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The artworks in Seeing Time demonstrate the insights and ambitions of three generations of artists who have addressed, or in some instances provoked, a revolution in perception. Advances in instrumentation, the artist's reaction to visual technology and media as materials for art, and the location of the figure in the image environment are unifying concerns. The emphasis on prescient subject matter, innovative methods of presenting theme and material, as well as other audiovisual installation variants are examples of some of the most advanced sculptural practices of our time. In some cases, the artist looks both backward to reference cinematic conventions or historical imagery from paintings and photographs and forward to new knowledge of sciences of the mind, ecology, and theoretical biology. In each case the artists model or measure the effects of information on consciousness. |
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These two exhibitions share a certain structural similarity. In Brooklyn, we found an established artist minimally represented in an alternative space; in Chelsea, a first solo exhibition in a major gallery in which the young artist expands all over the space in various dimensions. But as the material is itself artificial, the work exposes the show's construction. One, an ordinary TV screen at regular time, with close captions unmasking the dialog. Certain phrases are underlined, where the protagonists present particularly structurally domineering ideas. |
