‘Anachronic’, ‘Polychronic’ and ‘Monochronic’ Sites of Time in Relation to Installation Works by Contemporary Visual Artists: Moyra Davey, The Copperheads series; Kutlug Ataman, The Portrait of Sakip Sabanci; and , One Year Performance: Time.

“Memory is not an instrument for surveying the past but its theatre. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.” - Walter Benjamin, “Excavation and Memory”1

Contemporary artists have increasingly used archival research in the creation of their artworks, in order to discover and to question historical truth, characteristic of the so-called “historiographic turn”2. The historiographic “turn” in contemporary art emerged in the early years of the twenty-first century. It is explored by a number of artists and characterised by depictions of archival research into historical representation. It acts as an attempt at grasping the cluttered fabric of the world, and was inaugurated by the events of September 11 2001 and the “war on Terror”, and can therefore be seen as essentially the art of the Bush era.3 The artists referenced in this essay have undertaken various forms referencing the past, associated with archaeological excavation, memorialization, and repetition, but not all of the artists included in this essay work against chronological and sequential time.

Visual art represents a multitude of things at different instants in space and time. Visual art is creative art whose products are to be appreciated by sight, including photography, film-making, performance and installation.4 The examples of visual art presented here relate to the ‘anachronic’ or ‘heterochronic’ site of time depicted in the photographic works of Moyra Davey’s Copperhead series; polychromic time in Kutlug Ataman’s The Portrait of Sakip Sabanci; and monochronic time instilled in Tehching Hsieh (b. 1950) Time Clock Piece (One Year Performance, 1981-1982). Certain theorists, for example Giorgio Agamben and Mieke Bal, have proposed fundamental ‘anachronic’, ‘heterochronic’, ‘monochronic’ and ‘polychronic’ understandings of history, and artists have uncovered or extended the field of the notion of time to the extent that the very concept of the contemporary has been brought into question. 5

1 Benjamin, Walter, (1999) “Excavation and Memory,” in Selected Writings, Volume 2, Part 2, 1931-1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodnet Livingstone et al. Cambridge, MA:BelknapPress of Harvard University Press, p. 576. 2 Roelstraete, Dieter, (2009)The Way of the Shovel: On the Archeological Imaginary in Art. E-Flux. Journal #04 [online]. Available from: http://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the- archeological-imaginary-in-art/ [Accessed 20th December 2016]. 3 Roelstraete, Dieter, (2009) After the Historiographic Turn: Current Findings – Promontory. E-Flux. Journal #06 [online]. Available from: http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current- findings/ [Accessed 1st November 2016]. 4 English Oxford Dictionaries: Visual art [online]. Available from: https://en.oxforddictionaries.com/definition/visual_art [Accessed 10th December 2016]. 5 Groom, Amelia, (2013) Time: Documents of Contemporary Art, MIT/Whitechapel Gallery, pp.12-25.

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Moyra Davey, Copperhead series, 1990

“Of what use, then, is the monumentalistic conception of the past, engagement with the classic and rare of earlier times, to the man of the present? He learns from it that the greatness that once existed was in any event once possible and may thus be possible again.” - Friedrich Nietzsche, “On the Uses and Disadvantages of History for Life”6

Moyra Davey (Canadian b. 1958, lives in New York City, United States) is a visual artist, who works in video and film-based photography. Her photographs are intimately scaled and shot on film, and are a contemplation of time. She is known for creating photographs of her surroundings, depicting seemingly minor objects of the ordinary every day which are usually overlooked. Her photographs depict an awareness of how time passes in a domestic setting. Davey records the accumulation of dust under the bed; dust in the grooves of a record on a turntable; a close up of a stack of books from the 1990s; or a tube of ointment for athlete’s foot, signifying touching signs of humanity, the out of fashion, the outmoded and the untimely.7 Davey’s work unintentionally reacts to questions published by editors of October, in the spring issue 2002: ‘the obsolescent, the “outmoded”, the nonsynchronous, discarded forms, marginal mediums: which appear to be resources of interest to contemporary artists and their projects. How does obsolescence figure in your work? […] Does it serve constructive purposes in your work – i.e., the making of a new sort of medium or form?’8 […]. Davey describes her work as ‘anachronistic contemporary’ Nietzschean with notions of untimeliness (Unzeitgemässig). Nietzschean ‘untimeliness’ is characteristic of the German philosopher.

