This research examines walking as a transformative practice within contemporary art of transparency, focusing on David Hammons's 'Day's End' as a pivotal example. The installation, a subtle yet profound response to Gordon Matta-Clark's 1975 work, invites viewers to navigate the historic yet transient spaces of New York’s waterfront. Hammons’s interpretation, described as a "ghost monument", traces the outlines of a former pier shed, reimagining its architectural essence through slender beams of light and space. Incorporating the concept of palimpsest, 'Day's End' acts as a spatial narrative where the past and present converge, reshaping the viewer's perception of the site. By walking through this structure, audiences engage with layers of historical context, observing the interplay of light, shadow, and environmental elements that redefine the boundaries of the original architecture. This interaction highlights the role of walking in contemporary art as a dynamic tool that activates and reinterprets space, fostering a deeper, multi-layered experience of place and memory. The installation encourages a form of walking that is both reflective and revealing, allowing the space itself to become a living archive of temporal shifts. Each step through 'Day's End' is a movement through time, where the physical act of walking catalyzes a dialogue between the observer, the environment, and the layered histories encapsulated within the installation. This approach challenges traditional spatial perceptions and offers new insights into the circulation of artistic meaning and cultural identities within contemporary urban landscapes.

Authors:
Zan Wang, Lancaster University, United Kingdom

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Posted by Clive Staples Lewis

Last updated: 2023-02-23 23:45:00

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