© 2019 Judith Barry Studio

 
 

ROUEN

Rouen: Touring Machines / Intermittent Futures, 1993

Installation Fiber-optics, 3 channel video - sound projection, Guide book, speakers Dimensions variable Guide book in collaboration with Brad Miskell / Tom Zummer

 

First exhibited National Urban Institute, Rouen, 1993

Related publications:

Eyestrain (Public Fantasy excerpt), Judith Barry Download Link

Video Excerpt

This installation creates an environment where any periphery place can become the center of the world, through reading. A hybrid form –a literary, critical, cyber-fiction travel guide to the city of the future– this installation asks the question, “what would happen if everyone lived in their imagination?” and learns all-too-well the lessons of Gustave Flaubert’s Madame Bovary: that the imaginary realm is preferable to the ‘real’ world and that in the imagination everything is possible. Using fiber optics and video projection, this installation reads Rouen…the Guide Book as it re-presents your city as ‘the Center of the World’. See Barry/Miskell/Zummer, Rouen: Touring Machines / Intermittent Futures, Usine Fromage, Rouen, 1993.

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THE MUSEUM
YOU WANT

“The Museum you Want”, 1993

www.themuseumyouwant.com

 

First installed, ICA Boston 1993.

An interactive dynamic game asks users to think about what they want a museum to be in both the physical and digital realms. Should it be a memory palace of collective histories, a simulacrum of a physical space, a site for viewing collections on-line or something else entirely? What can make the experience of an on-line museum unique? The database of questions functions as a neural net, a continuously evolving entity that grows and changes exponentially as more users answer the questions; ultimately resulting in a unique graphical index programmable by each user. See Judith Barry, “The Museum You Want” in Wouter Davidts, the Museum in Motion, Museum het Domein, Maastricht, 2003.

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WHOLE POTATOES

 

Whole Potatoes from Mashed, 1993

Installation. 10 interactive fiber-optic projectors, interactive sound/ recording technologies, strobe light, rug, mixed media. Dimensions variable. Glossary written with Brad Miskell. First exhibited MUKHA, Antwerp, 1993.

Related publications:

Future Cinema, Jeffrey Shaw & Peter Weibel, Download Link

Eyestrain (Public Fantasy excerpt), Judith Barry Download Link

Video Excerpt

Building on the metaphor of Gordon Matta Clark’s exploded ceiling and his notion of “taking a normal situation and translating it into multiple and overlapping discourses”, this installation explores how we give materials a history by constructing one in time and space. A mass of cables dangle. Some of them light up with sounds. Gradually, the sounds cohere into stories. Around you are pages from a Glossary. You discover that the cables are fiber-optics responding to the sounds and your reading, shaping the room. A kind of visual automatic writing takes place. You are like a woodcutter in a magic story who makes a wish. Something happens. The sound tracks trace the relationships between science, alchemy, and smart materials, from ancient times through the present.

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(HOME) ICIDE

(Home) icide: house of the present, 1993

Installation. Collaboration with Ken Saylor. Computer program, newspaper, and computer work stations. Site specific project for Le Corbusier’s L’Unite (apartment building) Firminy, France 1993.

Related publications:

(Home)icide, Judith Barry and Ken Saylor, Download Link

Eyestrain (Public Fantasy excerpt), Judith Barry Download Link

This “House of the Present” asked the question, “do our living environments adequately reflect the ways we live, particularly in terms of the discourses that shape the fabric of our daily lives ?” We retro-fitted one of Corb’s apartment’s for a worker (a machine for living) to reflect the ways in which these discourses transform and affect our living conditions. The main focus of the project was a ‘fly – thru’ computer-animated model where the form of the home “morphed” continuously in relation to all the various kinds of information that now circulate and affect the concept of home. See Barry/Saylor, House of the Present: (Home)icide, catalogue text for L’Unite Project, Firminy, France 1993.

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SOMETHING WONDERFUL

Something Wonderful, 1993

Sculpture/snapshot. A collaboration with Brad Miskell. Site specific work for Social Text #36, Duke University, North Carolina 1993.

Related publications:

Eyestrain (Public Fantasy excerpt), Judith Barry

Download Link

This sculpture was a snapshot, an insert into the back cover and inside back page of Social Text, a cultural studies magazine that examines discursive relations textually across a wide cultural swath. At the time of its publication a cultural war was raging between those who wanted popular culture to become a more accepted part of the intellectual left and those who wanted to keep the ‘philistines’ at bay. In the midst of this controversy, this series of ‘collected cultural artifacts’ set out some of the issues that were percolating among the cultural workers themselves.

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WORK OF THE FOREST

The Work of the Forest, 1992

Installation. 3 channel video-sound projection panorama with Art Nouveau screens Dimensions variable.

