I’d urge anyone to follow and keep reading Johnston and Matt Nippert for their exemplary work.
The University of Auckland is proposing to amalgamate its Fine Arts Library into its general library. I used this specialised and internationally significant library extensively, years before being enrolled in the art history department itself. Naturally, there’s opposition to what is a much broader desire for cuts to humanities departments and resources. There are numerous pieces on the matter, a withering response published by the NZ Herald this week and a strange piece by Peter Gilderdale (from Auckland University of Technology) at the Spinoff. Andrew Paul Wood responds to Gilderdale here.
Deepa Bhasthi writes on her childhood discovering Russian literature through the cheap editions of Russian classics distributed in India by the USSR.
An overdue study, Lana Lopesi on the idea of Auckland as the world’s “largest Polynesian city’.
To end, the Guardian on Sister Corita Kent.
Just back from Melbourne after a quick two-day trip to attend the opening of Antipodean Emanations: Cameraless Photography from 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.
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.
The New York Review of Books and Simon Callow on Paul Robeson.
Some listening for a change. Last month 95bFM broadcast an interview with Erika Balsom as part of their Artbank programme. Balsom is Senior Lecturer in Film Studies at King’s College London and was visiting New Zealand as part of the Govett-Brewster At Gallery’s International Film Curator in residence programme. Balsom covers her visit to New Zealand (and Australia) in this month’s Art Monthly magazine (unavailable online).
There’s a lot of talk around Alexander Calder lately, principally around he Whitney Museum’s exhibition, Calder: Hypermobility. This piece from Hyperallergic covers the performative aspect of Calder’s motor driven works in the Whitney show. The article includes several videos from the Whitney’s channel which lead me on the Calder Foundation’s own videos. Here’s Calder Foundation chairman and grandson of Calder, Alexander S. C. Rower, demonstrating motion in Calder’s work.
The Imperial War Museum North’s Wyndham Lewis exhibition gets a review in the London Review of Books, reviewer Jon Day observing Lewis’ best work was his war paintings:
‘In fact, the pictures are still shocking: war gave Lewis a subject which was equal to his anger. He pays as much attention to the angle of a rack of shells as he does to the bodies of the men around them. Unlike some of his peers, he wasn’t interested in the dynamism of war – there are no explosions, his war paintings are strangely static. Nor did the war do much to strip him of the schoolboyish contrarianism of Blast. But it did give him a way of applying Vorticism to the real world, providing a context for what Read called ‘the geometry of fear’. Lewis’s work can still feel more modernist than any of his peers.’
This week I’ve been starting to work in earnest on a forthcoming exhibition concerning experimental cinema so it was timely to see the Village Voice wrapping up with a great interview with filmmaker and critic Jonas Mekas.
Still in film, the British Film Institute has launched a the BFI Filmography which boasts of being ‘a complete history of UK feature film, explorable and shareable’.
There’s been lots of noise in recent about the Barbican’s exhibition Basquiat: Boom For Real. The two reviews that caught my attention most were from Waldemar Januszczak (‘shallow, uneducated, disingenuous’) and Michael Glover (‘fame-frothy noise and visuals’). Edward Lucie-Smith is kinder to the exhibition. Laura Cumming says it’s charming. Looking at the gift shop offerings, you can choose from a range of Basquiat triptych skateboards (open edition) for a touch under 400 quid (wheels are extra). Surely the most bizarre exhibition gift shop merchandise ever devised!
Staying with museums, Xavier Salomon recently followed in the footsteps of D. H. Lawrence, tracing the writer’s steps in his travel account Etruscan Places (1932). Recounting Lawrence’s perspectives on Etruscan art and civilisation Xavier recalls the following opinion on museums:
And in the spirit of museums being wrong, this is why I avoid things like ‘ask a curator’ day and twitter back and forth with the public.
There is a couple of week’s reading to catch up on as I have been preoccupied with a several new Len Lye exhibitions, notably the new exhibition opening at Christchurch Art Gallery, Stopped Short by Wonder (on until 26 November). Curated by CAG’s Lara Strongman, the exhibition is the largest survey of Lye’s work held in Christchurch for several decades and includes requisite works like Universe and Fountain. However, it’s great to see CAG have selected a range of rarely seen paintings by Lye, particularly God of Light (1978), and a large number drawings previously unexhibited. There’s also Big Blade performing in a gallery setting for the first time. The Press previewed the exhibition here with some video of the sculpture in performance.
The exhibition in Christchurch is accompanied by Henry Matisse: Jazz, an exhibition of Matisse’s portfolio of prints issued in 1947. It’s a nice connection to Lye, sitting in the gallery adjacent to Lye’s proto-MTV experimental films with their jazz sountracks. Interesting then to read this piece this week from Edward Lucie-Smith on the Matisse exhibition at the Royal Academy and its discord with multiculturalism. You can also read Jonathan Jone’s criticism of that same exhibition too.
Just finished this piece today from the New Yorker on Solomon Shereshevsky, a Russian afflicted with synaesthesia and a resulting ability to remember everything. Well not quite, as the article uncovers. But it lead me to reread this older New Yorker piece on Henry Gustave Molaison, the American who couldn’t remember anything. It also brought me back to this recent and fascinating piece on our sense of colour from from Maria Michela Sassi at Aeon, The Sea was Never Blue, exploring the ancient Greek understanding of colour.