiar process of making Paper mache heads, attaching toilet paper rolls to balloons and building on. Bulging balloon eyes deflate as if the armature itself is prolapsing exhausted from the pressure. “The Man” in this case can be viewed as a throw back reference to the establishment.

TheManDetail copy.jpg
Screen Shot 2018-09-07 at 7.22.56 PM.png
Rietenbach-Tim-The-Man-detail-2014-papier-mache-skulls.jpg
Cornography
Cornography

2013

7’X22’

Made up of the disembodied heads of prominent republican politicians, mostly congress. Corn’s ever-present infiltration and the GOP are seen hear as one distasteful crop. Suspended in mat medium, eyeless faces stack on the front side of ¼” clear Plexiglas with eyes back painted on the reverse surface allowing their flattened stares to follow your every movement.

c2e08071abc6101b9a40c4fbe9f266c9.jpg
Tim_04.jpg
TimRietenbach_03_1994.jpg
Sub-Committee
Sub-Committee

2008

5’X12’16”

A self explanatory if you watch CSPAN. This jury of Clowns with scornful gazes and drunken demeanor stares at the viewer with condemnation. The round shape of the glass plus the waters amplification allows each Clown to distort, as you get close their stares come to life and follow you, Hillbilly magic!

Sub-Committee
Praying Hands
Praying Hands

2007

15’X6’X2’

is made up of a conglomeration of Christian holiday figures represented in plastic. All are painted black and treated like a magnified scratchboard. Each hand has its optimum viewpoint (separate sides); the hands are graphic images that traverse the topography of the forms, distorting as you circumvent the piece. The right hand doesn’t know what the left is doing so to speak, as both make a posthumous plea.

Rietenbach.T_11.jpg
Praying hands angel detail.jpg
Gigantic
Gigantic

2003

100’X20’X 16’

is made of fourteen-gauge wire fence material, suspended in mid air like a puppet. It is a one hundred foot tall anatomically correct human skeleton. Each bone is made separately, both topographic and hollow, a skeletal armature of a skeleton, a drawing in space that is both there and not. It was originally installed lying on it’s back trying to escape the confines of the Springfield Museum of Art and now looms over children in our local center of science and industry.


Gigantic ribcage.jpg
SkullGigantic.jpg
Gigantic 03[1].jpg
DSCN2107.JPG
COSIhand.jpg
COSIfoot.jpg
Y2K
Y2K

2000

9’X12’X2”

Representing the overstated doom we faced at the turn of the Century, the giant desaturated eyeball stares blankly at a miniature revolving disco ball, lit by a single spotlight. The constricted pupil and the disparity in proportion between the revolving sphere and the frozen stare mimics the media’s obsession and weird vibe that lead up to us partying like it was 1999.

Emoticon
Emoticon

2010

9’X18’X6’

Optimism took a beating in the first decade of the 21st century. This familiar icon is sinking below the floor with distorted features made of repurposed materials, consuming a corner of the gallery. Affirmation covered buckets riddled with nails become the rotten teeth of the amplified smile that also serves as a barrier. One eye has been poked, while the language of the affirmations desperately reassure.

Emoticondetail.jpg
Emotocondetail3.jpg
DSC_0252 copy.JPG
The Presidents of the United States of America
The Presidents of the United States of America

2006

9’X30’X3’

is made up of forty-two portraits rendered in human hair stuck in the adhesive of packing tape. Layers of tape articulate the Ovals that pay tribute to the tradition of formal and official portraiture. Each Portrait is larger than life; the warmth of the mostly brown and black hair simulates the charm of old fashion engravings. The piece floats in mid air three feet out from the wall allowing for reflected light from the wall to illuminate each face. The piece blends fond feelings for antiquity with a visceral repulsion for hair as an image-maker. The more modern the man the less appropriate his likeness seems to conform to this format, aside from their banality they smile too much.

