Watch
Caragh Thuring
2014
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"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages ...
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Watch
Caragh Thuring
2014
London: Self-published
Unpaginated [742 pages]
22.5 × 18.2 cm
Edition of 10; signed and numbered 8/10

"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the Financial Times over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.


 


Sophisticated in form and concept, "WATCH" is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the Financial Times, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, "WATCH" forms an unexpected dialogue with Christian Marclay’s "The Clock" (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.

London: Self-published
Unpaginated [742 pages]
22.5 × 18.2 cm
Edition of 10; signed and numbered 8/10

"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the Financial Times over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.

 

Sophisticated in form and concept, "WATCH" is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the Financial Times, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, "WATCH" forms an unexpected dialogue with Christian Marclay’s "The Clock" (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.

DESCRIPTION

"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the Financial Times over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.

 

Sophisticated in form and concept, "WATCH" is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the Financial Times, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, "WATCH" forms an unexpected dialogue with Christian Marclay’s "The Clock" (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.

London: Self-published
Unpaginated [742 pages]
22.5 × 18.2 cm
Edition of 10; signed and numbered 8/10

"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the Financial Times over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.

 

Sophisticated in form and concept, "WATCH" is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the Financial Times, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, "WATCH" forms an unexpected dialogue with Christian Marclay’s "The Clock" (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.

MORE BOOKS

"WATCH" stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the Financial Times over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.

 

Sophisticated in form and concept, "WATCH" is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the Financial Times, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, "WATCH" forms an unexpected dialogue with Christian Marclay’s "The Clock" (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.

MORE BOOKS