216 results for Creative work

  • The A List

    Field, Kevin

    Creative work
    The University of Auckland Library

    Compact Disc recording featuring Nir Felder, Matt Penman and Obed Calvaire. Nominated for Best Jazz album at the 2016 NZ Music Awards

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  • Tauhi Vā: the art of socio-spatial relations—Legacies of 18th century Tongan arts

    Afu, S; Edwards, T; Fonua, L; Gillies, TE; Burrows, SF; Havea, T; Kaloni, Tomui; Mafile'o, E; Mafile'o, V; Ofamo'oni, M; Toetu'u, '; Work, B; Mahina, O; Potauaine, S

    Creative work
    The University of Auckland Library

    Lythberg, B., exhibition curator, catalogue author and editor Tauhi Vā is the latest group exhibtion of Auckland-based Tongan Artists’ collective No’o Fakataha. It explores the ways they and invited guests – tend relationships with people, and through art, across time and space. The resulting works, many of which feature decorated barkcloth (ngatu), give material form to socio-spatial relations.

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  • Inferno: Dialogos

    Lines, David; Mason Battley, C; Giles, S; Thomas, S; Psathas, J (2015-10-24)

    Creative work
    The University of Auckland Library

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  • Paper Plus: A Group Exhibition

    Batty, H; Croucher, J; Esling, Simon; Stichbury, D; Williamson, S; Youle, W

    Creative work
    The University of Auckland Library

    Paper Plus is a group exhibition featuring works on paper by six New Zealand artists: Hannah Batty, Julia Croucher, Simon Esling, Douglas Stichbury, Shannon Williamson and Wayne Youle.

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  • Demonic Thesis: Dialogos

    Lines, David; Mason Battley, C; Giles, S; Thomas, S; Psathas, J (2015-10-24)

    Creative work
    The University of Auckland Library

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  • Minos: Dialogos

    Lines, David; Mason Battley, C; Giles, S; Thomas, S; Psathas, J (2015-10-24)

    Creative work
    The University of Auckland Library

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  • Karlheinz Company - from Dylan to Xenakis

    de Castro, EC (2016-04-05)

    Creative work
    The University of Auckland Library

    Xenakis, Paille in the wind, David Grahame Taylor Obloki nad Ferrera

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  • Frond, for orchestra

    Holmes, Leonie

    Creative work
    The University of Auckland Library

    Composition for orchestra Frond, for orchestra, has been recorded for inclusion on a CD of orchestral works by New Zealand and Australian composers entitled “Passing: Fresh orchestral sounds from 9 Australasian Composers”, released on the Move Record label, Australia, Executive Producer Martin Wright, Move Records, Producer Wayne Laird, Atoll Records. (Track 6 Atoll/Move Records MD3327). Frond is a 10 minute orchestral work written as part of my DMus Portfolio of Compositions. In addition to the CD recording, performances have taken place in NZSO Reading workshops, Wellington Town Hall, 2004 and 2006, the University of Auckland Graduation Concert in 2004, and in concert at the Asia Pacific Festival and Conference, Michael Fowler Centre, NZSO, 2007. “Passing” has been reviewed by William Dart in the NZ Herald 10th April 2010, Clive O’Connell in the Sydney Morning Herald 29 May 2010, and Jack Body for Move Records Website - http://www.move.com.au/disc.cfm/3327. The Passing CD was featured on Concert FM Pressing On program on 2 and 7 May 2010 and Soundlounge 4 May 2010. Sophisticated responses to environment we heard in Chris Cree Brown's Antarctic-inspired Icescape, and in Leonie Holmes' Frond, whose curving shape suggested the Maori koru motive. (Jack Body). A sample of trans-Tasman compositional/intellectual similarities and differences, this disc is both informative and remarkably entertaining: a true cross-section of voices with an often surprising congruence of emotional content.” (Clive O’Connell) There is space for contemplation in Leonie Holmes’ Frond, catching childhood forest fantasies in exquisite chamber music filigree” (William Dart).

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  • The Reading Hall

    Crowley, Lisa

    Creative work
    The University of Auckland Library

    In The Reading Hall, Auckland-based artist Lisa Crowley investigates pre-digital modes of producing and attaining knowledge to consider what might be understood through their obsolescence. The exhibition features two new moving image works, one shot on digital video that documents the Vyborg Library in Russia and a 16mm film featuring a 1950's linotype machine in operation. Through these two works, Crowley infers a connection between aspects of modernist architectural ideology and early 20th century printing press technology. An association that might question how the medium of information influences both the meaning of knowledge and the experience of thought. In 2010 Crowley travelled to Russia to document the Vyborg Library, a purpose built 1930s modernist library designed by renowned Finnish architect Alvar Aalto. The building's most notable feature is the Reading Hall, an impressive open plan space that is flanked by bookshelves and lit by a towering ceiling of cylindrical skylights. Through a series of long takes Crowley documents the hall in use as it was designed - an ethereal contemplative environment for reading and thinking. In contrast to the quiet of the Reading Hall, Crowley's footage of the print machine captures the busy physicality of the manual typeset process. Emphasising its industrial mechanisation, Crowley documents in close-up detail the glistening type and whirling cogs of the machine in operation. In relationship, the two works pair contemplation with mechanisation and spatial awareness with material tactility. A comparison that emphasises what cognitive and corporeal experiences might be lost in the virtual reality of current digital media.

