Extract from Nancy Holt, Sun Tunnels, 1978, 16mm color film, sound
© Holt/Smithson Foundation, Licensed by VAGA at ARS, New York

 

july 27, 1973,—am burgberg,—dear nancy,—this is my writing to you, dash—, you and bob in my mind—wordless—nancy, love, hanne

One week after the passing of Nancy Holt’s partner Robert Smithson on July 20, 1973, Hanne Darboven sent Holt a hand-bound artist book composed of seven parts and filled with her characteristic wordless writing lines with this cursive dedication. Little is known about their relationship, other than that they moved in the same artistic circles in New York City in the late 1960s. The previously unexhibited work Untitled (Wordless) with its heartfelt inscription brings these groundbreaking artists together nearly half a century later.

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt in Sun Tunnels, 1976
Photo: Ardele Lister
© Holt/Smithson Foundation, Licensed by VAGA at ARS, New York

Time is not just a mental concept or a mathematical abstraction in the desert. Time takes on a physical presence.” – Nancy Holt, 1978

Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt in Sun Tunnels, 1976
Photo: Ardele Lister
© Holt/Smithson Foundation, Licensed by VAGA at ARS, New York

Time is not just a mental concept or a mathematical abstraction in the desert. Time takes on a physical presence.” – Nancy Holt, 1978

“And finally I came up with the dates, since after all one deals with the sense or nonsense of things on a daily basis.” – Hanne Darboven, 1989

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven, 1986
Photo: Roy Colmer

Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven, 1986
Photo: Roy Colmer

“And finally I came up with the dates, since after all one deals with the sense or nonsense of things on a daily basis.” – Hanne Darboven, 1989

“For the time being, in the interim, in the course of time, from day to day, from hour to hour, until, in due time, and in the fullness of time, time endures, goes on, remains, persists, lasts, goes by, elapses, passes, flows, rolls on, flies, slips, slides, and glides by.”  – Nancy Holt, 1978

The title of this presentation is taken from Holt’s own words, written in May 1978. This short text was first published in a special edition of Arts Magazine dedicated to Robert Smithson.

 

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Untitled (Wordless), 1973
7 booklets (210 pages in total), pencil and felt tip pen on paper, bound (cord binding)
21 × 14.8 × 2.5 cm
8 1/4 × 5 7/8 × 1 inches

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Untitled (Wordless Writing Lines), 1973
Xerox and ‘e.t.c.–stamp’ on paper and semi-annual calendar 1975
21 × 29.7 cm
8 1/4 × 11 3/4 inches

More Views
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Stundenplan / Timetable, 1975
Offset and felt tip pen on paper
42 × 29.5 cm
16 1/2 × 11 5/8 inches

The seven booklets are filled with regular, undulating writing drawings, reminiscent of children’s school exercises. The work Untitled (Wordless) is dated July 27, 1973 and personally dedicated to Nancy Holt. The last of the writing on the dedication page reads ‘wordless’. This previously unseen work is part of a convolute of works Darboven dedicated and sent to Holt. The handwritten nature of the characteristic wordless writing lines seem at odds with the conceptual claim of objectifying art. However, Darboven’s writing practice is ultimately a conceptual gesture: The artist is neither concerned with an individual gesture nor the immediacy of spontaneity, but rather with a conceptual practice in which the execution is presented as such in its temporality: “I write, but I do not describe”.

Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Untitled (Wordless), 1973
7 booklets (210 pages in total), pencil and felt tip pen on paper, bound (cord binding)
21 × 14.8 × 2.5 cm
8 1/4 × 5 7/8 × 1 inches

Hanne Darboven
Untitled (Wordless), 1973
7 booklets (210 pages in total), pencil and felt tip pen on paper, bound (cord binding)
21 × 14.8 × 2.5 cm
8 1/4 × 5 7/8 × 1 inches

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Untitled (Wordless Writing Lines), 1973
Xerox and ‘e.t.c.–stamp’ on paper and semi-annual calendar 1975
21 × 29.7 cm
8 1/4 × 11 3/4 inches

Hanne Darboven
Untitled (Wordless Writing Lines), 1973
Xerox and ‘e.t.c.–stamp’ on paper and semi-annual calendar 1975
21 × 29.7 cm
8 1/4 × 11 3/4 inches

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Untitled (Wordless Writing lines), 1973

Hanne Darboven
Untitled (Wordless Writing lines), 1973

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Stundenplan / Timetable, 1975
Offset and felt tip pen on paper
42 × 29.5 cm
16 1/2 × 11 5/8 inches

Hanne Darboven
Stundenplan / Timetable, 1975
Offset and felt tip pen on paper
42 × 29.5 cm
16 1/2 × 11 5/8 inches

Details
icon_fullscreen
1 of 3

The seven booklets are filled with regular, undulating writing drawings, reminiscent of children’s school exercises. The work Untitled (Wordless) is dated July 27, 1973 and personally dedicated to Nancy Holt. The last of the writing on the dedication page reads ‘wordless’. This previously unseen work is part of a convolute of works Darboven dedicated and sent to Holt. The handwritten nature of the characteristic wordless writing lines seem at odds with the conceptual claim of objectifying art. However, Darboven’s writing practice is ultimately a conceptual gesture: The artist is neither concerned with an individual gesture nor the immediacy of spontaneity, but rather with a conceptual practice in which the execution is presented as such in its temporality: “I write, but I do not describe”.

Time goes on and remains demonstrates Holt’s and Darboven’s shared interest in revealing the particular qualities of time experienced, time measured and time passing. In distinctive ways Holt and Darboven paid attention to the systems we humans use to attempt to understand the imponderables of time and space. Both artists worked with language and seriality.

As a member of the earth, land and conceptual art movements, Holt was a pioneer of site-specific installation. She expanded the places where art could be found and embraced the new media of her time. Across five decades she asked questions about how we might understand our place in the world, investigating perception, systems, and place.

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Sunlight in Sun Tunnels, 1976
Archival inkjet print
127.3 × 156.2 cm
50 1/8 × 62 1/2 inches
Edition of 5 + 1 AP

More views
Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Sunlight in Sun Tunnels, 1976
Archival inkjet print
127.3 × 156.2 cm
50 1/8 × 62 1/2 inches
Edition of 5 + 1 AP

Nancy Holt
Sunlight in Sun Tunnels, 1976
Archival inkjet print
127.3 × 156.2 cm
50 1/8 × 62 1/2 inches
Edition of 5 + 1 AP

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Sunlight in Sun Tunnels, 1976 (Installation view)

Details
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These thirty photographs document the sun’s movement from inside one of the tunnels, every half hour from 6:30 am to 9:00 pm on July 14, 1976. Viewed all together, the series is a work of aesthetic splendor. Photographs played a significant role in Holt’s investigative process: before, during, and after the construction of ​Sun Tunnels.

 

 

Twelve photographs of the horizon line correspond to twelve separate angles of sight, a foreshadowing of what will be the views from Holt’s majestic earthwork, ​Sun Tunnels. The photographs are mounted on paper and demarcated with cardinal direction, as well as the geographical landmarks featured within them. The drawing is both a preparatory tool and an allusion to Holt’s conceptual meditations; the lines radiating from the center suggest an infinite path of sight, while the photographs fragment the view, limiting us to a constructed experience of the landscape.

From the mid-1970s her photo works turned to ever-shifting planetary cycles, explicitly seen in Sunlight in Sun Tunnels (1976) and the Light and Shadow Photo Drawings (1978). To use her words, photography enables “vision to be fixed” and for visual perception to be focused.