Friedrich Nietzsche’s Unzeitgemässe Betrachtungen (Untimely Meditations), sometimes translated as Unfashionable (or Unmodern) Observations. […] and particularly referencing his ideas: 'the quest for self-determination leads to Nietzschean nihilism'[…] illustrating the Nietzschean belief that art can give form and closure to the meaninglessness of existence.9 The notion of accident has had many meanings, from “decisive moment” to “photographing to see what something will look like photographed.” As Davey quotes “But is this an anachronism for contemporary work, decades

6 Nietzsche, Friedrich, (1997) “On the Uses and Disadvantages of History for Life,” in Untimely Meditations, ed. Daniel Breazeale, trans. R. J. Hollingdale. Cambridge, UK: Cambridge University Press, p. 69. 7 Barliant, Claire, [n.d.] Moyra Devey: Copperhead No. 57, Collection online. Guggenheim [online]. Available from: https://www.guggenheim.org/artwork/26690 [Accessed 11th December 2016]. 8 Baker, George, ed., ‘Artist Questionnaire: 21 Responses’, October, no. 100 (Spring 2002) p.7. 9 Ibid (Refer to footnote 5), p. 174. 10 Davey , Moyra, (2008) “Notes on Photography and Accident” was originally published in Helen Molesworth, ed., Long Life Cool White: Photographs and Essays by Moyra Davey, Yale University Press, [online]. Available from: http://murrayguy.com/wp-content/uploads/2012/02/Davey_Notes_on_Photography__Accident.pdf [Accessed 28th December 2016].

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after the ethos of the street?”10 The choice of objects becomes in Davey’s words, “a memento mori and a tangible index of time passing.”11

This ‘memento mori’ notion reminds the viewer of their mortality and the fragility of the human condition.12 Her photographs also communicate an implicit challenge to the existing parameters of digital imaging technology.

Moyra Davey, Copperhead Grid, 1990.

The American one-cent coin has portrayed a revered icon profile of the late President Abraham Lincoln, since 1909, the centennial year of his birth. The one-cent coin is known colloquially as the Lincoln penny and is usually the smallest denomination within the currency system.13 Davey’s The Copperheads is a series which was initiated by the post stock market crash of 1987 and comprise one hundred Chromogenic prints of Lincoln pennies shot between 1989 and 1990, exhibited as an installation, and frequently installed in a grid formation.

In Davey’s words “I shot the pennies on a copy-stand with a raking light; I would take the film to the lab in Chinatown that made small, white bordered prints. Though I was not making much revenue from them, I thought of the Copperheads in some way as my own counterfeit, a deeply satisfying reverie of self-sufficiency, a bit like the shit-to-gold fantasy whereupon the dirtier and grimier the penny, the greater its potential for transformation and surprise” (2010).14 Davey considers her work as a personal archaeology of the self, but amounts no less to close visual examinations of external material world objects of everyday life.15

11 Dugan, Jess, (2008) “A Conversation with Moyra Davey,” Big Red and Shiny I, no, 79 www.bigredandshiny.com/cgi- bin/BRS.cgi?issuelissue79§ionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598. 12 Tate, [n.d.] Memento Mori. Tate [online]. Available from: http://www.tate.org.uk/learn/online- resources/glossary/m/memento-mori [Accessed 27th December 2016]. 13 Picone, Kiri (2014) The Intriguing History of the American Penny [online]. Available from: http://all-that-is- interesting.com/intriguing-history-american-penny [Accessed 2nd January 2017]. 14 Davey, Moyra, (2012) The Opticparable Wordpress [online]. Available from: https://opticparable.wordpress.com/2012/12/10/moyra-davey/ [Accessed 29th December 2016]. 15 Roelstraete, Dieter, (2016) The Way of the Shovel. University of Chicago Press, pp. 82-91.

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Each coin is photographed and then extremely magnified, each portraying a profile image of Abraham Lincoln’s visage as a fragmented, scarred and pitted portrait with an alien, foreign disposition. The worn out surfaces of the penny images are individually unique in character, appearance and impression, each penny presented as a unique object opposed to their original function as objects of exchange. These images represent an ‘anachronist’ notion of time, giving the appearance of a collection of found objects from an archaeological dig, also referencing the contemporary era by large-formatted compositional photography.

