1.5

1. PART 1
FUNDAMENTALS
Copyright © 2015 Thames & Hudson
Chapter 1.5
Time and Motion

2. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
FUNDAMENTALS
Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Introduction
 Most traditional art media (e.g.
painting) are static, but artists have
found ways to indicate the passage
of time and appearance of motion
 New technology and media, such
as film and video, allow artists to
capture time and motion

3. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Art and Time
 Any artwork that deals with events
must show how time goes by
 Artists find ways to communicate
the passage of time and remind us
of its influence

4. PART 1
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Interactive Exercises:
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 1.5 Time and Motion
Time

5. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The Passage of Time
 Artists often seek to tell a story
 This can be in a single painting
 Some artists examine cycles of
time

6. Artwork: The Meeting of
St. Anthony and St. Paul
1.5.1 Workshop of the Master of
Osservanza (Sano di Pietro?),
The Meeting of St. Anthony and
St. Paul, c. 1430–35. Tempera on
panel, 18½ × 13¼”. National
Gallery of Art, Washington, D.C.

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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The Meeting of St.
Anthony and St. Paul
 Tells a story by merging a series of
episodes into one picture
 The entire painting signifies a long
pilgrimage over time, rather than a
single moment
 Linear method is still used by
artists, comic-book writers, and
designers

8. Artwork: Nancy Holt,
Solar Rotary
1.5.2 Nancy Holt, Solar Rotary, 1995. Aluminum, concrete, and meteorite, approx. height 20’, approx. diameter 24’. University
of South Florida

9. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Nancy Holt,
Solar Rotary
 Intertwines the passage of time
with the motion of the sun
 At different times of the year, the
sculpture casts shadows on
notable dates set into the
surrounding concrete
 Center bench is encircled at noon
on the summer solstice

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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The Attributes of Time
 Time-based arts, such as film,
embody six basic attributes of
time: duration, tempo, intensity,
scope, setting, and chronology

11. Artwork: Fred Ott’s Sneeze
1.5.3 Thomas Edison and W. K.
Dickson, Fred Ott’s Sneeze,
1894. Still frames from kinetoscope
film. Library of Congress,
Washington, D.C.

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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Edison and Dickson,
Fred Ott’s Sneeze
 Duration (length) is 5 seconds
 Tempo (speed) is 16 frames per
second
 Intensity (level of energy) is high
 Scope (range of action) is limited
 Setting (context) is Edison’s studio

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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
What is Motion?
 Occurs when an object changes
location or position
 Directly linked to time
 Artists can communicate motion
by implying time or creating the
illusion of it

14. PART 1
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Interactive Exercises:
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 1.5 Time and Motion
Motion

15. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
FUNDAMENTALS
Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Implied Motion
 Used in static works of art
 We do not actually see the motion
happening
 Visual clues tell us that the work
portrays motion

16. Artwork: Bernini, Apollo and
Daphne
1.5.4 Gianlorenzo Bernini,
Apollo and Daphne,
1622–24. Carrara marble,
8’ high. Galleria Borghese,
Rome, Italy

17. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Gianlorenzo Bernini,
Apollo and Daphne
 The sun god Apollo falls madly in
love with the wood nymph Daphne
 As she runs away terrified, her
father saves her by transforming
her into a bay laurel tree
 Diagonal lines convey the action
 The pivotal moment is frozen in
time

18. Video:
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Video:
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Gianlorenzo Bernini:
The Ecstasy
of St. Teresa

19. Artwork: Dynamism of a Dog
on a Leash
1.5.5 Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 35⅜ × 43¼”. Albright-Knox Art Gallery, Buffalo, New
York

20. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Balla, Dynamism of a
Dog on a Leash
 Balla was an Italian Futurist
 Conveys a sense of forward
motion
 A series of repeating marks in the
dog’s tail, feet, and leash
communicate rapid movement

21. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The Illusion of Motion
 Artists create an illusion of motion
through visual tricks
 Our eyes are deceived into
believing there is motion as time
passes, even though no actual
motion occurs

22. Artwork: Jenny Holzer, Untitled
1.5.6 Jenny Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock,
Laments, and Child Text), 1989. Extended helical tricolor LED, electronic display signboard, site-specific dimensions. Solomon R.
Guggenheim Museum, New York

23. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Jenny Holzer,
Untitled
 Tiny LEDs (light-emitting diodes)
are illuminated in automated
sequence
 The messages appear to scroll up
the circular atrium, although the
text does not actually move

24. Artwork: Bridget Riley,
Cataract 3
1.5.7 Bridget Riley,
Cataract 3, 1967. PVA on
canvas, 7’3¾” × 7’3¾”.
British Council Collection

25. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Bridget Riley,
Cataract 3
 Example of Op art (Optical art)
 If we focus on a single point in the
work, the image appears to vibrate
 We can see this optical illusion
because Riley uses sharp contrast
and hard-edged graphics set close
together

26. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
What is Stroboscopic Motion?
 When we see two or more repeated
images in quick succession, they
appear to fuse together
 Basis for early attempts to show
moving images
 Advanced forms have been
developed to stream digital video
for the Web

27. PART 1
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Chapter 1.5 Time and Motion
Stroboscopic Motion

28. Artwork: Zoetrope
1.5.8 Zoetrope, 19th century. Bill Douglas Centre for the History of Film and Popular Culture, University of Exeter, England

29. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Zoetrope, 19th century
 A series of drawings is placed in a
slotted cylinder called a zoetrope
 A viewer looks through the slots
and when the cylinder is spun, the
image appears to move
 Early form of animation

30. Finding Nemo
1.5.9 Walt Disney Pictures, frame from Finding Nemo, 2003

31. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Walt Disney Pictures,
Finding Nemo
 Compiled from individual frames
that were computer-generated
using 3-D modeling software
 Animator produces the frames in a
sequence, played in rapid
succession
 Later committed to film or digital
media and distributed to theaters

32. Video:
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Video:
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Animation

33. Still from Run Lola Run
1.5.10 Tom Tykwer, scene from Run Lola Run, 1998. 81 minutes, X-Filme Creative Pool/WDR/Arte

34. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Run Lola Run
 Lola must save her boyfriend
within 20 minutes
 The story reboots three times,
each time with a new set of
circumstances
 Film reinterprets time and
demonstrates the impact that a few
seconds’ difference can make

35. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
What is Actual Motion?
 Art that changes in real space and
time
 Examples include kinetic art (a
work that contains moving parts)
and performance art
 In performance art, the artist’s
intention is to create an experience
rather than an art object

36. PART 1
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Interactive Exercises:
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Chapter 1.5 Time and Motion
Actual Motion

37. Blue Man Group performing
1.5.11 Blue Man Group perform at the Venetian Hotel, Las Vegas, Nevada, September 17, 2005

38. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Blue Man Group
 Integrated humor and music for
passersby on the streets of New
York
 Used sound and mime, relying on
bodily movements to communicate
ideas without speech

39. Artwork: Alexander Calder,
Untitled
1.5.12 Alexander Calder, Untitled, 1976. Aluminum and steel, 29’10⅜” × 75’11¾”. National Gallery of Art, Washington, D.C.

40. PART 1
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PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Alexander Calder,
Untitled
 Calder invented the mobile, a
kinetic sculpture (art that moves)
 Relies on air currents to power its
movement; constantly changes
 Untitled, his final sculpture, is
made up of counterbalanced
abstract elements

41. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Gateway to Art:
Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Time and Motion in
Photography
 Photographers are deeply
concerned with motion and time
 They move around their subject,
choosing the right focus the best
position to obtain the image
 Photographs capture a moment in
time

42. Lange, Migrant Mother Series
1.5.13a–e Dorothea Lange, Destitute Pea-Pickers in California, Mother of Seven Children. Age Thirty-two. Nipomo, California, 1936.
Images a, c–e: Library of Congress, Washington, D.C. Image b: Oakland Museum of California

43. Image a
1.5.13a Dorothea Lange, Destitute Pea-Pickers in California, Mother of Seven Children. Age Thirty-two. Nipomo, California, 1936.
Library of Congress, Washington, D.C.

44. Image b
1.5.13b Dorothea Lange, Destitute Pea-Pickers in California, Mother of Seven Children. Age Thirty-two. Nipomo, California, 1936.
Oakland Museum of California

45. Image c
1.5.13c Dorothea Lange, Destitute Pea-Pickers in California, Mother of Seven Children. Age Thirty-two. Nipomo, California, 1936.
Library of Congress, Washington, D.C.

46. Image d
1.5.13d Dorothea Lange, Destitute Pea-Pickers in California, Mother of Seven Children. Age Thirty-two. Nipomo, California, 1936.
Library of Congress, Washington, D.C.

47. Image e
1.5.13e Dorothea Lange,
Destitute Pea-Pickers in
California, Mother of Seven
Children. Age Thirty-two.
Nipomo, California, 1936.
Library of Congress,
Washington, D.C.

