new-york

Aimee Rankin

Postmasters

In 1942, one could view Marcel Duchamp’s Boîte-en-valise at Peggy Guggenheim’s Art of This Century gallery by turning a wheel and looking through a peephole. That same year, Duchamp rendered this “pervert’s-eye-view” by collaging a circular detail of a Paul Delvaux painting into an exhibition catalogue; the detail features a woman’s breasts reflected in a mirror. By the time he revealed his Etant Donnés, the peep show piece par excellence, Duchamp had committed yet another artistic atrocity: the privatization of visual experience in a public space. The viewer’s unshared peep into one of Aimee Rankin’s boxed assemblages creates an object/viewer intimacy that recalls these pieces by Duchamp, as well as one’s relationship with one’s own television set. Rankin’s continuing interest in the peep show has already produced the Theater of Love boxes, the “Ecstacy” series and now the Atrocities

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