“Into the light: Image in American art 1964-1977”; Whitney Museum of American Art, New York
기본적으로 이 전시에 대해서 비판적인 입장이다.
To attempt this paradoxical project at this moment is doubly overdetermined. First, while video and film projections of the ’60s and ’70s tended to be aesthetically and conceptually severe, the current vogue for projection is typified by a lushness and scale more commonly associated with painting.
Iles’s central thesis is that the traditions of media art and post-Minimal sculpture meet in a variety of film and video installations of the ’60s and ’70s that, in Jameson’s terms, “spatialize” media. In a nice turn of phrase, lies describes this convergence as a “hybrid of white cube and black box.” Iles’s show would seem to promise not only a historical account of an art practice, but also a shift in the nature of history–from sequential narrative to a spatialized projection in real time.
But the questions of history and media that are raised by the show, and which have been central to American life since the ’60s, are not adequately addressed by the exhibition’s structure. Instead of constructing chronological or thematic genealogies, works are arranged in an arbitrary sequence that articulated neither a synchronic moment nor a diachronic narrative, offering instead a chain of new and different spectacles like successive rides at an amusement park.
As a result, “Into the Light” feels like a trade show, in which one disconnected experience succeeds another without building any larger argument
This effort to make viewing itself part of the program opens onto a third shared preoccupation with the materiality of the film or video apparatus (and by extension the image streams it carries). Such attention to the spatialization of media is particularly evident in Michael Snow’s Two Sides to Every Story, 1974, in which a screen is suspended in the middle of the gallery with films projected onto both sides. While each film shows a woman engaged in various simple actions, the “two sides” do not match up, suggesting that unlike a coherent sculptural form which links “front” to “back,” the screen may operate as a point of rupture, a kind of black hole of experience.