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PRINT November 1996

OPENINGS: SAM TAYLOR-WOOD

Whereas a number of the contemporary artists forsaking canvas for celluloid have produced rather traditional films, Sam Taylor-Wood merges cinematic sensibility and technique with the particularities of photography and videomaking to create an oddball art-film hybrid.

Seemingly straightforward, even commonplace, Taylor-Wood’s photographs always appear to hide something—a mysterious intrigue or a violent event that occurred just before she turned on the video camera or clicked the shutter. One image, Slut, 1993, shows the artist herself, her neck covered with brutal love bites; another, Dog, 1995, presents a young woman in a white dress crawling on all fours across a vast field, the sky above her scintillating with a dazzling light as if from a nuclear explosion; and in Better To Be a Schizophrenic Out on a Walk Than a Patient in a Psychiatrist’s Chair, 1995, a calm young woman with a vacuous

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