New York

Alan Scarritt

Cynthia Broan Gallery

On seeing Alan Scarritt’s recent exhibition at Cynthia Broan Gallery, I couldn’t help but be reminded of Rosalind Krauss’s landmark essay on ’70s art, “Notes on the Index, Part I” (1977), even though most of the objects on view were made in the last three years. Everywhere in the twenty-seven works of photography, video, sound, sculpture, and installation were those trace markers that function simultaneously as indicators of presence and ciphers of absence: photograms (“that subspecies of photo,” according to Krauss, “which forces the issue of photography’s existence as an index”) showing hands over water, their extended index fingers generating ripples; footprints; oversize captions; a plaster cast of a foot. Shadows predominated: In the droning twelve-minute video Re:Naissance, 1981, a feedback loop is generated by aiming a camera at the monitor into which it is sending its signal,

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