• Michael Snow: In The Way | Jack Shainman | ArtReview

    Michael Snow, The Viewing of Six New Works (2012); Installation view, Jack Shainman

    All of the work in Michael Snow’s In the Way – some older, such as Exchange (1985), an early holographic work of a man mugging for the camera, and La Ferme (1998), a blown-up and recut filmstrip of cows in a field; and one newer, In the Way (2011), a floor-bound projection of a video shot off the back of a truck, showing a rough and muddy road passing beneath our feet – deals in some way with the shallow space just on the other side of the lens- and light-derived frame. But it is the newest work, The Viewing of Six New Works(2012), that takes this shallow space to its extreme and also animates, literally, what we might well call the ‘geometry of touch’.

    The Viewing of Six New Works is an installation of seven looped video projections (one work consists of two projections), each of which features a different-coloured and -sized rectangle that moves against a black-screen background and intersects an invisible frame that is both internal to the projector’s own and commensurate with its coloured partner. (Just imagine the dream life of Ellsworth Kelly and you’re halfway there.) Every so often we get a glimpse of one of the rectangles aligning itself in its frame, but all the real action is contained by the rotations and translations of the rectangles within and ‘behind’ the frames, which at once hide and reveal the rectangles’ edges (now parallel, now skewed) and corners (now present, now absent).

    However, to accept that what one actually witnesses are the movements of rectangles ‘behind’ their frames is to accept too easily this metaphorical language of real space: there is no ‘frame’ to speak of until it is intersected and so revealed – or better, actualised – by the movement of colour across the screen. And that colour itself only ever appears as a rectangle as much as it appears as a parallelogram or as some other irregular figure brought about by this actualisation of framing edge by the mobile colour field. The animation is self-consciously two-dimensional; it’s a speciation machine for inhabitants of flatland…

    Read the rest at ArtReview.

  • REVIEW: Krzysztof Wodiczko | Galerie Lelong | ArtReview

    Krzysztof Wodiczko, …OUT OF HERE: The Veterans Project, 2009-11;
    Installation View, Galerie Lelong, New York, 2011

    Painting has long given up the ghost on the Renaissance metaphor of acting as a window onto some other world; it now has to battle it out as just one more screen among many.  Yet it is surprising how few of those screens have taken up this metaphor for themselves.  Of course Hitchcock’s Rear Window (1954) made the case for cinema as voyeurism, and along less mainstream lines, both Michael Snow’s Wavelength (1967) and Richard Serra’s Frame (1969) probed the limits of fenestrated filmic perception and cognition.  To my knowledge, however, no practitioner of the camera arts has equated the screen with the window, has literalized this metaphoric relationship, quite as effectively as Krzysztof Wodiczko…

    Read the rest in the forthcoming May issue of ArtReview or on ArtReview Digital.