Art Appreciation

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Chapter 1.5 Motion and Time

PART 1

FUNDAMENTALS

Copyright © 2015 Thames & Hudson

Introduction

Most traditional art media (e.g. painting) are static, but artists have found ways to indicate the passage of time and appearance of motion

New technology and media, such as film and video, allow artists to capture motion and time

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FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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FUNDAMENTALS

Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Moving images are part of our daily life

In the past, our visual experience would be quite different: all art images were still

Motion

Motion occurs when an object changes location or position

Directly linked to time

Artists can communicate motion by implying time or creating the illusion of it

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FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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FUNDAMENTALS

Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Motion

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FUNDAMENTALS

Interactive Exercises:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.5 Motion and Time

Implied Motion

This type of motion is used in static works of art

Visual clues tell us that the work portrays motion

We do not actually see the motion happening

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Gianlorenzo Bernini, Apollo and Daphne

1.5.1 Gianlorenzo Bernini, Apollo and Daphne, 1622–24. Carrara marble, height 8'. Galleria Borghese, Rome, Italy

Gianlorenzo Bernini, Apollo and Daphne

The sun god Apollo falls madly in love with the wood nymph Daphne

As she runs away terrified, her father saves her by transforming her into a bay laurel tree

Diagonal lines convey the action

The pivotal moment is frozen in time

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Seventeenth-century Italian sculptor Gianlorenzo Bernini (1598–1680) illustrates the ancient Greek myth

Daphne’s fingers sprout leaves as bark encases her legs

She could no longer be Apollo’s wife, instead becoming his tree

Apollo made the laurel wreath his crown

Gianlorenzo Bernini: The Ecstasy of St. Teresa

Video:

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Video:

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Portal Artwork: Camille Claudel, The Waltz

3.8.19 Camille Claudel, The Waltz. Bronze (posthumous edition), 16⅞ × 14⅜ × 6¾". Private collection

Another great example of implied motion is The Waltz, by Camille Claudel.

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Artwork: Giacomo Balla, Dynamism of a Dog on a Leash

1.5.2 Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 35⅜ × 43¼".

Albright-Knox Art Gallery, Buffalo, New York

Giacomo Balla, Dynamism of a Dog on a Leash

Balla was an Italian Futurist

Conveys a sense of forward motion

A series of repeating marks in the dog’s tail, feet, and leash communicate rapid movement

PART 1

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Giacomo Balla (1871–1958) paints the dog’s tail in eight or nine different positions

The leash is an implied line, repeated in four different positions

The Illusion of Motion

Artists create an illusion of motion through visual tricks

Our eyes are deceived into believing there is motion as time passes, even though no actual motion occurs

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Jenny Holzer, Untitled

1.5.3 Jenny Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series,

The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED, electronic display signboard, site-specific dimensions. Solomon R. Guggenheim Museum, New York

Jenny Holzer, Untitled

In Holzer's Untitled Tiny LEDs (light-emitting diodes) are illuminated in an automated sequence

The messages appear to scroll up the circular atrium, although the text does not actually move

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

American artist Jenny Holzer (b. 1950) created this installation in the Guggenheim Museum, New York (designed by Frank Lloyd Wright)

Holzer used this illusion to invigorate her messages and critiques of society

Artwork: Bridget Riley, Cataract 3

1.5.4 Bridget Riley, Cataract 3, 1967. PVA on canvas, 7'3¾" × 7'3¾". British Council Collection

Bridget Riley, Cataract 3

This artwork is an example of Op art (Optical art)

If we focus on a single point in the work, the image appears to vibrate

We can see this optical illusion because Riley uses sharp contrast and hard-edged graphics set close together

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

British artist Bridget Riley (b. 1931) was part of the Op art movement

During the 1960s, painters in this style experimented with discordant positive–negative relationships

This optical illusion grows out of the natural physiological movement of the human eye

Stroboscopic Motion

When we see two or more repeated images in quick succession, they appear to fuse together

Basis for early attempts to show moving images

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Stroboscopic Motion

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Interactive Exercises:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.5 Motion and Time

Artwork: Phenakistoscope

1.5.5 Phenakistoscope, or “Magic Disk,” c. 1840. Wood and glass with 8 paper disks. Made in France

Phenakistoscope

This device, meaning “spindle viewer” was invented in 1832

Features a series of drawings placed on one side of a disc

Viewer looks through a slotted disc while the illustrated disc is spinning to see images appear to move and repeat

