(pictured from left to right, Daniel Buren, Richard Artschwager in back, Stephen Antonakos, Sol LeWitt, and Robert Ryman)
IN 1974 STEPHEN ANTONAKOS INVITED FOUR COLLEAGUES, RICHARD ARTSCHWAGER, DANIEL BUREN, SOL LEWITT, AND ROBERT RYMAN TO PLACE OBJECT INTO FOUR STEEL BOXES THAT WOULD NOT BE OPENED UNTIL THE YEAR 2000. THE BOXES WERE SEALED IN 1975 AND THE ARTISTS WERE SWORN TO SECRECY.
FROM JANUARY 20 THROUGH MARCH 12, 2000 THE ROSE MUSEUM AT BRANDEIS UNIVERSITY IN WALTHAM, MASSACHUSETTS WILL DISPLAY THE BOXES IN A NEON ENVIRONMENT, DESIGNED BY STEPHEN ANTONAKOS AND BUILT AT THE MUSEUM. HALFWAY THROUGH THE SHOW THE BOXES WILL BE OPENED.
The Time Box Opening - Thursday Night - February 24th, 2000 Waltham, Massachusetts
The Slosberg Auditorium holds approximately 300 people, and virtually every seat was filled for one of the most important events in the Minimal and Conceptual Art World.
Twenty five years ago, Steven Antonakos had asked his friends Daniel Buren, Sol LeWitt, Robert Artschwager, and Robert Ryman to fill identical boxes with anything they wanted. It was a reaction to a project he had earlier started with 75 other artists. Those artists were asked to send him something in a sealed, wrapped paper box or package. After receiving these packages Antonakos swore the packages would never be opened, and when they were exhibited for the first time unopened, this left many of the artists emotionally distraught and angered. This emotion inspired him to do the Time Boxes which would be opened.
He contacted Daniel Buren, Robert Ryman, Richard Artschwager, and Sol LeWitt. They agreed each to do one Time Box. The agreement was the boxes would remain closed for 25 years, never to be opened or to let anyone know what was inside until the boxes were opened in the year 2000.
The contracts were signed and Antonakos purchased all four boxes for a small undisclosed amount. It was a project encapsulated in time, space, and mystery - as well as doubt and disbelief. They all went about their lives, essentially forgetting about the project.
On Thursday night, February 24, 2000, the four boxes which had been displayed in a specially constructed Neon Millennium Room at the nearby Rose Museum, were now moved to the Slosberg Auditorium stage and hung on a partial Neon Millennium Wall with sixteen double blue neon tubes that had been especially constructed for the event. The neon light was the only light on the stage.
Before the opening of the boxes, Terry Riley performed "The Dream" for the first time in the United States (it's fourth public performance, having been premiered recently in Europe). Riley, sitting at a grand Yamaha piano placed in front of the bright, blue neon Millennium Wall played his beautifully melodic undulating tonal piece, constructed with continual cascading notes, some dark and discordant. The audience was in a silent trance from the beginning - all the way through the 45 minute piece to the last sound. Magnificently the last note was a silent one. Then thunderous applause filled the room for minutes.
During a short intermission, the piano was moved and three tables covered with white linen were positioned in front of the curved wall. On top of the center table were hammers, screwdrivers and other assorted tools, all laid out on the middle table looking like an operation was about to take place.
Stephen Antonakos began by stating he "likes to place things in space and also in time". It was this need "not to know" that inspired the Time Boxes he said. "We will loose something - but we also have the wonder of anticipation, and of not coming to an end and of going into a new state - this way, they will go on".
He said he had chosen Buren, LeWitt, Artschwager, and Ryman because "they are the ultimate artists....no one can surpass them in their areas of work".
The first box to be taken off the wall was Robert Rymans'. His box was different from the other three. The others were all painted with a wash of white paint while Rymans' was wrapped in masking tape, which had changed to a yellowish color over time. "I wanted something on the outside as well as inside" Ryman said softly.
As the box screws are undone, Ryman comments that " at first I thought I wouldn't do it". Antonakos unscrews the last screw and cuts the last of the tape sealing the box - the lid is opened and pulled away. Ryman looking inside the box exclaims, "I haven't seen that in a long time!" The crowd erupts in laughter.
