Los Angeles

View of “Geoffrey Farmer,” 2011.

View of “Geoffrey Farmer,” 2011.

Geoffrey Farmer


View of “Geoffrey Farmer,” 2011.

The stage is set and lights dimmed. Whenever you might have chosen to enter Geoffrey Farmer’s complex theatrical environment Let’s Make the Water Turn Black, 2011, the play had always already begun and you were late, again. Instead of actors, groups of various found objects and constructed props, magazine pictures, and mechanized sculptures, large and small, enacted the installation’s protracted and looping drama on the sprawling light-gray platform that occupied the center of the darkened gallery.

Clustered in spotlit tableaux and dispersed according to far-reaching compositional schemes, sundry props colonized the stage—a potted plant made from paper; a stuffed pair of red-and-black striped socks; wine bottles (broken and intact); a tie-dyed shirt draped over an easel; speakers, boxes, bowlers, and top hats; a leafy tree branch with an owl-shaped wind chime; a chair and a

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