Featured Long Durational Work

The Long Glance (2011), Jonathan VanDyke

Duration: 40 hours

Text by Karina Kirnos
Cover photograph by Tom Loonan, Albright-Knox Art Gallery

For “The Long Glance,” Jonathan VanDyke stood in front of Jackson Pollock’s “Convergence, 1952” for 40 hours. Each day for five days, he would arrive at the Albright-Knox Art Gallery in Buffalo, New York just before the opening of the gallery at 10am and stayed in the gallery until it closed at five in the evening. He only allowed himself one twenty-minute break daily. VanDyke’s performance can be seen as a commentary on how little time the present day public spends with art. 

The Long Glance


40-hour performance

Albright-Knox Art Gallery, Buffalo, New York

photo: Tom Loonan, Albright-Knox Art Gallery

According to a study done by Jeffrey and Lisa Smith at the Metropolitan Museum of Art in 2001, the average time a viewer spends looking at a painting is 17 seconds. This is a phenomenon writer Jeanette Winterson calls “art at a trot” in her book Art Objects (Vintage, 1997). As the Albright Knox Gallery points out: “the performance also highlights the contrast between the obsessive stillness of VanDyke and the intense physicality and movement of Pollock during the creation of his massive 'drip' painting."

To read an essay written by Jonathan VanDyke about The Long Glance (2011), click here.

Photograph by Freja Mitchell

Photograph by Freja Mitchell

Jonathan VanDyke is a visual artist based in New York City. Recent solo exhibitions include Oltre l’oblio at 1/9unosunove in Rome and The Painter of the Hole at Scaramouche in New York, both in 2013, and Traunitz at Loock Galerie in Berlin in 2014. Major performances include the forty-hour works The Long Glance at the Albright-Knox Art Gallery in Buffalo in 2011 and With One Hand Between Us, part of Performa 2011, the biennial of performance art in New York City. His performance work and installation Obstructed View was commissioned by The Power Plant in Toronto as part of their 2011-2012 exhibition Coming After. His durational performance work Cordoned Area, made for the dancers David Rafael Botana and Bradley Teal Ellis, has appeared at The National Academy Museum, New York (2013), Vox Populi, Philadelphia (2012), and Socrates Sculpture Park, New York (2011). New performances will appear as part of the summer season on Fire Island in New York, presented by the New York Performance Artist Collective. VanDyke received an MFA in Sculpture from Bard College in 2005, attended the Skowhegan School in 2008, and in 2007 attended the Atlantic Center for the Arts, where he was mentored by the artist Paul Pfeiffer. His work has been reviewed in Art Forum,, TimeOut New York, Art Papers, White Hot, The Buffalo News, The Philadelphia Inquirer, ATP Diary, and Artslant; profiles have appeared in Modern Painters and Art Review. His work has appeared in group exhibitions at On Stellar Rays, the Islip Art Museum, Y Gallery, Columbia University, and PS122, all in New York; the Museum of Fine Arts, Tallahassee; Luis de Jesus Los Angeles; Rutgers University New Jersey, University of Nevada, Texas State University, and the University of Wolverhampton, England; and Exile Gallery, Berlin, among others. He has received grants from the Mid-Atlantic Arts Foundation and the Joan Mitchell Foundation, has served as a resident at Yaddo, New York, and at Qwatz Residency, Rome; as an Emerging Artist Fellow at Socrates Sculpture Park, New York, and as a Visiting Artist Fellow at The University of Chicago, Illinois State University, and Krabbesholm Art Academy, Denmark, where he will also present a solo exhibition in 2014.