“Through Lines” moves across spatial dimensions and media, following Baker Cahill as she investigates materiality and immateriality through her progression from drawing into digital works of art in augmented reality (AR). Featuring drawings, sculptural installations and single- and multichan- nel videos, the exhibition traces Baker Cahill’s mark-making from traditional modes of artistic production into technolo- gized ones. The works invite reconsiderations of fine art and the art historical canon in the face of emerging technologies while examining site, time and space as they relate to the physical body, the digital, the permanent and the ephemeral. “Through Lines” invites guests and viewers to interact with art outside traditional brick-and-mortar exhibition spaces with an animated, geolocated AR installation in the museum’s Jane and Harry Willson Sculpture Garden. This monumental artwork, “Margin of Errors,” imagines an inevitable and toxic outcome created by humans’ impact on the environment. The title references the statistical probability of an event to occur, in this instance the occurrence of environmental disaster. By placing this work in the museum’s sculpture garden, the exhi- bition underscores the consequences of the impending biolog- ical, chemical and geological disasters that will take place in our own backyards. In the gallery, Baker Cahill’s prints “Slipstream 17” and “Slipstream 18” trigger their own AR animations, bringing static images to life as related videos. The artist’s AR works bridge the physical and virtual worlds through 4th Wall, Baker Cahill’s free AR art platform, allowing viewers to interact with and document themselves with the work. Through their visceral and temporal qualities, Baker Cahill’s AR works help viewers visualize what philosopher Timothy Morton calls “hyperob- jects”: entities of such monumental scale and complexity that they often defy conventional modes of human understanding. By rendering the invisible visible, the artist challenges percep- tion and reveals the unmarked, untold and unimagined.
Nancy Baker Cahill, “Slipstream 100,” 2021 – 23. Graphite on paper and mixed media.
This exhibition will travel in 2024 to two other venues, to be announced.
Curator: Kathryn Hill, curatorial assistant in contemporary art Sponsors: The Willson Center for Humanities and Arts, John and Sara Shlesinger, the W. Newton Morris Charitable Foundation Fund and the Friends of the Georgia Museum of Art.
Nancy Baker Cahill, “Slipstream 18,” 2022. Archival pigment print on paper, printed by Master Printer Lapis Press.
Nancy Baker Cahill, “Slipstream 006-01 AP” (detail), 2021. Archival pigment print, 38 x 38 inches.
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