Time Management Techniques
Sept 24, 2022–Jan 8, 2023
Time Management Techniques showcases photography by artists who examined the medium’s relationship to time between 1968 and 2019. Drawn from the Whitney’s permanent collection, the exhibition features many recent acquisitions alongside works that have never before been exhibited. Each of the artists, despite employing vastly different techniques, aesthetics, and conceptual frameworks, works against the immediacy often associated with photography to reflect a passage of time that is slowed down, expanded, or nonlinear.
Some artists employ a personal archive, reaching back into their individual and familial histories to challenge the linear way stories are often told. Others use photography for its self-referential properties, recording the duration and labor of making photographs and allowing the process to dictate the final form. Still others consider performance and photography together, using the camera to mark a moment and suggest countless more that remain uncaptured. By making works that reflect on varieties of duration, all of these artists reveal the slipperiness of time and articulate the artificial ways we attempt to divide, mark, and come to terms with its passing.
This exhibition is organized by Elisabeth Sherman, Assistant Curator at the Whitney Museum of American Art.
Artists
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Blythe Bohnen
18 works in the collection -
Shannon Ebner
18 works in the collection -
Darrel Ellis
6 works in the collection -
Felix Gonzalez-Torres
15 works in the collection -
Muriel Hasbun
7 works in the collection -
Corin Hewitt
75 works in the collection -
EJ Hill
2 works in the collection -
Sky Hopinka
5 works in the collection -
Katherine Hubbard
14 works in the collection -
Dawn Kasper
6 works in the collection -
Kenji Nakahashi
7 works in the collection -
David Reinfurt
13 works in the collection -
Lew Thomas
1 work in the collection
Essay
Installation Photography
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 1 of 10, 2016; Lew Thomas, TIME EQUALS 36 EXPOSURES (positive and negative sections), 1971. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 2 of 10, 2016; Blythe Bohnen, Marking four points equidistant from a center and from each other; pencil on paper and time lapse photograph, #4 pair, 1968; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 3 of 10, 2016. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Muriel Hasbun, ¿Sólo una sombra?/ Only a Shadow (Lejzor), 1994; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 4 of 10, 2016; Dawn Kasper, Jarvis, 2012; Dawn Kasper, Joanne’s Eye Patch, 2012; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 5 of 10, 2016. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Shannon Ebner, A Hudson Yard: April, 2015, 2014-2015; Shannon Ebner, A Hudson Yard: March, 2015, 2014-2015; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 6 of 10, 2016; EJ Hill, An Extended Hand (after Roger Noble Burnham), 2018; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 9 of 10, 2016; Sky Hopinka, The outside being here right now, 2019; Sky Hopinka, This is eidos and caprice, 2019; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 7 of 10, 2016. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 7 of 10, 2016; Darrel Ellis, Untitled (Street Scene), 1987; Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #22, October 25, 2008, 2008; Corin Hewitt, Untitled #57, January 2, 2009, 2009; Corin Hewitt, Untitled #63, January 4, 2009, 2009; Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #65, January 4, 2009, 2009; Corin Hewitt, Untitled #66, January 4, 2009, 2009; Corin Hewitt, Untitled #17, January 4, 2009, 2009; Corin Hewitt, Untitled #68, January 4, 2009, 2009; Corin Hewitt, Untitled #69, January 4, 2009, 2009; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 8 of 10, 2016; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 10 of 10, 2016; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 1 of 10, 2016. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #22, October 25, 2008, 2008; Corin Hewitt, Untitled #57, January 2, 2009, 2009; Corin Hewitt, Untitled #63, January 4, 2009, 2009; Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #65, January 4, 2009, 2009; Corin Hewitt, Untitled #66, January 4, 2009, 2009; Corin Hewitt, Untitled #17, January 4, 2009, 2009; Corin Hewitt, Untitled #68, January 4, 2009, 2009; Corin Hewitt, Untitled #69, January 4, 2009, 2009; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 8 of 10, 2016; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 10 of 10, 2016. Photograph by Ron Amstutz
Installation view of Time Management Techniques (Whitney Museum of American Art, New York, September 28 – January 8, 2023). From left to right: Darrel Ellis, Untitled (Street Seen), 1987; Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #22, October 25, 2008, 2008; Corin Hewitt, Untitled #57, January 2, 2009, 2009; Corin Hewitt, Untitled #63, January 4, 2009, 2009; Corin Hewitt, Untitled #13, October 18, 2008, 2008; Corin Hewitt, Untitled #65, January 4, 2009, 2009; Corin Hewitt, Untitled #66, January 4, 2009, 2009; Corin Hewitt, Untitled #17, January 4, 2009, 2009; Corin Hewitt, Untitled #68, January 4, 2009, 2009; Corin Hewitt, Untitled #69, January 4, 2009, 2009; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 8 of 10, 2016; Katherine Hubbard, Bend the rays more sharply (Photographic print made from a negative embedded in ice at increments of ten degrees between zero and ninety.) No. 10 of 10, 2016. Photograph by Ron Amstutz