Color Plate

No. 1. Therese Lahaie, Three SolarIlluminatedSculptures,spun and welded steel, photovoltaic panel, electric light, gel cell batteries, 1996. The sculptures are viewer-activatedthrough a motion sensor that switcheson a motor, which swingsa counter-weightedarm. The moving weight imparts a slowspinning motion to the buoy zyxwvut as it stops and starts,creating viewer-activatedchoreography. (See the Leonard0 Gallery section.) zyxwvutsrqp COLOR PLATE A No. 2. Jacquelyn Martino, Withouta Special Objectzyx o f Worship, interactive installation, 1994. Still from an animated sequence in the installation , which the participant controls by turning the pages of an artist’s book. This animation abstracts the form of the book while presenting a digital equivalent of paper. Images continuouslytear away in strips to uncover the imagesbelow, finallyrevealing the fist image of the sequence. No. 3. Karen zyxwvutsrqp Guzak, Geomeh-iesseries,lithographs, 30zyxwvuts x 30 in each, 1992. The finished lithographs hang together to create a quartet of geometric symbols. COLOR PLATE zyxwvut B zyxwvuts No. zyxwvutsrq 1. Waldemar Cordeiro, N. Machado and Raul Fernando Dada, zyxwvu Pimmbu, 1973. The word Pirambu was the name of a shantytownin the city of Fortaleza, in the Northeast of Brazil. T h i iwork became emblematic of the artist’s esthetic and political concerns. The image of a low-incomehome ispainted in typical colors, rational in its simplicityand formal economy. In t h i i image, an archaic Brazil and a modern Brazil meet and combine, thanks to the technologydesigned, in a Utopian manner, as an instrument for swift change. (See the Special Section article by Annateresa Fabris.) No. 2. Bernard Caillaud, a Sonagramme of the zyxwvuts Syntheseries, 50 x 43 cm, 1995. The artist creates these visual works by digitallymanipulating sound sequences he composes on a synthesizer. (See Artists’ Statements section.) ...