PART 1

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Gregory Barsamian, Drum 52

1.5.6 Gregory Barsamian, Drum 52, 2013. Kinetic sculpture/installation:

steel, ureathane foam, sculpy, strobe light, motor. Artist’s collection

Gregory Barsamian, Drum 52

This artwork was intended to be viewed in an environment with strobe lighting

Kinetic, or moving, sculpture and also an installation

Without the strobe's pulsing effect, the image would disappear into a blur of motion

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Frame from Finding Nemo

1.5.7 Frame from Finding Nemo, 2003. Duration 100 minutes. Director Andrew Stanton, Walt Disney Pictures

Frame from Finding Nemo

This movie was compiled from individual frames that were generated using 3-D modeling software

Animator produces sequenced frames, played in rapid succession

Committed to film or digital media for distribution to movie theaters

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Animation

Video:

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Video:

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Scene from Run Lola Run

1.5.8 Scene from Run Lola Run, 1998. Duration 81 minutes.

Director Tom Tykwer,, X-Filme Creative Pool/WDR/Arte

Scene from Run Lola Run

The plot follows Lola who must save her boyfriend within 20 minutes

Story reboots three times, each time with a new set of circumstances

Film reinterprets time and demonstrates the impact that a few seconds’ difference can make

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

“Movie” is an abbreviation of “moving picture”

Director Tom Tykwer (b. 1965) sets the film in Berlin

Lola receives a panicked call from her boyfriend, Manni

He is threatened by a mobster demanding 100,000 Deutschmarks (approximately $70,000)

Lola tries to save his life, but gets shot herself

As the story begins again, she is partly prepared from the first version of events

Viewer is engaged and can explore the characters in greater depth with each reset

Actual Motion

We see actual motion in artworks that change in real space and time

Examples include kinetic art (a work that contains moving parts) and performance art

In performance art, the artist’s intention is to create an experience rather than an art object

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Performance art emerged during the 20th century with such artists as Joseph Beuys (1921–1986)

Following his traumatic experiences in the German Air Force in WWII, Beuys performed what he called actions

Actions were self-performed situations in which Beuys would interact with everyday objects; for example animals, fat, machinery, and sticks

By putting common items in new situations, he conjured up different ways of thinking about our world

He once played a piano filled with animal fat that changed the sound and mechanics

Actual Motion

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Interactive Exercises:

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Chapter 1.5 Motion and Time

Portal Artwork: Joseph Beuys, Coyote, I Like America and America Likes Me

2.10.7 Joseph Beuys, Coyote, I Like America and America Likes Me, May 1974. Living sculpture at the René Block Gallery, New York

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Artwork: Cirque du Soleil performing Totem

1.5.9 Cirque du Soleil performing Totem in Montreal, Quebec, July, 2010

Cirque du Soleil performing Totem

Formed in 1984, this troupe is a touring entertainment act

French for “Circus of the Sun”

Integrates music and acrobatics, enacted before a live audience

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Alexander Calder, Untitled

1.5.10 Alexander Calder, Untitled, 1976. Aluminum and steel, 29'10⅜" × 75'11¾".

National Gallery of Art, Washington, D.C.

Alexander Calder, Untitled

Calder invented the mobile, a type of kinetic sculpture

Relies on air currents to power its movement; constantly changes

Untitled, his final sculpture, is made up of counterbalanced organic shapes

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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FUNDAMENTALS

Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

The earliest kinetic artwork is credited to French artist Marcel Duchamp (1887–1968)

Duchamp mounted a bicycle wheel on a barstool so that the wheel could be spun

American sculptor Alexander Calder (1898–1976) took the name “mobile” from a suggestion by Duchamp

Untitled is made of aluminum and steel; it is suspended in the National Gallery of Art in Washington, D.C.

Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris

1.5.11 Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris (Strandbeest #48), 2009.

Recycled plastic bottles, plastic tubing, PVC pipe, wood, fabric. Scheveningen Beach, The Netherlands

Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris

Jansen's sculptures, "Strandbeests," are carefully designed to appear to move by themselves

Remarkable appearance of continuous movement that looks like an animal walking

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Portal Artwork: Marcel Duchamp, Bicycle Wheel

3.9.8 Marcel Duchamp, Bicycle Wheel, 1951. Metal wheel mounted on painted wood stool, 50½ × 25½ × 16⅝". MoMA, New York

Marcel Duchamp was one of the first artists to create kinetic sculptures.

