Jenny Perlin

Gallery 400

The raspy clackety-clack of 16 mm cine projectors is already a poignant and wistful sound, and this exhibition of recent films and drawings by Jenny Perlin included four such projectors running nonstop. One of them showed Washing, 2002, a grainy, ten-second silent black-and-white loop of the artist washing a window in her Brooklyn studio, the Manhattan skyline visible outside. Poignant and wistful certainly but melancholic and forlorn to boot, the repetitive act of stroking the window through which Manhattan beckons seems an act of obeisance, an acknowledgment of the fractious relationship between Manhattan and Brooklyn, a paean to the city just an arm’s reach away, a wish to serve and groom it. Of course, that skyline was radically transfigured just before 2002, and washing its vista also suggested a gesture of healing, of coaxing it back to life.

Some of the mundane realities of life in

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