Art New Zealand 2009 Ltd

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Art New ZealandArt New Zealand

Art New Zealand Summer 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

access_time32 min.
exhibitions

Auckland Viky Garden say it to my face Warwick Henderson Gallery 1–18 AugustBETH GOLDNERWhile many may argue that portraiture is no longer relevant in contemporary painting, Viky Garden continues to challenge this assumption. Garden took a hiatus from painting in 2015. Stuck in a creative cul-de-sac, she spent the summer playing backgammon, trusting her inquisitiveness would return. It did.Eschewing the traditional aspects of oil painting, she chose a new medium: liquid acrylic and, in place of brushes, she used bits of card, introducing experimentation and allowing abstraction to dictate form. What followed was a succession of paintings that culminated in her recent series, say it to my face.These 12 portraits of a woman are eerie and without strong familiar lines to shape the subject’s…

access_time17 min.
decoy subjects

Saskia Leek quickly gained recognition for her comic- and kitsch-inspired paintings in the years after graduating from the University of Canterbury School of Fine Arts in 1992. Her career seems not to have waxed and waned but instead to have been a steady, incremental unfolding of a personal sensibility from faux-naive figuration to loosely cubist and abstract studies of heightened colour. She was part of Lara Strongman’s landmark Hangover exhibition in 1995–96, a finalist in the 2010 Walters Prize for a series of paintings exhibited under the title Yellow is the Putty of the World and, in 2013, had a survey show, Desk Collection, of more than 50 paintings. Leek’s partner, the artist Nick Austin, was awarded the Frances Hodgkins Fellowship for 2012, so they moved from Auckland to…

access_time12 min.
body/building

Jess Johnson and Simon Ward’s Whol Why Wurld (2017/2018) at Walters Prize 2018, Auckland Art Gallery Toi o Tamaki August 2018‘Inclusion, Division. Inclusion, Division. Inclusion, Division. Inclusion, Division.’ These words are recited by a ‘host’ as part of Ruth Buchanan’s Priorities (2016/2018) yet they might also make up a sort of motto or mantra for the exhibition The Walters Prize 2018. The ninth iteration of this biennial award and corresponding exhibition includes four projects that represent ‘the most outstanding contributions to contemporary art in New Zealand in the preceding two-year period’ as selected by an independent jury made up of Stephen Cleland, Allan Smith, Lara Strongman and Megan Tamati-Quennell. The winner will be determined later this year by Adriano Pedrosa, Artistic Director at Brazil’s São Paulo Museum of Art (MASP).All…

access_time8 min.
oceania at the academy

In 1768 the Royal Society petitioned King George III to finance a scientific expedition to Oceania. Initially the voyage was set up so that those aboard could study and observe the 1769 transit of Venus across the sun. However, the expedition was later combined with a confidential mission to search for Terra Australis Incognita—the unknown southern continent. In the first of what would be three scientific voyages to the Pacific, the HMS Endeavour would, unbeknownst to the indigenous peoples across Te Moana-Nui-a-Kiwa, alter the Pacific region forever. In December 1768, George III also founded the Royal Academy, with the mission of promoting the arts in England through both education and exhibitions. The year 2018 marks a double 250-year anniversary—the founding of the Royal Academy and the start of Cook’s…

access_time11 min.
themes & generations

RAUKURA TUREI Te poho-o-Hine-Ruhi (in situ) 2018 Clay acrylic & water on digital print 10000 x 4000 mm. These three exhibitions are part of the plethora of women-centred events around the country commemorating the 125th anniversary of women’s suffrage.The seed for Christina Barton’s show at the Adam Art Gallery was her encounter with an exhibition catalogue on the short films of Cuban-born American artist Ana Mendieta (1948–1985). Mendieta’s feminist land-art of the 1970s and early ’80s explored her experience as an indigenous woman traumatically exiled at puberty from her family and native land. Fascinated, Barton saw possibilities for fruitful resonances between Mendieta and a younger generation of Maori women artists—Nova Paul, Ngahuia Harrison, Ana Iti, Raukura Turei—who continue to explore their relationships with whanau and whenua in twenty-first-century Aotearoa.As…

access_time10 min.
home truths

SHANNON NOVAK Crowd Pleaser 2017 Acrylic & Viagra on board with lacquer, 300 x 300 mm.The recent focus on health and well-being in the arts, evident in exhibitions such as Group Therapy, The Heart of the Matter and Medicine in Art or museum mindfulness programmes, signifies a number of current conditions. At one level the demonstration of concern for art practitioners and their states of precarity is part of the art world’s co-option of ‘the politics of care’ that signals concern with concepts of health during a period in which the public sector is increasingly delegating health care to patients. More complex are the histories of social as well as economic disenfranchisement in the health sector which have erased non-heterosexual subjects. The neoliberal system that benefits from fuelling a…

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