Looking for time: sculpture's doubling of space

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Content LOOKING FOR TIME: SCULPTURE'S DOUBLING OF SPACE by Tellef Tellefson A Thesis Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF FINE ARTS May 2011 Copyright 2011 Tellef Tellefson Table of Contents List of Figures Abstract Facade Sculpture A Narrative of Space and the Infra-ordinary Prima Facie Means to an End: Design and Time Bibliography iii iv 1 8 11 19 22 28 ii List of Figures Fig. 1: Fig. 2: Fig. 3: Fig. 4: Fig. 5: Fig. 6: Fig. 7: Fig. 8: Fig. 9: Fig. 10: Fig. 11: Fig. 12: Roski main entrance (west side of building) Gallery entrance (north side of building) Facade Facade Facade Installation Münster (Caravan) – parking position 12 Installation Münster (Caravan) – parking position 13 Gayle and Ed Roski Master of Fine Arts Gallery Prima facie being installed Prima facie Sectional sofa/sectional subject Fountain Stall 3 3 5 6 7 16 16 20 20 20 23 26 iii Abstract By way of straight forward description of selected works, ruminations on topics like sculpture and design, and a historical narrative regarding Georges Perec's writing about space this thesis attempts to circumscribe my interests in a situated and durational approach to sculpture. iv Facade A sculpture in the guise of an architectural addition, Facade was a glass and metal framed entrance way that sat within the space of a large roll-up cargo door. Its own two standard sized doors were welded open at an oblique angle. For the most part – and probably for most people – it was simply an architectural addition. Much less often it was a sculpture. Whether or not it was possible to be both at the same time is uncertain but this possibility is what I had hoped to bring about. While Facade was built to look sufficiently like a structure and did have structural qualities, it was made by a sculptor (it was definitely not to code). Despite all efforts to decode and purchase the actual hardware, materials and plans for such an object I came to understand how specific and detailed these rather plain things can be. Plans were made by measuring and thinking through the logic of a similar glass entrance on the other side of the building. How thick are the cross members? What kind of glass is used? What is the width of a double door and how are the doors hung? These kinds of questions were important because my intentions were for the object to not exhibit a personal style but rather to feel like a natural amendment to the building. I was attracted to the way the building was re-purposed. The building had been recently converted from a light manufacturing, warehouse type building into an art school consisting of administrative offices, studios, and a largish gallery. Only having hosted 1 four or five years of graduate students the place still felt unusually clean and in many ways unlived in. On the outside this repurposing made itself visible in only a few places. Namely, at the entrances where one could see the seams between inside layer and outside shell. The warehouse loading door towards the back of the parking lot had been removed and filled with a large aluminum framed glass entrance. It brought the interior aesthetic to the outside and sat within the brick frame snugly. The aesthetic was one of pure efficiency, a kind of mass produced and slapped together modernism. This entrance like every other entrance in the school was accessible only by key code. At the other end of the building, and facing the street, there was another warehouse entrance. This one only had a large roll-up door which remained close most of the time. The roll-up was used to haul materials into the gallery and occasionally it would be left open during receptions to accommodate traffic and visibility, as this was the only entrance to the gallery directly accessible from the outside. It also allowed people to smoke, have conversations, and generally to take a step back from the gallery. My intentions were to take advantage of this space: to offer up a sculpture that did double duty. It would sit in front of the roll-up flush with the brick exterior. By keeping the roll-up door in tact the object I wanted to build would be relieved of any kind of duty to secure the space. It would of course function in other particular ways. For instance it would allow for visibility and traffic during shows, frame the interior of the gallery from the street and complete the outside appearance of the repurposed building. However, 2 3 Fig. 2: Gallery loading door (north side of building) Prior to installation of Facade Fig. 1: Roski main entrance (west side of building) because Facade's doors were welded on they would never close. This presented a problem for whoever was using the gallery. They could take advantage of this framing and interior visibility but only if they chose to keep the space open to the elements. On the other hand, if they chose to close the roll-up door, the metal and glass frame became an awkward sign of closure, a redundant visual adornment and a sign that the show was possibly closed as well. The frame was built off site and brought in by trailer with a plan of attaching it directly to the brick wall. By chance, the frame lifted into place and came into contact with two existing steel guards that protected the brick threshold from run-ins with trucks. This