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Chronophobia - On Time in the Art of the 1960s (Paperback)
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Chronophobia - On Time in the Art of the 1960s (Paperback)
Series: Chronophobia
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An examination of the pervasive anxiety about and fixation with
time seen in 1960s art. In the 1960s art fell out of time; both
artists and critics lost their temporal bearings in response to
what E. M. Cioran called "not being entitled to time." This anxiety
and uneasiness about time, which Pamela Lee calls "chronophobia,"
cut across movements, media, and genres, and was figured in works
ranging from kinetic sculptures to Andy Warhol films. Despite its
pervasiveness, the subject of time and 1960s art has gone largely
unexamined in historical accounts of the period. Chronophobia is
the first critical attempt to define this obsession and analyze it
in relation to art and technology. Lee discusses the chronophobia
of art relative to the emergence of the Information Age in postwar
culture. The accompanying rapid technological transformations,
including the advent of computers and automation processes,
produced for many an acute sense of historical unknowing; the
seemingly accelerated pace of life began to outstrip any attempts
to make sense of the present. Lee sees the attitude of 1960s art to
time as a historical prelude to our current fixation on time and
speed within digital culture. Reflecting upon the 1960s cultural
anxiety about temporality, she argues, helps us historicize our
current relation to technology and time. After an introductory
framing of terms, Lee discusses such topics as "presentness" with
repect to the interest in systems theory in 1960s art; kinetic
sculpture and new forms of global media; the temporality of the
body and the spatialization of the visual image in the paintings of
Bridget Riley and the performance art of Carolee Schneemann; Robert
Smithson's interest in seriality and futurity, considered in light
of his reading of George Kubler's important work The Shape of Time:
Remarks on the History of Things and Norbert Wiener's discussion of
cybernetics; and the endless belaboring of the present in sixties
art, as seen in Warhol's Empire and the work of On Kawara.
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