216 results for Creative work

  • Spirit of the Land (K Grylls, conductor) [CD recording]

    Grylls, Karen

    Creative work
    The University of Auckland Library

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  • NZ Youth Choir: Guest recital (Recital conductor)

    Grylls, Karen

    Creative work
    The University of Auckland Library

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  • Toi Te Papa: Art of the Nation

    Speers, James

    Creative work
    The University of Auckland Library

    Sugarloaf is the largest non site specific light box produced in the series of light boxes made between 1998 and 2006 It was commissioned by Te Papa, the national museum and exhibited for the first time in Toi Te Papa- Art of the Nation, in 2007.

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  • Through Coiled Stillness

    Holmes, Leonie (2011)

    Creative work
    The University of Auckland Library

    Original composition for unaccompanied SATB chamber choir. Premiere performance of "Through Coiled Stillness", a composition for SATB choir, written for Karen Grylls and the University of Auckland Chamber Choir for their tour of Singapore and England, 2011. Subsequent performances on tour in Singapore and England culminated in a recording in London on the CD "Magnificat" - a CD record of the tour by the National Institute of Creative Arts and Industries, University of Auckland.

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  • Signal

    Cousins, James

    Creative work
    The University of Auckland Library

    Gow Langsford Gallery is pleased to present Signal: an exhibition of new work by James Cousins. His inaugural show with Gow Langsford, Cousins presents a body of painting that both draws from and expands on concepts explored in his earlier practice. Aligned with his early grid-based and recurring image works of the 1990s, Cousins recent work employs well-worn distant utopian landscape imagery, informed by the practice of Gerhard Richter, at the same time engaging with mechanistic-like process painting forging an entirely contemporary shift. At the heart of the works is a tension in the tenuous integration between the meeting of paintings material workings process and its illusional subject. Cousins earlier works offered a strong differentiation between the figurative, and the object, the filter or screen through which we are drawn to view the work. The new pieces introduce a more complex type of emergence: here, the abstraction and figuration are intertwined and enmeshed. Irresolvable tensions arise between the original form and the surface. Cousins states: The grid, once submissive to horizontality and verticality, now maps multiple events; the canvas is now a site of indeterminacy brimming with possibilitieswhilst continuing to exercise a form of homage to late modernist practices and processes, recent work exchanges end game reductivism for other possibilites. Morphed or corrupted logic reinvent the processes inherent in earlier work with a new divergence and opulence. Cousins process in creating the works employs both traditional and contemporary painting technologies. It is a labour-intensive, delicate and precise working of layers of paint and vinyl. A path of paint, created by the tipped canvas, initially determines the foreground pattern of large arcs. As such, the works are to a degree, self-determining. What appears to be entirely mechanistic is instead, a more complex mapping of the surface. The vinyl employed in this process, creates an artificial skin which is later peeled away to reveal the layers of paint beneath. While passages through to the background picturesque in the works can be glimpsed, the surface patterns of fractured colour seemingly form a wrinkle in the matrix and force the viewer into a double take. Though this process may be learned, the procedures employed at various levels fuse and begin to impose upon each other, reversing and exchanging established order. The un-learned order of the finished works create a mysterious and contemplative effect, evocative of a once necessarily romantic sublime that in a new age has collapsed in upon itself, promised utopias are exposed as a sham, in the construction of space for other beginnings.

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  • 1000 Lovers

    Brown, Carol; Hannah, D; Scoones, R; Graham, F

    Creative work
    The University of Auckland Library

    Choreography - Carol Brown Design - Dorita Hannah Sound - Russell Scoones Dramaturgy - Fiona Graham Producer - Maximus Smitheram 1000 LOVERS is a performance that moves from sea to city through Auckland’s Wynyard Quarter. A cast of mythical characters – Tuna (an eel-man), Hine (his lover), a bride, a widow, and an urban tribe lead this journey. 1000 LOVERS draws its title from Auckland's Māori name Tāmaki Makaurau, which translates not only as 'Isthmus of one thousand lovers', but may also be understood as 'Tāmaki-the bride sought by a hundred suitors'. By re-enacting mythical, historical and everyday stories through music, design and dance the performance reveals hidden narratives and forgotten sites within this urban landscape. 1000 LOVERS follows a walkable route over a 50-minute timeframe, starting at Silo Park and ending on the steps of Karanga Plaza. The sound score provides an additional sensory layer to enhance this experience.

