los-angeles

Simone Forti, Big Jump on Back, 1975–78, integral hologram, 56 3/4 x 20 x 13".

Simone Forti

The Box

Musing on virtual reality in the pages of this magazine in 2017, Douglas Coupland remarked, “When a new technology triumphs, it allows the technology it’s rendered obsolete to become an art form.” Surprisingly, in that same text, Coupland characterized the use of holograms in art—except “by Simone Forti and a few others,” whom he characterized as deploying them “to great effect”—as a “flash in the pan.” While holography has only hesitantly been embraced as a valid art medium (and rarely as a triumphant technology), the question is not so much about novelty as about the depth of an artist’s engagement with the technique. The apotheosis of holography in art was nowhere more apparent than in this selection of seven holographic works by Forti: “Time Smear” challenged such casual dismissals of the medium while revealing how artists masterfully utilize (and often push forward) new

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