convenience was seized upon and the frame was spot welded to the guards, needing no further support. This allowed the metal frame to float within the brick threshold. Not wanting to fill this half inch gap, this anomaly became an important sculptural factor and revealed that the object was not integral to the building. Once the frame was in place, the door frames were welded to the larger frame at an angle that suggested they were held open by a mechanism. Welding the doors to the main frame was another important sculptural factor as this meant the entire structure was whole and non-mechanical. The duration of the piece was unpredictable at the time of its installation. It was never discussed with anyone, least of all the administration or building supervisor, prior to installation. It was installed in two days and finished for the opening of an exhibition with Kenneth Tam entitled Can straw men build straw houses? It was removed nearly six months later. 1 1 Facade was installed November 18, 2009 and removed April 2, 2010. 4 5 Fig. 3: Facade With roll-up door closed 6 Fig. 4: Facade With roll-up door open 7 Fig. 5: Facade The reception was for an exhibition of work by Sean Kennedy Sculpture It is difficult to say what purpose sculpture has. To advance style and challenge the ideals of beauty. To be a monument, to remember the past, to celebrate the future. To be a meta-commodity, a self-reflexive commodity. To instigate social exchange, the convivial. Or to even be autonomous and to only speak of its own historical necessity, to be beholden only to the narrative of sculpture. Maybe even the other extreme, to be purely functional. To be critical, to see itself as resituating knowledge. Or to be productive, to address needs. Of course all of these are considered equally valid within the big tent of sculpture today (if not always given equal championing). And of course most of these desires are not mutually exclusive. Might it be possible for a sculpture to be considered all of these things? I wonder if I have trouble self-identifying as a sculptor because the term is capable of meaning so many different things? Yet this ambiguity is precisely the thing I desire: for my art to be considered several things at once. Critical or complicit, functional or dysfunctional, sculpture or image, art or not art, to be fixed or to be a commodity, etc. Sometimes art is incapable of working along this either/or line. Occasionally a piece falls far to one side of identification (e.g., this one is completely functional or this one is totally theatrical). Then it is the practice as a whole that maintains this ambiguity. The 8 body of work avoids the singularity of purpose. It can be narrated partially by its avoidance of identity. The thought of sculpture existing amongst other things in the world, not only as sign or as representation but also as idiosyncratic or heightened material reality is surely the cause of another identity crisis. Namely, the ability to identify and distinguish such site conditioned sculpture from other types of output – such as that from architecture, interior design, or the many other forms of urban programming. One must acknowledge that the world itself is largely comprised of a symbolic order. Attempting to intervene at the level of the “real” is at best a denial that this order predominates and at worst contributes new techniques to its repertoire. Inversely, sculpture may accept this symbolic order as well entrenched and see to it that it is called attention to. And ironically, sculpture may be in a unique position to bring awareness to this order because art's (albeit fragile) autonomy allows its motives towards commercial productivity and social consensus to be delayed. One cannot deny these motives entirely, one can simply delay them such that other motives replace decision making to the benefit of the art. Of course art is susceptible to the aura of commodity and value can easily be transferred to the artist's name. We see this time and again. When overt value is delayed in a work, it is usually to the benefit of the artist's overall value. 2 For this reason it is easy for their success to short circuit this delay of motive and 2 Borris Groys, "Self-Design and Aesthetic Responsibility," e-flux, June 2009, 1 Nov. 2010 <http://www.e-flux.com/journal/view/68>. 9 the work can become a signature of itself as opposed to a critically engaging event. Nevertheless, art's tentative autonomy is what allows sculpture to embody this ordered reality while prioritizing things like awareness over affect, boredom over entertainment, failure over success, subjectivity over logic, and the personal over the hegemonic. 10 A Narrative of Space and the Infra-ordinary There is a timeliness (and a timelessness) about Georges Perec's writing. His method of probing the ordinariness of life while articulating its bizarre structures and presumed rationalism is fitting for his time, and ours. Perec was certainly part of a milieu that occurred in the 60's and 70's which included figures like Henri Lefebvre, Paul Virilio, the Situationist International, and Michel de Certeau who amongst others were interested in notions of space and the options available to the individual in order to navigate what was seen as an increasingly structured existence. Lefebvre, who had written books on everyday life, was a mentor and friend and Perec had helped Lefebvre with research in the early 60's. Lefebvre had him hired on to a research company that was conducting a survey on the attitudes of a mining community in France. On return Perec shared his data with Lefebvre. 