london

Anthony Wilson

Anthony Reynolds Gallery

Although each image projected by a carousel slide projector is separated from the next by a short interval of darkness, the sequential flow provides a satisfying narrative structure. Coupled with this, the rotation of the slide tray ultimately affords a kind of closure as it returns full cycle to the point of origin. Anthony Wilson exploits this to the fullest, structuring his slide pieces so that these qualities are emphasized at the same time that the promise of pleasure they hold out is deferred, frustrated, or altogether thwarted. He pushes the technology of the slide projector to the limit, edging it toward the filmic. The split-second projection time, in fact, is so short that it is sometimes difficult to read the image.

His latest show, entitled “Positions of Mastery,” contained two works. Don’t wait for love (both works 1991) used an image, excerpted from a ’50s ad, of the lower

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