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  • Talking my way through culture (curated solo exhibition and exhibition catalogue)

    Smith, Jill

    Creative work
    The University of Auckland Library

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  • GOLDEN SEASON - HARP AND FLUTE; Takemitsu, Debussy

    Grodd, Uwe

    Creative work
    The University of Auckland Library

    performers

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  • Workshop on Korean Drumming

    Koo, Sun; Oh, J

    Creative work
    The University of Auckland Library

    Anthro329 Music of East Asia

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  • His Second Time: 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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  • Exploded View

    Gregory, Nuala

    Creative work
    The University of Auckland Library

    In Gallery Two, Associate Professor Nuala Gregory from the Elam School of Fine Arts creates an immersive installation of printed and collaged works. Her art work draws on her investigations in art theory, advancing the proposition that art can produce effects which escape the bounds of representation and operated instead at the level of bodily sensation. The exhibition is accompanied by a 48 page full colour catalogue with essays by Dr Peter Shand and Gregory O’Brien.

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  • Four times painting

    Ingram, Simon

    Creative work
    The University of Auckland Library

    Four Times Painting focused on the work of four contemporary New Zealand artists, who each critically engage with the history and practice of painting. Acknowledging painting as a medium that had come back into critical focus, the exhibition enlarged on this medium’s current situation and considered how painters engaged with its history, purpose, and material practices. Curated by Christina Barton, Four Times Painting featured the work of Simon Ingram, Julian Dashper, Isobel Thom and Shane Cotton, four artists whose works can be approached as complex and multilayered meditations on painting’s relation to time. Simon Ingram’s works critically examine a history of painting’s relation to technology. This exhibition featured his ‘painting assemblages’ that used robotic technology to paint themselves and thus drew attention to the ‘performance’ of painting, and his ‘automata paintings,’ whose complex grid formations are built by using a methodology derived from the self-organising systems of artificial life.

