Afterimage Vol. 38 No. 2 by Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen

By Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen Longmire, Christine Ross, Alisia G. Chase,

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The next section of the exhibition, "Landscape, Architecture and the Passage of Time," explores the relationship between site, history, and trauma. This section includes well-known works by James Casebere, Sally Marin, and Hiroshi Sugimoto. Four other artists- Walead Beshty, Ori Gersht, An-My LU, and Janaina Tsch'ipe depict sites embedded with political meaning. Beshty photographed an abandoned building in Berlin, the site of a failed Iraqi diplomatic mission. A strange colorful fog shrouds the images, the result of film damage caused by the airport's x-ray machines.

A prijection depicting their rearrangement of the elements in Banquet Still Lift (1667) by Abraham,, an Beyeren. The projected display front the "Seeing" exhibition can now be rearranged by the finger oni the The ocean murals are part of Brain/Cloud (2009), a multimedia uses the painting Falling Cloud (1965) as its point of departure. The iPhone's touch screen, allowing viewers to create and save numerous new versions of the still life. While there is nothing extraordinary about the work or tlse experience, what is notable is that Baldessari painting is a diagrammatic work depicting a crudely painted cloudlike shape on top that appears to be expelling a smaller incarnation is mining this territory.

When Baldessari first started Hollywood film stills, marking up and isolating individual segments, gestlures, and looks. He then i ad them rephotographed and enlarged and assembled tlhst eroppings into wall-sized works. Hetfocused o11 Above Man and Woman with Bridge (1985) by John Baldessari; c 2009 the artist, photo by Robert MccKeever; photo courtesy Gagosian Gallery fatgade of a building in tht 2009 Venice Bieiniale where Baldessari transposed the Pacific Ocean lie sees from his Santa Monica home to the Venetian island.

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