Metronome (public artwork)

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Metronome is a large public art installation located along the south end of Union Square in New York City. The work was commissioned by the Related Companies, developers of One Union Square South, with the participation of the Public Art Fund and the Municipal Art Society. The $4.2 million provided by the developer makes it one of the largest private commissions of public art.

The artwork was created by Kristin Jones and Andrew Ginzel and consists of several sections, including a round circular void from which puffs of white steam are released throughout the day. In addition, there are seemingly meaningless numbers which actually represent the time: if the clock reads 0704369X1235516 it means that it is 7:04 A.M and 36.9 seconds. (7 hours and 4 minutes since midnight) and that there are 16 hours, 55 minutes and 23.1 seconds remaining until midnight. The middle digit, representing hundredths of a second, is a blur and cannot be read.

Contents 1 Artists Statement 2 Installation 3 References 4 External Links 5 Further Reading

[edit] Artists Statement

Artists Kristin Jones and Andrew Ginzel state that, "Metronome is an investigation into the nature of time. The work references the multiple measures of time that simultaneously inform and confound our consciousness of the moment. The composite work intends to evoke contemplation on the dynamic flux of the city. The elements suggest the instant and infinity, astronomical sequence, geological epoch and ephemerality. Metronome is meant to be integral to the very history, architectural fabric, spirit and vitality of the city.

"The elements that compose Metronome refer to and are very much a part of the place where the work exists: Union Square in the City of New York.

"The central element is a brick wall built in concentric circles, creating a wave pattern like ripples on still water after a stone is cast into it, making the wall seem to undulate. Gold leaf accentuates the center of the work, a dark aperture that emanates a constant halo of steam. At noon and midnight the hole erupts with a huge plume of steam that is accompanied by an explosion of sound composed to mark the exact instant and its passage, like a noonday whistle or a public clock that marks the time.

"Counterpoised below on the wall is a massive piece of bedrock, displaying the millennia of geological history. A long thin bronze cone is poised at a diagonal on the rippling brick façade: a time indicator that suggests perspective.

"A large bronze hand poised high on the wall is an accurate enlargement taken from the historical statue of George Washington in Union Square Park directly below.

"Left of the vertical brick center, on the glass façade of the building is a horizontal clock with pairs of digits that accurately display the hours, minutes and seconds that have passed since midnight, as well as the time remaining in a 24-hour period. Like an hourglass that contains a specific measure of sand, the digital time piece counts up on the left and down on the right, measuring both the sum and the balance of the day. The center three digits are a frenzy of intangible fractions of seconds, which reveal the pace of life in the city.

"On the right metallic façade is a sphere, half black and half gold, which turns daily in synchrony with the phases of the moon. When the moon reaches fullness, the entire golden face of the orb is revealed.

"Metronome contemplates time: geological, solar, lunar, daily, hourly, and momentarily, revealing the fractions of seconds in the life of a city – and of a human being.

"...New York City pulses with enormous energy. There is an ever-present sense that an underlying source makes the city a hot spot, active with desire, intellect, pathos. Certain places on earth are geothermally active; Manhattan's streets release vaporous plumes from a plethora of fumaroles. The ephemerality of this steam in the streets suggests the volatility of the place. Metronome poses as a vent for this energy - an oracular center for the public to gauge their momentary presence, their mortality, from which the city can be examined as a vital infrastructure.

"Viewers are confronted and reassured, confused, enlightened and asked to question the moment of their existence in relation to their natural and built environment.

"Ultimately, the work is an ode to mortality and the impossibility of knowing time." (Kristin Jones, Andrew Ginzel, Metronome Project Description, <http://www.jonesginzel.com/PROJECTS/metronome/metronometxt.html>. Retrieved on 15 February 2008 )

[edit] Installation

Installation of Metronome began in February of 1999, until its dedication in October 26, 1999. For a few months in 2005, the clock on Metronome did not give the time of day, but instead counted down the time until the International Olympic Committee was to announce the host city of the 2012 Summer Olympics.^[1]

[edit] References

• Artists' pages dedicated to the work
• Developer's site dedicated to the work
• Google Answer's page with helpful information and links

[edit] External Links

• Artists' website

[edit] Further Reading

• Morgan, Robert C. “Metronome.” Sculpture. May 2000. pp. 10-12; ill.

• Muschamp, Herbert. “The Ominous Message of a Box on Union Square.” The New York Times. January 2, 2000. pp. 43, 48; ill.

• LeBon,Ian. “Under Metronome.” Metropolis. January 2000. pp. 36, 48; ill.

• Newhall, Edith. “Happening Time and Again.” New York Magazine. October 25, 1999. p. 110; ill.

• Kastner, Jeffrey. “A Giant Timepiece That’s also a Piece about Time.” The New York Times. September 19, 1999. pp. 38, 39; ill.

• Copage, Eric V. “Giant Artwork to Announce Time in Infinite Detail.” The New York Times. June 13, 1999. ill.

• Wines, Suzan. “Oculus & Metronome: two installations for New York City." Domus. April, 1999. p. 34; ill.

• Public Art Fund. "New York Minute (Top 100 Treasures)." Art & Antiques. March 1998. p. 74; ill.

• Clark, Jim. "Passing Time in Union Square." NYArts Magazine. June 1997. p. 52; ill.

• Keenan, Georgina. “Letting Off Steam.” ARTnews. May 1997. p. 36; ill.

• Lazzati , Cristina. “Ventun piani di frivolezza.” L’Espresso. April 24, 1997. p. 147; ill.

• Eccles, Tom. “A timepiece for the millennium and beyond.” Inprocess. Spring 1997. p. 2; ill.

• Vogel, Carol. “An ‘Artwall’ at Union Square.” The New York Times. March 7, 1997. p. C34; ill.