PRINT Summer 2009


Paul Sharits

ONE OF THE FEW MISFIRES in the Whitney’s landmark 2001 exhibition “Into the Light: The Projected Image in American Art 1964–1977” was its partial reconstruction of Paul Sharits’s 1975 film installation Shutter Interface. While the work was accorded pride of place on the cover of the show’s catalogue, in the gallery it seemed anemic. Amid pitch-perfect re-creations of Robert Whitman’s Shower, 1964, and Michael Snow’s Two Sides to Every Story, 1974, as well as the brilliant installation version of Anthony McCall’s interactive film projection Line Describing a Cone, 1973, one encountered an aloof two-screen version of Sharits’s piece configured at merely half its original size and volume. The quarter century that intervened between the work’s premiere and its rediscovery had not been particularly kind to the piece or to its maker. Portions of the picture elements of Shutter Interface had been

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