new-york

Liisa Roberts

Janice Guy

Gracefully deferring our desire for instant esthetic gratification, Liisa Roberts’ installation, betraying a portrait, 1995, was designed to do seemingly anything but happen all at once. Roberts’ artistic statement emerged slowly over the course of an entire afternoon. Arriving at the gallery at a particular time guaranteed a glimpse of only a fragment of the whole “work”—undoubtedly the experience of most visitors. Though the “work” was always present, it was also in a state of partial withdrawal, unwilling to emerge from a condition of virtual opacity until a particular hour of the day triggered a brief period of layered unveilings.

Visual evidence emerged in a rather unusual fashion. Two 16-mm. film projectors were installed on a large, tall, open-frame steel structure—a cross between a Constructivist assemblage and the scaffolding used in theatrical productions—that dominated but did

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