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Art New Zealand

Art New Zealand Autumn 2016 #157

New Zealand’s most respected and widely-read visual arts magazine, Art New Zealand presents an independent quarterly round-up of the visual arts in New Zealand, by the country’s best art writers.

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:
New Zealand
言語:
English
出版社:
Art New Zealand 2009 Ltd
刊行頻度:
Quarterly

この号

10
peter mcleavey (1936–2015)

What Wittgenstein said: ‘What you say, you say in a body, You can say nothing outside of this body.’ To begin at the end. Peter in his coffin on the living-room floor, following a small service at his Hill Street home on the evening before his funeral. In a dark suit and an exuberant 1970s Paul Smith tie and jauntily adorned with a spirited ‘get well’ drawing, in coloured pencil on paper by his granddaughter Lily Nicholls. Beneath the light gauze of a covering veil, Peter appears blissfully in repose. At the far end of the room, framed by a profusion of flowers, is an enlarged photo of Peter, in full James Joyce pose (he is wearing his glasses, with another pair held aloft speculatively, as if they may offer a sort of extra-sightedness,…

6
cornelis (kees) petrus augustus hos (1916–2015)

The oldest hath borne most: We that are young shall never see so much, nor live so long. King Lear Kees Hos and Tina de Leede (later his wife) studied at Holland’s Royal Academy of Fine Arts in The Hague, graduating in 1938 in art education. The following year he became a lecturer there, a position he held for 16 years until they both immigrated to New Zealand. Kees also studied graphics at the Amsterdam State Academy and won the Prix de Rome for etching in 1940. He did not go to Rome due to the political situation and World War II. In 1940 the black cloud of German occupation and anti-Semitism seeped into and smothered Amsterdam and The Hague. Kees and Tina joined the Resistance and daily risked their lives in…

5
barry brickell (1935–2015)

When you met Barry Brickell you never forgot him. The first time I saw him was on the cover of a 1966 edition of Coal magazine (my father was a coalminer on the West Coast). There was Barry, a potter who used coal to fire his kiln. ‘I want to meet this man,’ I thought. My first encounter with him was at Yvonne Rust’s Greymouth pottery workshop, and she had invited Barry down to help build her kiln. Yvonne turned Barry’s visit into an event, and had invited the local mayor and the councillors to view the building of the kiln. Barry was there, working away, dressed in just a small pair of shorts, which resembled more a loincloth than proper attire, his flesh covered in sweat and coal dust, enveloped in…

16
eighteen years, six rooms

Let me nail my colours to the mast here and say, I love RM. I love the slow rhythm it works by; I love that they have built an ethos based around an open and assured kindness; I love hunting for their unprepossessing entrances; and I love the reward of that hunt, in their most recent spaces especially, of light-filled rooms that are, at once, office, library and gallery. I love visiting there and have loved exhibiting there. But of all RM’s admirable qualities, the thing I love most is the visual texture of their archive: raw card A4 boxes on plywood shelving, the spines of each box carefully labelled-using a very special label maker-with white text embossed onto black tape. Not merely printed, embossed. I covet that label maker. White…

8
tiny balls & unnecessary erections

Patrick Lundberg’s tiny balls loom large, a necessary distraction from some of the froth and flab served up elsewhere in the Auckland Art’s Gallery’s perspective on what’s hot in contemporary New Zealand painting. I would say Lundberg is a cut above anything else in New Zealand art for the moment. He has been making these multi-part works on round-headed pins for several years-perhaps the longest he has stuck with one modus operandi-and they get better and better. Twenty-four pins is more than I have seen him use in one work before, and while their physical presence is negligible, they occupy three walls and a lot of time. Compared to earlier examples, the balls appear to be more uniform, so their differences become more critical. They are all pale green and…

9
conversations & conversions

Julian Dashper & Friends is a retrospective-of sorts. It includes works by Dashper from 1988 to 2003, covering much of the artist’s career and almost all the most significant aspects of his work. It also includes contributions from a number of other artists: those who were real-life friends, others who influenced Dashper in some way. Many artists are influenced by others and quoting the work of other artists is nothing new. So why this approach? Well, Dashper was a fervent networker; catalogues and images were produced and widely distributed, exhibitions vigorously promoted, tabs kept on those in the artist’s address book. That is central to this exhibition, which is an extension of the argument curator Robert Leonard advanced in his 2011 Gordon H. Brown lecture Nostalgia for Intimacy, in which…