The Clock (2010 film)
With the support of the London-based White Cube gallery, he assembled a team to find footage, which he edited together over the course of three years.
[10] After his partner Lydia Yee accepted a position at the Barbican Centre, Marclay moved from New York to London in mid 2007.
White Cube helped him assemble a team of six people to watch DVDs and copy scenes with clocks or time.
[4] Working in Final Cut Pro, he edited clips together, standardising the video formats and smoothing the audio.
He instead focused on incidental moments; his head assistant Paul Anton Smith explained that Marclay wanted to show scenes that were "banal and plain but visually interesting."
[4] After six months, Marclay presented White Cube with several extended sequences, confident that he would eventually be able to finish the project.
By September, Marclay realised that hundreds of the audio transitions were lacking, with White Cube set to premiere The Clock the following month.
[15] Because of its size, Marclay enlisted professor Mick Grierson to create a program that plays the separate audio and video tracks, synchronised with the current time.
[5] Five copies were designated to be sold to institutions for US$467,500, each under the condition that The Clock can't be played in more than one location at the same time.
[18][19] Within a day of premiering The Clock, White Cube received a host of offers from museums, some of which purchased copies jointly.
[18] The work owned by the New York collectors Jill and Peter Kraus, is a promised gift to the Museum of Modern Art.
[21] In 2011, Steve Tisch pledged the money needed to buy the work for the Los Angeles County Museum of Art.
[22] One month later, the National Gallery of Canada and the Boston Museum of Fine Arts, announced the acquisition of another copy.
[20] In February 2012, yet another version was acquired jointly by the Tate in London, the Centre Pompidou in Paris and the Israel Museum in Jerusalem.
[4] In order to ensure that the full video would be exhibited, he required that museums agree to be open for all 24 hours at some point during its run.
[29] MoMA heavily promoted its run with a silent disco, a New Year's celebration and a dedicated @TheClockatMoMA account on Twitter.
[31] Chris Petit complimented its "edge-of-hysteria relentlessness, the anti-narrative drive", and the simple concept, commenting that he wished he had thought of the idea himself.
[32] In The New York Review of Books, Zadie Smith stated that The Clock "is neither bad nor good, but sublime, maybe the greatest film you have ever seen".
[34] At the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock.
Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury "for giving The Clock its fifteen minutes".
[40] His 1998 film Up and Out combines video from Michelangelo Antonioni's Blowup with audio from Brian De Palma's Blow Out.
It was an early experiment in the effect of synchronization, where viewers naturally attempted to find intersections between the two works, and it developed the editing style that Marclay employs for The Clock.
"[42] In 2005, Étienne Chambaud presented L'Horloge, a piece of software that displays the time using images of clocks in films.
Chambaud's use of still images give L'Horloge a slower, more regular pace, whereas The Clock experiments with the rhythm of commercial films.
