Center for the Arts Gallery, 1st Floor.
Left to right: Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine, 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Eglė Budvytytė, Songs from the Compost: Mutating Bodies, Imploding Stars, 2020; Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine (detail), 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Clockwise from front: Bridget Moser, When I Am Through With You There Won’t Be Anything Left, 2021; Eglė Budvytytė, Songs from the Compost: Mutating Bodies, Imploding Stars, 2020; Lynne Marsh, Atlas_Gustine, 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Ryan, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Atlas_Gustine, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from front: Slinko, Economy of Means, 2022; Jean-Charles de Quillacq, Smoking Bleaching and Souple ment, 2022; Lynne Marsh, Atlas_Jobel, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Jobel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Front, left to right: Slinko, Economy of Means, 2022; Lynne Marsh, Atlas_Abriel (detail), 2021. Middle, left to right: Berenice Olmedo, Akro-Bainein, 2020; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021. Back, left to right: Lynne Marsh, Atlas_Jobel, 2021; Rodney McMillian, Untitled (Entrails) (detail), 2019–2020; Lynne Marsh, Atlas_Cecilia, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Cecilia, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Left to right: Jean-Charles de Quillacq, Mégot [Cigarette Butt], 2016; Lynne Marsh, Atlas_Cecilia (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from left: Jean-Charles de Quillacq, Souple ment, 2022; Lynne Marsh, Atlas_Jobel and Atlas_Cecilia, 2021; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021; Berenice Olmedo, Akro-Bainein, 2020. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Left to right: Lynne Marsh, Atlas_Jobel (detail), 2021; Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Cecilia, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Front to back: Berenice Olmedo, Akro-Bainein, 2020; Jean-Charles de Quillacq, Souple ment, 2022; Lynne Marsh, Atlas_Jobel (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Left to right: Lynne Marsh, Atlas_Cecilia (detail), 2021; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021; Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Abriel, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from front: Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Abriel, 2021; Jean-Charles de Quillacq, Smoking Bleaching, 2022. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Abriel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Abriel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Punctuating both levels of CFA Gallery’s spaces, printed wallpaper wraps itself around five walls, highlighting architectural features of the space and its later use-led adaptations—bodies and space produce each other. These five Atlas_ works are part of Lynne Marsh’s wider project entitled Ninfa Atlas, which translates the human figure from historical archive through embodied performance to digital asset. The project mines Mnemosyne Atlas (1924–1929), the image archive in which Aby Warburg identified recurring motifs in Western art and culture, by focusing on the gestures of the archive’s main protagonist, the nymph. Ninfa Atlas tracks this female figure’s “hospitality,” her adaptation across technological eras, social contexts, and historical situations.
As a way to diversify and extend this archive, Marsh invited five performers to reanimate, modify, contest, and improvise gestures into short dance phrases enacted in a volumetric video capture studio. The five Atlas_ works on view turn the raw image-data harvested in this process—also called two-dimensional image maps or atlases—into wallpaper, an astute strategy that brings critical attention to the violence that is at the core of digital imaging: 3D asset construction flattens out and tears bodies into sections. Bodies have long been the subject of, and subjected to, the regime of the image: they drive image innovation and are in turn shaped by images. While violence and care are our inheritance, how can we construct non-violent images and worlds?
Lynne Marsh’s practice questions the status of the image through mediation, technology, and production. The ideas central to Marsh’s research include offstage space; production-in-production; affective and cultural labor; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Solo exhibitions of her work have been presented at UCR ARTS Riverside, Riverside, CA (2021); Tintype Gallery, London (2018); Berlinische Galerie, Berlin (2017); Opera North, Leeds (2015); ICA, London (2015); Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has also been featured in numerous group exhibitions and perennial events including La Biennale de Montréal (2014); Manif d’art 5–The Québec City Biennial (2010); and the 10th International Istanbul Biennial (2010).
Center for the Arts Gallery, 1st Floor.
Left to right: Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine, 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Eglė Budvytytė, Songs from the Compost: Mutating Bodies, Imploding Stars, 2020; Lynne Marsh, Atlas_Ryan, 2021; Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Left to right: Rodney McMillian, Untitled (Entrails), 2019–2020; Lynne Marsh, Atlas_Gustine (detail), 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 1st Floor.