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  • The Light Horizon

    Jenkinson, Megan

    Creative work
    The University of Auckland Library

    The Light Horizon exhibition draws on photographs taken during my two weeks on the Ice as an Antarctic Artist’s Fellow, Dec. 2005. The show was significant for its scale and scope – 40 digital photo collage works, and lenticular prints, from eight different series. It represents the culmination of my most significant research outputs from the ‘Antarctica’ project to date and included works selected from the exhibitions The Dark Continent, Jonathan Smart Gallery, Christchurch, Jun-July 2007, and The Weight of Water, Mark Hutchins Gallery, Wellington, Sept 2007. This exhibition occupied both the downstairs and upstairs galleries at Two Rooms, one of New Zealand’s leading galleries. [583] Commentary: This research acknowledges Antarctica as a complex site that cannot be summed up in one particular artistic approach. The images I produced represent a major departure from my previous photographic practice and constitute a range of approaches differing considerably from the majority of photography undertaken on the Continent. In my work landscape was the starting point for a series of meditations on Antarctica’s heroic age of exploration, Antarctica as a place of speculation and wonder, a site of scientific study and more recently commercial speculation. Digital montage enabled me to overlay past and present, the scientific and cultural, while the visual trickery of the lenticular process (first used in The Dark Continent, 2007) provided further conceptual shifts, emphasizing the uncertainty and instability of the landscapes in view. Virginia Were in Volatile Imaginings, Art News New Zealand, Winter 2008, wrote: “Megan Jenkinson’s visit to Antarctica has spawned an extraordinary series of photographs, which present a post-romantic view of our engagement with nature’… ‘[her work is] like an extended love poem to a place she found both confounding and inspiring’… ‘Jenkinson’s photographic montages are brilliant evocations of these atmospheric phenomena [auroras and mirages], visual tricks from the imagination of this acclaimed artist’. Reviewed in The NZ Herald and 5 works collected by Te Papa Tongarewa. [1,214] • Part of the Auckland Festival of Photography, 2008, receiving additional public exposure as a result. • Five Works collected by the Museum of New Zealand Te Papa Tongarewa, Wellington. • Volatile Imaginings’, Artist’s Profile, Art News, New Zealand, Winter, 2008, pages 72 – 75. • Adam Gifford, ‘Changing View of a Frozen Land,’ review, in the New Zealand Herald, illustrated, 20.5.09 • Sharu Delilkan, ‘Trick of the Light,’ review in The Aucklander, illustrated, 7.5.08 • Gallery Talk on the exhibition, Two Rooms (in connection with the 2008 Auckland Festival of Photography), 11.6.08 • Gallery talk to members of the Paradise Art Group. • The exhibition was advertised in the following: Art News, New Zealand, Winter 2008 (full page colour advertisement); Art Zone April/June 2008 (full page); and the Auckland Readers and Writers Festival ’08 booklet (1/3 page). • “I was horrified by the Brilliance of your work. My jaw dropped open as I tried to comprehend how you achieved it all.” (Email from Greta Anderson, ex student and tutor at Elam).

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  • REVOLVE An interactive performance

    Brown, Carol; Niemetz, A; Gander, P; Medlin, M; Scoones, R

    Creative work
    The University of Auckland Library

    Co-conceived by Carol Brown and Anne Niemetz; dancing, choreography, spoken text and performance elements authored by Carol Brown; Anne Niemetz designed the wearable technology, interface system and filmed and edited the video compoent; Russell Scoones developed the recorded soundscape; Philippa Gander contributed expertise as a sleep scientist and co-researcher in the developmental stages of the project dramaturgy; Margie Medlin was responsible for the overall lighting design and related performance elements; additional contributors included Fiona Graham and Alys Longley who contributed to the development of the performance texts. REVOLVE is a real-time interactive performance that sheds light on the ‘stuff’ dreams are made of, the night-stories and bodily states that shape our sleeping hours. As an arts-science collaboration, the research imperative was to translate the data of a sleep scientist into sonic and choreographic content through wearable technologies. The work invites audiences to experience a series of states enfolding voice, sound, light, video and dance, as she metaphorically traces the path of the sleeper’s mind and body from dusk to dawn. Driven by a curiosity about the body, its rhythms and potential for change, the work alludes to the planetary, physiological and personal cycles that round our lives. In doing so, it explores how the non-literalness of scientific phenomena (data from EEG readings of brain waves) can be mapped through interactive performance and made meaningful as a series of performative states for audiences. The performance ecology enfolds wearable electronic sensor technology, video, lighting, text, recorded sound and an interactive sound environment within a choreographic score. Sensing the body, its gestures and its environment through the measurement of light, tilt and acceleration, Carol Brown wears a “sensor suit” that allows her to intuitively control and interact with a malleable sound environment. She can respond to this environment by choosing to expose or hide light-sensitive parts of her body and combining these actions with movements of varied speed. In turn, the sonic feedback influences the emerging choreographic score, inducing constraints and generative cyclic patterns for movement. The dramaturgy is driven by concepts based on the physiological cycles that underlie sleeping and waking, which are in turn shaped by our circadian biological clock that keeps our sleep/wake cycle coordinated with the rotation of the earth. REVOLVE includes scenes that are inspired by states such as light sleep – delving in and out of wakefulness; deep sleep – a state in which the brain’s neuronal activity synchs up to create very slow and large brainwaves; and REM sleep – a state characterised by nervous muscle twitches and rapid eye movements that come from an active, but sleeping brain. At the end of the performance there is a metaphorical breech into waking consciousness as the brain re-engages with the external world through purposeful and directed movement. The sound design is partially composed, and partially interactive. The composed sounds are sourced from EEG brainwaves, recordings of a sleeping child and the voice of tenor Keith Lewis. The interactive sounds are based on the auditory beat, a phenomenon that arises when two pure tones of different, but neighbouring frequencies are played together. In such a situation, a beat frequency emerges, perceived as a periodic pulsing of the sound. These beats – waves of sound - are powerful to listen to, physically moving, subsonic but clearly perceivable.

