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Art New Zealand

Art New Zealand Winter 2016 #158

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

20
exhibitions

Auckland Claudia Jowitt Liberal Application Bath Street Gallery, 3 March–2 April EDWARD HANFLING So often-so often that it is almost a cliché-one finds that an artist’s early work, in spite of minor flaws or even wild inconsistencies, is the freshest, most original work they ever do. Their mature output might be refined and sophisticated but somehow suffers for it, as if the artist is too accomplished or knows too much. The same pattern can occur within a smallish series of work, when artists set off on a path without knowing where they are going or why, and without knowing really that they have started anything. At some point, realising that they have done something good, they take it up more systematically and run with it, elaborating and playing out variations. But because…

18
seeing the real thing

Over the last four decades, Fiona Clark has embarked on a complex and wide-ranging exploration of the politics of identity through her photographic practice. Her work provides a unique insight into how we, as New Zealanders, perceive ourselves and each other, and how those relationships extend into the environments which we occupy. In early April 2016, Andrew Clark spent time with Fiona Clark and talked to her about her influences, the performative methodology which underlies her practice, and her early experiences with censorship. Andrew Clark: I’m aware that you were part of the sculpture department at Elam when you began there in 1972. How much do you feel that your time studying sculpture had an impact on your photographic practice? Fiona Clark: It actually had a huge impact. First of all, Elam…

9
creative industry

Auckland artist Matt Ellwood’s year-long subscription to frieze magazine provided not only a way to keep up to date with the international contemporary art scene, but dictated the subject matter for his newest exhibition, Frieze Saint Laurent. Ellwood, whose art often stems from an interest in popular culture and the world of commercial branding, works in an extremely precise drawing process and makes hand-crafted sculpture. In both media he excels at taking an object or image and reproducing it in such a way that it appears mass-produced or even digitally rendered; in fact, it has been meticulously hand-made. Frieze Saint Laurent, recently shown at Melanie Roger Gallery in Auckland, extends Ellwood’s highly inquisitive interest in the underlying politics and ideologies of the images and objects we become so used to glossing over…

8
still-life & real estate

Few artists would admit to being content to wait for fortune to fall in their laps, the entrepreneurial spirit being almost as much of a badge of honour in the world of art as it is in commerce. However, some individuals are clearly more proactive than others when it comes to making their own luck, especially those who count themselves among ‘Gen Y’, that age bracket known for its irrepressibility and refusal to take no for an answer. This must surely be the case with Ilam alumna Emily Hartley-Skudder, recently returned from her own 18-month personal ‘residency’ in Brooklyn, New York. 'Residency' is a word that appeals in a variety of ways due to connotations of real estate, transience, occupancy, studentship and paying your dues, all hallmarks of this artist’s growing body…

9
make space

In the opening scene of the cult 1990 documentary Paris is Burning, an African-American man slings his arm over the shoulders of another black man. He tells his companion: ‘I remember my dad used to say, ”You have three strikes against you in this world. Every black man has two: that they’re just black and they’re male. But you’re black and you’re a male and you’re gay. You’re gonna have a hard fucking time”. He said, “If you’re going to do this, you’re going to have to be stronger than you ever imagined.”’ Nearly 30 years on, these words resonate with the experiences of many Pacific people who identify as lesbian, gay, bisexual, transgender, questioning, intersexual people and numerous other gender and sexual identities (LGBTQI+) living in New Zealand. Dominant racial,…

9
between the folds

Dagmar Dyck is a pioneer for myriad reasons. In 1995, she was the first woman of Tongan descent to graduate from Elam School of Fine Arts and it seems only fitting that she held her solo exhibition, Kofukofu Koloa, at the gallery of her alma mater, Gus Fisher Gallery. Since the early 1990s, Dyck has explored koloa (tangible and intangible heritage of textile and material wealth), drawing heavily on patterns and symbols from Tongan textiles such as ngatu (decorated barkcloth) and kie (woven mats) to develop multiple bodies of work. Her unique pictorial language has brought aspects of Tongan cultural heritage from the fringes to the centre of contemporary New Zealand art. Kofukofu Koloa is not a survey exhibition, although, with a career that spans almost 23 years, a retrospective in…