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Land Art

Amy Granat and Drew Heitzler, T.S.O.Y.W., 2007, two-channel film in 16 mm transferred to video, 200 minutes. Production still. Photo: Amy Granat.

LAND ART, whatever else it is, can be identified with a specific narrative of American space: the road trip. I draw this notion from T.S.O.Y.W., a 2007 film by Amy Granat and Drew Heitzler included in the Whitney Biennial this past spring. Distantly related to The Sorrows of Young Werther, Goethe’s Romantic novella of longing and suicide (from which Granat and Heitzler’s acronymic title is derived), T.S.O.Y.W. depicts the romance between a lost soul and his motorcycle. This remarkable film, which has no diegetic sound (its ambient, semi-improvisational electronic sound track was composed by Granat, Jutta Koether, and Stefan Tcherepnin), is presented as a continuous sequence of split-screen images; the two sides are often nearly identical, distinguished from one another by alterations of film speed, exposure, and slight lapses in narrative time. T.S.O.Y.W. is more than three hours

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