Fritz Haeg, Sundown Schoolhouse: Animal Lessons, 2008. Performance view, Park Avenue Armory, New York. Photo: James Ewing.

the Whitney Biennial

Whitney Museum of American Art

IN AMY GRANAT AND DREW HEITZLER’S 2007 double-screen film, T.S.O.Y.W., on view in the 2008 Whitney Biennial, a motorcyclist travels from Robert Smithson’s Spiral Jetty, on the banks of the Great Salt Lake, to the Mojave Desert. But the primary sense of movement is in the back-and-forth between the two projections: Sometimes the images on the screens are just slightly off-register, as if Granat and Heitzler were shooting standing next to each other; sometimes they’re completely divergent. The lateral dynamic cuts across and impedes the linear momentum of the journey, as does the intermittent interpolation of abstract imagery and the droning sound track. It’s a long and mesmeric film, and at times it seems as if the motorcyclist is staying in one place while the arid hinterlands roll past on a backdrop. Eventually you get the feeling that this is not the American West but an off-the-map

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