A patron reads about "Passing Time," a new exhibition of recent works by 14 international artists in a range of media which explores the multiple and converging meanings of the phrase "passing time," during the opening reception in the Ezra and Cecile Zilkha Gallery on Jan. 31. "Passing Time," curated by Ginger Gregg Duggan and Judith Hoos Fox of c2 curatorsquared, is on display through March 4.
Wesleyan students enjoy the work "Lunar Alphabet" (1979) by artist Leandro Katz. The 27 photographs of the phases of the moon have been aligned with the alphabet, enabling Katz to "write" using this language based on the passage of time, creating a visual poetry based on this lunar tempo.
Pamela Tatge, director of the Center for the Arts, welcomes the crowd and introduces guest curator Judith Hoos Fox at the opening reception for the "Passing Time" exhibit. "Passing Time"is curated by Hoos and Ginger Gregg Duggan of c2 curatorsquared.
Guest curator Judith Hoos Fox of c2 curatorsquared discusses the works in the exhibit.
Artist Stefana McClure discusses her work at the opening reception for the "Passing Time" exhibit on Jan. 31. Ms. McClure translates the entire score of Antonín Dvořák's "New World Symphony" (No. 9), scored for four-handed piano, a notation and thereby physical expression of time, into a wound yarnlike ball, with all of yarns' and knitting's analogues of time inferred. McClure is pictured in front of a photograph by artist Rineke Dijkstra.
A patron examines the work "Antonín Dvořák New World Symphony (No. 9) scored for four-handed piano" (2011) by artist Stefana McClure at the opening reception.
Patrons read about the work "Image of Absalon to be Projected Until It Vanishes" (2001) by artist Matthew Buckingham at the opening reception. In Buckingham's work, the heroic sculpture shown in the projected image depicts Absalon, the Danish warrior-bishop and quasi-mythic founder of the city of Copenhagen who commissioned the first written history of the Danish people. The heat from the projector lamp slowly burns the slide's photo-emulsion, causing a protracted, inevitable erasure of the image, an analogue for the evanescence of history and memory.
A patron examines "Grey" (2006) by artist Katrin Korfmann at the opening reception. The artist's installation features hundreds of film stills, one for each second of a 10 minute sequence of visitors moving through the Memorial to the Murdered Jews of Europe, designed by Peter Eisenman in Berlin. The work enacts the uneasy relationship between moving and still images, between the past an present, between a memorial and a playground.
Patrons watch a video that is part of "The Planets" by artist Ken Fandell. Fandell's videos capture the mundane gestures – tapping a foot, sitting on a porch, waving a hand. He manipulates and transforms the linear sequence of time into alternate patterns.
(Artist information provided by Andrew Chatfield of the Center for the Arts. Photos by Bill Tyner ’13.)