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A: “A thing is a thing, not what is said of that thing.”
B: “Nothing is written.”
C: “Things throw light on other things.”
B: “Context is everything.”
A work of art does not already exist in its material qualities or even in meanings somehow inscribed in the objects exhibited by the artist, but only unfolds through and in the experience made by the beholder in relation to the objects. Neither the artist nor the objects themselves “fathom / debate / examine / reveal / reflect / question / etc. something,” as can be frequently read for example in press releases.
This practice based workshop aims to show how both artistic selection of an object and its spatial-situative placing concretely affects its experience.
Each participant in the workshop is kindly asked to bring a carefully selected every day object that can be found or bought in the streets without entering a building. Try to choose a thing that means nothing, that carries no context. In the workshop we will discuss the selection of the objects before arranging and displaying them behind the large storefront / glass window inside the Aronson Gallery—with particular regard to how this display will influence the way we experience the objects.
Jan Timme, born in 1971 in Stuttgart, Germany, studied at Hochschule für bildende Künste Hamburg from 1994 to 2001 under Michael Lingner, Wolfgang Tillmans, Cerith Wyn Evans and Cosima von Bonin. Exhibitions include Rotten Apple at Galerie Nagel Draxler, Berlin 2015, Ready to Sleep (Arbeitstitel) at Galerie Mezzanin, Vienna 2014 (group show), The Gospel According To … at The Holden Gallery, Manchester 2012 (group show), Hello There at Durstewitz Sapre, Hamburg 2007, Luft – air at Marc Foxx Gallery, Los Angeles 2005, One for sorrow two for joy at Kunstverein Braunschweig, and Bald fliegt der ganze Schwindel auf at Kunstverein in Hamburg, both in 2003. Jan Timme lives and works in Berlin.
This event is presented in conjunction with Mass Observation 2.0: Research into the Everyday, on view at the Arnold and Sheila Aronson Galleries.
Sponsored by The School of Art, Media, and Technology at Parsons/The New School, and the University of Cologne, Fund for Innovation in Teaching.
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