Art New Zealand 2009 Ltd

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Art New ZealandArt New Zealand

Art New Zealand Winter 2018

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.

Country:
New Zealand
Language:
English
Publisher:
Art New Zealand 2009 Ltd
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4 Issues

IN THIS ISSUE

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exhibitions

Auckland Hugo Koha Lindsay But will it float Gow Langsford Gallery 21 March–14 April LUCINDA BENNETT I visited Hugo Koha Lindsay’s exhibition just after the storm that swept through Tamaki Makaurau in early April. There had been strange pink flashes in the sky that weren’t lightning, but were caused by fallen power lines sparking. A huge tree on the street next to mine was blown over; I walked past it the next morning to see its sprawling roots unearthed, pointing up to the sky. The road was criss-crossed with dead palm fronds. Lindsay’s paintings are about the city. They combine the slickness of corporate architecture and gentrified districts with those parts that serve utilitarian functions such as road markings, temporary barriers and scaffolding. But they also include grubby, organic elements such as the…

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new zealand

Wellington This Is New Zealand City Gallery, 3 March–15 July STELLA RAMAGE City Gallery celebrates its reopening with a gallery-wide exhibition of eclectic works investigating how artists and advertisers have represented New Zealand to the world and contributed to our narratives of national identity. Curators Robert Leonard and Aaron Lister write their critical intention on the wall: Teasing out connections between images, ideology and identity This Is New Zealand reflects on who we thought we were, who we think we are. Taking a critical look at stories we’ve told ourselves and others, it asks: Who and what has been included and excluded? And who is this mythical we? The works can be categorised according to intention. Some simply aimed to promote New Zealand and ‘New Zealand-ness’ uncritically to overseas audiences (and hence, inevitably, to…

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refashioned toi art at te papa

PRISCILLA PITTS Twenty years ago Te Papa Tongarewa redefined what a national museum could be. Not everyone liked it. Most vocal among its critics were members of the visual arts community—and with good reason. Opening day, and who can forget Parade with a Richard Killeen cut-out arranged around the uppermost cupboard of Christine Hellyar’s Clutch, Brood and Echo (1990) or Colin McCahon’s Northland Panels (1958) squished into a too-small space alongside a refrigerator. The labels written for a hypothetical someone of very limited intelligence, a word or two highlighted just in case the reader missed the point. The huge blue and red ‘thumbs up’ and ‘thumbs down’ objects that invited, not reflection, enquiry or thought, but, rather, mindless reaction. Upstairs the more conventional exhibition Dream Collectors did little to showcase Te…

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the desmology of encounter

PETER SHAND The eponymous Luke Willis Thompson is the first significant multi-work solo exhibition by the artist to be mounted in New Zealand. The three works in the exhibition represent a shift in his practice toward a concentration on moving image. That said, they refuse uniformity of media insofar as one is in 16mm, one 35mm and one digitally transferred. The particular media characteristics of each is, thereby, distinct. Further, the material qualities of each belie the apparent simplicity of characterising the exhibition as a suite of moving image projects. In this respect and while the recalibration of the practice is a key feature of the exhibition, these works are not so distant from his earlier sculptural, performative or objet trouvé pieces both in their heightened awareness of the effect engendered…

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elliot collins surveyor

ANN POULSEN Tacita Dean writes of travelling to Delphi, the navel of the ancient world, where she crouches in fear, transfixed by the landscape because she believes in it, believes it is the place where the umbilicus between Mount Olympus and the human realm has been severed. Are we born in myth and echoes continue to rustle the foliage like minor gods sneaking by on their way to meddle with the natural order? The stories Dean believes in affect how she sees, how she experiences the landscape. Her landscape is a cultural construction of the sublime, and she responds accordingly―but how is it that a contemporary artist can be so deeply affected by a supernatural story from another culture, another millennium? Could it be something about the place itself which gave rise…

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christine thacker

BRONWYN LLOYD While chatting with Richard Fahey at his home recently, my eye was snared by a terracotta object sitting on a small table on the opposite side of the living room. The eyes of the male head were barely visible at a distance, his neutral expression inscrutable, but what shouted across the room at me were the painted features on the face, picked out in bright matt colours: a yellow and a purple eyebrow, sky-blue lips, one pink ear, one green ear, streaky blue textured hair, and a flaming orange neck. I recognised the piece as the work of Christine Thacker, selected by Emma Bugden as a finalist in the 2017 Portage Ceramic Awards at Te Uru Waitakere Contemporary Gallery. When I first encountered the object in the award exhibition I…

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