Carl Demeulenaere
American, b. 1956
Los Penitentes Diptych, 2001
colored pencil, velvet, brass, and Avonite
5 x 4 inches (each image) 
Collection of Barbara and Ross Bunting

Labyrinth: The Circuitous Life of a Miniaturist

November 1, 2014 - January 4, 2015

Graphics Gallery

In this reflective installation, artist Carl Demeulenaere explores the development of his art over the past 30 years. Demeulenaere designed a maze-like room that takes the viewer on a twisting and winding adventure. In the end, viewers will end up back where they started, paralleling Demeulenaere's self-proclaimed circuitous life as an artist working on a miniature scale.

With over 120 works on view, Labyrinth includes many styles and themes common in Demeulenaere's oeuvre. Highly influenced by his personal experiences, Demeulenaere's art often deals with topics of religion, sexuality, and global/cultural events.

Exhibition Info


From the Exhibition

  • Carl Demeulenaere, American, b. 1956, Arcada Triptych (Bistre and Ash and a Boy, Witch, Ambers, Garnet, and Requiem Prayer), 2008-13, colored pencil, linen paper, acrylic, inked paper star, and blood, 6 x 4 inches (each image). Collection of Dr. Dan Haddad (Bistre and Ash and a Boy and Witch, Ambers, Garnet). Collection of Kurt Cieszkowski (Requiem Prayer)

  • Carl Demeulenaere, American, b. 1956, La Gloria Diptych (La Gloria and L'Orrore), 2009, colored pencil, gold leaf, and incised letters, 2 3/4 x 2 1/2 inches (each image). Collection of Babette Pierce-Lumley

  • Carl Demeulenaere, American, b. 1956, Nan Wood Graham and Carla DeWild, 2003, colored pencil, mixed media
    6 x 5 inches. Collection of the Artist

  • Carl Demeulenaere, American, b. 1956, Witch, Ambers, Garnet (Part of the Arcada Triptych), 2010-13, colored pencil, garnet
    6 x 4 inches (each image). Collection of Dr. Dan Haddad

MassEffect2, 2010
Directed and Produced by Casey Hudson
Written by Mac Walters and Drew Karpyshyn
© 2010 Electronic Arts Inc. 
All trademarks are the property of their respective owners

The Art of Video Games

October 25, 2014 - January 18, 2015

Henry Gallery Hodge Galleries

Don't miss your last chance to view The Art of Video Games! This exciting exhibition explores the 40-year history of video games and the role artists play in gaming. The chronological installation demonstrates the increasing role artists have had in gaming from the very beginning where artists were only involved in designing supplemental materials to today where artists are the key players in design, overseeing a game from concept to final rendering.

The exhibition has 20 interactive kiosks that analyze 80 groundbreaking video games and 20 major at-home gaming consoles. In addition, there are 5 playable games for visitors to enjoy on larger-than-life screens:Pac ManSuper Mario Bros.The Secret of Monkey IslandMyst, and Flower. Be sure to check out original character and landscape concept sketches and interviews with gaming industry leaders.

The Art of Video Games is organized by the Smithsonian American Art Museum with generous support from the Entertainment Software Association Foundation; Sheila Duignan and Mike Wilkins; Shelby and Frederick Gans; Mark Lamia; Ray Muzyka and Greg Zeschuk; Rose Family Foundation; Betty and Lloyd Schermer; and Neil Young. The C.F. Foundation in Atlanta supports the museum's traveling exhibition program,Treasures to Go.

Signature Sponsor

Sponsors

   

Exhibition Info


From the Exhibition

  • Bioshock, Ken Levine, creative director and executive producer; Paul Hellquist, lead designer; Dean Tate, senior designer and artist; Scott Sinclair, art director, Microsoft XBox 360, 2007, image courtesy of 2K Games, Inc., and Take-Two Interactive Software, Inc.

  • Diablo II, various artists, DOS/Windows, 2000, © 2000 Blizzard Entertainment, Inc. All rights reserved. Diablo is a trademark or registered trademark of Blizzard Entertainment, Inc.

  • Earthworm Jim, Doug TenNapel, original concept, character designer and voice actor; Tommy Tallarico, composer; Steve Crow, lead artist; David Luehmann, producer, SEGA Genesis, 1994, © 1994 Interplay Entertainment Corp. Earthworm Jim, the Earthworm Jim logo, Interplay, the Interplay logo, and 'By Gamers. For Gamers.' are trademarks or registered trademarks of Interplay Entertainment Corp. in the U.S. and other countries. All Rights Reserved.