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Time

Any artwork that deals with events must show how time goes by

Artists find ways to communicate the passage of time and remind us of its influence

PART 1

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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FUNDAMENTALS

Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Time

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Interactive Exercises:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.5 Motion and Time

The Passage of Time

Artists often seek to tell a story

This can be in a single painting

Some artists examine cycles of time

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Chapter 1.5 Motion and Time

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Artwork: The Meeting of St. Anthony and St. Paul

1.5.12 Workshop of the Master of Osservanza (Sano di Pietro?), The Meeting of St. Anthony and St. Paul, c. 1430–35. Tempera on panel, 18½ × 13¼”. National Gallery of Art, Washington, D.C.

The Meeting of St. Anthony and St. Paul

This painting tells a story by merging a series of episodes into one picture

The entire painting signifies a long pilgrimage over time, rather than a single moment

Linear method is still used by artists, comic-book writers, and designers

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Fifteenth-century painters in the workshop of the Master of Osservanza solved the problem of telling a story in a single picture.

The story begins in the upper left-hand corner, where St. Anthony sets out across the desert to seek St. Paul

Next, in the upper right, St. Anthony encounters a centaur (associated with the Greek god of wine, Bacchus)

St. Anthony is not deterred by earthly temptation and continues until he embraces St. Paul in the foreground

Artwork: Nancy Holt, Solar Rotary

1.5.13 Nancy Holt, Solar Rotary, 1995. Aluminum, concrete, and meteorite,

approx. height 20', approx. diameter 24'. University of South Florida

Nancy Holt, Solar Rotary

Holt's sculpture intertwines the passage of time with the sun's motion

At relevant times of the year, the work casts shadows on notable dates set into the surrounding concrete

Center bench is encircled by shadow at noon on the summer solstice

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

American artist Nancy Holt (1938–2014) examines cycles of time in her works

Solar Rotary, located in Tampa, Florida, features an aluminum sculptural “shadow caster” perched on eight poles

On March 27, a circle shadow surrounds a marker recounting a day in 1513 when Spanish explorer Juan Ponce de León first sighted Florida

The center circular bench contains a meteorite symbolizing the connection between our world and the larger universe

Artwork: Hunting Scene, painting from Cova dels Cavalls

1.5.15 Hunting Scene, painting from Cova dels Cavalls (Horses’ Cave), Mesolithic period. Valltorta, Valencia, Spain

Hunting Scene, painting from Cova dels Cavalls

Depicting time in art is not a concept that exists only in the modern world

Shows bow hunters as the bow is aimed; the arrows in flight; and arrows piercing deer

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Ai Weiwei, Dropping a Han Dynasty Urn

1.5.14 Ai Weiwei, Dropping a Han Dynasty Urn, 1995. Three black-and-white photographs, each 53½ × 42⅜"

The three life-sized photographic panels are documentation of the passage of time as the artist committed the irreversible act of destruction.

The left panel shows the artist holding the vase somewhat carelessly

The second shows the vase falling to the ground and the artist’s hands boldly (or shamelessly) in the air

The third photo captures the vase smashing on the ground without any reaction on his part

Ai Weiwei: Motion and Reproduction as a Metaphor for Time

Through time and motion, the artist acknowledges both the antiquity and importance of the object

The images link the old and the new in Chinese art and culture

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Gateway to Art:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Gateway to Art:

Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

In 1995 Chinese artist Ai Weiwei (b. 1957) created a time-based work that sparked great controversy: he was photographed dropping a 2,000-year-old Chinese urn

Chinese ceramics are symbols of centuries-long innovation and ingenuity

References the Chinese government’s similar lack of care and preservation of ancient objects

Dropping A Han Dynasty Vase has sparked a renewed interest in ancient objects that were being taken for granted by the Chinese government and society as whole

The Attributes of Time

Time-based arts, such as film, embody six basic attributes of time:

duration, tempo, intensity, scope, setting, and chronology

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Edison and Dickson, Fred Ott’s Sneeze

1.5.16 Thomas Edison and W. K. Dickson, Fred Ott’s Sneeze, 1894. Still frames from kinetoscope film. Library of Congress, Washington, D.C.