3 A decade later Perec collaborated with the architect Paul Virilio. They co-edited the non-denominational leftist journal Cause Commune. Virilio would also commission Perec's 1974 essay Especes d'espaces (Species of Spaces), which happens to be the same year that Lefebvre published Production de l'espace (The Production of Space). 4 Especes d'espaces is a good example of Perec's attention to detail and playful systematization of subject matter. He was after all employed as an archivist from 1961 3 David Bellos, Georges Perec: A Life in Words : A Biography (New York: David R Godine, 1993) 236. 4 Bellos 492. 11 on until only a few years before his death. 5 The essay's chapters are organized around the types of space we live in, beginning with the small and ending with the large. Importantly, Perec begins with the page – his smallest space – and ends at the world. He chooses not to go smaller or larger (to the microscopic or to the universe). He hints at a reason in the introduction and we come to understand that these other spaces are beyond our daily lives, they exist according to science or the imagination but they are not tangible. 6 In Especes d'espaces Perec goes from the page, to the bed, to the bedroom, to the apartment, to the street, to the neighborhood, to the town, to the countryside, to the country, to Europe, to the world. Beginning with the “page” Perec starts somewhat lazily, ruminating about text and its normative flow from left to right and top to bottom, the empty space, and the concreteness of letters on a page. It is so effortless and quotidian that one would guess he is warming up or simply trying to get past a block (his writing often starts with the question of how to begin). But he quickly moves to the power of the page and of paper, to its storage capacity, to its ability to encode and to lock down history, and finally to its defining role in conjuring space. “This is how space begins, with words only, signs traced on the blank page,” he writes. 7 5 Bellos 251. 6 One might wonder where he would place the Internet. Would it be his page, his world or would he leave it out as an intangible? 7 Georges Perec, Species of Spaces and Other Pieces (Penguin Classics), (London: Penguin Classics, 2008) 13. 12 It is important to look closely at this emphasis on space and text as aspects of the same thing. Not only is he beginning with a place where he has the most authority but he is acknowledging that this authority is fraught with problems, that writing is largely responsible for codifying our existence. It is an example of an author as individual and as institution. Playing this double role self-consciously is Perec's solution. This is essential, I think, to understanding the motivations of artists such as Gordon Matta-Clark and Michael Asher (who we'll look at later) that are working against, within, and for the built environment as an individual. In an essay regarding Matta-Clark's relationship to anarchitecture it is nicely put: “His ideas about art and architecture were directly about the body, about changes that could be made to structures by the physical actions of a single human being.” 8 Much less passive than the average consumer that Michel de Certeau describes in the Practice of Everyday Life, Matta-Clark and Perec are nevertheless individuals who fluctuate from consumer to producer. They may be actively producing spaces and text but they are doing so as readers would, as tacticians within a world they likely perceived as over-built and already full of code. The artist as individual plays the double role of occupant of space and occupier of space. This bipolar disorder is something to be embraced by both sculpture and writing, or in Perec's case by writing as sculpture. 8 James Attlee, "Towards Anarchitecture: Gordon Matta-Clark And Le Corbusier," Tate Papers, Spring 2007, 1 Nov. 2010 <http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/attlee.htm>. 13 Perec treats each of the subsequent chapters, and spatial types, differently. Occasionally he tells a personal story, an anecdote, describes a proposition or presents a list. For instance, with “the apartment” he starts with an anecdote of an old woman who never left her apartment, he tells of a friend who has an idea to live in an airport for an entire month, followed by a questioning of why rooms in an apartment are organized the way they are: I don't know, and don't want to know, where functionality begins or ends. It seems to me, in any case, that in the ideal dividing-up of today's apartments functionality functions in accordance with a procedure that is unequivocal, sequential and nycthemeral. 9 He continues on with a failed effort to imagine a useless room, a list of things one does when moving out, a list of things one does when moving in, and then an analysis of doors: The door breaks space in two, splits it, prevents osmosis, imposes a partition. On one side, me and my place, the private, the domestic (a space overfilled with my possessions: my bed, my carpet, my table, my typewriter, my books, my odd copies of the Nouvelle Revue Française); on the other side, other people, the world, the public, politics. 