Davey writes “When I began collecting pennies for the Copperhead series, I’d just moved to New York, had no money and was thinking a lot about the psychology of money: Freudian ideas that equate money with excrement; the Potlatch custom of shaming a rival with extravagant gifts and squandering of goods (the title of the series comes from the Kwakiuti & Haida ritual of tossing “armloads of coppers into the sea”); and misers […]16

The one-cent piece or Lincoln penny is of little worth because not only is it of the smallest denomination, but also because many billions of these coins were minted. However, Davey’s magnification of the coin transforms the magnificent Abraham Lincoln icon into an aesthetically beautiful anachronist excavational statement of classical archaeology.

Art historian Norman Bryson posits the distinction between “megalography” and “rhopography” as follows: “Megalography is a depiction of things which are considered great in the world, for example, great iconic figures of history, the battles of heroes, the legends of the gods, and the crises of history. Rhopography (from rhopos, for example, trivial objects, small wares, trifles) the depiction of things which are considered less important or lack importance, the unassuming material base of life that ‘importance’ continually overlooks. The categories of megalography and rhopography are intertwined, The concept of importance can arise only by separating itself from what it declares to be trivial and insignificant; ‘importance’ generates ‘waste,’ what is sometimes called the preterite, that which is excluded or passed over” […]17

16 Ibid (Refer to footnote 13). 17 Bryson, Norman, (2004) Looking at the Overlooked: Four Essays on Still Life Painting. London: Reaktion Books, p. 61.

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Moyra Davey, Installation view, The Copperheads, 2013.

Kutuğ Ataman, The Portrait of Sakip Sabanci, 2014

"My friends thought I was crazy, that I should wait until I was dead. But I was determined. It is easy to promise but action is different." - Sakip Sabanci Kutuğ Ataman (b. 1961) (Anglo-Turkish, lives in London, United Kingdom) is a filmmaker, who works in video, installation and contemporary art. Politically, Ataman is a devoted socialist, activist, as well as being controversial and homosexual. He was arrested in Turkey, imprisoned and tortured by the military coup’s state control in 1980. Public expressions of dissent, for example the organisation of public meetings or the publishing of articles which are critical to the official ideology were strictly prohibited. After release from interrogation Ataman fled to the USA for freedom and studied at the University of California, Los Angeles. He graduated with a master’s degree in fine art in 1988.18

In 1994 Ataman returned to Istanbul and developed his career as an artist, creating films and installations, which brought him fame and notoriety. He participated in the 48th Venice , entering a video titled: Women Who Wear Wigs which is narrated by a cancer survivor Muslim activist, transsexual and a revolutionary, along with other women who unrelatedly all wear wigs and who tell personal stories, of issues surrounding radicalism, illness and sexual transgression, and moral outrage, giving examples of

18 Genc, Kaya, (2014) Political framing: Interview with radical Turkish artist Kutuğ Ataman. Index on Censorship. 43(3), pp. 124-127.

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how the state ideology has affected them.19 A common characteristic of Ataman’s video installation work is giving a voice, a language, and a historical narrative, to individuals regardless of age or experience. Each of Ataman’s works proposes and produces new and diverse subjects. 20

Ataman’s international status grew as he created new video installations, which were being screened in prestigious art galleries. These galleries included The Serpentine in London and the Museum of Contemporary Art in Sydney. Ataman said: “I had exhibited an earlier film Beggars (2010) at the Istanbul Modern”. “It is very symbolic for me… I never really felt welcome. This is like closing a circle. It’s very satisfying.”21 “There is nothing else to do here. Even if I become the toast of town it doesn’t matter because I have done everything. I don’t have any immediate plans for my life in Turkey; I am just a tourist again.”22

Kutuğ Ataman, The Portrait of Sakip Sabanci, 2014.

