PRINT Summer 2005



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

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW at the discounted rate of $45 a year—70% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the Summer 2005 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.