It presented film as the verbal and visual representation of
sequential movement (storyboards drawn on blackboards); as sound (dubbing sheets and the
work Foley Artist); as projected images and as stories (in the films); and as investigations and
working processes (framed materials and documents).
Sarah Charlesworth's recontextualized newspapers, a comparison of The Family of Man by Edward Steichen and Steve McQueen, typologies by the Bechers, Karl Blossfeldt, Dan Graham, and others, the photographic archive as a tool of social control, series - based portraiture by artists August Sander, VALIE EXPORT, Claude Cahun, Bea Nettles, Annette Messager, and Sophie Calle, the passage of space and time in
works by Ed Ruscha, Duane Michals, Minor White, William Christenberry, and Atta Kim, photographic documention of artistic
process, observation and experimentation, the photobook as a traveling idea, the slide show as performed sequence, Eadweard Muybridge and the illusion of motion,
sequential narrative in
works by Jan Groover, Eleanor Antin, and Chris Marker, compressing time in video
works by Andy Warhol and Paul Pfeiffer, and more...
It requires significant planning, proceeds methodically from stage to stage, and
works best if the situation calls for tight and
sequential process control.