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1000 WORDS: CATHERINE YASS

LOOKING BACK, it’s hard not to notice how often British artist Catherine Yass has set up her camera to face walls, capturing surfaces spotted by stains in a meat market (“Stall,” 1996), scratched with graffiti in a prison (“Cell,” 1998), obscured by steam in a Baden-Baden spa (“Baths,” 1998), or decorated by tiles in the Prague underground (“Metro,” 2001). These works were part of a larger investigation of empty architectural spaces and were shown as transparencies mounted on light boxes, each image a composite of two photographs taken moments apart. Yass’s interest in disrupting photographic time later inspired her films such as Descent, 2002, which was shot from a crane being lowered down the side of a building in London’s Canary Wharf. Yass inverted each frame of the film so viewers felt they were being dangled upside down. As the camera dropped, it captured another skyscraper directly

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