Clockwise from front: Bridget Moser, When I Am Through With You There Won’t Be Anything Left, 2021; Eglė Budvytytė, Songs from the Compost: Mutating Bodies, Imploding Stars, 2020; Lynne Marsh, Atlas_Gustine, 2021; Lucas Michael, HERONABOAD and The hand that whirls the water in the pool, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Ryan, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Atlas_Gustine, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from front: Slinko, Economy of Means, 2022; Jean-Charles de Quillacq, Smoking Bleaching and Souple ment, 2022; Lynne Marsh, Atlas_Jobel, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Jobel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Front, left to right: Slinko, Economy of Means, 2022; Lynne Marsh, Atlas_Abriel (detail), 2021. Middle, left to right: Berenice Olmedo, Akro-Bainein, 2020; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021. Back, left to right: Lynne Marsh, Atlas_Jobel, 2021; Rodney McMillian, Untitled (Entrails) (detail), 2019–2020; Lynne Marsh, Atlas_Cecilia, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Cecilia, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Center for the Arts Gallery, 2nd Floor.
Left to right: Jean-Charles de Quillacq, Mégot [Cigarette Butt], 2016; Lynne Marsh, Atlas_Cecilia (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from left: Jean-Charles de Quillacq, Souple ment, 2022; Lynne Marsh, Atlas_Jobel and Atlas_Cecilia, 2021; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021; Berenice Olmedo, Akro-Bainein, 2020. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Left to right: Lynne Marsh, Atlas_Jobel (detail), 2021; Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Cecilia, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Front to back: Berenice Olmedo, Akro-Bainein, 2020; Jean-Charles de Quillacq, Souple ment, 2022; Lynne Marsh, Atlas_Jobel (detail), 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Left to right: Lynne Marsh, Atlas_Cecilia (detail), 2021; Lucas Michael, Is As Is Is, 2018–2021 and Illusory Truth Effect, 2019–2021; Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Abriel, 2021. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Center for the Arts Gallery, 2nd Floor.
Clockwise, from front: Berenice Olmedo, Akro-Bainein, 2020; Lynne Marsh, Atlas_Abriel, 2021; Jean-Charles de Quillacq, Smoking Bleaching, 2022. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Abriel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist. Image courtesy of University at Buffalo Art Galleries; photo: Biff Henrich/IMG-INK.
Atlas_Abriel, 2021, digital print on wallpaper, dimensions variable; courtesy of the artist.
Punctuating both levels of CFA Gallery’s spaces, printed wallpaper wraps itself around five walls, highlighting architectural features of the space and its later use-led adaptations—bodies and space produce each other. These five Atlas_ works are part of Lynne Marsh’s wider project entitled Ninfa Atlas, which translates the human figure from historical archive through embodied performance to digital asset. The project mines Mnemosyne Atlas (1924–1929), the image archive in which Aby Warburg identified recurring motifs in Western art and culture, by focusing on the gestures of the archive’s main protagonist, the nymph. Ninfa Atlas tracks this female figure’s “hospitality,” her adaptation across technological eras, social contexts, and historical situations.
As a way to diversify and extend this archive, Marsh invited five performers to reanimate, modify, contest, and improvise gestures into short dance phrases enacted in a volumetric video capture studio. The five Atlas_ works on view turn the raw image-data harvested in this process—also called two-dimensional image maps or atlases—into wallpaper, an astute strategy that brings critical attention to the violence that is at the core of digital imaging: 3D asset construction flattens out and tears bodies into sections. Bodies have long been the subject of, and subjected to, the regime of the image: they drive image innovation and are in turn shaped by images. While violence and care are our inheritance, how can we construct non-violent images and worlds?
Lynne Marsh’s practice questions the status of the image through mediation, technology, and production. The ideas central to Marsh’s research include offstage space; production-in-production; affective and cultural labor; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Solo exhibitions of her work have been presented at UCR ARTS Riverside, Riverside, CA (2021); Tintype Gallery, London (2018); Berlinische Galerie, Berlin (2017); Opera North, Leeds (2015); ICA, London (2015); Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has also been featured in numerous group exhibitions and perennial events including La Biennale de Montréal (2014); Manif d’art 5–The Québec City Biennial (2010); and the 10th International Istanbul Biennial (2010).