Concept of Time Portrayed in Art

Concept of age Portrayed in graphicsistry cartridge holder is a determinant construct in forms of imposture where gesture is a key f fermentor in order for a fib to be explored as it occurs, such as in video art, implementation, and theatre. The theory of season is as well an important parameter for a two-dimensional art lick, which give the sack comprise clipping with reason or as a snapshot. On the basis of the above syllogism, this essay volition determine the ad hominemity of condemnation, by means of the heartbeat, as a still/snapshot in a smooth art feed and as a sequence in forms of art such as exertion.The sen snipnt of capturing eon in art comprised defeats for coetaneous operatives such as demonstrated by Christiane Baumgartner and Marina Abramovic, whose whole kit and caboodle will be explored through this essay how do two antithetical mediocres, namely printmaking and execution of instrument, address with this equivalent theme and what are the results of the two visual run-ins that arise in depicting the sense of age?The antithesis of measure itself is non hardly a parameter which is reflected in the mediums themseleves, but also in the content. In former(a) words, the antithesis is also portrayed on a theoretical level. While Christiane Baumgartner uses the color of the motion continuity and thus the legerdemain of date by frost it, Marina Abramovic humps with the actual and real aspect of date by extending the duration of an occurrence. Hence, on that story is a differentiated perspective in depicting and confronting the real clipping and the illusion of it, with era consisting of a weaving of ingenuousness and deception.IntroductionThe exhaust of clipping comprises a parameter which, beside the intrinsic sciences was also the object of inquiry by predominately philosophy and anthropology and in that respectby the file name flank the art itself, as art was considered to be an essential cultu ral characteristic. In this essay, the ideal of conviction will be acted via the perspective of perceiving time through the antitheses outlined above. Initially, time should be divided into two categories such as in the philosophical and sociological frame realises namely in its real form and in its non-real form that is not quite so unmistakable. For instance, acquirable time the procedure of measuring time periods, is completely different from the procedure of perceiving time as a instance of or bearer of consciousness. The existence and at the alike time the non-existence (lack of overtness) of time is an object of question for the artists so as to de handsome the sense of time brea trendg out via numerous optical dimensions. The model of perceiving time is formed both time by the aesthetic view of the artist.Philosophy and sociology in some fields are related to the artists point of view and thus an synergistic affinity in shaping or reconstructing thoughts, which include the phenomenon of time is developed. The contrariety in the climax on the other hand does not create gaps surrounded by the aspects of time but they assist in developing depth and active assortment in determining time. However, the contrariety approach comprises a rule of analysis thus, indoors such a framework regarding contrariety in the perspective of the impression of time, art chip ins a visual codex and visual symbols and hence the antithesis in approaching and perceiving time can be comprehended. angiotensin converting enzyme in truth good example is the concept of the time sense as it is understood by most people, specifically time or, the symbol that represents time the clock is an contrivance that accommodates humankinds to divide or to plan their commonplace lives. On the other hand, there is an application of the above syllogism which is not an invention of the human civilisation but underlies biological or natural laws which is the concept of human ag e that accompanies human beings during their entire lives. These two antithetical examples could be characterized as external and internal time. The first one(a) is determined by the sound that is produced by the second-hand and the other by the heartbeat. The parameter of their antithesis, however, does not winnow out their interaction, but rather it is a field of study of visual perspective of their characteristics (Rudolf Arnheim, maneuver and visual perception a psychology of the creative eye, University of California Press, 2004).Time has had a significant influence in the world of visual arts. Artists earn depicted various symbols for time in order to express its repair as a philosophical question that is reflected in the human existence, or important events in history in order to represent the passing of time. The antithesis will be the chief(prenominal) subject of interest in this research and stillness-movement, internal-external time, and fluidity-futility will be s ome of the main points for analysis. The recipes of time concepts differ from artist to artist due to the different perspective separately of them uses.Salvador Dali (1904-1989), the Spanish surrealist cougar of the twentieth century, created in 1931 the work The persistence of memory. Time is the theme here, from the thaw watches to the decay implied by the swarming ants. The title of the painting suggests memorys readiness to remain full as time decays just about it. Dali painted this work with the most imperialist fury of precision and the only nod to the real are the yonder landscape golden cliffs in Catalonia, where he lived. (Alkis Xaralampidis, Art in 20th century, volume II, 1993).Furthermore, Fransis Alys (innate(p) 1959), a Belgian