b're-enactment of Robert Frosts poem, Birches, with a soundtrack read by William Blakemore, a retired journalist who introduced himself to Janet in the Park, curious to know what she was doing day after day, only to be recorded. The other video sequence featured the remains of an elaborate picnic spread across a cloth, zooming in on a single glistening plate, its rim reecting the windswept treetops. The soundtrack for this video is a reading, by the Dubuque, Iowa, actress Kate Mulgrew, of Emily Dickinsons A Light Exists in Spring. This plate of reected light has been among Janets favorite motifs. The soundtrack for Magnet Collage turned out to be a prototype for similar compilations of audio collage in Voyeur and The Tarot Card. Contrasted and merged into a single Gesamtkunstwerk, as they were in Magnet Collage, the various modes of representation (recorded sound, photography, video, painting) in their diversity capture the artists own shifting experiences as an observer and the complicated stages of her artistic response. Back in New York, by the end of 2015, Janet was already designing a more intricate video frame from the same cell-phonesized screens for E=mc 2(now with all 149 screens synchronized), a monumental painting-in-progress, predominantly yellow at that time, never yet exhibited. From HTT P://WWW .JANE TRUTT ENBERG.COM/TKTKTKTKTKTKTK that time on, her painting and its video components have evolved in tandem as a single integrated whole. It was immediately apparent that the width of E=mc 2on its 180-inchlong stretcher did not correspond exactly to the width of any number of aligned screen modules (each. 4.7 inches wide). To compensate for the not-quite-two-inch gap resulting from this discrepancy, Janet had the idea to use strips of tin ceiling trim as a rabbit between the sides of her canvas and the inner edges of the screens, arranged as a large, open rectangle. Adding a corresponding rectangular strip of tin molding around the screens outer edges, Janet fashioned a simulacrum of a stereotypical frame, the texture of the trim lightheartedly mimicking the look of the elaborate carved frames standard for pre-modern art. The framing elements of her works are, of course, no less likely to undergo modication and change than the details in her landscapes or the treatment of her gures. SCANTHISQRCODEORVISIT:Already by 2021, she had decided to scrap the tin trim. As this multimedia work evolved, the LCD screens that frame E=mc 2were programmed to display ve video montages consecutively, together lasting nearly nine minutes. Composed partly with ABOVE AND OPPOSITEDetails of Voyeur.OVERLEAFThe Tarot Card, 20172020, inkjet on paper, cut-paper collage with projected video, 110 x 180 inches. One hundred and ten independent LCD screens simultaneously display all of the Central Park videos taken by Janet. Two large screens display a slide show of all of her gure sketches and watercolors and a selection of her still photographs. This work of art began as a way to review the full extent of the multimedia Central Park catalogue. The nished work displays all the guts of the video components of the workthe spaghetti of green USB cables, power boards, and media players. Janet added collages of the morning glories on the fence that encloses the Sheep Meadow to the back and a soundtrack recorded in the park. 6263'