The Persistence of Memory – Salvador Dalí (1931)
reference：Salvador Dalí. The Persistence of Memory. 1931. MoMA, Floor 5, 517, The Alfred H. Barr, Jr. Galleries. Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019). https://www.moma.org/collection/works/79018
SUMMARY
In The Persistence of Memory, Salvador Dalí explores the fluidity and absurdity of time within a desolate dreamscape. This iconic work, showcasing limp objects and metal attracting ants as if rotting, embodies Dalí’s Surrealist ambition to challenge the conventions of reality. With meticulous precision, Dalí constructs a scene where the familiar becomes grotesquely alien, symbolizing decay and the meaninglessness of time, notably through the motif of melting watches—the “camembert of time.” This painting not only reflects Dalí’s “paranoiac-critical method” of tapping into self-induced hallucinations for artistic creation but also integrates elements of his Catalan heritage, providing a literal grounding to the fantastical elements.
QUOTATIONS
- “Hard objects become inexplicably limp in this bleak and infinite dreamscape, while metal attracts ants like rotting flesh.”
- “Here time must lose all meaning. Permanence goes with it: ants, a common theme in Dalí’s work, represent decay.”
CONNECTION
Dalí’s The Persistence of Memory deeply resonates with my exploration of time’s impermanence in the “River of Time” mural project. Similar to Dalí’s technique of “eye-fooling” to “systematize confusion,” my mural seeks to disrupt linear perceptions of time through visual illusions and the blending of seasons within a singular landscape. The idea of time losing all meaning, exemplified by Dalí’s melting watches, parallels my intention to depict time as a fluid, non-linear continuum that defies conventional boundaries. Furthermore, Dalí’s integration of the Catalan coast into his surrealist landscape inspires me to consider incorporating personal and geographical elements into my mural, bridging the gap between the abstract concept of time and tangible reality.
Purpose: It is a key source of inspiration, providing insights into the manipulation of time and reality through art. I sought to utilize similar techniques to induce a reconsideration of the experience of time, encouraging the viewer to see time as a fluid subjective entity rather than a linear progression. Furthermore, the inclusion of Dali’s work emphasizes the importance of surrealism in exploring and expressing complex concepts such as time, suggesting that surreality can coexist with reality to evoke a deeper understanding of our existence. Ultimately, Dalí’s influence on my project highlights my efforts to move beyond traditional representations of time and instead aspire to create a space where the viewer is invited to explore their own personal temporal landscape within the broader context of the rhythms of natural cycles.
Maya Lin’s Eclipsed Time, Long Island Rail Road concourse，（New York Penn Station, 1995-2019.）
REFERENCE
“Eclipsed Time” by Maya Lin. Installed in 1995, de-installed in November 2019. Located in the ceiling of Penn Station between the 2 and 3 express line subway exit and the former LIRR ticketing booth.
https://new.mta.info/agency/arts-design/collection/eclipsed-time
https://thisismattmiller.com/post/eclipsed-time
SUMMARY
“Eclipsed Time” by Maya Lin was an inventive art installation that aimed to transform commuters’ perceptions of time within the bustling environment of Penn Station. The sculpture, which consisted of a large metal disc moving across a stationary glass disc under a light source, sought to depict time through the natural phenomenon of an eclipse rather than traditional mechanical or digital methods. This piece challenged the conventional ways we measure and relate to time by creating a daily eclipse at midnight, where only a penumbral glow encircled the aligned discs, thus fostering a direct and contemplative engagement between the artwork and its viewers. Despite its removal due to construction, the impact of “Eclipsed Time” persists, symbolizing a break from the digitized precision of timekeeping and inviting a naturalistic reflection on time.
QUOTATIONS
1. “I’m asking for a one-on-one relationship between the viewer and the work,” – Maya Lin.
2. “I wanted to reflect time naturally and chose to use the concept of an eclipse.” – Maya Lin.
CONNECTION
Maya Lin’s “Eclipsed Time” aligns profoundly with the thematic essence of my “River of Time” mural by challenging traditional perceptions of time. Lin’s unique approach to representing time through the lens of an eclipse resonates with my mural’s objective to visualize time as a fluid entity rather than a fixed, linear measure. Her installation, akin to my project, invites viewers to engage in a deeper, more introspective dialogue with time, encouraging them to ponder its passage in relation to their personal experiences and the broader natural world. Lin’s work exemplifies how art can serve as a medium to question and redefine our understanding of time, paralleling my desire to use the mural as a vessel to explore the temporal continuum and its symbiotic relationship with the natural cycle of seasons.
PURPOSE
The inclusion of Maya Lin’s “Eclipsed Time” in my annotated bibliography underlines a critical exploration of how art can influence and alter our conventional notions of timekeeping. This installation not only represents a physical manifestation of time’s fluidity but also serves as an emblematic reminder of the subjective experience of time, especially amidst the disorienting context of a global pandemic. Lin’s work inspires a contemplation of time that transcends digital accuracy, echoing the overarching goals of my mural to portray time as an ever-evolving narrative intertwined with nature’s rhythms. This reflection on “Eclipsed Time” contributes to a deeper understanding of my project’s intention to create a space where viewers can reconceptualize time, fostering a connection that is both personal and universal.
