new-york

James Coleman, Working Arrangement—horoscopus, 2004–, eight-channel video installation, color and black-and-white, sound, 54 minutes. Photo: Cathy Carver.

James Coleman

Marian Goodman Gallery | New York

James Coleman, Working Arrangement—horoscopus, 2004–, eight-channel video installation, color and black-and-white, sound, 54 minutes. Photo: Cathy Carver.

This multipartite show by the Irish artist James Coleman included two fairly new works (Untitled, 2011–15, and Still Life, 2013–16); a mini-retrospective of five works from 1970, the year of Coleman’s first exhibition; a loner work bridging the turn of this century (D 11, 1998–2002); and a work begun in 2004 and still in process (Working Arrangement—horoscopus). The show, then, was a kind of primer, running from early to present in Coleman’s career. And while all of these works were projected images, his signature medium, they involved quite different forms and methods, from 16-mm film (the group from 1970, originally shot in Super 8, all silent but all accompanied by the whir of the analog movie projector that screened them) to contemporary wall-scale video art (the untitled work, an LED video installation with a literally thumping sound track) to a large, motionless, and

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