b'same place as her large watercolor study was made, each of the videos is factually the record of something that happened in the very place represented by that boldly graphic hand-painted watercolor seized on the spot. Corresponding to the briey indicated painted images of picnickers congregating beyond trailing branches, quickly noted as delicate arcs and arabesques of various colors, the moving video images in the frame appear like satellites in what has become a pictorial universe. In this expanded way, the alternative experiences represented in her work are both panoramic and diaristic. Although they had little, if anything, to do with her developing ideas, the precedents for Janets video frame include all the elaborate individualized borders and frames for ambitious 16th- and 17th century paintings and tapestries, with small vignettes related in meaning to a grand central image. The Belgian lmmaker Agnes Varda referred to such precedents when describing her 2006 installation, Les Veuves de Noirmoutier, at the Fondation Cartier in Paris, with one lm projected on a large central screen while interrelated lms are projected on smaller surrounding screens, all devoted to the same place and people. As modern artists who both convey overlapping visual experiences as parts of a whole, Varda and Janet also share an indifference to the widespread disregard for framing as a distraction in mainstream art since World War II. Last-minute delivery delays of essential components notwithstanding, Janet was eager to exhibit Study #9 with its video frame at the end of 2015 in Iowa at the Dubuque Museum of Art. She had accepted an invitation to exhibit some of her recent works in her hometown alongside some of the ceramic sculptures created by her artist daughter Kathy (enchanted woodland gures, some illuminated with tiny electric lights inserted inside body cavities to reveal key miniature details). TING ,SCA N TH ISQRCODE,ORVISIT:OMAlthough they work completely independent of each other, mother and daughter both welcome technology as an essential new art supply. And seen together in this exhibition, the contrasting, yet altogether sympathetic works by the two Ruttenbergs, recalled similar interrelationships between works by members of other rare artist dynasties, the Calders, for one example, or the Wyeths, the Tony Smiths, or the Starrs. HTT P://WWW .JANE TRUTT EN BERG .C /PERF ORM AN CE6A closely related smaller work that Janet prepared especially for the Dubuque exhibition was no less experimental than the video frame and no less signicant for the rapid development of her multimedia aesthetic. The underlying matrix image for the so-called Magnet Collage was a fulls-cale inkjet print reproduction of a section of the boldly gestural central right-hand section of Study #9. Always on the lookout for parallels to Janets work in mainstream contemporary art, I nd it fascinating how the celebrated German artist, Gerhard Richter, started coincidentally, around 2012, to use inkjet print reproductions of his own works as the literal backgrounds for subsequent TOSE E ALLTHEVIDE OSINTHEPAINworks superimposed over them. Janet mounted the large photographic reproduction onto a metal backing with round plastic-covered magnets. Rather than glue, she used the same fasteners to magnetically attach multiple collage elements across the foreground, the edges left loose to curl slightly: an assortment of racially diverse single gures and couplessome making loveleaves, a bird, all excerpted from photographs that she had taken at the Sheep Meadow. Additionally, in the very middle of the foreground Janet inserted three contiguous screens like those used as bordering elements for her Study #9 frame. These three screens played two se-quences of video images as a continuous loop. One sequence included images of small children of various races playing in wonderment amidst the branches of a small tree, a sort of Central Park OPPOSITEVoyeur, 20132017, watercolor, uorescent acrylic, cut-paper collage on paper, 192 x 71 inches. The work includes eighteen LCD screens and a soundtrack of music and poetry readings. Video subjects include squirrels, children swinging on trees, the movement of branches over the Essex House sign, and reections on a picnic plate. 60 61'