new-york

Fiona Banner

Tracy Williams, Ltd.

As if Bouvard and Pécuchet (1881) rewound, Fiona Banner’s work of the past twelve years has generally begun with copying and ended with epistemological inquiry. The profusion of words in earlier projects—which have included voluminous transcriptions of films such as Lawrence of Arabia (1962) and Don’t Look Back (1967), and a “totally unedited” thousand-page book, Nam, 1997, chronicling the on-screen action in six Vietnam movies—recalled Gustave Flaubert’s assiduous copyists, who don’t discriminate between “the good and the evil” and “the farcical and the sublime” because, as they conclude, “The page must be filled.” For her recent dual-venue show at Tracy Williams, Ltd., Banner aimed to master two disparate, if thematically linked, bodies of knowledge. In a rented space in TriBeCa, “Parade” took on the military, specifically all of the world’s fighter planes, while the subject under

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