Judith G. Levy
Memory Cloud

Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
Indianapolis Museum of ArtMemory Cloud
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Memory Cloud
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Memory Cloud
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Memory Cloud #1
Indianapolis Museum of Art, 2009/10
an interactive installation
My work is about history, culture, and identity. Memory Cloud explores American culture as it depicts midwesterners from the 1940's to the '70's. My most recent installation of this work was commissioned by the Memorial Art Gallery (Univ. of Rochester) in Rochester, NY for a centennial exhibition, Memory Theatre.

I have included images of both the current installation and the first Memory Cloud that was commissioned by The Indianapolis Museum of Art. Some of the plastic viewers and images were used in both pieces, and each installation was a site specific design.

MEMORY CLOUD
at the Memorial Art Gallery, Rochester, NY in 2013
a commissioned installation for the Memory Theatre exhibition

MEMORY CLOUD
at The Indianapolis Museum of Art in 2009/2010
a commissioned installation for the Efroymson Family Entrance Pavilion

Click here to view my Indianapolis Art Museum Artbabble interview.

Each Memory Cloud is comprised of hundreds of small, plastic, souvenir viewers that each hold a unique 35mm slide. This first souvenir viewer that I'd ever seen was the one that was given to me to commemorate a family visit to a dude ranch, when I was a teenager. The slides in this work are from my collection of thousands of found images of Midwest life, travel and vacations photographed from the 1940's to the 1970's. The plastic viewers hang on metal chains to form a very large cloud. This installation explores how photography helps to capture and preserve memories and provokes museum attendees to retrieve memories of their own. Some of the plastic viewers are out of reach and represent memories that cannot be recalled, while other plastic viewers allow partial glimpses of the photos inside to acknowledge the elusive nature of some memories. The viewers that are within reach can be held up to the light to see explicit images. Altogether they address the individual and collective experience of remembering.

The effort to create memories via photographs acknowledges our desire to transform experience into something that can be retrieved at a later date. Photographic images, even those depicting the most ordinary events, play a significant role in creating individual identity and affirming cultural heritage. Memories often become more powerful, when they are shared with others. Many of the photos demonstrate how ordinary moments feel extraordinary to the person taking the picture, even if the photo is badly lit or poorly composed.

The pleasure and pain of remembering remain an integral part of human experience. We grieve memory loss, both in ourselves and in those we love, in the belief that forgetting robs us of our humanity.
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