Nadine Robinson: Alles Grau, The Studio Museum in Harlem, New York (2006)

Blurring the boundaries of perception, Nadine Robinson’s installation alles grau presented an original soundtrack for modern civilization and an apocalyptic landscape of time. Translated from German, the title, alles grau in grau malen, meant “to paint everything grey or pessimistically.” The larger-than-life grey panels, speakers, smoke, light, and throbbing acoustics suggested Biblical depictions of the end of time. Robinson referred to these doomsday narratives as part of “the specter of Revelation,” which “loomed in the popular imagination” at the time.

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Nadine Robinson: Alles Grau, 2006