  • Einhander, Tetsuo Mizuno, Tomoyuki Takechi, Shinji Hashimoto, executive producers; Yusuke Hirata, producer; Tatsuo Fujii, director; Yuji Asano, lead design, PlayStation, 1998, © 1997, 1998 SQUARE ENIX CO., LTD. All Rights Reserved.

  • flOw, Jenova Chen, Nicholas Clark, game design, Modern Windows, 2006, Sony Computer Entertainment America LLC.

Jen Lee
b. 1975
True Love
Rives BFK Cream paper, 2010
14 x 30 inches

Indelibly Yours: Smith Andersen Editions and the Tattoo Project

August 9, 2014 - October 15, 2014

Graphics Gallery

Indelibly Yours is one of the most recent projects by Smith Andersen Editions, a small fine arts press in California. For more than 40 years, Smith Andersen Editions has served as a creative hub for artists and printmakers. For this exhibition, 10 artists were invited to dedicate time working on prints that showcase the interconnectedness of tattooing and printmaking. Five of the participants are known for tattooing and five for printmaking. 

The relationship between the two mediums yields a suite of colorful and stimulating images. In some instances it is difficult to distinguish the work of the tattooers from that of the printmakers. For Ross K. Jones, Mary Joy, Jen Lee, Jeff Rassier, and Kahlil Rintye, who generally work with skin and ink, the project afforded the opportunity to colla-borate with a master printer, to experiment with new materials, and to embrace the spontaneity atypical of tattooing. For the printmakers—Enrique Chagoya, George Herms, Kathryn Kain, Kara Maria, and Richard Shaw—the tattoo project encouraged the investigation of new symbols, styles, and ideas.

Graphics Gallery is sponsored by 


Exhibition Info


From the Exhibition

  • Enrique Chagoya, b. 1953, My Tattoos, 2010, Okawara paper, 30 x 14 inches

  • Kathryn Kain, b. 1956, Tattooed Mermaid, 2010, chine collé and Xerox litho transfer of a Don Ed Hardy mermaid design on Rives BFK Cream paper, 30 x 14 inches

  • Kara Maria, b. 1968, The Animal that Lives in Your Heart, 2010, Kitakata Scroll paper, 14 x 29 3/4 inches

  • George Herms, b. 1935, Flower, 2011, monoprint on Rives BFK Cream Paper, 30 x 14 inches

  • Ross K. Jones, b. 1979, Untitled (Eagle), 2010, gold-leaf chine collé on Rives BFK Cream, paper 30 x 14 inches

Marthe Orant
French, 1874–1957
Cathédrale vu du Canal (Cathedral as seen from the canal)
oil on canvas, n.d.
28 3/4 x 36 1/4 inches 
Museum purchase with funds donated by the Whiting Foundation, 2007.8

Private Viewing: The Art of Marthe Orant

August 9, 2014 - September 21, 2014

Hodge Galleries

During her life, Marthe Orant exhibited regularly in Paris exhibitions, won awards for her paintings, and received recognition from the French government and her peers through a retrospective shortly after her death. Despite these accolades, the artist and her work has been mostly lost to history.

Orant lived alone in Paris most of her adult life, studying in the studios of Édouard Vuillard and other Post-Impressionist artists, depicting bustling Parisian streets, the French countryside, and floral still-lifes.

This exhibition will reveal a glimpse into the private world of this enigmatic, reclusive artist through the FIA's extensive collection of over 50 paintings.

Exhibition Info


Image courtesy of the artist.

The Way Things Go

August 1, 2014 - September 30, 2014

Fleckenstein Video Gallery

U.S., 1987, by Peter Fischli & David Weiss, 30 min.

In a warehouse, artists Peter Fischli and David Weiss build a structure made out of common household items. Then, with fire, water, gravity, and chemistry, they create a self-destructing performance of physical interactions, chemical reactions, and precisely crafted chaos.