Pres.Detail3.jpg
Pres.detail5.jpg
President.MOV
The Man
TheManDetail copy.jpg
Screen Shot 2018-09-07 at 7.22.56 PM.png
Rietenbach-Tim-The-Man-detail-2014-papier-mache-skulls.jpg
Cornography
c2e08071abc6101b9a40c4fbe9f266c9.jpg
Tim_04.jpg
TimRietenbach_03_1994.jpg
Sub-Committee
Sub-Committee
Praying Hands
Rietenbach.T_11.jpg
Praying hands angel detail.jpg
Gigantic
Gigantic ribcage.jpg
SkullGigantic.jpg
Gigantic 03[1].jpg
DSCN2107.JPG
COSIhand.jpg
COSIfoot.jpg
Y2K
Emoticon
Emoticondetail.jpg
Emotocondetail3.jpg
DSC_0252 copy.JPG
The Presidents of the United States of America
Pres.Detail3.jpg
Pres.detail5.jpg
President.MOV
The Man

2015

20’X24"‘X12’

A pile of puppet skulls, reverting back to childhood through the familiar process of making Paper mache heads, attaching toilet paper rolls to balloons and building on. Bulging balloon eyes deflate as if the armature itself is prolapsing exhausted from the pressure. “The Man” in this case can be viewed as a throw back reference to the establishment.

Cornography

2013

7’X22’

Made up of the disembodied heads of prominent republican politicians, mostly congress. Corn’s ever-present infiltration and the GOP are seen hear as one distasteful crop. Suspended in mat medium, eyeless faces stack on the front side of ¼” clear Plexiglas with eyes back painted on the reverse surface allowing their flattened stares to follow your every movement.

Sub-Committee

2008

5’X12’16”

A self explanatory if you watch CSPAN. This jury of Clowns with scornful gazes and drunken demeanor stares at the viewer with condemnation. The round shape of the glass plus the waters amplification allows each Clown to distort, as you get close their stares come to life and follow you, Hillbilly magic!

Sub-Committee
Praying Hands

2007

15’X6’X2’

is made up of a conglomeration of Christian holiday figures represented in plastic. All are painted black and treated like a magnified scratchboard. Each hand has its optimum viewpoint (separate sides); the hands are graphic images that traverse the topography of the forms, distorting as you circumvent the piece. The right hand doesn’t know what the left is doing so to speak, as both make a posthumous plea.

Gigantic

2003

100’X20’X 16’

is made of fourteen-gauge wire fence material, suspended in mid air like a puppet. It is a one hundred foot tall anatomically correct human skeleton. Each bone is made separately, both topographic and hollow, a skeletal armature of a skeleton, a drawing in space that is both there and not. It was originally installed lying on it’s back trying to escape the confines of the Springfield Museum of Art and now looms over children in our local center of science and industry.


Y2K

2000

9’X12’X2”

Representing the overstated doom we faced at the turn of the Century, the giant desaturated eyeball stares blankly at a miniature revolving disco ball, lit by a single spotlight. The constricted pupil and the disparity in proportion between the revolving sphere and the frozen stare mimics the media’s obsession and weird vibe that lead up to us partying like it was 1999.

Emoticon

2010

9’X18’X6’

Optimism took a beating in the first decade of the 21st century. This familiar icon is sinking below the floor with distorted features made of repurposed materials, consuming a corner of the gallery. Affirmation covered buckets riddled with nails become the rotten teeth of the amplified smile that also serves as a barrier. One eye has been poked, while the language of the affirmations desperately reassure.

The Presidents of the United States of America

2006

9’X30’X3’

is made up of forty-two portraits rendered in human hair stuck in the adhesive of packing tape. Layers of tape articulate the Ovals that pay tribute to the tradition of formal and official portraiture. Each Portrait is larger than life; the warmth of the mostly brown and black hair simulates the charm of old fashion engravings. The piece floats in mid air three feet out from the wall allowing for reflected light from the wall to illuminate each face. The piece blends fond feelings for antiquity with a visceral repulsion for hair as an image-maker. The more modern the man the less appropriate his likeness seems to conform to this format, aside from their banality they smile too much.

President.MOV
show thumbnails