She’s from Texas

Positioned in a dark room, one on top of the other and facing in opposite directions, a set of synchronized monitors respectively depict the face and buttocks of a young woman, creating the illusion that she is trapped inside them. Her face is occasionally lit up by the flash of a still camera held by a photographer who engages her in a dialogue throughout the piece.

Taking advantage of the girl’s naiveté and desire for fame and fortune, the unseen photographer is heard attempting to persuade the girl to touch herself in order to emphasize her sexuality. Aware of the photographer’s inability to control his sexual attraction, the girl is initially frightened but begins to take control of the situation by flaunting her sexuality. The dark room in which the viewer stands contributes to the feeling that he or she is standing in the place of the photographer. The viewer is free to move about the installation, regarding either the girl’s face or her exposed buttocks.

Director & videographer: Dan Fine
Assistant Director: Andrea Mihalovic
Written by: Dan Fine and Pamela Brown
Actors: Alicia “Lecy” Goranson, Luke Sabis

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Visuality and the booth

Dan Fine
Video installations
“Visuality and the Booth”
By B i l l A r n i n g

Inspired by the strange architectural inventions of New York’s sexual undergrounds, Fine looks not at the sociosexual behaviors of these spaces, as have most artists who have dealt with this material.
Rather, the artist has treated the spaces as unintentional yet rich experiments in scopophilic pleasure, akin to museums. Fine takes all the complications of sight that occur when we look at pictures of other beings – our eyes move swiftly between face and body, and they will appear either to return our stare or be unaware – and he has cubed this complexity. His projections appear to be conspicuously aware of our stares, respond to them, and provoke them. When there is more then one human in the room and more then one projected actor, I calculate the different voyeur-to-viewed combinations at 64. This would be true if his figures were merely sitting fully clothed, hands folded in their laps. But Fine wants this to be more anxiety producing than such an academic
exercise would have been….
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