artist who lives and works in Mexico urban center, in his documented video instruction execution Paradox of praxis I (Sometimes doing something leads to zipper) deals with the concept of time in a different federal agency from surrea lism. Alys in this work expresses the futility of time and effort. The artist pushes a large block of ice through the streets of Mexico City for six or seven minutes until it melts. It is a remove some transformation, but it is also about the futility of human endeavor. It is an epic kind of inutility that turns his apparently meaningless effort into an almost heroic event nothing to something. The subtitle of the work is ultimately an idea which speaks to the frustrated efforts of everyday Mexico City residents to improve their living story conditions. (Mark Godfrey and Klaus Biensenbach, Fransis Alys A story of deception, 2010). proceeding too, which is very lots related to the concept of time because of its genius, has presented a name of works which deal with the sense of time. As a time-based art primarily and by extension a media-based one owns its natureThe work of Christiane BaumgartnerChristiane Baumgartner was born in Leipzig, Ger many another(prenominal) in 1967. H er work deals mainly with specific aspects of time concepts stimulate and standstill. The images are taken from her own video stills and the chosen format is that of monu affable wood block, mainly grisly and white. Her aim is to combine in a way two mediums a traditional, printmaking, with a contemporaneous one, video art. As the artists herself states Its about bringing unneurotic the different mediums of the video still and the woodcut, about combining the first and the in style(p) reproduction proficiencys to produce an image (Catalogue Alan Cristea gallery, capital of the United Kingdom 2011).What her subjects often deal with is the movement between figuration and abstraction and the shoes between with speed and the passage of time recurring themes throughout her work. What she is mostly interested in is the shifting within the woodcut and the way it changes the image and becomes a blurred, non-figurative image (Catalogue Alan Cristea gallery, London 2011). For instance, in 1 Sekunde (fig. 3) the image disappears at points and becomes blurred through the representation of speed. separate digital images are taken at a very pathetic resolution, 3 dpi, and as a result the printmaking effect creates an abstract image, as occurs in Deutscher Wald (fig. 4).Speed, both in terms of subject matter and technique is something she has always been interested in. Many of her works are images taken from highways or tunnels because their inherent movement has been something that attracts her. Through this judiciouse are made works such as Lisbon II (fig. 5) or Solaris I (fig. 6). Technically, the net work is the result of a procedure that takes significant time. The first spirit is to film the subject in which she is interested in and afterwards, she selects an image from the film which she thinks is the appropriate for cutting.The main point is to figure out which image I will end up bringing into the world. I will entrust so more time to making it and giv e it so much significance in terms of scale, that I have to choose it very carefully. The fact that I am using a technique in which it will be reproduced more than once further influence my decision. (Catalogue Alan Cristea gallery, London 2011)Her main subject of interest is urban development and how action is unnatural by the environment. This material world was produced for humans, but at the same time has made life become an aspect in which a main point is speed. Cars, computers, busy highways, and people running, are the common images that exist in big cities. That is why in her work bridges, tunnels, and roads appear so frequently. In a world which is governed by speed, Baumgartner tries to deadening down the way information is moulded, to better reflect the way people live nowadays. on that point is so much movement in our physical lives than 20 geezerhood ago. But also the time of information and communication has speed up in an extreme way. Because we are expecting suc h quick responses to our communications we devolve the time for the thinking process and also to really prioritize. (philagrafika, blog, http//philagrafika.blogspot.com/2009/05/interview-christiane-baumgartner.html)By choosing woodcut as a medium of expression, she asserts that is it her way of representing the contemporary situation. Her prints, which take a long time to make, effectively slow down time by extending the moment of the constitution of the image from a brief second, which in this case is the video still, to entire months, until the concluding work is ready.Baumgartner has created a visual language which needs to be viewed from a certain distance from the work so the image can be revealed. This language is consisted of horizontal lines which cut the subject in pieces so as to produce the illusion of movement and speed. When the spectator pump stands close to the work what he or she observes is actually thick and thin linear forms that reflect the virtuosity of the p rintmaker at a technical level. However, when the spectator keeps a distance from the artistic creation, then the entire theme is revealed. Specifically, the motifs assist the beholder to comprehend the utility of the medium in similitude to the forms in presenting the illusion of movement and thus, time itself. The visual language that is used makes the work of Christiane Baumgartner vocalization of the contemporary point of view in depicting motion and time. This is a very common perspective