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Art New Zealand

Art New Zealand No 151 Spring 2014

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

22
exhibitions

Auckland Fatu Feu’u Pae Pae Warwick Henderson Gallery 24 June-12 July EDWARD HANFLING Paintings are mysterious things. Some of them depend on one tiny part or touch; take it away and they collapse. You could disfigure significant chunks of another painting and it would make no difference, such is the power, vigour, breadth, intensity of the whole. There are paintings that are wholly inconsistent-each part looks like it was painted by a different person-yet they work. An austere, sparse kind of painting can have too much in it, while a busy, detailed composition can look coherent and serene. The mechanical technique of one painter produces feeling, lyricism, warmth, spirit and body, and the heartfelt splatterings of another leave you cold. Boldness and invention can yield good or bad results. And all these paradoxical judgements…

8
glenn jowitt (1955-2014)

Five days before we took this magazine to press we received a phone call, with the news that Glenn Jowitt had died, suddenly, at his home in Grey Lynn. What to do? For a moment it seemed that fate was dealing a very cruel blow. We soon realised that we had to continue with our cover interview. It was impossible to replace, and it would probably become something bigger-a tribute to this photographer who had re-entered our lives back when it was proposed that Sheridan Keith interview him for the cover feature of the Spring issue. We also realised that we should not withdraw the double page advertisement that Glenn had prepared for this edition of Art New Zealand, and that we would publish it gratis. Any sales would have been incidental to…

16
the pacific effect

Photographers are first and foremost selectors: choosing this subject over that, one moment rather than another, finding a position both physically and philosophically. When I interviewed Glenn Jowitt over 30 years ago, at the time of his Black Power photographs, he was a young man already clear in his priorities. His journey was about people; ultimately he has found his landfall within the Pacific Islands and their respective Auckland-based diaspora. It is certain that the value Jowitt places on friendship has offered him both extraordinary access and a compelling purpose, enabling him to build a large and impressive body of work. His images are celebratory and joyful rather than sensational or controversial. He speaks of a ‘gentle’ camera, and who can doubt that this approach has reaped an authentic harvest,…

9
visions of the inferno

During the first half of the twentieth century, large numbers of New Zealanders served overseas in theatres of war. For those fortunate enough to return home, the physical conflict may have been over but memories of carnage and devastation remained. In many cases veterans were unwilling, or perhaps unable, to describe their experiences, and may also have been discouraged from doing so. As a result, later generations were likely to know little of what their fathers and grandfathers had experienced. Major Ces Hughes, no. 48182, served with the 4th New Zealand Armoured Brigade, 19th Battalion and Armoured Regiment, as part of the 2nd New Zealand Expeditionary Force and fought at Cassino, Italy, during World War II. Back home in Auckland he never talked of the war to his daughter, artist Robyn…

9
word on the street

Go to university, take a Humanities undergraduate course, and pretty soon you will attend a lecture the subject of which is the gaze. Usually attributed to the male half of the species, the gaze was made popular when film theorist Laura Mulvey wrote an essay entitled ‘Visual Pleasure and Narrative Cinema’ in 1973, and was the basis for a feminist critique of male power and control. Using the gaze as a strategy for analysis has become common in many disciplines, and it is particularly valid when applied to the visual arts. The gaze is one of the few university-taught theoretical concepts that is easy to apply to everyday life. People look at other people. They always have and they always will. It is part of the social contract in the public…

13
seriously entertaining

There is a lot that could be said about the big stainless steel gnomes Gregor Kregar plonked outside the Christchurch Art Gallery last year. They can be seen as comical stand-ins for public sculptures, monuments that came a cropper in the 2011 earthquake. The title Reflective Lullaby, John and Robert refers to John Robert Godley, founder of Christchurch-his statue fell on its face during the earthquake and has only recently been restored. Swapping garden gnomes for civic monuments could be a naughty prank (‘they are just men with beards-no one will notice the difference!’), or it might stimulate thought about the values attached to different kinds of sculptural figures or the changing functions of public art. You can delve into the history of gnomes from the Middle Ages through to…