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Working Across a Range of Media Including Video, Sound, Performance, Sculpture, Collage, and Installation, New York–Based Artist Sara Magenheimer (B. 1981, Philadelphia, Pa) Disrupts, Manipulates, and Defamiliarizes Language with Bold Combinations of Image and Text. Her Videos Incorporate Traditional Filmic Editing Techniques Alongside Those Inspired by Music and Collage. in Syncopated Progressions of Pictures and Words, Magenheimer Pushes Against the Bounds of Narrative, Charting Circuitous Storylines Through Vernacular Associations That Invite Individual Interpretations. Through Surprising Juxtapositions of Language, Graphic Compositions, and Idiosyncratic Imagery, She Reveals How Visual and Verbal Signs Mutate and Guide Manifold Pathways to Understanding. Magenheimer Will Present a New Video Installation in the Window of the New Museum’s 231 Bowery Building. This Project Is Part of a New Series of Window Installations, Which Relaunches the Program the New Museum Originally Mounted in the 1980s. in Conjunction with Her Window Installation, a Selection of Magenheimer’s Films Will Also Be on View as Part of the Museum’s Ongoing Screen Series. This Project Is Curated by Margot Norton, Curator. Sara Magenheimer Was Born in 1981 in Philadelphia, Pa, and Lives and Works in New York. Recent Solo Exhibitions Include Portland Institute for Contemporary Art, Portland, or (2017); the Kitchen, New York (2017); Art in General in Partnership with Kim?, Riga, Latvia (2016); the Center for Ongoing Research & Projects (Cor&P), Columbus, Oh (2016); Joan, Los Angeles (2015); and Recess, New York (2015). Her Works Have Also Been Included in the Group Exhibitions "Body Language," the High Line, New York (2017); "Cccc (Ceramics Club Cash and Carry)," White Columns, New York (2015); and "Amy Sillman: One Lump or Two," Institute of Contemporary Art, Boston, and Aspen Art Museum (2013–14). Her Videos Have Been Screened at the Brooklyn Academy of Music (2017); the New York Film Festival (2017, 2015, 2014); Images Festival, Toronto (2017); Anthology Film Archives, New York (2016); Empac, Troy, Ny (2016); and the Museum of Contemporary Art Chicago (2015).

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But these complexities only emphasize the point Mitski returns to on each of her records: love is manifold. Romance is all consuming and breathtaking; intimacy can be a cycle of toxic stillness. Be the Cowboy is a definitive statement on the myth of perfection. She can stretch to the heavens and sink into the ground. She can be everything at once, again and again. “I thought I’d traveled a long way / But I had circled the same old sin,” she gravely bellows on “A Horse Named Cold Air.” To the two elderly subjects of the devastating closer “Two Slow Dancers,” all those complexities can be relieved beneath the glow of a disco ball. In the album’s last breaths, the spotlight slowly fades from Mitski. She might be exhausted, but she is insatiable. (Pitchfork)

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Record catastrophe ? how about record amounts of the means to record and relay that info into the faux news(with it’s agenda). The Warmists with there “Post religion “guilt, have to fladulate it somewhere. Set default to pre-historic superstitions of cause and effect. Give your chief” Tribute”. And before you go on war path, check the manipulation removal and selection of weather stations on which the “data” depends. Even then it still didn’t fit the warming agenda!