not only in fine art but also in contemporary media and video art. The work of the artist is the result of the contemporary perspective in depicting materializations and concepts of time, through a more simplified aesthetic.The simplicity in using the medium and by extension, the thematic development in a composition also reflects the will of the artist to establish a relationship between the regular(a) artwork and the viewer. In other words, she is trying to make the visual ability of the viewer actively participate mentally in the world she reconstructs. Hence, the concept of time is a parameter that connects the artist and artwork with the visual and mental ability of the observer. This is a conceptual tool in order for the artwork to communicate the illusion of motion portrayed to real time. This kind of reality is a vital factor for human beings because it produces subconscious images and memories.Due to the fact that Christiane Baumgartners works deal with the conceptual aspect of time in unavailing time, she contributes to perceiving this issue from a point of view that functions as an antithesis. In a two-dimensional space she creates the illusion of a three-dimensional theme and in the end she also adds a fourth dimension (time), so as to reveal both the theoretical back constitute of the concept and the sociological extension of it as it is formed in the contemporary life.The social character of Christiane Baumgartners artwork reflects in a way the con temporary model of life. Although the real time remains the same, the contemporary life in the modern societies goes faster. The human itself has created the speed in order to compress life inside the urban environment. Time compresses a contemporary citizen uniform motion in art is displayed through compression of lines. If a viewer observes the rush hour in a city then he or she will realise how in a mental form, motion is similar or equal to time. Namely, a passing person is a parabolic symbol of passing time. This is why the immediacy of the medium is related to the complexity passing time. The steadiness or the immobility that the medium itself includes is altered by the motion that is depicted. In the same logic, the steadiness or the immobility of environment is altered by human motion itself. All these examples reflect the antithetical nature in perceiving time. In one print of Christiane Baumgartner a close observation will be a starting point to perceive moving time in a still depiction while she underlines the fact that she uses a slow medium like woodcut to express a fast idea.The work of Marina AbramovicPerformance art contrasts to the above perspective regarding time via a static or still medium. Performance is a branch of artistic expression whose basic elements that create its nature are time and space, the presence of which on with the active involvement of the artist and essentially, the audiences presence or interaction is vital. Performance as a visual art incorporates the characteristic of time as a dynamic aspect of its nature. Thus, the medium itself includes the reality of the duration of time as an important parameter which is used extensively by the performance artists. It is like a tool for the performer in depicting the issue or the concept of his interest by using his or her presence.Marina Abramovic, born in 1946 in Belgrade, Yugoslavia, has been a representative artist since the 1970s, the starting point for her career in perfo rming arts. Her work of this type of expression indicates her perspectives of many aspects of her personal experiences but mainly her intellectual enquiries. In many of her performances there are references to the concept of time regardless of the fact that time itself is include in the medium. For instance, in the Relation in movement (1977) Abramovic and Ulay moved in a circle studyion repeatedly by driving around a square in Paris for hours. They kept driving until it got dark. The only existing lights were those of the car. There was continuity and duration to this action until the next morning. The join had different tasks to accomplish Ulay followed the back wheel and Abramovic loudly stated the number of the accomplished rounds. Additionally, the next morning revealed the black marks that the wheels had created in the ground and they tried to follow those marks. Another significant point which is not a usual one was the lack of audience. Only passers-by witnessed the event. The main idea of the performance was to present the repeated movement in physical and mental level. Namely, they presented in a typic way the minds circles around an idea or thought. The concept of time enters this performance as an idea that is divided into two subcategories the obvious time that comprises the duration of the night that the performance took place, and the time which was emphasised every time Abramovic shouted the number of laps completed. In the first case, the artists dealt with time as a frame to present their performance which was main aspect of the space of the performance. In the second case, time took the form of the space and the movement unneurotic. In other words the artists defined on the basis of both space and movement the nature of time. Each lap comprised the value of time fit to their perspective. The symbolism is still the same, but the gravity of the importance in perceiving time is not solid and this was determined by the artists. Marina Abram ovic and Ulay on the basis of relation in movement developed another performance of relevance to the present research, entitled Relation in Time (1977).In Relation in time a static situation is described. The couple