b'card from the Healing With the Fairies Oracle tarot deck. Thats how something she never saw for herself became the new title of Janets multimedia extravaganza: The Tarot Card. The large central image for The Tarot Card consists of full-scale color inkjet print reproductions of both the lower and upper sections of Study #49, 2017, from her ongoing series of roughly 10 x 15foot format Sheep Meadow watercolors. The lower section of Study #49 pictorializes the sun-brightened lawn with scores of small, very loosely rendered gures, most prominently the three card-players seated together. As painted gures, Janet surrounded the card players with impa-tientcalligraphicbrushworkforthegrass,andsplatteredspotsofshadowandlightltered through overhead leaves. The upper section includes glimpses of the distant skyline along Central Park South visible through an irregular latticework of elm branches. Carefully aligned with one another, these inkjet prints are mounted with magnets to a metal backing that stands elevated like an altarpiece on something like a pedestal or console, the front of which is covered with 110 cell-phone-sized simultaneously active LCD monitors arranged like bricks in a wall, similarly to how the screens had been organized in her studio for consultation. Janet elaborated the bottom section of the inkjet reproduction of Study #49, with roughly a dozen for the most part irregularly shaped collage elements excerpted from her vast collection of her own Sheep Meadow snapshots: single figures or groups, some familiar from previous works, often racially diverse, many seated on blankets. An exception is the reproduction of a hand-painted gure of a seated guitar player (a detail from Study #23, 2016). As if to accompany the mute image of the guitarist, on the left Janet collaged a photo of her beloved accordionist in heels wearing an over-the-head unicorn mask. As per long-standing practice, Janet did not glue the photocollage elements to the background, instead attaching them here with her special magnets, often placed to allow their edges to curl a little of their own accord, perhaps to acknowledge the co-existence here of different media with distinct materialities, perhaps to reference the artists prerogative to change. The images of musicians are, of course, visual links to the soundtrack that Janet added as yet another dimension for The Tarot Card, compiled from eld recordings made at the Sheep Meadow, extending the scope of her interwoven representations of this special place: music reacts with sudden annoyance when she looks over his shoulder and notices an observer with aperformed, poetry recited, conversations in different languages, a crying baby. The most moving camera. Janet, of course, in the act of looking.section of this particular soundtrack is the appreciation of the Peoples Park voiced by Ira Millstein, trustee and former chairman of the Central Park Conservancy. A mea culpa on the part of the artist, the title Voyeur refers to this brief video episode. Although this is not the place to consider voyeurism as a constant factor throughout Janets Central ParkAttached at the center of the inkjet print of the lower section of The Tarot Card, a 5-inch tablet works, it is important to realize that she shares an interest in this theme with many contemporaryscreen plays, one after another, images of all the gure drawings that Janet ever made in the artists. Voyeurism and surveillance in contemporary photography was the subject of a surveyCentral Park over decades, each comparable in intent to the sketches of life models in quick exhibition organized in 2010 at Londons Tate Gallery.poses at evening classes. Included at the center of The Tarot Card, the randomly sequenced images of her drawings provide a visual commentary of the artist at work, evidence of decades of With several multimedia paintings like Voyeur under way, as a practical matter, Janet had rows ofaccumulated experiences, similar subjects treated again and again, each time seen anew while LCD screens mounted on one of her studio walls, each programmed to show a single video,inevitably seen through recollections of countless previous observations. No different in concept, allowing her to make selections from among them as needed. This functional compilation on thethe console of 110 display screens shows all of the hundreds of brief videos the artist has so far wall, with scores of wires for power, became visually and conceptually fascinating in its own right,made at the site. Each screen shows four or ve of these video clips in a loop. Of course, the and consequently helped to trigger the most elaborate of all Janets multimedia works to date. Athundred-plus moving images that are visible randomly at any one time constantly distract from rst, she entitled this gigantic electronic collage Magician after a group of card-playing boys thateach other. Unavoidable temptations to artistic concentration, these ickering distractions quite she both painted and captured on video, eventually projecting the latter onto the former. Whenliterally are the base, if not the basis, for the large, elaborated reproduction of Watercolor Study in early 2020, she showed this particular video clip to her sharp-eyed magician friend, Doug#49 that they appear to support. Mackenzie, he noticed that the card held up by one of the boys was the Raising Your Standards As if there were still too few images and sounds to process, Janet inserted a seven-inch tab-PREVIOUS PAGESBlue Jean / Condoms, 2007-2019, oil on canvas, 96 x 180 inches, with neon tube visiblelet screen at the center of the 110 cell-phone-sized screens. Here a succession of her Sheep through slit canvas. Frame composed of 158 Raspberry PI boards and 4 programed LCD screens.ABOVEBlueMeadow photographs appears, along with a voyeuristic video documenting a party with a gure Jeans / Condoms in 2013.in scanty motorcyclecouture.Generallyopposedtohidinganything,Janetamassedallthe 7677'