Into the Light: the Projected Image in American Art, 1964–1977

Oct 18, 2001–Jan 27, 2002

A projector casting a blue crescent moon and light beam on a dark wall.

Into the Light: the Projected Image in American Art, 1964–1977 was curated by Chrissie Iles.

Artists

Installation photography

Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Photography by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Vito Acconci, Other Voices for a Second Sight, 1974. Photography by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Robert Morris, Finch College Project, 1969/2001. Photography by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Beryl Korot, Dachau, 1974. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Dan Graham, Helix/Spiral, 1973. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Gary Hill, Hole in the Wall, 1974/2001. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Bruce Nauman, Spinning Spheres, 1970. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Joan Jonas, Mirage, 1976–2001. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Mary Lucier, Polaroid Image Series (room, Shigeko, Corquet, City of Boston), 1970–72. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Dennis Oppenheim, Echo, 1973. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Dennis Oppenheim, Echo, 1973. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Michael Snow, Two Sides to Every Story, 1974. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Keith Sonnier, Channel Mix, 1972. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Andy Warhol, Lupe, 1965. Photograph by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Yoko Ono, Sky TV, 1966; William Anastasi, Free Will, 1968. Photography by David Allison
Installation view of Into the Light: Projected Images in American Art 1964–1967 (Whitney Museum of American Art, New York, New York, October 18, 2001–January 27, 2002). Robert Whitman, Shower, 1964. Photograph by David Allison