#judith henry

[lemaldusiecle]

Germinal (1993)

« Puis, d’une chose à une autre, elle en arriva, sans savoir comment, à parler du ruban bleu qu’elle n’avait pu acheter.

— Mais je vais t’en payer un, moi ! cria-t-il.

Elle rougit, sentant qu’elle ferait bien de refuser encore, travaillée au fond du gros désir d’avoir son ruban. L’idée d’un emprunt lui revint, elle finit par accepter, à la condition qu’elle lui rendrait ce qu’il dépenserait pour elle. Cela les fit plaisanter de nouveau : il fut convenu que, si elle ne couchait pas avec lui, elle lui rendrait l’argent… »

[genevieveetguy]

He has astonishing capacity to do nothing.

The Apprentices (Les apprentis), Pierre Salvadori (1995)

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of May 21st, 2019

Echo-logy by Allan Kaprow- New York: D'Arc Press, 1975

Orgasms by A.S.A. Harrison- Toronto, ON: Coach House Press, 1974

anonymous true stories by Judith Henry - New York, NY : 1996

[lemaldusiecle]

French actress Judith Henry in La Discrète (1990).

[newyorkarttours]

Judith Henry at Bravin Lee Gallery

Titled ‘Casting Call,’ Judith Henry’s installation of 300 small abstract sculptures look like mini-cobbled together robots or tools. Featuring eyes or resembling cameras, some meet our gaze; others appear to be small totems, like the figure at front here, resembling Shiva surrounded by a ring of fire. (On view at Bravin Lee in Chelsea through Feb 17th). Judith Henry, installation view at Bravin Lee Gallery, Chelsea, January, 2018.

[lilmamafromthemiddleeast]

Judith Henry as Catherine in La Discrète (1990) dir. Christian Vincent

[realitealafrancaise]

César du meilleur espoir féminin 1991

[skink-ink]

In a series of black and white photographs, Me As Her, Judith Henry continues her long-standing practice of remaining hidden/masked within her work. She reimagines herself behind masks of significant and accomplished women who have died. The photo-masks themselves reveal very little about the personality they depict, underlining the truth that there is little any of us can know about who we see and who sees us. The photographs are shot in natural light on location within a one-mile radius of her home in Williamsburg, Brooklyn. The appearance of Henry’s hands is itself a reflection of her own aging process and an important signature of each piece.