Tag Archives : making time

Making Time Now Viewable Online

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 […]

Making Time: Afterwords (and Images)

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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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.

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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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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.

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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.

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