Ataman latest work, The Portrait of Sakip Sabanci, (2014), a 40 foot multimedia artwork installation, serves as a memorial piece to prominent Turkish busuness tycoon, industrialist and philanthropist, Sakip Sabanci. This installation was first shown at Sakip Sabanci Museum in Istanbul, 2014, then at 56th International Art Exhibition at La Biennale di Venezia, 2015. It was also exhibited in Denver, New York and in Los Angeles, and later in Gallery 1, at the Royal Academy Summer Exhibition in 2016.23 The work was commissioned by the Sabanci Family. The Portrait of Sakip Sabanci is not a portrait of Sakip Sabanci in the conventional sense, but rather his identification,

19 Ibid. 20 Rogoff, Irit (2009) De-Regulation: with the Work of Kutuğ Ataman. Taylor & Francis Online, pp. 165-179. [online]. Available from: http://www-tandfonline- com.ezproxy.northampton.ac.uk/doi/full/10.1080/09528820902840664 [Accessed 3rd January 2017]. 21 Spence, Rachel (2010) Return of the native: Turkey’s best-known artist is having his first big exhibition in his homeland. Rachel Spence meets Kutuğ Ataman in Istanbul. ProQuest [online]. Available from: http://search.proquest.com/docview/762582017/B3A5DA966C804F6CPQ/2?accountid=12834 [Accessed 3rd January 2017]. 22 Ibid. (Refer to footnote 18). 23 [Anon.] (2015): “The Portrait of Sakip Sabanci” at the 56th ! Sakip Sabanci Müzesi [online]. Available from: http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice- biennale [Accessed 2nd January 2017].

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constituted from thousands of portraits in the form of 10,000 LCD panels suspended from the gallery ceiling. Its focus is on the polychronistic order of “multi-tasking”, and the “people first” philosophy of Sakip Sabanci (1933-2004), who was also influenced by the arts and culture. Polychronistic time is a condition in which one performs elements of different tasks concurrently (as opposed to sequentially).24 Ataman created The Portrait of Sakip Sabanci for the tenth anniversary of the passing of Sakip Sabanci, who is known to have valued and respected people of all ages, importance and stature. The Portrait of Sakip Sabanci, makes visible all of the windows that Sabanci opened to life and people throughout the entirety of his lifetime. It acts as a reflection of his sympathetic, tolerant and colourful personality.25

The Portrait of Sakip Sabanci incorporates a moment of silence as a moment in honour of Sakip Sabanci. The emphasis of Ataman’s installation is the visual art and portraits of people, depicting passport sized photographs of thousands of people from all walks of life who have crossed paths with Sabanci in various ways.26 As a collective they present a multiple-image, full-spectrum of people from all walks of life, whether those who have been supported by Sabanci, those who have worked for him, or family members, whilst implementing an extraordinary artistic creation.

Kutuğ Ataman, Installation view, The Portrait of Sakip Sabanci, 2014.

24 English Oxford Dictionaries: Visual art [online]. Available from: https://en.oxforddictionaries.com/definition/polychronic [Accessed 9th January 2017]. 25 Ibid. 26 Ibid.

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Tehching Hsieh, One Year Performance (Time Clock Piece), 1980-1981

“’Time is money’ was one of the key slogans of capitalist ideology, and the timekeeper was the most significant of the new types of official introduced by the capitalist dispensation. […] Men actually become like clocks, acting with a repetitive regularity which had no resemblance to the rhythmic life of a natural being. They became, as the Victorian phrase put it, ‘as regular as clockwork’. […]” - George Woodcock, extracts from ‘The Tyranny of the Clock’, War Commentary (11-12 March 1944) n.p.27

Tehching Hsieh (b. 1950) (Southern Taiwanese, lives in Manhattan Island, New York City Borough, United States) is a Taiwanese-American performance artist, who works in photography, film and performance. As an illegal immigrant Hsieh was not permitted to work in the USA. Hsieh described performance art as a means of transforming his plight and as a fulfilling purpose to his isolation. His performances comprised solitary confinement, prison and an exploration of time. 28

Hsieh created a concession of five one-year performances which include: 1978-1979: Cage Piece, 1980-1981: Time Clock Piece, 1981-1982: Outdoor Piece, 1981-1982: Rope Piece 1983-1984 (also titled Life: One Year Performance), and 1985-1986: No Art Piece. The subject of Time is a common thread linking the five one-year performances, all of which involved both demanding physical and psychological extremities. Although unambiguously austere, voluntary and a self-controlled partially imprisoned condition; Hsieh became ‘a sentient witness of time’. (Heathfield and Hsieh, 2009: p.11).29

27 Groom, Amelia, (ed.) (2013) Time: Documents of Contemporary Art, Whitechapel Gallery, p. 66.

28O’Donnell, Ian (2012) Time and isolation as performance art: a note. Sage [online]. Available from: http://journals.sagepub.com/doi/pdf/10.1177/1741659014528345 [Accessed 5th January 2017]. 29 Heathfield, A., and Hsieh, T. (2009) Out of now: The Lifeworks of Tehching Hsieh. London and Cambridge, MA: Live Art Development Agency and \MIT Press, p.11).