Exhibition Info


Artist Unknown
African, Angola and Democratic Republic of Congo, Kasai Occidental
Chokwe Mask, early 20th century 
wood, fiber, and metal
13 x 9 inches 
Museum purchase with funds from the Collection Endowment, 2002.48

Cutting it Close: The Art of Carving

July 26, 2014 - February 22, 2015

Ann K. Walch-Chan Gallery

Cutting It Close explores the art of carving from prehistoric times to present day. This ancient art form is one that has spread cross-culturally and spanned across time. While many cultures use similar media in carving, the end results are drastically different. Explore this exhibition on carving and get a glimpse into a multitude of societies including our own. Art on view ranges from stone and wood to more precious materials including ivory, jade, and emerald. From the ancient Maya and Egyptians through several Chinese dynasties to African tribes still thriving today, this exhibition explores carving from around the world. Objects vary from those of utility including, weaponry, cutlery, and writing tools to sculptures created for aesthetic or spiritual purposes.

Exhibition Info


Video and image courtesy of Suzan Pitt: home.earthlink.net/~suzanpitt/

Visitation

July 1, 2014 - July 31, 2014

Fleckenstein Video Gallery

U.S., 2011, by Suzan Pitt, 9 min.

The animated film Visitation unwinds through a dark landscape of unending life and death. Steeped in an inner dream life, the film explores a black-and-white landscape of Gothic figures who enact evolving metaphysical dramas.

Exhibition Info


Video and image courtesy of the Artist

Space Invader (Johannesburg Taxi Rank)

June 1, 2014 - June 30, 2014

Fleckenstein Video Gallery

Zimbabwe, 2009, by Dan Halter, 3:04 min.

Mesh bags, synonymous with refugees from around the world, make their way across the Johannesburg taxi rank in the shape of a space invader character.

Exhibition Info


William Hogarth
British, 1697–1764 
Viscount with His Paramour Consulting an Empiric (from Marriage à la Mode)
engraving on paper, ca. 1743–45
18 ½ x 24 inches
Gift of Mr. and Mrs. C. S. Mott, 1964.27

Fantasy, Fiction, and Fact in Popular Illustration: 1750–1900

May 3, 2014 - August 3, 2014

Graphics Gallery

This exhibition will explore the emergence of satire as a printed medium of art in 18th- and 19th-century Britain. Depictions of British life in caricatures and prints illuminate social concerns and sentiments of the period. Artists William Hogarth, George Cruikshank, and Frederick Barnard will be featured, offering a rare occasion to see their work together, despite the fact that their topics, style, media, nationality, and chronology situate them in close proximity to each other. This exhibition's guest curator is Dr. Sarah Lippert, who is an Assistant Professor of Art History at the University of Michigan-Flint. An accompanying catalogue of the works will be available.

Graphics Gallery is sponsored by 


Exhibition Info


Justus Sustermans
Flemish, 1597–1681
Maria Maddalena of Austria (Wife of Duke Cosimo II de Medici) with Her Son, the Future Ferdinand II, 1622
oil on canvas
56 5/8 x 46 9/16 inches 
Gift of Mr. and Mrs. William L. Richards, 1965.15

About Face: Portraiture through Time

May 3, 2014 - July 20, 2014

Hodge Galleries

From staring eyes to a mysterious smile, the faces in portrait paintings are not simply a likeness but have a story to tell. Portraits can denote status, power, and wealth and can convey important cultural information.About Face: Portraiture Through Time will examine key aspects of portraiture's rich history, from the early 17th century to present day, and investigate how this art form has evolved but in many ways retained its key features.

From formal images of the powerful elite to playful depictions of children, the works in this exhibition portray people from all walks of life and demonstrates that the face of portraiture is ever changing. Though sometimes a lucrative subject for artists, not all portraits were commissioned but instead were intimate portrayals of artists' friends, family members, or muses.

About Face will also feature FIA favorites such as Justus Sustermans' Maria Maddalena of Austria (Wife of Duke Cosimo II de Medici) with Her Son, the Future Ferdinand II (1622), and John Singer Sargent'sGarden Study of the Vickers Children (1884), along with other works rarely on view. The exhibition will also include new acquisitions on display for the very first time.