10 Perec finishes the chapter with a plea to think more about staircases and a short blurb about the invisibility of walls. We should look at Perec because his writing provides a kind of example of what it is like to read the world around us deconstructively. With Perec we are given a backseat to his method of taking in and analyzing his surroundings. His writing is a way to recollect 9 Perec 28. He has a footnote for this last sentence which states “This is the best phrase in the whole book!” 10 Perec 37. 14 small differences, and to preserve meanings from going unnoticed or uncaptured before slipping in time. For Perec space is fragile because it is temporarily constructed by those who occupy it. The everyday is vulnerable to the bulldozing of time. Perec: Space melts like sand running through one's fingers. Time bears it away and leaves me only shapeless shreds: To write: to try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs. 11 Ironically, Perec demonstrates something more timeless in the process. The relationship of individual meanings to socially constructed space will always be one of conflict and contradiction; what is limited by time is continually reenacted in time. If we look at Michael Asher's caravan for skulptur project münster we have an interesting example. Not only does it deal with space in a Perecquian way, it does so in time as well. First conceived of for the 1977 exhibition in Münster, a small trailer of West German manufacturing is rented and placed in nineteen different locations over a nineteen week period. After the exhibition the trailer is returned and the sculpture ceases to exist. However, for each subsequent occurrence of skulptur project münster (occurring every ten years) Asher repeated the project with the same make of trailer and when possible repeated the locations from the first exhibition. 11 Perec 91-92. 15 16 Fig. 7: Installation Münster (Caravan) - parking position 13 Michael Asher, from left - 1977, 1987, 1997 (2007 not shown) Fig. 6: Installation Münster (Caravan) - parking position 12 Michael Asher, from left - 1977, 1987, 1997 (2007 not shown) The Installation Münster (Caravan) project prioritizes the viewer and their relationship to the various contexts which surround the trailer at different times. The work can be read by the viewer in a similar way to Perec's reading of his apartment (think of his reflection on the necessity of walls or the curious way that rooms differentiate themselves). The work is an invitation to examine the infra-ordinary. The aspect of repetition in Asher's caravan project – every ten years – reminds us of a Perecquian project as well. We see similar intentions in Perec's incomplete Lieux project (abandoned in 1975) or the chapter titled “The Rue Vilin” from L'Infra-ordinaire. Lieux (Places) was intended to document twelve places, once a year for twelve years. “The Rue Vilin”, published in 1977, describes the street of Perec's childhood which he revisits as an adult each year between 1969 and 1975. He documents in a neutral way the neighborhood's shops, buildings and businesses from the top of the street to just past his childhood residence. Every year that he returns shops have gone out of business, buildings are torn down and replaced, and signs of the past fade from visibility. By writing down these temporal circumstances, Perec is trying to make us aware of how constructed and fleeting space is. His text is a sort of architectural support, possibly even an architecture itself. Is the experience of Asher's caravan from 2007 the same as the caravan from 1977? Hardly. While the object is arguably the same 12 , the context has changed. Not only has the building behind it aged and been replaced by a different business, but the trailer itself is now vintage. The trailer type that was purposefully 12 Michael Asher was able to find the same year and make of trailer in the surrounding area of Münster. 17 chosen to be of its time and of its place, to blend in as an everyday object, is now a relic and comes to signify something completely different. In this way the trailer becomes a stand-in for the individual and his or her relationship to space and time. 18 Prima Facie The window was another odd hold-over from a time when the space was used for something else entirely. It did little for the gallery but add a meager spill of sunshine to the mostly fluorescent lit cube. Rather than helping to illuminate, it usually ruined some projection or light sensitive piece. Occasionally, a two dimensional work would be hung on the same wall as the window for lack of another space and be completely out weighted by its presence. Frequently, someone would fill it with a piece of foam core or cover it with drapes to keep the light out. But I liked the window. I enjoyed it as an anomaly. I enjoyed it as bad design. I enjoyed the torn up metal grating on the outside which gave one the feeling that security was of concern. I also enjoyed that from the outside it was an indicator of activity in the gallery. At some point it seemed obvious that the window was going to be removed. But I imagined that its removal presented another kind of problem. If it was sealed from inside, then there would be a useless window on the outside. The window could be bricked up but it would be costly and the contrast of fresh brick would signal a dead window and a kind of loss. It seemed like everyone who had occupied the gallery had dealt with the problem over the years in different and interesting ways. But always in temporary ways. For an individual, the temporary is often the only way we are allowed to modify the architecture we live and work amongst. 