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Tehching Hsieh, One Year Performance (Time Clock Piece), 1980-1981.

Time Clock Piece (One Year Performance, 1981-1982) is a durational piece, the most demanding and rigorously documented of Hsieh’s Performances because of the time frame.30 It commenced at 7 p.m. on 11 April 1980 through to 6 p.m. on 11 April 1981. Undertaken in his Manhattan studio, Hsieh spent 12 months clocking in on the hour every hour, 24 hours a day/night, citing only 133 occasions when the clock-ins were missed throughout the duration of the year’s performance piece, due to oversleeping. On each occasion he took a portrait photographs, a total of 8,627 over the full duration. The photographs were shot using a movie camera, later becoming a time-lapse film on a continual loop, in which each day was compressed into a single second, and the duration of the year reduced to six minutes. The effect of the film produced a near schizophrenic urgency of whirring images. Hsieh shaved his head, at the onset of the performance and at the end his hair was shoulder length. He dressed as a worker in overalls and portrayed as a wage-slave. By perseverance and sheer exhaustion he demonstrated the absurdity of submission to clock time that is often taken for granted in our society. This Time Clock Piece was open to the public for fourteen days in total, throughout the duration of the year.31

The Time Clock Piece is a ‘monochronic’ investigation of the nature of time exploring our response to the temporal sequence or ordering of time. Monochronic time is a condition in which one thing at a time is being achieved, with no toleration of lateness or interruption, with a high degree of orderliness and commitment to the task at hand. The same principles apply to other One Year Performances by Hsieh. He subjected himself to sleep deprivation in a relentless quest to investigate the nature of time and methodically observed the passing of time, probing questions of

30 Marks, K. (2014) Tehching Hsieh: the man who didn’t go to bed for a year. Theguardian [online]. Available from: https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the- man-who-didnt-go-to-bed-for-a-year [Accessed 30th October 2016]. 31 Ibid. (Refer to footnote 27).

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existence, time and mortality.32 Hsieh describes his Time Clock Piece as ‘Life is a life sentence, life is passing time, and life is freethinking’33 As well as conveying a message about the tedium and conformity of industrial labour Time Piece is also, according to Hsieh about an “interest in the universal circumstances of human life.” (Personal communication, 20 June 2011).

This, as a reflection of his endeavour relates to ‘passing time, now how to pass time’ (Heathfield and Hsieh, 2009: p. 336). In an interview with The Saturday Paper Hsieh says about life “we do over and over the same thing but also it’s different because times change. Time that passes cannot come back.”34 In Time Clock Piece, Hsieh challenged the severity of time and the life-sapping effect of his schedule. Hsieh mainly allowed his art performances to ‘speak for themselves’[...]35 However, they resound with the capacity to bear witness to time; time’s grip on life; and the human capacity to be free under constrained duress in terms of time and space.

Tehching Hsieh, Installation view, One Year Performance (Time Clock Piece), 1980-1981

32 Ibid. (Refer to footnote 1).

34 Sebag-Montefiore, C. (2014) Time piece: Tehching Hsieh exhibition. The Saturday Paper [online]. Available from: http://www.clarissasebagmontefiore.co.uk/time-piece-tehching-hsieh-exhibition/ [Accessed 30th October 2016]. 35 Ibid. (Refer to footnote 33).

