Courtesy of
PLAXALL
LONG ISLAND CITY
DECEMBER 2017
The Sculpture Center
Alvaro Barrington Through December 18, 2017
Through December 31
INSTALLATION
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www.qns.com I LIC COURIER I DECEMBER 2017 47
MOMA PSI
Tut’s Fever Movie Palace
Ongoing
22-25 Jackson Ave • LIC
718.784.2084 • MoMAPS1.org
35 Ave at 37 St • Astoria
718.777.6800 • www.movingimage.us
44-19 Purves Street · LIC
718.361.1750 • www.sculpture-center.org
Tut’s Fever is a working movie theater and art installation
created by Red Grooms and Lysiane Luong, an homage to the
ornate, exotic picture palaces of the 1920s. Inspired by the
tomb paintings they saw during a trip to Egypt, Grooms and
Luong covered the walls, oor and seats of the theater with
hand-painted, Egyptian-style depictions of Hollywood royalty.
Silent screen star Theda Bara works the box oce, Mae West
stands behind the concessions stand, and Mickey Rooney is the
usher. Rudolf Valentino, Elizabeth Taylor and many others
grace the walls, and each slipcovered chair in the theater
features an image of Rita Hayworth. Visitors can open a
sarcophagus to nd a sculpture of James Dean lying in his
tomb, cigarette still dangling from his mouth.
Tut’s Fever is a permanent feature of the Museum’s core
exhibition, Behind the Screen. Classic movie serials are
screened in Tut’s Fever every weekday at 1:00 p.m., and
weekends at 1:00, 2:00, and 3:30 p.m.
Nicola L. has maintained certain threads and motifs within her
works, returning to images, objects, and ideas and reinvesting
them with new meaning. In her short lm within the
exhibition, Sand, Sea, Sky (1994), Nicola L. embarks on a
narrative around some of the natural elements that feature in
her work, such as the sea and re. Shot in the Bahamas, the
lm invents origin myths and fantasies to forge a story about
unity between humans and the environment. In an approach
not atypical of the time, the lm also ventures into exoticizing
as well as essentializing tendencies. Nicola L.'s politics
emerged through her engagement in 1960s counter-cultural
movements that aspired to equality, freedom, and love,
tenets that have remained within her work. This ethos and its
representational modes however have undergone more
rigorous critique in the last decades, and while her lm is pure
ction, it also is a historical record of her work that casts many
of her sculptures as actors and props within a particular
context of her creation.
Barrington’s multimedia work combines materials including textiles,
painting, mixed media, drawing, photography, and print. Born in Venezuela
to Grenadian and Haitian migrant workers, and raised between the Caribbean
and Brooklyn, New York, Barrington began to sew as a way to connect with
his Grenadian aunts who were masterful sewists. Barrington has explored the
formal action of sewing yarn as an entry into this long tradition of a gendered
textile art practice, which was documented orally and passed down by the
women in his family. His intimate compositions focus on single subjects in
close-up, including faces, body parts, and tropical vegetation. Flamboyant
tree and hibiscus owers, in particular, have become personal motifs for the
artist. In the series a dierent world, Barrington amends used postcards found
while traveling through Europe illustrating lakes, rivers, and architectural
icons with sewed interventions that fundamentally alter these landscapes,
asserting an alternate narrative to those contained within stereotypical
tourist images. The exhibition is installed with the same associative logic of
the artist's studio in London from the last two years.
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