SARAH SZE: SHORTER THAN THE DAY(LA GUARDIA AIRPORT, NEW YORK JULY 1, 2020 – JULY 1, 2040)
REFERENCE
Sarah Sze. *Shorter than the Day*, 2020. LaGuardia Airport Terminal B, New York. Commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund. Photo by Nicholas Knight, Courtesy of Sarah Sze; LaGuardia Gateway Partners; Public Art Fund, NY. © Sarah Sze.
SUMMARY
*Shorter than the Day*, a compelling airborne sculpture by Sarah Sze, stands as a monumental testament to the passage of time within LaGuardia Airport’s newly renovated Terminal B. Constructed from over 900 aluminum panels depicting the New York sky from dawn to dusk, the sculpture, over 50 feet tall, challenges perceptions of weight and materiality, appearing to defy gravity. Sze’s installation, inspired by a line from an Emily Dickinson poem, encapsulates the fluidity of time through the lens of natural light and the cyclical sky, offering travelers a moment of reflection amidst the bustle of transit. The artwork’s integration into a space of constant movement and transition echoes the artist’s 20-year exploration of how individual components coalesce into a cohesive whole, framing the viewer’s experience of time and place within the vast expanse of the day’s passage.
QUOTATIONS
1. “You’re watching the time of the sun going across the sky as you move, right? So, you’re tracing a day.”
2. “I want people to think, to question, to engage in their own opinion. That’s what a good artwork does. It doesn’t please.”
CONNECTION
Sarah Sze’s *Shorter than the Day* offers a profound parallel to the thematic ambitions of my “River of Time” mural. Sze’s exploration of time through the daily arc of the sun and the ethereal quality of her sculpture resonate with my mural’s depiction of the river as a metaphor for time’s relentless flow. Both works invite viewers to engage with time in a reflective, personalized manner, suggesting a continuum that extends beyond conventional markers. The sculpture’s presence in a transitional space like an airport, where time often feels suspended or accelerated, complements my intention to situate the mural within the broader discourse on how art intersects with daily life and personal journeys. Sze’s method of challenging the viewer to engage and form their own interpretations encourages a similar approach to my project, emphasizing art’s capacity to transform ordinary experiences into moments of introspection and connection.
PURPOSE
Incorporating *Shorter than the Day* into this annotated bibliography underscores the multifaceted nature of time as a subject within contemporary art. Sarah Sze’s installation not only provides a visual articulation of time’s passage but also embodies the interplay between art, viewer, and environment. This dialogue enriches my own project by illustrating the potential of art to capture and convey the ephemeral, to challenge perceptions, and to embed profound narratives within public spaces. Sze’s work, with its blend of personal reflection and public engagement, offers valuable insights into creating art that resonates on both an individual and collective level, inspiring further exploration of time’s representation in my mural.
Layered Drawings Exploring The Passing Of Time
REFERENCE
Nobuhiro Nakanishi. *Layer Drawings*. Initiated in 2004. Words by Anna Dorothea Ker. Represented by Yukimo Chiba Associates, Tokyo.Installation view: Transparent view, Aomori Contemporary Art Centre, Aomori, Japan (2011), © Nobuhiro Nakanishi, Courtesy of Yumiko Chiba Associates, Photo: Tadasu Yamamoto, Photo Courtesy: Aomori Contemporary Art Centre, Aomori, Japan
http://nobuhironakanishi.com/essay/layer-drawings-en/
SUMMARY
Nobuhiro Nakanishi’s *Layer Drawings* is an evocative exploration into the passage of time through sculptural form. The Osaka-based artist captures everyday moments—such as the sun rising or ice cream melting—through a series of photographs taken at regular intervals. These images are printed on transparent film and arranged in sequence to create three-dimensional installations that invite viewers to experience time’s ephemerality. Nakanishi’s work blurs the lines between illusion and reality, offering a meditation on the fluid and ungraspable nature of time. By assembling these moments in space, the artist encourages a contemplative engagement, urging viewers to bridge the gaps between snapshots with their personal perceptions of time and space.
QUOTATIONS
1. “The interplay between positive and negative space creates a certain kind of notion that reveals a thin boundary between this side and other side, and also expresses illusion and reality are endlessly turning around in this world.”
2. “We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped.”
CONNECTION
Nobuhiro Nakanishi’s *Layer Drawings* resonate deeply with the conceptual underpinnings of my “River of Time” mural. Both works interrogate the perception and passage of time, utilizing visual mediums to manifest time’s intangible qualities. Nakanishi’s method of capturing temporal shifts and presenting them in a tangible form mirrors my attempt to represent time’s fluidity along a river’s course. His emphasis on viewer participation—encouraging individuals to mentally fill the gaps between each moment—parallels my goal of engaging viewers in a personal reflection on time’s passage through natural cycles. This synergy highlights the universal yet personal nature of time, enriching the dialogue between my mural and contemporary explorations of time in art.
PURPOSE
Including Nobuhiro Nakanishi’s *Layer Drawings* in this annotated bibliography serves to broaden the conceptual framework of my project by showcasing an innovative approach to depicting time. Nakanishi’s work exemplifies how the ephemeral experience of time can be captured and conveyed through art, offering a profound reflection on the subjective nature of temporal perception. His exploration of time as a shared sensation between viewer and artist aligns with my aim to create a communal space for contemplation within the “River of Time” mural. By drawing connections between Nakanishi’s sculptural representations of time and my own visual interpretations, this entry not only contextualizes my work within a broader artistic discourse but also deepens the theoretical foundation of my project, inspiring further investigation into the representation of time and space.
SHUWEN 