Organized by the Flint Institute of Arts

Exhibition Info


From the Exhibition

  • John Singer Sargent, American, b. Italy, 1856 – 1925, Garden Study of the Vickers Children, oil on canvas, 1884, 54 1/2 x 36 inches. Gift of the Viola E. Bray Charitable Trust via Mr. and Mrs. William L. Richards, 1972.47

  • David Eichenberg, American, b. 1972, Aimee, oil on panel, 2011, 7 x 6 1/4 inches. Museum purchase, 2013.3

Kathleen Gilje
American, b. 1945
The Text Message after Pieter Pourbus's Portrait of a Married Lady of Bruges and Images from Keith Haring
oil on panel, 2013
19 1/2 x 17 3/4 inches
Courtesy of the artist

Kathleen Gilje: Portraits of Paintings

May 3, 2014 - July 20, 2014

Hodge Galleries

While studying art restoration at the Museo di Capodimonte in Naples, Italy, Kathleen Gilje became intimately familiar with the works of Old Masters and discovered her own passion for painting in a similar style. Combining her new love of painting and her restoration training, Gilje created her own brand of art, which she calls her "restorations." 

At first glance, the works appear familiar, as Gilje recreates masterworks such as Bronzino's 16th-century Venus, Cupid, Folly and Time and Bouguereau's 19th-century The Assault, but a closer look at each work will reveal a surprising twist. For example, Gilje has taken 19th-century portraits of mainly upper-class females by John Singer Sargent, stripped them of their clothing and ambiance and transformed them into individuals, important because of who they are and not what family they came from or to whom they are married. According to scholar Linda Nochlin, "The subtle and not-so-subtle alterations Gilje wreaks on the time-honored icons of Western painting make us think and see differently. These new incarnations of old masterpieces, 'contemporary restorations,' as Gilje calls them, seem to reveal the hidden implications of the works themselves, implications that, for the most part, only a present-day feminist would be privy to."

Gilje's reworking of familiar and famous paintings makes her artwork appear as a portrait of the original paintings she draws from. The exhibition, comprising of over 30 works, is divided into four sections that follow themes popular in the artist's milieu: Feminism & Self-Portraits, Old Master Paintings, Art Critics & Artists, and Sargent's Women. 

This exhibition is sponsored by


Exhibition Info


From the Exhibition

  • Kathleen Gilje, American, b. 1945, Allegory of Venus, Restored (Sigmund Freud), 1997, oil on panel, 58 1/2 x 46 3/8 inches. Private collection

  • Kathleen Gilje, American, b. 1945, Basquiat as Velazquez's Portrait of Juan De Pareja, 2011, oil on linen, 32 1/4 x 28 3/4 inches. Collection of the Artist

  • Kathleen Gilje, American, b. 1945, Self-Portrait Decapitating a Rooster as Artemisia Gentileschi's Judith and Holofernes, 2012, oil on linen, 79 1/2 x 65 1/4 inches. Collection of the Artist

  • Kathleen Gilje, American, b. 1945, Self Portrait with Paintbrush after Bouguereau's The Assault, 2012, oil on linen, 61 1/4 x 41 1/2 inches. Collection of the Artist

  • Kathleen Gilje, American, b. 1945, Ginevra Da Benci, Restored, 1999, oil on panel, 15 7/8 x 15 inches. Courtesy of Peggy & Dick Danzinger

Image courtesy of Nancy Hoffman Gallery

Nothing behind me, everything ahead of me, as is ever so on the road

May 1, 2014 - May 31, 2014

Fleckenstein Video Gallery

U.S., 2013, by Purdy Eaton, 2:49 min.

Condensed into an hour and a half, this video, its title taken from a quote in Jack Kerouac's book, On the Road, explores the diverse American landscape through a cross country road trip from New York City to the sunny beaches of California. Meet artist Purdy Eaton at the Members Preview on Friday, May 2.

Exhibition Info


Image courtesy of the Artist

Revolution

April 1, 2014 - April 30, 2014

Fleckenstein Video Gallery

German & American, 1993–2003, by Dara Friedman, 9:20 min.

Dara Friedman is best known for her film and video installations that show real people in everyday situations, mainly in urban or public spaces. She often distills, shortens, reverses, loops, or otherwise alters familiar sights. In Revolution, an average man is seen walking down the street but is flipped upside down.

Exhibition Info


Image courtesy of the Artist

I Think I'm in Something

March 1, 2014 - March 31, 2014

Fleckenstein Video Gallery

American, 2012, by Gerry Fialka & Clifford Novey, 8 min.

