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Art New Zealand

Art New Zealand Winter #162

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

18
exhibitions

Auckland Michael Prosee Monterey Gallery, 11–25 March EDWARD HANFLING I have had my eye on this chap for a few years now. The first I saw was a bunch of sweet little semi-abstract works on paper he showed at Paper/ Cupboard Gallery in 2013. They had something, while promising more. He has done bigger oils on canvas I like less, sometimes because they are too close to Philip Guston, who is overrated anyway, and sometimes because they verge on purge, splurge and dirge-too expressionistically generic, I suppose. There was a goodish one in the 2014 National Contemporary Art Award, but I was still left with the memory of what it could have been more than what it was. Then, recently, his Suite of Drawings (2016) at the Pah Homestead gave me the old brain-addled…

17
inside the engine room

Over the last couple of decades, Ross Ritchie has made pictures consistent with those he did early on in his career: appropriations of European art, enigmatic scenarios, loose gestural passages mixed with firm draughtsmanship. In between times, there were phases of pop, abstraction and even conceptualism. When Edward Hanfling visited the artist at his home in Birkenhead on Auckland’s North Shore, they had a free-flowing conversation about the process of making pictures, lessons learnt from painting billboards as well as from the works and philosophies of other artists, the more than 20 years Ritchie spent working at the Auckland City Art Gallery, and the way his psychological make-up feeds his art. Yet they both agreed, contrary to popular belief, that the experience of art itself is no conversation. Edward Hanfling: Let’s…

10
live and lett live

Barry Lett, 40 Years at Auckland’s Pah Homestead was a welcome opportunity to catch up with this somewhat elusive and retiring artist. The excellent catalogue accompanying the exhibition contains illustrations of a selection of key works, from the artist’s first show until very recently. In interviews and reminiscences he gives intimate insights into his personal history, motivations and attitudes to art-making. The following article summarises his career. I have couched it in personal terms because Barry and I were born in the same year (1940) and our lives have certain parallels and intertwinings as far as art and conservation are concerned. In our teens we both had a yen to be artists. Barry trained as a teacher in Wellington and then moved on to study at Elam School of Fine Arts…

11
minding the store

We live in a world full of stuff. Stuff enters our lives, and just as quickly departs-only to accumulate elsewhere. In an economy driven by supply and demand, artist Eve Armstrong questions what we decide to keep and what we throw away. Her work speaks to the life cycle of an object, and by interrupting its circulation she seeks to extend or add to an object’s ‘physical, as well as formal functionality’. With a practice encompassing sculpture, collage and performance, she collects, collates and creates assemblages using readily available materials. Her use of discarded objects is driven by a practical rather than environmental conscience, born out of a commitment to creating site-responsive work. The context within which she exhibits similarly informs her work, be it cultural, social or otherwise: ‘My…

7
the body politic

I met Yuki Kihara for the first time in Auckland, as part of a studio visit. The works that made up A Study of A Samoan Savage were hanging nicely on the walls, presented as part of our meeting, and she was soon to launch the project. I had been in New Zealand for only three weeks, and this was the moment that I literally realised where I had come to. Words, all written with a capital C-Capitalism, Colonialism and Class-were looping, echoing and turning around in my head while I was looking at those images, trying to read them with possible connections that might relate to my understanding of the new context in which I found myself. Kihara was very solid with her arguments, she was extremely generous with…

8
the well & the unwell

Death is the great leveller. Nicola Jackson’s The Bloggs, a single room installation on the ground floor of the Dunedin Public Art Gallery, is stuffed with reminders of death, with memento mori. The space feels claustrophobic: you are pressed up against the specimens within its tight confines, while the bilious liver-coloured walls seem to squeeze in on you, as if to make your flesh creep, your scalp prickle, your armpits sweat. Indeed, it only lacks an open coffin on a plinth in the centre of the room to make the surrealistic undertaker’s parlour atmosphere complete. One is put in mind of some imaginative child’s collection of out-of-control voodoo dolls, or of a Victorian freak show, or else of a needling collection of funerary sculpture salvaged from a vast swathe of tombs,…