There is a small, defunct limestone quarry in northern Vermont that is one of the oldest holes in the earth. Stone from the region is prized for its deep black and grey striations - it was used to make Radio City Music Hall and the National Gallery of Art. While extracting the stone, workers found fossilized remains of spiral shelled animals that are some of the earliest life forms ever discovered.
Untitled Monument, Series 02 (Site: Airport runway in Vermont closed after a storm)
The Invitation: A Special Exhibition for Art Fair Silicon Valley / San Francisco, Organized by Tim Hyde and UC Davis Art Studio The Invitation is an exhibition conceived and organized by Tim Hyde, photograph artworks produced in 2014 as interdisciplinary collaborations between artists, scientists, composers, and writers based making significant contributions to their field.
Terrarium is a dual solo exhibition by artists Andrea Galvani and Tim Hyde – a conversation in five rooms taking place simultaneously. The historical architecture of the gallery is used by the artists to enclose a dialog between separate geographic explorations of time and memory. The exhibition itself is alive and in flux, featuring a collaboratively-built modular sculpture that is continuously reconfigured to enable conversations and actions on site. The show includes more than 25 works of photography, collage, drawing, video, and sculpture. New works are combined with projects exhibited at the Philadelphia Museum of Art, the Whitney Museum of Art, the Moscow Biennale, the Ar/ge Kunst Galerie Museum in Bolzano Italy, and the Poznan Biennale in Poland.
“Meulensteen is pleased to announce the opening of Tim Hyde’s The Island: Prologue on February 23rd in the Project Space. The installation presents photographs, drawings and text as an overture to a body of work that the artist is developing for his forthcoming major exhibition at Meulensteen in 2013. The series begins with a story about a small island in the Pacific Ocean. The island was the site of a shipwreck in the 1950s that set off a series of geopolitical disputes. These conflicts, combined with the cultural shifts of the early twentieth century, resulted in human evacuation and subsequent replacement by large colonies of sea mammals. The animals have since moved into a house abandoned by the island’s former human inhabitants and established their own strict social order within the ruins. The only human presence on the island for more than two decades has been that of a solitary government ranger, whom Hyde photographed on the last day of his assignment there. As a site where apparent failures have become a generative force to yield unexpected successes, Hyde uses the island as a case study in which to activate relationships between time, architecture, and the expanded field of photography.” – February 2012
Modular installation designed for conversations and live events held in New York, Miami, and Mexico City. A Skull Session project.
The Skull Sessions are conversations rendered as form. Each Session is a dialogue recorded and reshaped into experimental publications, objects, images, and installations. The project is an ongoing collaboration between Andrea Galvani and Tim Hyde, producing a series of collective works that often involve other artists, architects, scientists, writers, and musicians. Session No.2 is a journal made from a conversation with Brazilian artist Alice Miceli. Miceli’s dark and hugely ambitious Chernobyl Project involved five years of research to invent devices and methodologies to record radioactive landscape in Eastern Europe.
Skull Sessions No.1 is an experimental publication generated by a conversation with artist Saul Melman. Saul Melman makes sculptures and environments that integrate tactile and conceptual manifestations of the body. Melman’s recent work animates the inanimate, renders apartments invisible, and incorporates gold, salt, and saliva as material for performance. His installation Central Governor is a long term installation at MOMA/PS1.
Untitled Monument, Series 01 Site 01 - Parking lot in Maine, USA
A snowstorm obscuring new york city, shot from a high floor of a building in Brooklyn. The piece is edited from the moments in which the atmosphere was so dense that the camera could not separate the city and the storm, and the autofocus pulses as it tries to focus. The storm was recorded for seven hours, and the footage was divided into seven parts, one monitor for each hour of the storm. This arrangement flattens time, freeing the image from narrative and allowing the entire duration of the storm to be visible at once. The result is a physical manifestation of a failure of translation as the camera reaches the optical limit of understanding what it sees.
The Keeper records a silent negotiation of ownership and historical memory with an elderly woman in a former KGB building in Kiev, Ukraine. The interaction between the woman and the camera is silent, kinetic, instinctive, as the woman stands intentionally framed in the center of the shot. It is not clear whether the woman is trying to be photographed, or is trying to prevent a photograph from being taken. The piece is best shown on a 21″ monitor on a steel stand at head height.
Invisible City echoes the Italo Calvino novel in which Marco Polo recounts his travels to the reclusive emperor Kublai Khan. Marco Polo reenacts the places he has seen through "gestures, leaps, cries of wonder and horror, animal barking or hootings..." Hyde filmed Invisible City the first night he arrived in Belarus, recording an uncanny sequence of encounters in a city that does not feel wholly real. Like Marco Polo's performance, the work reconstructs an experience of strangeness, of being a stranger.
“Bus Passengers” is a series of video portraits of passengers on the bus at night, filmed openly from the sidewalk as buses moved up Broadway in New York City. Each portrait frames a single passenger, staying with them until the bus pulls away. The finished piece juxtaposes two sequences of portraits together, creating a filmic illusion that reconstructs the city into an uncomfortably intimate version of itself. Strangers are pulled in close, becoming foils for internal projections of repulsion, desire, sympathy, and allowing first impressions to be corrupted over time.