Inside the box is another package, carefully taped to the lower left hand side of the box. There's a note attached. Antonakos snips and cuts away the masking tape holding the envelope " I don't remember the note," Ryman quietly exclaims. On the outside of an envelope is written: "Do not open before 1995" The note inside is actually the legal agreement between Ryman and Antonakos - from the expression on Rymans' face we see he has no memory of putting it there.
The package inside the metal box is wrapped in expensive artist linen - the type Ryman uses to paint on, says Antonakos. It is unwrapped carefully and inside is a framed glass artist palette about 8 inches by 10 inches, full of thick, dried white paint and a small amount of beige and green paint - beautifully arranged and very reminiscent of Rymans' early paintings. It's signed with his name and the year 1961. It must have meant something very special to Ryman who had keep it in his studio for fourteen years before deciding to let it go and become part of this new millennium Time Box series.
The empty box is placed back on the wall and the beautiful minimal framed glass palette is put on another table in front of the wall.
Sol LeWitt emerges from the audience next. His box is taken from the wall and put on the table in front of Antonakos and LeWitt "I don't remember what's in there. It was embarrassing when I was approached. I never thought it would come to fruition". As the box is opened, LeWitt looks inside - he pulls out a one inch white cube paper box. They continue to open the small white box - written in ink on one side of the bottom of the box is: "Sol LeWitt Oct 13, 1974" (note the box has a diagonal line drawn across it) - on the left side: "A line not straight - corner to corner". Antonakos exclaims: "This must be Sols smallest work". LeWitt replies: "Minimal art".
(note this is a replica of the writing on the bottom of the box, and not drawn by Sol LeWitt see original box at this link)
The audience is loving it. The artists are apprehensive, but seem slightly relieved, no matter how cool everyone wants to be. They seem to be filled with the same curiosity that fills the audience - a simpatico moment in time has been reached - part of the Time Box moment that Antonakos may not have intended, but is relishing.
After LeWitts' piece is put on the side table, and the empty metal white box is replaced on the wall, Richard Artschwager approaches the table where his box has been placed. He too says: "I don't remember" when asked by Antonakos what is inside the box. "You must remember", and Artschwager, quietly says: "Don't ask, don't tell". "I was sure it was a total waste of time because I would never see it. I was pretty sure I would not be here alive today".
Antonakos keeps working at the box - first he discovers inside a large, beautiful lidded wooden box with four screws in each corner. After unscrewing it he finds yet another perfect match, just a bit smaller inside of it. Boxes in Boxes - now Artschwager himself helps open the last one, partly with a screw driver and partly turning the screws with his fingers, the last little box begins to fall apart, and Antonakos says: "Do we take the whole box out?" "No", says Artschwager "the point has been made!" The crowds roars with laughter.
All the small screws, pieces, and lids are put on one table and the open box is put back onto the wall in its Time Box frame. This box immediately looks like a finished work of art.
Next Daniel Buren, just having flown in from France and resplendent in a black silver buttoned velvet vest, walks to the table where his box has been placed. He has the happiest face.
In a delightfully thick French accent he says "My first thought, thinking of the process, if I was here today, everything going fairly, it would be unfair that you would be the only one seeing the four surprises. I remember perfectly well what it is, but have no idea what is inside" .
Both Antonakos and Buren begin opening the box lid. Daniel Buren is the most emotional of all the artists at this point, and it becomes apparent why when he pulls out a letter taped inside the opened box.
We are not privy to the piece yet, but Buren reads the letter aloud.
"June 1975. The box inside the work is not known by anyone. The box you bought may have been an experiment of your curiosity. It will be no work of mine as such except the letter you are reading - which is not a work of art. I gave the Time Box to a good friend of mine who is an Artist from New York City. With best regards from NY, and see you in 25 years".
Inside, a packing tube holds down the covered contents inside. Buren looks with anticipation. He is curious. He is helping Antonakos, and it is finally opened.
"My friend and Artist Chris D'Archangalo filled it", he explains and he never told me what was in it. As the box is carefully unwrapped we see inside is a painting of stripes - these stripes are carefully painted into the bottom of the Time Box, and the inside lid of the box. These stripes are the familiar sign of Daniel Burens' early work.
Daniel Buren, his voice filled with emotion, quietly states: "My friend died three years ago".
This last box in so many ways tells the whole story of this entire Conceptual Work, as a moment of true spirituality fills the room.
The Time Boxes have been opened.
© by Fred Lewis
See each Artists Time box open and closed at the links below.