 

First exhibited, Foundation pour l’architecture, Brussels, 1992

Related publications:

Judith Barry, Michael Newman, Download Link

Eyestrain, Judith Barry, Download Link

Space that Art Makes, Judith Barry, Download Link

Project page

Video Excerpt

The 19thc notion of ‘interiority’, described by Marcel Proust, is contrasted with the architectural style most associated with it, Art Nouveau. I used Proust’s ‘whirling room’ to stage conflicting histories of African art, the Belgian Congo and Art Nouveau.

 

Three transparent screens as a continuous panorama allow for multiple points of view and access; underscoring the different relationships that the viewer can have with this material. See The Work of the Forest in Art & Text, #42, 1992, Australia.

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ARS MEMORIAE

Ars Memoriae Carnegiensis: A Memory Theater, 1991

A series of 9 cards and a display stand. Site-specific work for the Carnegie International, Carnegie Museum of Art, 1991.

Related publications:

Eyestrain (Public Fantasy excerpt), Judith Barry
Download Link

Visitors to the Carnegie International were given a free packet of 9 cards to orient themselves to the myriad of collections housed in the Carnegie. The instructions on the cards were an invitation to turn their tour into a personal memory palace: a place to store and recall all that they wished to remember by using the ancient ‘art of memory’ and mnemonic techniques. As the Carnegie International was predominantly large installations, visitors using these cards could create their very own large installations simply by performing the ‘art of memory’.

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IMAGINATION

Imagination, Dead Imagine

Installation. 5 channel video-sound projection. 10’ x 10’ x 10’ First exhibited Foundation La Caixa, Madrid 1991

video

Related publications:

Public Fantasy, Brian Wallis, Download Link

Imagination Dead Imagine, Judith Barry, Download Link

Articulate Spatial Projections, G. Sangster, Download Link

Space that Art Makes, Judith Barry, Download Link

Future Cinema, Judith Barry, Download Link

Spectacle & Subjectivity, Johanna Drucker, Download Link

Casual-Shopper, Judith Barry, Download Link

Press:

Frieze.com, David-Geers, Download Link

New Yorker, Editors, Download Link

Architects Newspaper, Susan Morris, Download Link

Timeout, Michael Wilson, Download Link

Deliciousline, William Corwin, Download Link

Project Page

Video Excerpt

An androgynous head is projected as if contained within a minimalist cube. Sounds of the head slowly breathing fill the space. The head is serene, waiting. Suddenly a substance pours over it from all sides, drenching it in what appears to be a bodily fluid. The spectator wants to turn away but can not, the gaze is compelled through the invocation of the scopic drive. Horror at the repulsive nature of the substance (the abject) is replaced by fascination with the beauty of what might be considered a contemporary sublime.

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DEPENSE

Depense: A Museum of Irrevocable Loss, 1990

Installation Video projection, documents Dimensions 14’ x 40’ x 10’ vitrine Project for TSWA Four Cities, Glasgow, 1990

Related publications:

Articulate Spatial Projections, G. Sangster, Download Link

Depense, Judith Barry, Download Link

The title, from George Bataille, refers to the need to adequately mourn that which has been lost. In 1990 Glasgow’s unemployment rate was 45%, yet previously, it was at the forefront of the Industrial Revolution. This project is a meditation on the power of images and their efficacy. Hundreds of work documents, collected from abandoned manufacturing sites in Glasgow, were strewn on the floor of a disused factory in front of a giant vitrine. The vitrine projected images of Glasgow’s glorious industrial past. Yet these work documents, beautifully rendered ship plans, mechanical drawings, and bills of ladling, no longer have any value. The local historical societies rejected any further donations. Meanwhile, the images projected in the vitrine circulate endlessly. 

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FROM RECEIVER TO REMOTE

From Receiver to Remote Control: The Television Set, 1990

Exhibition design. Collaboration with Ken Saylor. Curator: Mathew Geller The New Museum, NYC 1990

Related publications:

ARE YOU READY FOR TV?, Judith Barry, Download Link

Press:

Brooklyn Rail, Judith Barry, Link

Project page

In a series of 20 period rooms with period TV programming, this exhibition traced how television transformed the home from a site of production into one of consumption: the ‘50’s notions of ‘home theater’; the ‘easy living’ implied by labor saving appliances; the ‘60’s as the only moment when television was overtly political from Civil Rights activism to the Vietnam War; the ‘70’s and the proliferation of technologies with portable color TV and cable; the ‘80’s and the potential for a return to production in the form of the home computer.

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TEAR

A sculpture as a double sided magazine page. Glossy paper stock, 4 color print process, printed on both sides dimensions variable. First exhibited, ARTFORUM Summer 1989.

Related publications:
Eyestrain (Public Fantasy excerpt), Judith Barry
Download Link

This sculpture was initially designed for a magazine. It is one example from a series of sculptures proposed to various magazines in the late 1980’s. The pages are printed to mirror one another so that this double sided page seems to have a corporeal presence. The title and the content of the piece are a word play on the magazine ‘tear’ sheet — a page that can be torn out of a magazine and saved — and the idea of a ‘tear’ — as in someone crying. Hence, a liquid page.

