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The Shifting Axis of Symmetry

The Shifting Axis of Symmetry THE SHIFTING AXIS OF SYMMETRY Kristine Marx Babette Mangolte, Spaces to See, Stories to Tell, an exhibition at Broadway 1602, New York City, June 26–September 2, 2007. W hen Babette Mangolte moved to New York from Paris in 1970 she quickly involved herself with the city’s most progressive circle of artists, choreographers, filmmakers, and directors. The group of images and films included in the gallery exhibition at Broadway 1602 contextualizes this particularly fecund period of artistic innovation. In much of her collaborative work, Mangolte is the one hidden behind the camera. She has been the photographer and cinematographer for seminal artists such as Yvonne Rainer, Trisha Brown, Simone Forti, Lucinda Childs, Robert Whitman, and Richard Foreman. Several photographs from her joint work, as well as stills from the 1975 What Masie Knew, Mangolte’s first feature, are part of the Broadway 1602 exhibition. The show also includes a short looped film portrait of Richard Serra, and a screening of The Camera: Je / La Camera: I, both from 1977. Throughout this body of work, content materializes in several sets of dichotomies. By extracting differences between oppositional pairs—such as the photographer and her subject—Mangolte © 2008 Kristine Marx paradoxically reveals http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Shifting Axis of Symmetry

Marx, Kristine
PAJ: A Journal of Performance and Art , Volume 30 (2) – May 1, 2008
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Publisher
MIT Press
Copyright
© 2008 Kristine Marx
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2008.30.2.69
Publisher site
See Article on Publisher Site

Abstract

THE SHIFTING AXIS OF SYMMETRY Kristine Marx Babette Mangolte, Spaces to See, Stories to Tell, an exhibition at Broadway 1602, New York City, June 26–September 2, 2007. W hen Babette Mangolte moved to New York from Paris in 1970 she quickly involved herself with the city’s most progressive circle of artists, choreographers, filmmakers, and directors. The group of images and films included in the gallery exhibition at Broadway 1602 contextualizes this particularly fecund period of artistic innovation. In much of her collaborative work, Mangolte is the one hidden behind the camera. She has been the photographer and cinematographer for seminal artists such as Yvonne Rainer, Trisha Brown, Simone Forti, Lucinda Childs, Robert Whitman, and Richard Foreman. Several photographs from her joint work, as well as stills from the 1975 What Masie Knew, Mangolte’s first feature, are part of the Broadway 1602 exhibition. The show also includes a short looped film portrait of Richard Serra, and a screening of The Camera: Je / La Camera: I, both from 1977. Throughout this body of work, content materializes in several sets of dichotomies. By extracting differences between oppositional pairs—such as the photographer and her subject—Mangolte © 2008 Kristine Marx paradoxically reveals

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2008

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