• David Haines and Joyce Hinterding

    Standing before a dazzling projected image of a placid alpine scene disrupted by an avalanche, I am aware of two mysterious presences above me to the left and the right, spotlit to cast elaborate linear shadows on the floor. Looking up, I see two very large television antennae that seem perfectly capable of pulling in live signals from a camera trained on a distant mountain to cover this newsworthy event.

    This isn’t what was really going on, of course. The “photorealist” image in David Haines and Joyce Hinterding’s installation Purple Rain, 2004, first shown at that year’s Bienal de São Paulo,

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