19 20 Fig. 9: Prima facie being installed Fig. 8: Gayle and Ed Roski Master of Fine Arts Gallery Fig. 10: Prima facie It occurred to me that if I sealed it up, I'd have the opportunity to make use of this space. By solving this problem on a pragmatic level I would be able to maneuver within the window's confines somewhat freely. It sounds absurd to go to such lengths to find such a small amount of autonomy but in the end I think the exercise is interesting as a measure of constraint and possibility. A pragmatic layer would help justify a sculptural existence and its sculptural existence would help justify a rather (un)pragmatic solution. And as sculpture the widow could continue to be a problem. The final work consisted of four fluorescent fixtures installed inside the window frame and wired to the track lighting circuit of the gallery. The window was then sealed with drywall and joint compound and finally painted, hiding the fact from the inside that there had ever been a window. Wiring the fluorescent fixtures to the track light circuit allowed the window to act as a kind of light box, appearing brightly lit on the outside at night. When certain gallery lights were turned on the window would also be lit. The idea was to maintain part of the original window's functionality by creating a situation where the gallery's inside condition would be connected to what was visible from the outside. 13 prima facie 2010+10,000hrs Electrical hardware, drywall, all purpose joint compound, fluorescent light fixtures, flat white interior paint. 80" x 48" x 10" 14 13 A few months after installing it I returned for another show. It featured dozens of video projections inside a totally darkened gallery at night. The window happened to be lit. They had taken the track lights out of the window circuit and reversed the effect. Prima facie took on a completely different meaning, one far less passive, amongst a show ultimately about playing with light. 14 Title, date, materials, and dimensions as labeled in the gallery's list of works. The bulbs were rated to last 10,000 hours. 21 Means to an End: Design and Time While I sympathize with the need for running-room and autonomy, I believe that it is best achieved by frame-of-mind, intentions and discourse. Art is better off fuzzy. In Hal Foster's book Design and Crime (And Other Diatribes), Foster lays out a convincing argument that we are experiencing the near universal collapse of art – and most other things – into design. For artists this would seem an open call to avoid design, to produce art that is distinctly anti-design (if such a thing was remotely possible). To briefly allow for a generalization, this is a look that might be associated with deskilling, bricolage, or private mythologies. The inherent problem with this strategy is that it most assuredly generates new styles to be marketed. Instead, style and design should be considered unavoidable components of a work's configuration within its context. If an art form is to properly mine (and undermine) its complicity with total design, then it shouldn't focus on perpetuating the myth of style as a signature of freedom. Style instead should be understood as interdependent on a program. If an art form embodies a style which reflects a program, then we can catch a glimpse of how and what motivates us to make things in the first place, to understand why we participate in the building of our environment, and to understand how much freedom we truly have – or don't have – in doing so. In a recent section of Artforum dedicated to style, Ina Blom explains: What is required is a take on style that does not automatically predicate itself on the “look of things” (nor undertake the work of identification and classification that tends to follow) but rather proceeds from the specific mechanisms that connect subjectivities and surfaces in new circuits of production. 15 15 Ina Blom, "Questions of Style," Artforum Sep. 2010: 256. 22 23 Fig. 11: Sectional sofa/sectional subject Design is a way to make things disappear as much as it is a way to make things stand out. In this way design is useful as a tactic to bring attention to a particular context or situation. It is also a way to displace authorship so that an object may speak without the burden of an authorial voice. And in some cases an object might take on the voice of its context, miming this entity or that institution, speaking on their behalf. These kinds of displacements are important for an art that seeks to embody the built world, to operate within its sensibilities in order to reveal its makeup. But it is also about finding ways of engaging this order as an individual outside of our normal bonds as consumers and citizens. Similarly, utility can be pretext for another type of engagement; utility is an excellent ruse. Giving sculpture an inherent use value relieves it of its purely aesthetic duty, duty to style, or duty to politics. Not that these other forms of value are inferior but the logic – or lack thereof – within a functional