A quick note to report that I have been invited to present this year’s Estuary Art and Ecology Award. A tradition at Uxbridge Arts and Culture in Auckland, the Estuary Prize is Aotearoa New Zealand’s only art prize dedicated to contemporary art with ecology interests at its heart. More info on this year’s competition is here including details of the prizes and submission guidelines.
Last’s year’s first place work was by Kohl Tyler-Dunshea, selected by judge Ane Tonga.
I’m very pleased to be able to provide links to my text (with Simon Rees) published in the Getty Conservation Institute’s new collection of essays concerning the conservation of kinetic art. You can order a hard copy of Keep It Moving? – Conserving Kinetic Art (eds. Rachel Rivenc and Reinhard Bek) direct from the Getty store (shipping in April 2018) or otherwise access various digital versions of the whole publication here.
The collection covers issues of conserving kinetic art through the proceedings from the meeting organized by the Getty Conservation Institute, the ICOM-CC Modern Materials and Contemporary Art Working Group, and Museo del Novecento Palazzo Reale, Milan, Italy, June 30–July 2, 2016. Artists under discussion included Jonathan Borofsky, Chris Burden, Gianni Colombo, Joost Conijn, Len Lye, Heinz Mack, Aleksandar Srnec, Nicolas Schöffer, Ray Staakman, Jean Tinguely, and Thomas Wilfred. One of the charms of this collection is numerous videos of works under discussion (indexed here).
Here is the abstract of the piece followed by one of the videos included, Len Lye’s Loop in the collection of the Art Institute of Chicago. Read the text itself here.
The New Zealand–born American artist Len Lye (1901–1980) is recognized as a pioneer for his experimental films and his “Tangible Motion Sculpture.” More than thirty-five years after his death, Lye’s artistic legacy is increasingly dependent upon the Len Lye Foundation to reconstruct and realize his sculptural works, particularly the engineering of larger-scale iterations of extant models. In this paper, curators Paul Brobbel and Simon Rees discuss the making of Lye’s sculpture in the twenty-first century and the exhibition of Lye’s work at the Govett-Brewster Art Gallery/Len Lye Centre in New Plymouth, New Zealand.
Just back from Melbourne after a quick two-day trip to attend the opening of Antipodean Emanations: Cameraless Photographyfrom Australia and New Zealand at Monash Gallery of Art. Curated by the MGA, the exhibition takes over from the Govett-Brewster Art Gallery’s 2016 exhibition Emanations: The Art of the Cameraless Photograph (curated by Geoffrey Batchen) and considers cameraless photography from this part of the world in more detail.
You can see from the image above that Len Lye is a strong feature, as he did with the earlier Emanations (serving as the starting point for the whole project). The MGA’s exhibition casts a wider net for artists working with cameraless photography from Australia and New Zealand, including many not seen in the earlier exhibition and many others represented by different or more examples of their work. A few examples can be seen here. I’ll write in more detail on this in a separate post. I’d expect a fair few reviews of the exhibition to turn up in coming months. Here’s the first, from Anna Dunnill at Art Guide Australia.
The publication by Geoffrey Batchen,Emanations: The Art of the Cameraless Photograph continues to accompany the exhibition is its present form. A recent review has been published by CAA from Australian reviewer Natalya Hughes.
While I was in Melbourne I was able to make the last days of Runes at the Centre for Contemporary Photography. Curated by Justine Varga and Geoffrey Batchen, this was great to see alongside Emanations at the MGA as it included a few works from the Brewster’s earlier Emanations. Irrespective of that connection, this small exhibition was a fascinating group of photographs and the notion of readability.
I also had a little time to see the NGV Triennial which recently received a miserable review from the Australian, similar in tone to recent articles in the UK from Tiffany Jenkins. A more positive review is here from the Guardian.
YAYOI KUSAMA, ‘Flower obsession’, 2017
PAE WHITE, ‘Untitled’, 2017
TEAMLAB, ‘Moving Creates Vortices and Vortices Create Movement’, 2017
Over the last year it has become clear that nothing sends a shiver down the spine of museum colleagues as consistently as a new peice from British journalist Tiffany Jenkins. Here’s this week’s piece in the Guardian – on crowds in museums. And here an earlier and releated piece from the Financial Times more blunt in reccommending entry fees as a way to keep the decorum in and the hordes out. It’s all far from the ugliest of Jenkins’ work (but still snobbishly calls school tours of galleries ‘desperate’). For that, work your way back from this response by Andrew Paul Wood in Eyecontact and this by Kathy Bowrey.