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The three examples discussed in this essay all share the form of installation works, the subject of portraiture and explore in their various ways the artists’ and our relationship and response to time. Davey’s photographs depict the monotonous labour time constituted in women’s work, indicating repetitive domestic chores and the act of multi-tasking. Davey accomplishes an art of the untimely, reflecting an anachronistic temporality which she describes as an ‘anachronistic contemporary’ way of viewing her work. Davey works are based on archaeology of the self, and linked to a notion of entropy, with the idea of dust being a memento mori. Davey is driven by a preoccupation with mortality and death. Ataman spent time in his youth in prison for his dedicated socialist, activist, diverse and controversial practices, as well as being a homosexual. Ataman’s The Portrait of Sakip Sabanci (2014) is high- technological, gestural, memorial and a polychonistic artwork in its entirety. The Portrait of Sakip Sabanci typifies Ataman’s ethos, Sakip Sabanci displaying a lifetime following the philosophy of a “people first” “open office”, highly characteristic of the polychronistic experience of time. Ataman’s video and installation works of art allow the viewer to think about issues and problems beyond themselves, which allows them to operate in the world in a different manner. Hsieh’s One Year Performances (1978-1986) portray Hsieh’s self-imposed rules that brought him into conflict with societal law, but also produced some of its modus operandi. After the 5-year-performances Hsieh went on to do a 13-year-long-performance exploring the boundaries between art and life. Out of Now : The Lifeworks of Tehching Hsieh. [End page 174], Hsieh details an impressive body of work.36

36 Ibid (Refer to footnote 28).

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Bibliography:

[Anon.] (2015): “The Portrait of Sakip Sabanci” at the 56th Venice Biennale! Sakip Sabanci Müzesi [online]. Available from: http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice- biennale [Accessed 2nd January 2017]. Baker, George, ed., ‘Artist Questionnaire: 21 Responses’, October, no. 100 (Spring 2002) p.7. Ibid (Refer to footnote 5), p. 174. Barliant, Claire, [n.d.] Moyra Devey: Copperhead No. 57, Collection online. Guggenheim [online]. Available from: https://www.guggenheim.org/artwork/26690 [Accessed 11th December 2016]. Benjamin, Walter, (1999) “Excavation and Memory,” in Selected Writings, Volume 2, Part 2, 1931-1934, ed. Jennings Michael W., Howard Eiland, and Gary Smith, trans. Rodnet Livingstone et al. Cambridge, MA:BelknapPress of Harvard University Press, p. 576. Bryson, Norman, (2004) Looking at the Overlooked: Four Essays on Still Life Painting. London: Reaktion Books, p. 61. Davey, Moyra, (2012) The Opticparable Wordpress [online]. Available from: https://opticparable.wordpress.com/2012/12/10/moyra-davey/ [Accessed 29th December 2016]. Davey , Moyra, (2008) “Notes on Photography and Accident” was originally published in Helen Molesworth, ed., Long Life Cool White: Photographs and Essays by Moyra Davey, Yale University Press, [online]. Available from: http://murrayguy.com/wp-content/uploads/2012/02/Davey_Notes_on_Photography__Accident.pdf [Accessed 28th December 2016]. Dugan, Jess, (2008) “A Conversation with Moyra Davey,” Big Red and Shiny I, no, 79 www.bigredandshiny.com/cgi- bin/BRS.cgi?issuelissue79§ionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598 English Oxford Dictionaries: Visual art [online]. Available from: https://en.oxforddictionaries.com/definition/visual_art [Accessed 10th December 2016]. English Oxford Dictionaries: Visual art [online]. Available from: https://en.oxforddictionaries.com/definition/polychronic [Accessed 9th January 2017] Genc, Kaya, (2014) Political framing: Interview with radical Turkish artist Kutuğ Ataman. Index on Censorship. 43(3), pp. 124-127. Groom, Amelia, (2013) Time: Documents of Contemporary Art, MIT/Whitechapel Gallery, pp.12-25.Jess Dugan, “A Conversation with Moyra Davey,” Big Red and Shiny I, no, 79 (April 1, 2008), www.bigredandshiny.com/cgi- bin/BRS.cgi?issuelissue79§ionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598 Heathfield, A., and Hsieh, T. (2009) Out of now: The Lifeworks of Tehching Hsieh. London and Cambridge, MA: Live Art Development Agency and \MIT Press, p.11). Marks, K. (2014) Tehching Hsieh: the man who didn’t go to bed for a year. Theguardian [online]. Available from: https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the- man-who-didnt-go-to-bed-for-a-year [Accessed 30th October 2016]. Nietzsche, Friedrich, (1997) “On the Uses and Disadvantages of History for Life,” in Untimely Meditations, ed. Daniel Breazeale, trans. R. J. Hollingdale. Cambridge, UK: Cambridge University Press, p. 69. O’Donnell, Ian (2012) Time and isolation as performance art: a note. Sage [online]. Available from: http://journals.sagepub.com/doi/pdf/10.1177/1741659014528345 [Accessed 5th January 2017]. Picone, Kiri (2014) The Intriguing History of the American Penny [online]. Available from: http://all-that-is- interesting.com/intriguing-history-american-penny [Accessed 2nd January 2017]. Roelstraete, Dieter, (2009) The Way of the Shovel: On the Archeological Imaginary in Art. E-Flux. Journal #04 [online]. Available from: http://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the- archeological-imaginary-in-art/ [Accessed 20th December 2016]. Roelstraete, Dieter (2009) After the Historiographic Turn: Current Findings – Promontory. E-Flux. Journal #06 [online]. Available from: http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current- findings/ [Accessed 1st November 2016]. Roelstraete, Dieter, (2016) The Way of the Shovel. University of Chicago Press, pp. 82-91. Rogoff, Irit (2009) De-Regulation: with the Work of Kutuğ Ataman. Taylor & Francis Online, pp. 165-179. [online]. Available from: http://www-tandfonline- com.ezproxy.northampton.ac.uk/doi/full/10.1080/09528820902840664 [Accessed 3rd January 2017]. Sabanci, Sakip Müzesi (2015): “The Portrait of Sakip Sabanci” at the 56th Venice Biennale! [online]. Available from: http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice-biennale [Accessed 2nd January 2017].