system can generate meaning by playing off demands on the body, its needs and desires. While attempting to operate on this level of physical utility a sculpture can find another approach to contemplative utility, one that avoids a immediate appraisal of representational value. Timing and duration play an integral role in sculpture and its relationship to space. An important development with regards to time was the shift towards ephemerality. Partly a response to monumentality and the perception of art as commodity, it also signaled an important shift towards process. But now that these shifts have been internalized by our 24 economic systems and media, why is this still such a common technique for art and its exhibition? In my own past work things have been done mostly for the instant. Short lived pieces that are up one day and gone the next. At some point this even became the crux of a collaboration between myself and two other artists. 16 Moveable Types and Instant Spaces (MTIS) tried to formulate a personal, mobile and instant type of architecture: an idea which related more to our concerns with context and sculpture than to architecture, and as a way to explore what we saw as the fluidity of meaning. But the instantaneous and temporary are very much a product of our current society and are the norm, not the exception to its modes of exchange. Has temporary and ephemeral art lost some of its reason for being? I do not deny its usefulness altogether. There are situations where it is extremely effective (or destabilizing) but recently I have felt the need to make work that can exist alongside us in time; not to preserve meaning but to allow for shifts to occur and to witness this instability over time. If the temporary object in art was meant to destabilize and avert commodity status, then it was doomed to fall short of the system's ability to adapt, for technology was in essence speeding up exchange and creating new mediums for the temporary. I admit the possibility that art must be complicit if it will have a chance of speaking to and within an 16 MTIS (Moveable Types and Instant Spaces) was a collaboration between Taeyoon Choi, Cheon Pyo Lee and myself. MTIS made work for the San Jose Zero One Biennial in 2006. 25 26 Fig. 12: Fountain Stall Moveable Types and Instant Spaces, Zero One Biennial, San Jose, California, 2006 Taeyoon Choi, Cheon Pyo Lee and Tellef Tellefson ever quickening system for symbolic exchange. There is something sensible about this argument and tactic. To be precise, this argument is not about quickness versus slowness. It has more to do with the return, repetition, and consistency built into living. While our lives may be filled with ever more quick exchanges, we do live cyclical lives. We wake up in the same house, we go to work in the same vehicle, we read the same websites (albeit with new content). Many of the forms we encounter in life can only be understood by repeated looking, repeated thinking, and repeated discussion. And when an art form can find a way to exist without a singular reliance on aesthetic evaluation, by existing also as an object amongst us, its double life allows for shifts in meaning to be felt over time, to occasionally be reauthored by other persons who come along. 27 Bibliography Adair, Gilbert. "The eleventh day: Perec and the infra-ordinary." The Review of Contemporary Fiction Spring (1993): 98. Print. Asher, Michael. Writings 1973-1983 on Works 1969-1979. Halifax: The Press Of The Nova Scotia College, 1983. Print. Attlee, James. "Towards Anarchitecture: Gordon Matta-Clark And Le Corbusier ." Tate Papers. Version Spring 2007. Tate Papers, n.d. Web. 1 Nov. 2010. <http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/attlee.htm>. Attlee, James. "Towards Anarchitecture: Gordon Matta-Clark And Le Corbusier ." Tate Papers Spring.7 (2007): NA. Print. Bellos, David. Georges Perec: A Life in Words : A Biography. new york: David R Godine, 1993. Print. Blom, Ina. "Questions of Style." artForum Sep. 2010: 254-271. Print. Certeau, Michel de. The Practice of Everyday Life. Berkeley: University of California Press, 2002. Print. Chan, Paul. "What Art Is and Where it Belongs." e-flux . Version November 2009. N.p., n.d. Web. 1 Nov. 2010. <http://e-flux.com/journal/view/95>. Diederichsen, Diedrich. "Polyphilo's Dream." Frieze Apr. 2009: n. pag. Frieze Magazine. Web. 1 Oct. 2010. Foster, Hal. Design and Crime (and Other Diatribes). New York: Verso, 2003. Print. Groys, Boris. "Self-Design and Aesthetic Responsibility." e-flux. Version June 2009. N.p., n.d. Web. 1 Nov. 2010. <http://www.e-flux.com/journal/view/68>. Lefebvre, Henri. The Production of Space. Chicago, Illinois: Blackwell Publishing Limited, 1991. Print. Lefebvre, Henri. Critique of Everyday Life, Volume II. New York: Verso, 2002. Print. Mitchell, Peta. "Constructing the Architext: Georges Perec's Life a User's Manual." Mosaic : a Journal for the Interdisciplinary Study of Literature 37.1 (2004): 1. Print. 28 Morris, Kate. "Perec's Alternative Topography: Figuring Permanence and the Ephemeral in Lieux ." Octopus Fall (2008): 31-60. Print. Perec, Georges. Species of Spaces and Other Pieces (Penguin Classics). London: Penguin Classics, 2008. Print Schilling, Derek. "Everyday Life and the Challenge to History in Postwar France: Braudel, Lefebvre, Certeau." diacritics 33.1 (2003): 23-40. Print. 29