A while back I posted a link to Len Lye’s 1937 film N. or NW. This week MUBI published a great piece from Cristina Álvarez López on the same work.
Idle hands make for the devil’s play. Something like that lead my curiosity get the better of me this Saturday as I put aside my qualms about a near $40 entry fee and went to see the Art of Banksy exhibition at Auckland’s Aotea Centre. There’s a fair bit of hype around this $40m worth of Banksy touring to New Zealand and particular of attention drawn to the curator of the exhibition and former business partner, Steve Lazarides, not being on good terms with the artist.
The Mayor of Auckland praised the exhibition as a ‘huge win’ for the city yet Don Rowe at the Spinoff said pretty much all that can be said of this exhibition. It’s a pitiful experience, all the more remarkable for its size and the number of ‘hits’ included within and no exaggeration to say the inevitable gift shop climax to the exhibition was delivered with more care. I’ve never seen such a shabbily produced exhibition and the entry fee of $37.50 renders the whole effort shameful. It’s a remarkable thing for Auckland to be proud of given the stresses currently affecting its much more capable exhibition makers.
Today is the last day in the office this year (all things going to plan). Last week we opened our summer Len Lye exhibition, Big Bang Theory. This one’s quite special as Lye’s ‘myth’ paintings from the late 1970s are shown together for the first time in nearly 40 years. It’s been quite a while since Andrew Bogle at Auckland Art Gallery curated Len Lye: A Personal Mythology, introducing this important series of works. More info on this exhibition is here and in 2018 following the exhibition we will be launching a new book concerning these works.
Another project seeing us through the summer holidays is the ninth in our Projection Series Programme. This is our (roughly) quarterly film programme concerned with short format cinema, based around the experimental films of Lye and his peers as well as that of contemporary filmmakers. Each Projection Series is accompanied with a brochure and short essay and we’ve just made all of these available digitally on the Gallery’s website. Grab them at the following links for some holiday reading:
The programmes above featured: Jordan Belson, Luis Buñuel, Katherine Berger, Jordana Bragg, Mary Ellen Bute, Steve Carr, Bruce Conner, Maya Deren, Oscar Enberg, Oskar Fischinger, Rico Gatson, Christoph Girardet, Ane Hjort Guttu, Nate Harrison, Murray Hewitt, Karin Hofko, Ian Hugo, William E. Jones, Daisuke Kosugi, Kutiman, Sonya Lacey, Len Lye, Evelyn Lambart, Norman McLaren, Tracey Moffatt, Ursula Mayer, Matthias Müller, Peter Roehr, Nova Paul, Miranda Parkes, Martin Rumsby, Rachel Shearer, Barry Spinello, Martine Syms, Shannon Te Ao, Popular Productions and Peter Wareing.
Curators included Marc Glöde, Sophie O’Brien, Tendai John Mutumbu, Solomon Nagler, Frank Stark, Sarah Wall, Mark Williams and myself.
One of the films featured in Projection Series #9 is Lye’s N. or N.W. (1938), produced for the G.P.O. Film Unit and presented here by the British Film Institute. Although not Lye’s typical abstract animation, N. or N.W. includes a very Lye-esque soundtrack featuring pieces by Fats Waller and Benny Goodman.
I’m presently working on several of next year’s exhibitions, the big one being Free Radicals: Cinema on the Wrong Side of the Tracks (opening in April 2018). Looking at Len Lye’s experimental films as a gateway to the wider world of experimental cinema, I grabbed the title from a quote by Pip Chodorov in his Free Radicals: A History of Experimental Film documentary.
As I’m slowly scratching away at details for this exhibition I was delighted to get a copy of the EXPRMNTL film directed by Brecht Debackere. EXPRMNTL is a documentary about the Knokke Experimental Film Festival held on just five occassions: 1949, 1958, 1963, 1967 and 1974 in the Belgian seaside town of Knokke-le-Zoute.
Nine of Len Lye’s films screened in the first festival in 1949; however, my particular interest in this festival is the second edition, held as part of the 1958 World Exhibition in Brussels. It was here that Lye’s Free Radicals(1958) was awarded Second Grand Prize (from a total of 137 participating films) by a panel of judges which included John Grierson, Man Ray and Norman McLaren. Lye’s financial gain from this win wasn’t enough to cover the costs of making Free Radicals and in the months following this win he decalared himself on strike, formally publishing notice of this strike in his 1963 Film Culture essay, ‘Is Film Art?’.
Check out the trailor for EXPRMNTL below and more details here.