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  • Nuala Gregory - new works

    Gregory, Nuala

    Creative work
    The University of Auckland Library

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  • On First Looking Into Chapman's Homer (solo exhibition)

    Parekowhai, Michael

    Creative work
    The University of Auckland Library

    The sculptural installation was exhibited at the 54th Venice Biennale in the Palazzo Loredan dell'Ambasciatore on the Grand Canal. The exhibition title is based on the poem "On First Looking into Chapman’s Homer" by the nineteenth-century English Romantic poet John Keats. In this, Keats describes a Spanish adventurer climbing to the top of a hill in what is now Panama and looking out over the Pacific to survey its potential riches for the first time. The works included one intricately-carved red Steinway concert grand piano and two concert grands fabricated in bronze supporting two cast bronze bulls. On one piano a full-size bull rested on the closed lid with its massive body suggesting the folding forms of landscape. On the other piano the bull stood firm, offering an eye-to-eye challenge for anyone prepared to take a seat at the keyboard. The installation also featured a figure from the Kapa Haka series (Officer Taumaha), two small bronze olive tree saplings (Constitution Hill), and one pair of child-sized bronze crocs. The titles of the works that make up the installation are: He Korero Purakau mo Te Awanui o Te Motu: story of a New Zealand river (the carved piano), A Peak in Darien (the resting bull and piano), and Chapman’s Homer (the standing bull and piano). He Korero Purakau mo Te Awanui o Te Motu Story of a New Zealand River was played throughout the exhibition with a programme of performances by New Zealand and Italian pianists.

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  • Tony and His Mirror: Transformer Remix

    Harvey, Mark

    Creative work
    The University of Auckland Library

    Video installed through Data Projection, Visualizing Trans, Exhibition, International Exhibition, Curated by Tamar Brown, Heidi Ganshaw, Chele Isaac, Megan Katz, Amy Noell, Emily Pfotenhauer, Sara Schneckloth, Beth Zinsli, Trans Conference

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  • Empire: Solo exhibition and photographic series (multiple venues)

    Hipkins, Gavin

    Creative work
    The University of Auckland Library

    This solo exhibition was the first showing of 3 works from the Empire series alongside 2 Tender Buttons works (2006) and 1 The Sanctuary work (2006)

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  • TAXI (Solo exhibition)

    Jack, Fiona

    Creative work
    The University of Auckland Library

    A mixed media project based around the historic event of the Melbourne Taxi protests of 2008.

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  • Seaunsea : An Interactive Performance

    Brown, Carol; Ramsgard-Thomsen, M; MacDonald, A; Mannion, M; Mottram, C

    Creative work
    The University of Auckland Library

    Choreography and Artistic Direction - Carol Brown Architecture and Interactive Design - Mette Ramsgard Thomsen Sound Design - Alastair MacDonald Programming - Chiron Mottram Lighting Design - Michael Mannion Premiered Dance Umbrella London, SeaUnSea was an evolving interactive performance for three dancers moving in response to and affecting a virtual seascape.Core to its development was the making of an intuitive interface through which the dancers could affect and respond to the digital scenography. Using a camera interface, mounted above the stage, the dancers are seen by a swarm of intelligent agents that navigate their way through a virtual space. The agents can be understood as a swarm of digital beings that interact with each other as well as react to changes in their environment. As they seek to navigate the plane, drawn by defined points of attraction, they are hindered by shades of darkness (the dancers digital shadow). In this way ‘the agents’ encounter the performers, at times evading, at times following and at other times being curious about their presence. The digital agents form vivid colour fields, assembling and dissolving creating cloud-like patterns around the performer/participant.Other artists exploring particle streams to extend the trace-form of the dancer include Trisha Brown, however this research as developed in SeaUnSea is original in its extension of this technology through the layering of a mesh architecture which embeds the time-based trace of the dancers’ presence.

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  • Crystal Spirit

    Speers, James

    Creative work
    The University of Auckland Library

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  • Leo Bensemann: A Fantastic Art Venture

    Simpson, Peter; Waite, N

    Creative work
    The University of Auckland Library

    This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.

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  • A Bridge to Somewhere: Jazz Perspectives of Auckland (recording)

    Thwaites, Trevor (2011-08)

    Creative work
    The University of Auckland Library

    The CD comprises nine Trevor Thwaites compositions, including “Jazz Waiata” performed by Bruce Morley’s Emergency Exit Band, “Millenium Samba” and title track “A Bridge to Somewhere” performed by jazz trio Crystal Silence, and a number of tunes that feature sax and flute player Jim Langabeer. Trevor plays vibraphone, drums and or percussion on all tracks.

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  • Große Reihe, Göttinger Symphonie Orchester

    Rummel, Martin; Lange, P

    Creative work
    The University of Auckland Library

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  • Crossing Lines

    Lee, Pei-Jung

    Creative work
    The University of Auckland Library

    The aim of research is to explore Chinese women's role from the ancient time till now. Traditionally Chinese women were restrained by many boundaries. There were no sense of "self" in their world. They were taught to depend on their fathers when they were young, devoted to their husbands when they got married and took great care of their children when they became mothers. Their behaviors were strictly demanded by the society: walk without turning, talk without moving lips, sit without moving knees, stand without moving skirts, feel joy without laughing out loud and angry without raising voice. How are those boundaries influencing the Chinese women now?

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