Gerry Fialka and Clifford Novey's Pixelvision short merges beautiful dancers, psychedelic guitar, and jazz to the randomness of tube clown movements. The fluid movements of the inflatable man are inspiration for others to join in. Together they sway and move in flowing harmony. Author Beverly Gray describes the video as "Mesmerizing to experience."

Exhibition Info


Kehinde Wiley
American, b.1977
Mrs. Joseph Barrell (Hannah Fitch)
oil on canvas, 2006
26 x 22 inches 
Collection of Elliot and Kimberly Perry 
Credit: Mrs. Joseph Barrell (Hannah Fitch) © Kehinde Wiley Studio

Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collection

January 26, 2014 - April 13, 2014

Hodge Galleries Henry Gallery

Don't miss this opportunity to see the latest contemporary art by African American artists. Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collection includes 50 works by 36 African American artists and three artists from the African Diaspora. This exhibition features some of the biggest names in contemporary African American art including Chakaia Booker, Michael Ray Charles, Lyle Ashton Harris, Rashid Johnson, Kehinde Wiley, and Kara Walker. The artists in this collection work on the cutting edge with a variety of media—including painting, photography, collage, sculpture, prints, and video, placing an emphasis on today's issues. 

Former NBA player Elliot Perry and his wife, Kimberly Perry, began collecting African American art in 1996. Initially collecting works from the mid- to late 20th-century, their collecting focus shifted after they were introduced to contemporary art. Part owner of the Memphis Grizzlies, Perry has said that his passion for collecting art now rivals his love for basketball.

The FIA has partnered with the Charles H. Wright Museum of African American History in bringing this rich collection to Michigan. While the contemporary works are on view in Flint, works from the mid to late 20th century are on view in Detroit. Collaboratively, the museums have put together a catalogue featuring all of the works on view at both museums and FIA members receive free admission to the exhibition at the Charles H. Wright Museum—stop by the front desk for your pass.

For related programming, please see the Fleckenstein Video Gallery listing here

Exhibition sponsored by

community foundationFrederick and Gloria Van Duyne Family Fund of the Community Foundation of Greater Flint

Anonymous Donor Advised Fund of the Community Foundation of Greater Flint


Exhibition Info


From the Exhibition

  • Nina Chanel Abney, American, b. 1982, Variation of a Love Supreme, 2009, acrylic on canvas, 77 1/2 x 44 1/2 inches. Collection of Elliot and Kimberly Perry. Credit: Image reproduced with permission from the artist

  • Radcliffe Bailey, American, b. 1968
    Tricky, 2006, mixed media, 58 1/2 x 53 1/4 x 8 1/4 inches. Collection of Elliot and Kimberly Perry

  • Jeff Sonhouse, American, b. 1968, TOUGHER THAN TWO MOTHERF%$÷&eRS, 2007, mixed media and steel wool on board, 36 x 32 x 4 1/2 inches. Collection of Elliot and Kimberly Perry. Credit: Image reproduced with permission from the artist

  • Hank Willis Thomas, American, b. 1976, Basketball and Chain, 2007, lambda print, 60 x 40 inches. Collection of Elliot and Kimberly Perry. Credit: Image reproduced with permission from the artist and Jack Shainman Gallery, New York

  • Wardell Milan, American, b. 1978, 'My mothers flower's grow tall. They grow as tall as she wants.', 2006, digital c-print
    40 x 50 inches. Collection of Elliot and Kimberly Perry

Lavarne Ross
American, b. 1941
A Grandma's Love
pastel on paper
19 9/16 x 25 5/8 inches
Collection of Lavarne Ross

Lavarne Ross Works on Paper

January 18, 2014 - April 27, 2014

Graphics Gallery

This exhibition features works on paper by Flint native Lavarne Ross. After selling his first piece of art at the young age of 12, Ross knew that he would spend his entire life doing what he loved—making art. Ross feels it's best to "paint what you know," and his art features familiar landscapes and people from the city of Flint. Historic memories are prominent in Ross' art from the electric trolleys that used to run through the city, to the former S. S. Kresge store downtown, and even the old Buick plant that is now just a field. Lavarne Ross: Works on Paper features 19 works of art including pencil, chalk, acrylic, and watercolor.

