3. Submit 5 Research Journal posts to your Tumblr blog.
The Way Things Go (Der Lauf der Dinge) 1987 by Peter Fischli and
Describe the Form of the work: The work documents a long causal chain assembled of everyday objects, resembling a Rube Goldberg machine.
Content (what is the message) discern content of the work: the chain reaction embodies time in its kinetics: one thing leads to the next in (what appears to be) a continuous sequence in real time. No narrative, just domino effect where it can be viewed as a kind of clock itself (TIME p. 33).
Process describe the artist’s process as you think it might have been done (how was the work built): The art installation was in a warehouse, about 100 feet long, and incorporated materials such as tires, trash bags, ladders, soap, oil drums, old shoes, water, and gasoline. Fire and pyrotechnics were used as chemical triggers. The work is nearly 29 minutes, 45 seconds long, but some of that is waiting for something to burn, dissolve, or slowly slide down a ramp. The work is presented as a single sequence of events.
Why did you choose this work: I thought it was a creative way to express time as a continuous reaction with no start, middle, or end; the chain itself is the outcome.
Ann Hamilton – Dominion Installation - 1990
Describe the Form of the work: large-scale multimedia installations. Her emphasis on time, not only as a process but also as a material itself and for its relation to the experience of the body.
Content (what is the message) discern content of the work: working with natural (temporary) materials and processes to express the impermanence of their existence and ultimately, representing the changes associated with change and embodying time.
Process describe the artist’s process as you think it might have been done (how was the work built): Using time as process and material, thousands of moths went through metamorphosis in her installation and large open area.
Why did you choose this work: the remarkable amount of materials and the idea of art changing over time is interesting to me.
Ann Hamilton - The Event of a Thread installation
Describe the Form of the work: new large-scale installation for the Wade Thompson Drill Hall. Commissioned by the Armory, The Event Of A Thread references the building’s architecture.
Content (what is the message) discern content of the work: readings, sound, and live events within a field of swings that together invite visitors to connect to the action of each other and the work itself, illuminating the experience of the singular and collective body, the relationship between the animal and the human
Process describe the artist’s process as you think it might have been done (how was the work built): combines the ephemeral presence of time with the material tactility to create in her huge installations
Why did you choose this work: I thought her giant scale installation was a beautiful and creative method in representing life cycles in an enclosed space, and thus, embodying time within the space.
Amy Stacey Curtis pendulum III
Describe the Form of the work: 9 metronomes, pedestal, aluminum, audience, sound, presented at slower tempo (each metronome set at 60 beats per minute), . (each metronome: 9”x5”x5”; pedestal: 36”x72”x15”)
Content (what is the message) discern content of the work: the collective rhythm of each of the metronomes was consistently changing and represented the reality that time is forever-changing.
Process describe the artist’s process as you think it might have been done (how was the work built): Curtis restarted metronomes simultaneously every time they stopped using tool she built.
Why did you choose this work: I thought this work was a simple yet very effective representation of how time is always ticking around us and yet, not there at all.
Amy Stacey Curtis flux III
Describe the Form of the work: 99 hourglasses, pedestal, labels, audience, 10.9.10-10.28.10
One hourglass for each hour of biennial on 64-foot-long pedestal,
Content (what is the message) discern content of the work: That we affect everyone and everything, while everyone and everything affects us, no matter how small or fleeting the contact.
Process describe the artist’s process as you think it might have been done (how was the work built): The artist inverted the first hourglass at 12 pm on October 9, 2010, marking start of exhibit. Subsequent hourglasses were inverted successively by the artist and participants, one per exhibit hour.
Why did you choose this work: I chose this work because the hourglasses gave a very soft and elegant representation of time. I also appreciated its simplicity in its form.
2. Submit 3 project ideas. Each idea should be a paragraph (~5 sentences) in length and should detail the form, process, and content of your proposed project. Use the questions listed below to help drive your ideation process. Sketches are encouraged.
1. My first idea for the Project 1 about TIME is to have a series of polaroid photos (some important and some unimportant to me) and have them piled up or grouped together as a representation of memories that I have accumulated throughout my life and over time. I would place the insignificant half of the photos outside (or in a non-secure environment) and sequence them up on a string and hang it across my porch like a clothesline. The other half of the photos that are important (these might be Polaroids of the original photos or just the original photos themselves) to me I would keep inside or in a place where they would be less damaged, and they would also be grouped together on a corkboard or something. I would document both sets of photos by taking pictures each week to see how many, which, or if any photos had blown away, fallen, or been damaged in some way. This idea of losing the photos is symbolic of the loss or alteration of memories we all experience and that everything is at one point forgotten with time. Our memories fade, much like the disappearing photos. Our inevitable reality of getting older and altering or losing memories, symbolizes our impermanence and represents the ever-continuing reality of time.
2. The second idea is putting a flower or a piece of fruit in a jar or a vase and taking photos of it each day to document as it decays. This process of decay is symbolic of time passing and surpassing our existence.
3. My third idea was to document this traffic light I got by nearly every day but I would take a photo of it weekly. The light is at an intersection that I frequently wait at, and taking these photos for the whole semester would show the progression of the right, green, yellow sequence of lights that is constantly changing and reoccurring. This cycle of the changing of the streetlights symbolizes the passage of time and furthermore stresses the notion of the cyclical seasons and the changes that occur with the start of each cycle. Time is symbolized by the cyclical nature of our world by the seasons, that it keeps going and turning and repeating.
1. READING RESPONSE: Respond to the assigned readings in 250 words. (Example: how did the reading change how you look at time? What part of the reading you found most interesting and why? Did the reading inspire you to make something? What? Did you have difficulty with the reading? Why?) The reading ‘TIME’ definitely presented a new and informative understanding of how the theme of ‘time’ has been the focus of countless visual artists’ work and a fundamental subject in the rich movement of contemporary art. The text was especially helpful in clearly explaining the various forms, types, concepts, and uses artists employ when representing and making ‘time’ visible in their artworks. The part of the text I found most interesting was reading the distinction between what it means to have works of art that embody time and those that represent time. Also, learning about static and kinetic forms and the different ways in which time is used (actual time, time as it is depicted, time as an experience, and the metaphoric level of the meaning of time) helped me comprehend how the representation of time appeared in artworks from the mid-nineteenth century on. Observing the materials as they are changing in a work of art (changing as in the breakdown of their form into parts) will, over time, result in the artwork to no longer exist. The actual presence of the work itself is impermanent. This notion inspired me to make something (a work of art) using transient materials, which I would use to successfully make an installation piece which embodied time by incorporating the deterioration. This appealed to me because the approach focuses on artwork about ideas rather than the art objects (TIME p. 45). I didn’t have trouble with the reading, however, it was quite extensive but I enjoyed reading it.