Five establishedartistsJames Barany, Jill Casid, Stephen Hilyard, Chele Isaac and SabineGruffatuse fresh innovations to challenge the concept of “new” and “old”media.
In the museum’s sittingroom, Barany integrates films, opera and video into obsolete machines like thepathephone, phenakistoscope and stereoscope, all precursors to Apple’shigh-tech designs. One piece, I Gave HerCakes and I Gave Her Ale,runsvideo, music and pictures from a hidden camera inside the museum.
In the dining room,Casid offers Intimographies,a series of iPod Touches encased inhandmade wooden boxes. Held under lock and key, the artwork needs to be removedand then used according to a list with eight instructions. While drawing uponthe Victorian cabinet of curiosities, Casid downloaded Polaroid photos to theiPod Touches, primarily using fascinating portraits that cross the boundarybetween photographic and personal.
On the second floor,Isaac installs Listing Towards, FallingAway,a haunting narrativeinstallation that overtakes an entire room. Isaac invokes a seascape projectedon one wall where, above the shoreline, a woman’s silhouette moves through awindow frame while a related video runs simultaneously in the bathroom.Continuous, noiseless, unobtrusive, seamless and sensual, Isaac’s arttransforms the master bedroom.
Visitors will needplenty of time to fully experience the exhibition, to carefully listen andconnect to each artist’s contribution. Occasionally the technology goes awry,but viewers will appreciate the Charles Allis Art Museum’s efforts in mounting and exploringmaterial that expands the museum’s customary traditional format.