Exhibition Info


From the Exhibition

  • Lavarne Ross, American, b. 1941, Dr. J, n.d., pencil on paper, 14 x 11 inches. Collection of Lavarne Ross

  • Lavarne Ross, American, b. 1941, The Secret Place, watercolor on paper, 25 9/16 x 29 5/8 inches. Collection of Lavarne Ross

  • Lavarne Ross, American, b. 1941, Road Warriors, acrylic on board, 24 15/16 x 31 7/8 inches. Collection of Lavarne Ross

Image courtesy of the Artist

Big Gurl

January 1, 2014 - February 28, 2014

Fleckenstein Video Gallery

American, 2006, by Lauren Kelley, 27:40 min.

Part of the Elliot and Kimberly Perry Collection, Big Gurl by Lauren Kelley is a stop-action animated depiction of issues surrounding femininity and race. Kelley's film uses Barbie dolls with varying skin tones—sans the blonde-haired blue-eyed archetype—and embellishes a cast of African American dolls with add-on lips, noses, hips, and thighs, all fashioned in clay.

"doll testing" of the 1940s, where the psychological effects of blonde dolls on African American children were recorded, Kelley has created her own poignant, oftentimes humorous, but realistic world for her dolls. The animation has elaborate scenes and narratives set in several settings, including a health clinic, an office, a fast food restaurant, and the characters' homes.

Exhibition Info


Image courtesy of the Artist

Beitbridge Moonwalk

December 1, 2013 - December 31, 2013

Fleckenstein Video Gallery

Zimbabwean, 2010, by Dan Halter, 3 min.

A work inspired by the account of an immigrant who succeeded in illegally crossing the Zimbabwe border into South Africa—without being detected by the police or leaving any incriminating traces—by walking backward over the bridge between the two countries. The reference to the dance created by pop star Michael Jackson only adds to the ironic tone of Dan Halter's sociopolitical cultural criticism.

Exhibition Info


Beatrice Wood
American, 1893–1998
Self Portrait, 1932
watercolor and pencil on paper
9 1/4 x 7 1/4 inches 
Museum purchase, 2011.330

Beatrice Wood: Mama of Dada

November 16, 2013 - January 12, 2014

Graphics Gallery

Beatrice Wood created a complex, thoughtful, and inexhaustible oeuvre, working in a variety of media. Dubbed the "Mama of Dada," because of her involvement with the Dada art movement in New York City during the early 20th century, this exhibition features some of her works on paper from the FIA's permanent collection in conjunction with pieces from the collection of Dada expert Francis Naumann.

Sponsored by


Exhibition Info


From the Exhibition

  • Beatrice Wood, American, 1893–1998, A Press Conference of Twenty-Five Men Took Place, n.d., pencil, color pencil, 7 1/2 x 11 3/4 inches. Collection of the Flint Institute of Arts, Gift of Francis M. Naumann Fine Art, LLC, 2011.398

  • Beatrice Wood, American, 1893–1998, Explaining Where He Was the Night Before, 1977, watercolor and pencil, 9 7/16 x 12 5/8 inches. Collection of the Flint Institute of Arts, Gift of Francis M. Naumann Fine Art, LLC, 2011.354

  • Beatrice Wood, American, 1893–1998, I Eat Only Soy Bean Products, 1933, pencil, color pencil, 12 1/16 x 9 inches. Collection of the Flint Institute of Arts, Gift of Francis M. Naumann Fine Art, LLC, 2011.370

  • Beatrice Wood, American, 1893–1998, Theodore Spicer-Simson, pencil, 1925, 10 7/8 x 8 7/16 inches. Collection of the Flint Institute of Arts, Gift of Francis M. Naumann Fine Art, LLC, 2011.365

  • Beatrice Wood, American, 1893–1998, Untitled, n.d., watercolor and ink, 7 1/2 x 11 3/4 inches. Collection of the Flint Institute of Arts, Gift of Francis M. Naumann Fine Art, LLC, 2011.349

Image courtesy of the Artist

Release

November 1, 2013 - November 30, 2013

Fleckenstein Video Gallery

Germany, 1996, by Christoph Girardet, 9:30 min.

In Release, a few seconds of terror from the original 1933 King Kong are extended out over nine and a half minutes. Restrained by her arms, the computer-syncopated actress Fay Wray huffs, puffs, writhes, barks like a terrified dog, fades into exhaustion, wakes up to let out the famous screeching scream, and starts up all over again. A strange, rhythmic sound like buzzing hornets at high volume accompanies this bizarre ballet, which never once shows the giant gorilla.

Exhibition Info