April 18, 2012 7:00 AM EDT

Our annual TIME 100 magazine issue takes stock of the 100 most influential people of the year, and this year that list included Christian Marclay, the artist behind the highly-regarded video piece The Clock. That piece is only one highlight from the artist’s varied career— which extends itself in across an array of mediums, from sound and performance, to photography and sculpture—some of his other work is featured in the gallery above.

Geoff Dyer—whose many books include The Ongoing Moment, a series of essays about photography—wrote about Marclay for TIME:

Two ships involved in the search for the missing Malaysia Airlines Flight 370 retrieved objects from the Indian Ocean Saturday, but officials haven't yet connected the finds to the lost airliner. A Chinese plane, meanwhile, spotted other debris matching the colors of the missing Boeing 777, but that find also has yet to be linked to the jet, the Associated Press reports. The debris spotted Saturday was white, red and orange in color, according to Chinese media reports. The missing Boeing 777 is red and white. Three weeks have passed since MH370 disappeared after leaving Kuala Lumpur for Beijing. Investigators have identified a large zone where the jet may have gone down, most recently combing an area about 2.5 hours from Perth, Australia. However, the reason the jet flew far off its intended path and its current location remain a mystery. Here's the latest update from the Australian Maritime Safety Authority, which is coordinating the search for MH370: AMSA Update 3/29 [protected-iframe id="be7a3507d95fee89bbec75721ad4d914-1359921-22486724" info="//www.scribd.com/embeds/215198972/content?start_page=1&view_mode=scroll&show_recommendations=true" width="100%" height="600" frameborder="0" scrolling="no"] [AP]
© Christian Marclay / Courtesy Paula Cooper Gallery, New York and White Cube, London; Installation Photo: Todd-White Art Photography

Wherever it has been shown, Christian Marclay’s The Clock has been met with a rare combination of critical approval and public affection—love, even. The idea was audacious in its simplicity and herculean in execution: take moments in films when people are interacting with time—looking at their watches, hurrying to intercept the 3:10 to Yuma or hanging on to the hands of Big Ben—and splice them together in such a way that they unfold in real time over 24 hours, so that the whole thing becomes an accurate (to the minute) timepiece. During the film’s opening run in London, I had intended to stay long enough to get the gag—10 minutes?—before hurrying on to a lunch date. It was so hypnotic, so thrilling, that I ended up watching 20 hours over a month, arranging life and appointments (for which I was invariably late) in such a way as to catch previously unseen segments of that celluloid epic called a day.

Read more about this year’s most influential people in the TIME 100.

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