new-york

Enid Baxter Blader

Location One

When a projected image work has multiple screens, or combines images with objects, or is scattered throughout a space, it becomes obvious why it is a film or video installation and not, so to speak, a movie being shown in an art gallery. When it’s a simple single-channel projection in a darkened room, its status as art rather than cinema can be more ambiguous—sometimes provocatively so, as in the case of Letter from the Girl, Mailed at the Gas Station, 2002, by the young Los Angeles–based artist Enid Baxter Blader. This fifteen-minute loop is based on Robert Aldrich’s remarkable 1955 film noir, Kiss Me Deadly. It functions not as a “deconstruction” but as a homage to and extreme intensification or condensation of the film’s highly self-conscious questioning of its own narrative structures and their foundation in sexual desire. In other words, in contradistinction to artists like Stan

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