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of “Sun Tunnels”, 1975
Graphite and twelve black and white photographs on paper
36.2 × 51.4 cm
14 1/4 × 20 1/4 inches
39 × 55 × 3.5 cm (framed)
15 3/8 × 21 5/8 × 1 3/8 inches (framed)

More views
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Light and Shadow Photo Drawing (18), 1978
Inkjet print on archival rag paper
49.5 × 76.2 cm
19 1/2 × 30 inches
Edition of 3 + 1 AP

More views
Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of “Sun Tunnels”, 1975
Graphite and twelve black and white photographs on paper
36.2 × 51.4 cm
14 1/4 × 20 1/4 inches
39 × 55 × 3.5 cm (framed)
15 3/8 × 21 5/8 × 1 3/8 inches (framed)

Nancy Holt
Preparatory Drawing of “Sun Tunnels”, 1975
Graphite and twelve black and white photographs on paper
36.2 × 51.4 cm
14 1/4 × 20 1/4 inches
39 × 55 × 3.5 cm (framed)
15 3/8 × 21 5/8 × 1 3/8 inches (framed)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of ‘Sun Tunnels’, 1975 (Installation view)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of ‘Sun Tunnels’, 1975 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of ‘Sun Tunnels’, 1975 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of 'Sun Tunnels', 1975 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Preparatory Drawing of 'Sun Tunnels', 1975 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Light and Shadow Photo Drawing (18), 1978
Inkjet print on archival rag paper
49.5 × 76.2 cm
19 1/2 × 30 inches
Edition of 3 + 1 AP

Nancy Holt
Light and Shadow Photo Drawing (18), 1978
Inkjet print on archival rag paper
49.5 × 76.2 cm
19 1/2 × 30 inches
Edition of 3 + 1 AP

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Light and Shadow Photo Drawings, 1978 (Installation view)

Details
icon_fullscreen
1 of 2

 

Twelve photographs of the horizon line correspond to twelve separate angles of sight, a foreshadowing of what will be the views from Holt’s majestic earthwork, ​Sun Tunnels. The photographs are mounted on paper and demarcated with cardinal direction, as well as the geographical landmarks featured within them. The drawing is both a preparatory tool and an allusion to Holt’s conceptual meditations; the lines radiating from the center suggest an infinite path of sight, while the photographs fragment the view, limiting us to a constructed experience of the landscape.

From the mid-1970s her photo works turned to ever-shifting planetary cycles, explicitly seen in Sunlight in Sun Tunnels (1976) and the Light and Shadow Photo Drawings (1978). To use her words, photography enables “vision to be fixed” and for visual perception to be focused.

Hanne Darboven
, (Süd-) Koreanischer Kalender / (South) Korean Calendar, Sprüth Magers, Berlin, 2019–20
Video: Carolin Röckelein

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991 (detail)

 

Darboven developed her own system of numeric calculations based on calendar systems to represent time from the perspective of lived experience. Holt explored the cycles of cosmological and geological time to draw attention to how we might perceive the changing world around us.

Darboven’s (Süd-) Koreanischer Kalender / (South) Korean Calendar (1991), is a work based on pages from a South Korean yearly calendar. The particular graphic elements and colors in these 365 identically-framed plates and cover sheet have a rather bold, visually striking effect that is unusual for Darboven’s work. Each of the 365 calendar pages contain handwritten entries in felt tip pen showing Darboven’s typical cross-sum calculations based on the day’s date. These are calculated by totaling up the day, month, decade, and year, then translating that total into wordless writing lines that resemble cursive handwriting. At the bottom of each page are the handwritten words “heute / today,” which Darboven has crossed out.

Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
366 sheets; collage: felt tip pen, offset print on paper (tear-off calendar)
50 × 70 cm (each)
19 3/4 × 27 5/8 inches (each)

Price upon request

Installation view, Castelli Gallery, New York, 1995
Photo: Dorothy Zeidman
© 2021 Hanne Darboven Foundation Hamburg / ARS, New York and Castelli Gallery

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

 

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

 

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991
Installation View, Sprüth Magers, Berlin 2019–20
Photo: Timo Ohler

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
(Süd-) Koreanischer Kalender / (South) Korean Calendar, 1991 (detail)

Details
icon_fullscreen
1 of 7

 

Darboven developed her own system of numeric calculations based on calendar systems to represent time from the perspective of lived experience. Holt explored the cycles of cosmological and geological time to draw attention to how we might perceive the changing world around us.