Edison and Dickson, Fred Ott’s Sneeze

Duration (length) is 5 seconds

Tempo (speed) is 16 frames per second

Intensity (level of energy) is high

Scope (range of action) is limited

Setting (context) is Edison’s studio

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Intensity is high because the activity is sudden and strong

Scope is limited because it is confined to a simple activity

Fred Ott appears to be placing some snuff in his nose, recoiling, then jerking forward as he sneezes

Natural Processes and the Passage of Time

Some artists use biology and organic materials to indicate the passage of time in their artwork (bioart)

Organic materials grow and degrade, so work by “bioartists” is always changing

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Artwork: Suzanne Anker, Astroculture (Shelf Life)

1.5.17 Suzanne Anker, Astroculture (Shelf Life), 2009. Aluminum, plastic, red and blue LED lights, plants, water, soil, and no pesticides. Dimensions variable. Vegetable-producing plants grown from seed using LED lights. Installation view at Corpus Extremus (LIFE+), Exit Art, New York

Suzanne Anker, Astroculture (Shelf Life)

Anker's bioart experiments with how plants might react in artificial conditions

Uses LED lights instead of sunlight to provide nourishment

Blurs the line between science and art

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

In her work, American bioartist Suzanne Anker (b. 1946) creates conditions that would suit rare environments, such as outer space

The use of red and blue LED lights reduces the amount of light and energy required, eliminates the need for insecticide, and lowers carbon emissions

Contributes to our understanding of the universe while delivering interesting visual forms

Artwork: Ron Lambert, Sublimate (Cloud Cover)

1.5.18 Ron Lambert, Sublimate (Cloud Cover), 2004. Water, vinyl, humidifiers, steel, aluminum, and acrylic, dimensions variable

Ron Lambert, Sublimate (Cloud Cover)

Lambert created a large transparent plastic environment in which water endlessly evaporates and condenses

Shows how the rhythms of nature become a measure of natural time

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts

Natural processes dominate the work of American sculptor Ron Lambert (b. 1975)

The water cycle illustrates the passage of time

We gauge time by how long we have to wait for the next rain

Constantin Brancusi

Umberto Boccioni,

Unique Forms of Continuity in Space

Dynamism of a Soccer Player

MoMA Videos

To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks in the MoMA collection:

MoMA Video

MoMA Video

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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

MoMA Videos (contd.)

Marcel Duchamp,

Bicycle Wheel

To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks in the MoMA collection:

MoMA Video

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Chapter 1.5 Motion and Time

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.5 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.5

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Copyright © 2015 Thames & Hudson

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Chapter 1.5 Motion and Time

Picture Credits for Chapter 1.5

1.5.1 Galleria Borghese, Rome

1.5.2 Albright-Knox Art Gallery, Buffalo, New York, Bequest of A. Conger Goodyear and Gift of George F. Goodyear, 1964. © DACS 2018

1.5.3 Solomon R. Guggenheim Museum, New York, Partial gift of the artist, 1989, 89.3626. Photo David Heald © Solomon R. Guggenheim Foundation, New York. © Jenny Holzer. ARS, NY and DACS, London 2018

1.5.4 © Bridget Riley, 2012. All rights reserved

1.5.5 Courtesy The Bill Douglas Cinema Museum, University of Exeter, England

1.5.6 © Gregory Barsamian 2013. Photo the artist

1.5.7 Disney Enterprises/Album/akg-images

1.5.8 Arte/Bavaria/WDR/Spauke, Bernd/The Kobal Collection

1.5.9 Photo OSA Images

1.5.10 © Board of Trustees, National Gallery of Art, Washington, D.C.

1.5.11 Courtesy the artist

1.5.12 National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1939.1.293

1.5.13 Photo University of South Florida. © Estate of Nancy Holt/DACS, London/VAGA, New York 2018

1.5.14 Courtesy Ai Weiwei Studio

1.5.15 Rotger/Iberfoto/photoaisa.com

1.5.16 Library of Congress, Washington, D.C. Prints & Photographs Division, LC-USZ62-536

1.5.17 © Suzanne Anker

1.5.18 © the artist. Courtesy Catherine Person Gallery, Seattle, Washington

 

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Chapter 1.5 Motion and Time