TABLE OF CONTENTS

PATRICIA L. BOYD

Still from Patricia L. Boyd’s Operator, 2017, HD video, color, sound, 12 minutes 56 seconds.

IF WE WANTED to pin down an operation that tethers together Patricia L. Boyd’s work across media, it might be inversion. In the London-born, New York-based artist’s somatic, industrial work, objects turn inside out, oppose themselves, or reveal their other possible natures.This happens via form: sculptural molds hung as reliefs (in her untitled works from 2017 recently exhibited at the CCA Wattis Institute for Contemporary Arts in San Francisco), photograms (in her “Impressions” series, 2015–), and video footage presented in the negative (in Operator, 2017). But it also happens on the level of meaning: She presents, for example, refuse as a new commodity (in the “Dejecta” series, 2016), or she makes her camera the subject of a film (Operator, Carl dis/assembling w/ self, 2013). In so doing, Boyd offers a queasy take on neoliberalism—she renders palpable, and uncanny, the ways

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