Is Christian Marclay’s “The Clock” Still a Modern Masterpiece If Nobody’s Seen It?

The art equivalent of the old “if a tree falls in the forest…” question is, if nobody (or nearly nobody) can see a masterpiece, is it still a masterpiece? How influential is something (or someone) if only a few elite know of its existence or, perhaps even worse, know it only by name or in a grossly abridged version? Christian Marclay’s 2010 film The Clock, one of the most heralded and critically acclaimed works of art of the last 20 years, currently appears in an exhibition at Museum of Modern Art, New York through January 21, 2013, in various forms. The Clock splices together scenes from movies and television programs showing clocks and other timepieces to create a real-time 24 hours of film. It’s brilliant, fascinating, and nearly impossible to watch in full even if you find an opportunity to see it. So, is Christian Marclay’s The Clock still a modern masterpiece if nobody’s seen it? Please come over to Picture This at Big Think to read more of "Is Christian Marclay’s “The Clock” Still a ModernMasterpiece If Nobody’s Seen It?"


[Image: Christian Marclay. Detail of The Clock. 2010. Single-channel video with sound, 24 hours. © Christian Marclay. Courtesy Paula Cooper Gallery, New York, and White Cube, London. Photo: Todd-White Photography.] 
[Many thanks to the Museum of Modern Art, New York, for providing me with the image above and other press materials related to their exhibition of Christian Marclay’s The Clock, through January 21, 2013.]

Has the Venice Biennale’s World Been Turned Upside Down for Good?

When George Washington (with some help from the French) forced the surrender of Lord Cornwallis at the Battle of Yorktown to end the American Revolution in 1781, the British played a little ditty called “The World Turned Upside Down” at the surrender ceremony. At this year’s Venice Biennale, the world of national art exhibitions and competitions may be turned upside down for good thanks to a new revolution in anti-nationalism challenging the old system. Guillermo Calzadilla and Jennifer Allora’s Gloria, part of which (called “Track and Field”) features a tank turned upside down in an inversion of militant nationalism (shown above), belongs to the contingent representing the United States. Since 1895, the Venice Biennale has provided a forum for countries to compete in an arts Olympics, but will that tradition last much longer? Please come over to Picture This at Big Think to read more of "Has the Venice Biennale’s World Been Turned Upside Down for Good?"

[Image: Guillermo Calzadilla and Jennifer Allora. Gloria. 2011.]