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Sebag-Montefiore, C. (2014) Time piece: Tehching Hsieh exhibition. The Saturday Paper [online]. Available from: http://www.clarissasebagmontefiore.co.uk/time-piece-tehching-hsieh-exhibition/ [Accessed 30th October 2016]. Spence, Rachel (2010) Return of the native: Turkey’s best-known artist is having his first big exhibition in his homeland. Rachel Spence meets Kutuğ Ataman in Istanbul. ProQuest [online]. Available from: http://search.proquest.com/docview/762582017/B3A5DA966C804F6CPQ/2?accountid=12834 [Accessed 3rd January 2017]. Tate, [n.d.] Memento Mori. Tate [online]. Available from: http://www.tate.org.uk/learn/online- resources/glossary/m/memento-mori (Accessed 27th December 2016].

List of Illustrations:

Davey, M., (American, born Canada, 1958). Copperhead Grid, 1990. 100 chromogenic prints; 10 × 8 inches, (25.4 × 20.3 centimetres), each. The Metropolitan Museum of Art, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2011 (2011.17a–vvvv) © Moyra Davey.

Davey, M., Installation view, Speaker Receiver, Kunsthalle Basel, 2010. Courtesy of the artist and Murray Guy, New York. Consisting of one hundred photographs of Abraham Lincoln’s profile on one hundred United States pennies, Copperheads 101-200 offers a meditation the entropy of value, each coin unique in its susceptibility to scratching and erasure, a serialised study of the humblest coinage.

Ataman, K., The Portrait of Sakip Sabanci, 2014. - 9,216 LCD panels configured in 144 modules of 64 LCD panels each - 56th Biennale di Venezia - Esposizione Internazionale d´Arte - »All the World´s Futures« - Arsenale - Venice - November 6, 2015.

Ataman, K., Installation view, The Portrait of Sakip Sabanci, 2014. The portrait of Sakip Sabanci is a multi-image work of some of the thousands of people, from all walks of life, whose paths crossed Sakip Sabanci's in some way. These are people who were supported by him, those who worked with him, and family members.

Tehching Hsieh, One Year Performance (Time Clock Piece), 1980-1981. One Year Performance (Time Clock Piece) was included in the Guggenheim’s ‘The Third Mind’ (2009), inclusive of all materials and documentation, such as still and moving images, a 16mm film camera and a 16mm projector to run the film. The performance was also the first one to be shown overseas, first at the in 2010 and one month kater at the Biennial.

Tehching Hsieh, Installation view, One Year Performance (Time Clock Piece), 1980-1981. One Year Performance (Time Clock Piece) is where Hsieh punched a time clock in his studio every hour on the hour for an entire year. The Time Clock Piece is thought to have bridged a gap between industry.

13 Copyright Sarah F Janavicius