Christian Marclay

Christian Marclay’s ‘The Clock’ Is a Sensation—And Nothing More
June 23, 2011

The Clock Paula Cooper Gallery One afternoon several months ago, I lingered on West 24th Street between 10th and 11th Avenues as a photographer shot two fashion models in haute punk outfits, with perilously spiky heels and raccoon-style eye makeup. Spring was at long last coming to the city, the final stubborn patches of filthy snow had melted away, and I was not the only person who stopped to watch as the photographer and his models spun their gritty-chic little Manhattan fantasy, the great-looking women vamping while an assistant adjusted a reflector and a stylist stood at the ready.

Playtime at the Whitney Museum
July 30, 2010

Cutely named "Festival" (or, more precisely and more cutely, "Christian Marclay: Festival"), the art installation and music series at the Whitney Museum this summer has a festiveness, a block-party atmosphere, rare in the contemporary avant-garde. Musically, Marclay's work is lightweight; but so is a birthday balloon, and both are fun, if susceptible to over-inflation.  A dilettante of near genius, Marclay has for three decades now been dabbling ambitiously in places where music, the visual arts, and performance art overlap.