new-york

Anthony McCall

Sean Kelly Gallery

Fold an art-world time line so that 1973 touches 2010. Task-based performance in its antimetaphorical directness—as undertaken by an artist in his twenties—will rub against technological spectacle in an elegiac mood, as engineered by an artist now over sixty. Structuralist cinema and post-Minimal sculpture will meet digital video and relational installation; ambient dust and cigarette smoke in a loft where cognoscenti gathered for experimental screenings will turn to vapor puffs emitted by a haze machine in a gallery, where QuickTime projections loop and passersby drop in. Yet key concerns remain. What Anthony McCall calls “solid light,” and his sense that cinematic apparatus—screen, projector, beam, image—can generate haptic experience, inspire him now as they did before he put his career on hold. (He quit making art circa 1980 and resumed around a decade ago.) Showing two new projections,

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