The production quality of Carissa Rodriguez’s twelve-minute 4K video The Maid, 2018, is as impeccable as its main charactersSherrie Levine’s crystal and black-glass “Newborns,”1993–95. Commissioned for Rodriguez’s first solo exhibition at a New York museum and projected onto a screen suspended at a tasteful diagonal in the center of SculptureCenter’s cavernous main gallery, The Maid tracks Levine’s sculptures over the course of a day, with brooding shots of the works in several upscale homes. In one scene, white-gloved attendants delicately remove a pristine, protective cloth from the sculpture, as if unswaddling it, before placing it on a pedestal at an auction house. The pulsing ambient soundtrack, as beautifully generic as any in a trailer for a high-budget thriller, is matched by stunning drone footage that pulls back from a high-rise apartment to reveal Manhattan’s
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