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April 19, 2012

Making Time: Laura Richard
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.
Making Time: Liz Kotz
I’m not sure how useful the concept of “time-based art” is. It lumps together things that have nothing in common, and artificially separates things that do.
Making Time: Mark Franko

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.

Making Time: Sabine Breitwieser

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.

Making Time: Darsie Alexander

The phrase “time-based art” suggests a bygone era when ephemerality, duration, and process were the attributes of a radical new art that found its outlet through performance and its documentation through the camera. “Time-based” conjures the live experience attempting to find a permanent form in something tangible (and also, preferably, “time-based”) like a photograph or raw video footage.

Making Time: Rebecca Schneider
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. But this claim is clearly, itself, time-based.
Making Time: Jens Hoffmann

I would like to offer another mode of thinking about performance and the exhibition that is less involved with the various structures of the art world and more in consideration of the experience of the exhibition and the artwork itself. This is to say my thinking around the subject of the conference is informed by a set of parameters located quite specifically within the exhibition itself and my practice has very much developed in consideration of what kind of experiences can be made possible within that space.

Making Time: Joe Goode
Dance has been traditionally perceived as a time based form. The conventional wisdom is that a dance should have a beginning, a middle, and an end. Merce Cunningham disrupted this to some great degree by corrupting the linearity of sequence in his dances. Chance processes allowed shards of the dance to appear and disappear at different times. He also went a great distance to getting dance out of the proscenium box and into spaces that were more level with the viewer (museums, warehouses, studios).
Making Time: Ferran Barenblit
I have been using the concept expanded event for some years as a way to refer to time-based art. With this concept I have referred to those works, mostly shown in exhibitions, which experiment with some kind of change during the time they stay on view to the public.
 
Making Time: Shannon Jackson
I come to the questions of Making Time from the field of performance–and before that, the field of theatre.  This is to say that, for a long time, the term “time-based art” did not mean that much to me.  It sounded confusing, or maybe even redundant.
Making Time: Lawrence Rinder

To me, time-based art could be anything that is art and takes time. Time-based art could include video, film, performance, net art, etc. These are a diverse array of practices and I’m not sure that they have anything particularly meaningful in common. Time itself is not a clear differentiator since even static works take time to view. So time as part of any art experience is inescapable.

Making Time: Jonah Bokaer

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. 

MAKING TIME: Nora Alter

Don Delillo’s 2010 novelPoint Omega opens and closes with a lengthy meditation by a nameless character on Douglas Gordon’s 24-Hour Psycho, 1993. The first section plunges the reader into a detailed observation of Gordon’s video-sculpture as it was installed on the sixth floor of New York’s Museum of Modern Art in September 2006.

April 16, 2012

ARC Welcomes Sabine Breitwieser to Berkeley
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.

April 12, 2012

Making Time – Keynote

Jens Hoffmann, Wattis Institute for Contemporary Arts, California College of the Arts
Introduced by Christina Linden, independent curator
Response by Rebecca Schneider, Theater Arts & Performance Studies, Brown University

Watch the video here!

March 16, 2012

Art/City: Mary Ann Merker
“In relation to the arts and civic life, the question I am wrestling with right now is…” leveraging funding due to the budget problems currently in place with local governments. The silver lining in this money challenge is the new partnerships we have been able to forge with community agencies that are not the “usual suspects.”
Art/City: John Spiak
Can an institution expand upon its current, more traditional, institutional structure – a structure in which community members must physically enter its doors to engage – to create a new vision that breaks down the barriers, creating an institution that considers its entire community as its activation space.
Art/City: Harris Steinberg
In relation to the arts and civic life, the question I am wrestling with right now is how to balance support for the organic growth of a grassroots art culture and arts organizations with traditional institutional art venues, offerings, management and support.We are currently conducting a study for the William Penn Foundation that investigates the impact that a contemporary performing arts festival has had on neighborhood revitalization in Philadelphia.  The Philadelphia Live Arts and Fringe Festival have been successful over the past 15 years in helping to create an identity for Philadel
Art/City: Sue Bell Yank
In relation to the arts and civic life, the question I am wrestling with right now is whether it’s possible for arts organizations and artists to willfully create the conditions for long-term civic redevelopment and permanent social change on a large scale.
Art/City: Kathleen Reinhardt
In relation to the arts and civic life, the question I am wrestling with right now is… how engagement-based practices through an anchoring of the artist in the community and space-making through art can occur and why. I am focusing on several projects by black artists (Wangechi Mutu, Edgar Archeneaux, Rick Lowe, Theaster Gates) committed to creating sustainable cultural moments, and how these cultural moments can be of importance not only for the community they are created in, but also for an art audience.