New York

Judith Barry

Nicole Klagsbrun

A large mirrored cube wrapped with four large rear-projection screens may not be the most common of objects, but it is, nevertheless, familiar as a seductive apparatus of display of the sort whose mega-imagery and platinum-colored surfaces denote an epitome of entertainment and authority. Whether in a sports bar, in a museum exhibition, or in corporate headquarters, such structures immediately impose a top-of-the-line presence before which the viewer is expected to submit with complete absorption. Judith Barry’s IMAGINATION, Dead Imagine, 1991, hardly offers such ready fulfillment, for the larger-than-life image on the quadriplex screens is difficult to reconcile with pleasurable submission. What we see is a woman’s head, presented in frontal, back, and profile views. She looks straight into the camera’s eye, as though she were hypnotized. while drenching waves of effluvia resembling piss,

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