Danielle Sommer is a Los Angeles-based writer and artist. Her writing has appeared in Art in America, Textile, Art21, Art Practical, and Landfill Quarterly. For three years she blogged for KQED on visual art, as well as founded and edited the column #Hashtags for the arts website DailyServing. Curatorial projects include “The Collectors” at Monte Vista Projects and “If we don’t, remember me” at Little Paper Planes. She is a member of Monte Vista Projects.
Contact Danielle at: firstname.lastname@example.org
About Danielle Sommer’s Thesis Project
Inhabiting the Gap: Aby Warburg, Robert Smithson and Cinematic Time
This project pairs Aby Warburg’s archival, photo-based project Der Bilderatlas Mnemosyne (1929) with Robert Smithson’s earthwork Spiral Jetty (1970) in an attempt to establish a working framework of the concepts of “the instant” and “the interval” as they relate to cinematic time and the site of the cut. Cinematic time is not based on the availability of a projector and a screen; rather, it is both a technical apparatus and a conceptual one, the result of a manifestation of oppositions like past and present, continuous and discontinuous, and rational and contingent. Using the similarities and differences in Warburg and Smithson’s projects, I argue that cinematic time is not just evident in other media besides film, but that spatial practices like der Bilderatlas and Spiral Jetty exploit these oppositions by inviting viewers to consciously inhabit such gaps.