Darboven’s (Süd-) Koreanischer Kalender / (South) Korean Calendar (1991), is a work based on pages from a South Korean yearly calendar. The particular graphic elements and colors in these 365 identically-framed plates and cover sheet have a rather bold, visually striking effect that is unusual for Darboven’s work. Each of the 365 calendar pages contain handwritten entries in felt tip pen showing Darboven’s typical cross-sum calculations based on the day’s date. These are calculated by totaling up the day, month, decade, and year, then translating that total into wordless writing lines that resemble cursive handwriting. At the bottom of each page are the handwritten words “heute / today,” which Darboven has crossed out.

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven

Kalenderbuch 92 / Calendar book 92, 1992
101 panels; color photographs, red felt tip pen on cardboard
70 × 50 cm (each panel)
27 5/8 × 19 3/4 inches (each panel)
72.3 × 52.4 cm (each panel) (framed)
28 1/2 × 20 5/8 inches (each panel) (framed)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven

Kalenderbuch 92 / Calendar book 92, 1992 (Installation view)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Kalenderbuch 92 / Calendar book 92, 1992 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Kalenderbuch 92 / Calendar book 92, 1992 (detail)

Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven

Kalenderbuch 92 / Calendar book 92, 1992
101 panels; color photographs, red felt tip pen on cardboard
70 × 50 cm (each panel)
27 5/8 × 19 3/4 inches (each panel)
72.3 × 52.4 cm (each panel) (framed)
28 1/2 × 20 5/8 inches (each panel) (framed)

Hanne Darboven

Kalenderbuch 92 / Calendar book 92, 1992
101 panels; color photographs, red felt tip pen on cardboard
70 × 50 cm (each panel)
27 5/8 × 19 3/4 inches (each panel)
72.3 × 52.4 cm (each panel) (framed)
28 1/2 × 20 5/8 inches (each panel) (framed)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven

Kalenderbuch 92 / Calendar book 92, 1992 (Installation view)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Kalenderbuch 92 / Calendar book 92, 1992 (detail)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Hanne Darboven
Kalenderbuch 92 / Calendar book 92, 1992 (detail)

Details
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1 of 4

 

Kalenderbuch 92 / Calendar book 92 (1992) is filled with Darboven’s characteristic wordless writing lines. The form of the calendar also highlights Darboven’s central theme: time. In Darboven’s body of work, the calendar book stands for the group of calendar works. In a sense, the Kalenderbuch 92 can be situated between the artist’s private pocket calendars, which she kept regularly since her New York period in the mid-1960s and used for her work, Existenz 66–88 / Existence 66–88 (1989) and her extensive serial writing works such as Schreibzeit / Writing Time (1970–83), in which Darboven hand wrote quotations from a series of literary and philosophical texts as well as encyclopedia entries about central figures and events in history. Through the handwritten entries—a writing without words—writing as a process becomes an expression of time passing. 

 

Like Darboven, Holt was attentive to language as a system structuring perception and understanding of place. In the mid 1960s she worked as an assistant literary editor at the magazine Harper’s Bazaar and in 1966 began creating concrete poems and text-based works of art.

