0 to 60: The Experience of Time through Contemporary Art
Co-organized by the North Carolina Museum of Art and Penland School of Crafts, 0 to 60 highlights a current trend in contemporary art: explorations of the intersection of time and art by artists who employ innovative and experimental techniques. This collaborative, multimedia exhibition is on view simultaneously at both sites, featuring a major exhibition and outdoor installations at the NCMA and a series of artist residencies and installations at Penland, accompanied by a fully illustrated catalogue that covers the projects at Penland and the NCMA. Focusing on the concept of time and its influence on art, the exhibition looks at how time is used as form, content, and material in art, and how art is used to represent, evoke, manipulate, or transform time.
Upcoming Events for this Project
Friday, April 12, Opening Events at the North Carolina Museum of Art
Click here for details
Friday, April 19, Slide Talks at Penland
8:00 PM at the Northlight building
The four installation artists (see installation information below) will each give a short presentation of their work. They will be joined by the North Carolina Museum of Art's chief curator and curator of contemporary art, Linda Dougherty, who will give an overview of the 0 to 60 project.
Saturday, April 20, Walking Tour of Installations (see installation information below)
1:30 PM beginning at the Pines Portico
Penland director Jean McLaughlin will make some opening remarks and then each artist will speak as the group visits their installation. The event will finish with a reception at the Penland Gallery.
0 to 60 at the North Carolina Museum of Art
March 24 – August 11, 2013
East Building, Meymandi Exhibition Gallery
Click here to visit the NCMA's 0 to 60 page.
Tom Shields, Process, found chairs with burnt finish, 17 x 5 x 3 feet; Photo: Robin Dreyer
Beth Lipman, Bride, 2010, glass, wood, paint, glue, 120 x 90 x 90 inches; North Carolina Museum of Art,
purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily Farnham, by exchange;
© 2010 Beth Lipman; Photo: Eva Heyd
0 to 60 at Penland School of Crafts
April 20 – August 31, 2013
Artists Dan Bailey, Kyoung Ae Cho, Alison Collins, and Anne Lemanski will create site-specific installations during a series of residencies at the school, where they will remain on view for the duration of the exhibition.
Known as a filmmaker, animator, and specialist in panoramic images, Dan Bailey has turned his attention skywards with Looking Up / Looking Down, a two-part work employing his skills with time-lapse and low-altitude aerial photography to chronicle time and movement in the skies of Western North Carolina and the knolls, pathways, and sweeps of natural landscape on Penland’s grounds.
Looking Up: The Sky Over Penland, in Dan’s words, is a “portal,” in the form of a time-lapse witness to the world directly above us. Presented on a flat-screen monitor, the slowly altering sky is offered to the viewer in silence. The study of weather is secondary or less relevant than the opportunity to engage with complex patterns and movements we are unable to visually process in real-time observations.
In Looking Down, he reverses the vantage point, and the piece becomes a chronicle of walking. Intertwining high and low technology via satellite imagery, low-altitude helium-balloon photos, paper maps, and Bailey’s personal history of place, this work is a visual journal on a human scale rather than the otherworldly view of Looking Up. In this collage of multiple forms of documentation, viewing angles, time shifts, and seasonal variances, it is the inconsistent and organic perspective that belies the technology and grounds the viewer in this distinctly human journey through the landscape.
Each of Kyoung Ae Cho’s pieces begins with what she refers to as a conversation or collaboration with nature in which she acts as a hunter-gatherer in search of organic matter or manufactured discards. It is a slow and deliberate process that will set the tone carried throughout the work’s creation. “Leaves and flowers that have fallen to earth are dried, ironed, flattened, and stitched; processes that I view as ceremonial transitions from one stage of being to another," she says. "Patience and the passage of time enable me to discern my role in their evolution or completion.”
Kyoung Ae’s installation on the grounds of Penland School is a continuation of her interest in transitional time or marking time. Shining Ground involves what the artist refers to as environmental processing and time-marking. In 2004, Cho was teaching a workshop at Penland when she encountered mica for the first time. She gathered a small bag of the particles from the riverbed and held on to it for the past eight years, imagining this mica as a “memory of the gem of her Penland experience.” Shining Ground is her attempt to recapture the moment of quiet surprise when she saw the ground covered with the sheen of mica sand. Fusing the mica to the “whiteness” of light silk organza, she conjures her thoughts of calm, beginnings, and purity.
Temps Perdu, Alison Collins's installation presented on Penland’s campus, channels the muse she found on her studio floor. The remains of sculptures stored undisturbed, this dust was born of her past creative endeavors. She found it beautiful and did not want to sweep it away. In her own way, the artist recreates Proust’s In Search of Lost Time in her Temps Perdu installation, via fabric and rust as leaves, letters and pages to lost loves, sculptural and otherwise. The hundreds of rust-dyed muslin leaves, pieced together with rust-stroked straight pins, cloak the interior of the historic and unused Dye Shed on Penland’s grounds. The melancholy crossing of the dark log structure, the rusted fabric, and the bristling pinpoints becomes a reliquary to things past and a memoir for the artist.
Anne Lemanski welcomes the challenge to engage with her work at an outdoor site. Extirpated examines her interest in evolutionary time. The term “extirpated” refers to a species that once inhabited a region but has since disappeared, with no hope of return. In this piece, Anne has focused on extirpated wildlife specific to Mitchell County, North Carolina, where Penland School is located: American bison, gray wolf, North American porcupine, snowshoe hare, fisher, Carolina parakeet, and the passenger pigeon, the last two of which are extinct. Placing images of these animals back into the environment is a graphic reminder of how a landscape changes over time. Lemanski’s work is concerned with human and animal symbiosis—the dichotomy of human admiration versus exploitation of the animal world, all to suit our own needs.