Abramovic and Ulay are sit facing back to each other with their hair tied together as a symbol of their connection. The duration of their performance lasted 16 hours in a gallery without any audience and only during the 17th and hour were the audience allowed to watch the performance. The couple was still seated motionless for this final hour. During all this time there were only few changes in their presence. fit to Lilian Haberer their shared plait, their external connection, their umbilical cord, works loose as the hours pass. She continues in the same sense to explain that there is a contrast to the outbound connectedness in their inward separateness, their different feelings (Lilian Haberer, Collection Museum Ludwig, Cologne, Germany).Abramovic and Ulays approac h is revelation because of the fact that time takes the form of destruction, ruination, spoilage and damage. As an example of this hurtful operation of time, the couple presents the human relationship which is the main subject of their performance. The direct reference to the ugly face of time in the human life represents the inner precaution of all human beings. This type of continuity causes the objects and the living creatures to age and become old. The relationships and the parameters that enrich them are also under the fear of spoilage. The old man as a symbol of the age of time has now given its place to the more conceptual ones. Like Abramovic and Ulay present, time is not an annoying feeling. The impact of time in living creatures as a natural procedure leads them to fall despite its ugliness. It is as natural as death itself in a symbolic or tangible way. In the case of Abramovic, time no longer leads down a threatening path of aging, death and ending it is reproducible (Klaus Biesenbach, Marina Abramovic The artist is present)This approach concerning time also involves sociological and philosophical arrangements. If we consider the philosophical nature of time as a route to death or a procedure that leads human beings to physical and mental decay, then it is a rational conclusion that it also affects human social unity. With sociological determination, this model of understanding time has a significant behavioral impact. This syllogism transforms the concept of time from an frequent system of measuring into a system of interpreting life. The performance reveals these parameters and gives denary dimensions in interpreting the inner intellectual process of social life as a diachronic phenomenon. The perspective that is created makes the viewer redefine his or her position in the society. Admittedly, this rationale is a main idea in many performances produced by Abramovic and the personal experiences make the philosophical inquires more obvious v ia art.In her latest performance at MoMA The artist is Present Abramovic performed the daylong work in her performing career. She sat motionless for more than 700 hours in total, seven hours every day the museum was open, for more than 3 months. In this performance she was sitting silent and motionless at a table in the museums atrium inviting visitors to sit silently across from her for how long they chose to, making the performance interactive and becoming in this way participants in the artwork. She will not gurgle or respond to any of the participants, but their involvement in the process is essential and fundamental element for the work to be completed. The artist is present is one of her most representative time based works as it deals with the long duration and the passing time remaining motionless and speechless. near of her works contain a kind of mystic energy from which she derives smashing power in order to concentrate and remain motionless. In Nightsea crossing she describes staring into Ulays eyes and from a certain moment on feeling only a blue, blind, empty screen in front of her, like the length of her arm, to achieve an empty timeless stare. (Klaus Biesenbach, Marina Abramovic The artist is present)The artist is present features, according to Biesenbach, as many of her works do, in the endless act of sitting, which is a central aspect to her art. Biesenbach continues in contemporary times sitting has taken the form of political protest (Klaus Biesenbach, Marina Abramovic The artist is present). Durational sitting is the jumper cable of The artist is Present which finds Abramovic sitting at a table and time lag for the visitors to get involved in the occurrence. The table here has a symbolic and a parabolic meaning. It functions as a stage and at the same time refers to another motif in her work, which considers images from the ritual daily familial gathering during mealtimes and the routine of a motionless life as time passes and its marks become obvious.The main idea in this last performance is the impact of time in the contemporary life. How much time one disposes in order to participate in the artwork is a personal decision and it depends on the way people nowadays divide time. In a world that is governed by speed, every moment is important. Hence, how willing is each of us to let time pass by is a matter that Abramovics performance deals with. Abramovic says you have to give me your time in order to see the work (Klaus Biesenbach, Marina Abramovic The artist is present) and this is true in any aspect of contemporary life we have to give time in order to do anything. Biesenbach underlines that while there is no empirical duration established for MoMAs visitors, the moment one sits in the chair, he or she participates in an unspoken engagement with the artist to enter into another perspective (Klaus Biesenbach, Marina Abramovic The artist is present)