Case Study: Alice meets The Clock

This past weekend was one of closure for several shows on offer within Toronto’s artistic programme. The Clock, Christian Marclay’s champion effort to evoke the romantic and elusive nature of time as regarded through the cinematic lens, saw its final moments at The Power Plant on the evening of Sunday, November 25. The single channel video and sound work is cleverly comprised of film clips displaying timepieces – analog wristwatches, digital alarm clocks, and the sundials of bygone days—as well as less obvious indicators of time’s passing, such as burning cigarettes and changing clothing. Over the course of Marclay’s 24 hour film loop, these fragments of cinematic history trace every minute, inscribing images on the rote of daily living. When Eastern Standard Time registered midnight last Sunday, the collaged narrative concluded with a coordinated time stamp of 12 AM. Luckily for Canadians, omnipotent art lovers Jay Smith and Laura Rapp facilitated the National Gallery’s purchase of one of six editions of the art work, guaranteeing that it will only be a matter of time before The Clock strikes again.

Christian Marclay’s appropriation of Harold Lloyd’s Safety Last, 1923
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News: Art Collector Herbert Vogel Dies

Herbert Vogel, who, along with his wife Dorothy, amassed one of the most important collections of Minimalist art worldwide, died on Sunday at the age of 89.

A postal worker and a librarian, the couple used their modest salaries to collect works by artists including Sol LeWittDonald Judd, and Robert Mangold.

A few years ago, the Vogels donated their entire collection to the National Gallery in Washington D.C. The Gallery is exhibiting about 1,000 of the donated works; the other pieces have been distributed in 50-item lots to one museum in each state, a project called Vogel 50×50.

Via: Artnet