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DANCE OF COLORS

Loie Fuller: Dance of Colors, 1988

Performance. Collaboration with the dancer, Brygyda Ochaim. First performed Biennale de la Dance, Lyon 1988.

Loie Fuller, a dancer of the fin de siecle (beginning of the 20th c) was the first person to use incandescent lighting on the stage. A darling of the Symbolists and later, the Surrealists, she performed in enormous silk costumes which she hand-painted with uranium derived dyes and which she shaped into forms by manipulating long sticks hidden in the sleeves. These recreations adapted her work for a more contemporary audience by introducing patterned gells, hand painted slides and laser and film projections.

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ADAM'S WISH

Adam’s Wish, 1988

Installation. Video projection Dimensions variable.

First exhibited World Financial Center, NYC 1988.

Related publications:

Casual-Shopper, Judith Barry, Download Link

Spectacle & Subjectivity, Johanna Drucker, Download Link

Adam's Wish, Judith Barry, Download Link

Eyestrain (Public Fantasy excerpt), Judith Barry
Download Link

This piece explores tromp l’oeil effects as it questions why, within the lexicon of corporate architecture, there is not an overt and legible corporate iconography visible in these structures. It uses the history of tromp l’oeil to examine spatial disintegration, particularly as public space has become increasingly privatized. Designed to be projected onto an oculus, the piece explores a worker’s ‘fall from grace’ and his eventual retreat back into corporate public space.

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IMPRESARIO

Impresario: Malcom Mclaren and the British New Wave, 1988

Exhibition Design. Collaboration with Ken Saylor Curator: Paul Taylor The New Museum, NYC, 1988.

Project page

This exhibition used popular culture – music videos, clothing and memorabilia, to present Malcolm McLaren’s situationalists strategies as an artistic practice and charted his manifestations in the ‘70’s from The New York Dolls to The Sex Pistols and Bow Wow Wow through his interest in global music –the album, Duck Rock– to his interest in opera– the album, Fans–. One of the first exhibitions to combine art with popular culture, this exhibition portrayed McLaren’s ever changing strategies to showcase the fluid relations between publicity, music, fashion, media strategies and celebrity.

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MAELSTROM

Maelstrom: Max Laughs, 1988

Installation. Video-sound projection Dimensions variable First exhibited Whitney Museum NYC 1988.

Related publications:
Eyestrain (Public Fantasy excerpt), Judith Barry
Download Link

Video Excerpt

Using a variety of computer effects, including 3-D modeling techniques, this floor projection places you viscerally within post-perspectival representational space. Here information technologies and the alienation they can produce are contrasted with collage and motion graphic techniques to underscore the contradictions inherent in these effects; they produce sensations which literally take you places that only your eye can go---- leaving your body behind.

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NOT RECONCILED

Not Reconciled First and Third, in Other Words, 1987

Video projection of short first person narratives Dimensions variable First exhibited Whitney Museum, 1987 On-going series

Related publications:

First and Third, Judith Barry, Download Link

Space of Fantasy, Brian Wallis, Download Link

Casual-Shopper, Judith Barry, Download Link

Spectacle & Subjectivity, Johanna Drucker, Download Link

Public Fantasy, Brian Wallis, Download Link

Articulate Spatial Projections, Gary Sangster, Download Link

Video Excerpt

The impetus for this series was a reflection on some of the theoretical perspectives around the notions of ‘history’ and ‘the construction of subjectivity’ as it differs among various cultures. First and Third, the first project in this series, grew out of my interest in narrative as a means of negotiating ideological differences between immigrant expectations and the contradictory messages of the American Dream with its promises of equality, personal freedom and so on. Subsequently I have realized projects, each with a very different theme, in several other cities including London, Rotterdam, Corscia and currently, Cairo. See Judith Barry articles in October 75 and October 123, MIT Press, Cambridge 1995 and 2008, respectively.

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MODEL FOR STAGE SCREEN

Model for Stage and Screen, 1987

Installation. Light/fog room with chamber and anti chamber. Dimensions variable. First exhibited Pieroni Gallery, Rome, 1987.

video

 

Related publications:

Model for Stage and Screen, Judith Barry, Download Link

Judith Barry & the Space of Fantasy, Brian Wallis, Link

Articulate Spatial Projections, Gary Sangster, Link

Casual-Shopper, Judith Barry, Download Link

Spectacle & Subjectivity, Johanna Drucker, Download Link

Project Page

Light and fog are projected in a room in which two identical disks are suspended such that the viewer stands between them. Even though you can see precisely how the piece works, you are still subject to retinal effects on your vision. As you leave the room, thinking you will regain control of your vision, you do not, you see red. The work demonstrates two of the many ways you can not trust what you see. In a sense you become a projector.

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