In April 2012, the Arts Research Center presented Making Time: Art Across Gallery, Screen, and Stage, a three-day symposium that featured keynotes by curators Sabine Breitwieser (MOMA) and Jens Hoffmann (CCA Wattis Institute for Contemporary Art) and choreographer Ralph Lemon, and conversations with the artists Daniel Joseph Martinez and Allan de Souza. Many other distinguished […]
Several hundred audience members gathered at the Berkeley Art Museum to hear keynotes by curators Sabine Breitwieser (MOMA) and Jens Hoffmann(CCA) and choreographer Ralph Lemon, as well as conversations with artists Daniel Joseph Martinez and Allan de Souza,and panels of artists, curators, and scholars from across the country discussing “Performance and the Art World,” “Screening Time,” “Dancing in the Museum,” and “Curators Re-Skilling/Critics Re-Thinking.”
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As a description, “time-based art” has always struck me as a bit off. But not so much because its baggy scope enables a sometimes arbitrary and lazy lacing together of dizzyingly disparate works across media. In fact, this ruled but unruly interdisciplinarity seems mostly a virtue, the whole point: to think through dance, film, visual art, music, theater and performance adjacently and synchronically.
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For me, one of the places where this kind of practice emerged is the series of concerts that La Monte Young organized at Yoko Ono’s loft in 1960-1961. It included work by composers and musicians (Henry Flynt, Toshi Ichiyanagi, Richard Maxfield and others), with experimental dance (Simone Forti), poetry and theater (Jackson MacLow), and a sculptural installation (Robert Morris).
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Visual art and performance are in a classic bad relationship. Art stays for the sex, the good times, the feeling of being alive. But art will belittle performance in public, will call it late at night but won’t let it stay over, doesn’t really believe what performance does is valuable.
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The debate over Michael Fried’s “Art and Objecthood” some time ago raised an awareness that sculpture could be a time-based art, and that the time of art belonged principally to the beholder in a situation of viewing that Fried characterized negatively as “theatrical” but that was also reclaimed positively by others. Since then I think the term “theatricality” has given way to the term interdisciplinarity.
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The Arts Research Center is pleased to welcome Sabine Breitwieser, Chief Curator of Media and Performance Art at the Museum of Modern Art, for a week-long residency at UC Berkeley as a 2012 Regents Lecturer. Her visit kicked off on Sunday, April 15 in the galleries at the Berkeley Art Museum, where she and curator Constance Lewallen discussed the current exhibit “State of Mind: New California Art circa 1970.”
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Time based art is when the artist has the control of a certain choreography of a sequence of images and/or live events and determines how the audience is encountering it. It usually also involves a number of media and is rather organized cross-media or inter-media.
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For me, it’s hard to imagine a work that does not include time as material. Perhaps timeless masterworks once existed? Of course, to say that they used to exist would imply that they existed, once, in time. It was the claim of “ruin value” that a work would endure to such an extent that it could be, or at least seem, timeless.
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The Greek language refers to choreography as “dance writing” from the words χορεία (circular dance) and γραφή (writing). I have come to understand that choreographers practice the art of designing movements, in some specified form, through time.
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