Asset Metadata

Creator Tellefson, Tellef (author)

Core Title Looking for time: sculpture's doubling of space

Contributor Electronically uploaded by the author (provenance)

School School of Fine Arts

Degree Master of Fine Arts

Degree Program Fine Arts

Publication Date 02/02/2011

Defense Date 11/01/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag aesthetic,anti-design,Architecture,art,Asher,author,authorship,Autonomy,caravan,commodity,complicit,cyclical,design,disappearance,duration,Especes d'espaces,function,fuzzy,Georges Perec,image,Ina Blom,infra-ordinary,instant,institution,Lefebvre,Matta-Clark,OAI-PMH Harvest,reality,Sculpture,self-reflexive,skuptur project münster,space,style,subjectivity,symbolic order,temporary,Time,urban programming,utility

Language English

Advisor Fine, Jud (committee chair), Hainley, Bruce (committee member), Zittel, Andrea (committee member)

Creator Email tellefso@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m3638

Unique identifier UC1195530

Identifier etd-Tellefson-4197 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-426833 (legacy record id),usctheses-m3638 (legacy record id)

Legacy Identifier etd-Tellefson-4197.pdf

Dmrecord 426833

Document Type Thesis

Rights Tellefson, Tellef

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email uscdl@usc.edu

Abstract (if available)

Abstract By way of straight forward description of selected works, ruminations on topics like sculpture and design, and a historical narrative regarding Georges Perec's writing about space this thesis attempts to circumscribe my interests in a situated and durational approach to sculpture.