Furthermore on Sharits...Today's NY Times Review

From: andrew lampert (email suppressed)
Date: Fri Mar 13 2009 - 10:49:46 PDT

This is a follow-up to the post I sent a few hours back about the Sharits show in NYC. The review below by Roberta Smith is included in today's edition. I am posting a link and the review itself below: http://www.nytimes.com/2009/03/13/arts/design/13gall.html?pagewanted=2&_r=1&sq=sharits&st=cse&scp=1 - - - - - - PAUL SHARITS Greene Naftali 508 West 26th Street, Chelsea Through March 21 This show is a historic event. It restores to full four-projector glory “Shutter Interface,” a structuralist masterpiece from 1975 by the filmmaker Paul Sharits. The piece is so big that it was shown only rarely during the artist’s lifetime. Since his death at 50, in 1993, it has been seen once, in 2001, in a reduced two-projector version in the Whitney Museum of American Art’s “Into the Light” exhibition. Now Greene Naftali and the Anthology Film Archives have turned up all four of the original five-to-six-minute loops and restored the work to what Mr. Sharits called its “optimal arrangement,” with the four projectors aimed at one long wall. Here the film loops — on which multiple frames of color alternate with single frames of black — create a jumping, flickering, pulsing Minimalist kaleidoscope, or an animated abstract panel painting (“Brice Marden: The Movie”). It is quite a sight to see and hear, what with the whir of the projectors and the high-frequency screeches emitted by the soundtracks when the black frames appear, and the field of colors shrinks or breaks for an instant. The anarchic character of Mr. Sharits’s formalism may be explained by his early contacts with Fluxus. He could also be described as a structuralist with a preference for delirious, hallucinatory effects. Either way, he took clear advantage of film’s physical properties — the frames, speed, color, light, darkness and (in other works) easily scratched surface. With a little effort, you could always pinpoint the source of his delirium. As enveloping as the installation is an adjacent gallery of 50 drawings, notes and film scores. Mr. Sharits plotted the color changes of his abstract films in bright grid-paper drawings. He also covered sheets of paper with scribbled horizontal lines in different hues. Their bright, nervous static may explain why Mr. Sharits eventually took up painting: to slow down. ROBERTA SMITH

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