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Concrete Poem, 1968
Inkjet print on archival rag paper
58.4 × 58.4 cm
23 × 23 inches
Edition of 5 + 1 AP

More views
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Hammond, 1969
Typewriting on paper
27.9 × 21.6 cm
11 × 8 1/2 inches

More views
Details
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Concrete Poem, 1968
Inkjet print on archival rag paper
58.4 × 58.4 cm
23 × 23 inches
Edition of 5 + 1 AP

Nancy Holt
Concrete Poem, 1968
Inkjet print on archival rag paper
58.4 × 58.4 cm
23 × 23 inches
Edition of 5 + 1 AP

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Concrete Poem, 1968 (Installation view)

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Hammond, 1969
Typewriting on paper
27.9 × 21.6 cm
11 × 8 1/2 inches

Nancy Holt
Hammond, 1969
Typewriting on paper
27.9 × 21.6 cm
11 × 8 1/2 inches

Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition
Nancy Holt / Hanne Darboven – Time goes on and remains – Group Exhibition

Nancy Holt
Hammond, 1969 (details)

Details
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Like Darboven, Holt was attentive to language as a system structuring perception and understanding of place. In the mid 1960s she worked as an assistant literary editor at the magazine Harper’s Bazaar and in 1966 began creating concrete poems and text-based works of art.

Nancy Holt (1938–2014). Holt is known for her earthworks, public sculpture and installation work, including the large-scale environmental works Sun Tunnels (1973–76, Great Basin Desert, Utah) and Dark Star Park (1970–84, Arlington County, Virginia). The retrospective exhibition Nancy Holt: Sightlines travelled from Wallach Art Gallery, Columbia University, New York (2010) to Badischer Kunstverein, Karlsruhe (2011), Graham Foundation of Advanced Studies in the Fine Arts, Chicago (2011), Tufts University Art Gallery at The Aidekman Arts Center, Boston (2012), Santa Fe Arts Institute, Santa Fe (2012) and Utah Museum of Fine Arts, University of Utah, Salt Lake City. Further solo exhibitions include Dia Art Foundation, New York (2018) and Whitworth Art Gallery, Manchester and Contemporary Art Gallery, Vancouver (both in 2013). Selected group exhibitions include Museum der Gegenwartskunst Siegen, Germany (2020), Museum of Contemporary Art, Los Angeles and Haus der Kunst, Munich (2012–13) and Hamburger Bahnhof – Museum für Gegenwart, Berlin (2011).

Artist Page

 

Hanne Darboven (1941–2009). Selected solo exhibitions include Kunsthalle Bern (1969), Westfälischer Kunstverein, Muenster (1971), Kunstmuseum Basel (1974), Deichtorhallen Hamburg (1991), Stedelijk Van Abbemuseum, Eindhoven and Musée d’Art moderne de la Ville de Paris (both 1986), Dia Center for the Arts, New York (1996), Staatsgalerie Stuttgart (1997), Hamburger Kunsthalle (1999 and 2006), and Deutsche Guggenheim, Berlin (2006), Museo Nacional Centro de Arte Reina Sofía, Madrid (2014), Bundeskunsthalle, Bonn and Haus der Kunst, Munich (both 2015), Deichtorhallen, Sammlung Falckenberg, Hamburg and Hamburger Bahnhof – Museum für Gegenwart, Berlin (both 2017) and MKM Museum Küppersmühle für Moderne Kunst, Duisburg (2020). Selected group shows include documenta, Kassel (1972, 1977, 1982, 2002), Musée d’Art Moderne de la Ville de Paris (1970, 1981, 1989, 2000, 2006), Solomon R. Guggenheim Museum, New York (1971, 1983), Museum of Modern Art, New York (1976, 2005, 2006, 2007, 2009, 2014, 2017, 2018), National Museum of Art, Osaka (1989), National Gallery of Victoria, Melbourne (1991), The National Gallery of Art, Washington D.C. (1994), Museum of Contemporary Art, Los Angeles (1996), Haus der Kunst, Munich (1997, 2003, 2008), Museum für Moderne Kunst MMK, Frankfurt (2000, 2010), Centre Pompidou, Paris (2002), Hamburger Kunsthalle (2013, 2016), Kunstmuseum Basel (2014), ICA Miami (2017), Westbund Art Museum, Shanghai (2019) and Pinakothek der Moderne, Munich (2020). She represented the Federal Republic of Germany at the 1982 Venice Biennale (along with Gotthard Graubner and Wolfgang Laib).

Artist Page