48. Dorothea Lange, Migrant Mother
1.5.13f Dorothea Lange,
Migrant Mother, 1936. Library
of Congress, Washington, D.C.

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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Gateway to Art:
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Lange, Migrant Mother
 Lange took a series of photos of
Florence Thompson and her
children
 Sequence reveals how Lange went
from showing the family in their
lived environment to the intimate
portrayal of an individual

50. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Natural Processes and the
Passage of Time
 Some artists use biology and
organic materials to indicate the
passage of time in their artwork
(bioart)
 Organic materials grow and
degrade, so work by “bioartists” is
always changing

51. Artwork: Suzanne Anker,
Astroculture (Shelf Life)
1.5.14 Suzanne Anker, Astroculture (Shelf Life), 2009. Aluminum, plastic, red and blue LED lights, plants, water, soil, and no
pesticides. Dimensions variable. Vegetable-producing plants grown from seed using LED lights. Installation view at Corpus Extremus
(LIFE+), Exit Art, New York

52. PART 1
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PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Suzanne Anker,
Astroculture (Shelf Life)
 Experiments with how plants might
react in artificial conditions
 Uses LED lights instead of sunlight
to provide nourishment
 Blurs the line between science and
art

53. Artwork: Sublimate (Cloud
Cover)
1.5.15 Ron Lambert, Sublimate
(Cloud Cover), 2004. Water, vinyl,
humidifiers, steel, aluminum, and
acrylic, dimensions variable

54. PART 1
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 1
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Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Ron Lambert,
Sublimate (Cloud Cover)
 He created a large transparent
plastic environment in which water
endlessly evaporates and
condenses
 Shows how the rhythms of nature
become a measure of natural time

55. Artwork: Hunting Scene
1.5.16 Hunting Scene,
painting from Cova dels
Cavalls (Horses’ Cave),
Mesolithic period. Valtorta,
Valencia, Spain

56. MoMA Video
MoMA Video
PART 1
FUNDAMENTALS
Chapter 1.5 Time and Motion
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Constantin Brancusi
Umberto Boccioni
Unique Forms of Continuity in Space
Dynamism of a Soccer Player
MoMA Videos
To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks
in the MoMA collection:

57. MoMA Video
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Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
MoMA Videos (contd.)
Marcel Duchamp,
Bicycle Wheel

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Chapter 1.5 Time and Motion
Chapter 1.5 Copyright
Information
This concludes the PowerPoint slide set for Chapter 1.5
Gateways to Art: Understanding the Visual Arts
Second Edition
By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Copyright © 2015 Thames & Hudson

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Chapter 1.5 Time and Motion
Picture Credits for Chapter 1.5
1.5.1 National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1939.1.293
1.5.2 Photo University of South Florida. © Nancy Holt/DACS, London/VAGA, New York 2012
1.5.3 Library of Congress, Washington, D.C. Prints & Photographs Division, LC-USZ62-536
1.5.4 Galleria Borghese, Rome
1.5.5 Albright-Knox Art Gallery, Buffalo, New York, Bequest of A. Conger Goodyear and Gift of George F.
Goodyear, 1964. © DACS 2012
1.5.6 Solomon R. Guggenheim Museum, New York, Partial gift of the artist, 1989, 89.3626. Photo David Heald ©
Solomon R. Guggenheim Foundation, New York. © ARS, NY and DACS, London 2012
1.5.7 Copyright Bridget Riley, 2012. All rights reserved
1.5.8 Courtesy the Bill Douglas Centre for the History of Cinema and Popular Culture, University of Exeter
1.5.9 Disney Enterprises/Album/akg-images
1.5.10 Arte/Bavaria/WDR/Spauke, Bernd/The Kobal Collection
1.5.11 © Blaine Harrington III/Alamy
1.5.12 Photo © B. O’Kane/Alamy. © 2012 Calder Foundation, New York/DACS, London
1.5.13a Library of Congress, Washington, D.C. Prints & Photographs Division, FSA/OWI Collection, LC-USZ62-
58355
1.5.13b © The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor
1.5.13c Library of Congress, Washington, D.C. Prints & Photographs Division, FSA/OWI Collection, LC-USF34-
9097-C
1.5.13d Library of Congress, Washington, D.C. Prints & Photographs Division, FSA/OWI Collection, LC-USF34-
9093-C
1.5.13e Library of Congress, Washington, D.C. Prints & Photographs Division, FSA/OWI Collection, LC-USF34-9095
1.5.13f Library of Congress, Washington, D.C. Prints & Photographs Division, FSA/OWI Collection, LC-DIG-fsa-
8b29516
1.5.14 © Suzanne Anker
1.5.15 © the artist. Courtesy Catherine Person Gallery, Seattle, WA
1.5.16 Rotger/Iberfoto/photoaisa.com