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  • Cirrus

    Matthews, Stephen (2007)

    Creative work
    The University of Auckland Library

    My role in the creation of this work was as the composer as well as the provision of complete parts to the NZSO including the addition of the final string bowings The title Cirrus is taken from the first stanza of James K. Baxter’s poem, High Country Weather (1948). Alone we are born And die alone Yet see the red-gold cirrus Over snow mountain shine Upon the upland road Ride easy stranger Surrender to the sky Your heart of anger What appealed was the depiction of individual endeavour, the expansive backdrop of New Zealand rural imagery and the poem’s final plea. Despite the foreboding beginning, metaphorically the ‘red-gold cirrus’ foretells of a change for the better. Cirrus are beautiful high transparent clouds typically streaming in the direction of the wind, usually signalling the arrival of fair weather. The opening of the piece employs high-pitched bell-like chords. While the upper and lower strings hold a sustained note, a bass clarinet introduces the first significant melodic theme. After the first full-orchestral climax the texture of the climax quickly dissipates to reveal a high-pitched modal melody. The brass abruptly interrupts this moment of quiet with an augmentation of the previous theme. After this interruption subsides the character of the music gradually becomes more uplifting and confident. Then solo instruments perform themes over a lively syncopated chromatic pizzicato bass line and variations of the original theme repeat, driving the music forward to reach the final climax. The piece ends with a final recapitulation of the high modal melody and arpeggiated echoes of the opening bell-like chords in the tuned percussion.

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  • Five past five at the Clock Tower: Exploring artistic spaces of the University

    Locke, Kirsten

    Creative work
    The University of Auckland Library

    This presentation in the form of a concert explores the aesthetic potential of the University of Auckland Clock Tower. Built in the early 20th Century architectural style of art nouveau during the 1920s, the Clock Tower was originally part of the university Arts Centre that officially opened in 1926. Now an administrative hub for staff and students, this concert reclaims the artistic intentions of the space through an a Capella choral performance that explores the notions of temporality and artistry through music. The concert draws on the enduring power of the Clock Tower as the literal heartbeat of the university, the timekeeper, and symbolic nexus of academia, creativity, and cultural power. Consisting of eleven singers drawn from staff at the university, alumni, and keen enthusiasts, we invite you to explore the intersection and artistic transformation of space, place and time at the university with us at Five Past Five at the Clock Tower.

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  • Muddy Urbanism: an LA dialogue

    Waghorn, Kathy; Haringa, H; Jones, R; Khoo, Chia Venn; Seung Kim, Sophia; Lapwood, A; Shake Lee, Z; Lin, S; Paget, V; Ryan, H; Yoo, A; Mecredy, E

    Creative work
    The University of Auckland Library

    A piece of collective urban research on the Whau River, Auckland MUDDY URBANISM www.muddyurbanismlab.wordpress.com Auckland, the largest city in New Zealand, has a unique geography, with an extensive coastline abutting urban areas. While architects, planners and politicians often discuss the importance of ‛the waterfront’, the view of this watery edge is frequently restricted to the inner city and the exclusive beach suburbs. However Auckland ‛fronts’ the water in many different ways and spaces, most of which are ignored in an urban sense. One such space is the Whau River estuary. The Whau River bisects the inner west of Tāmaki Makaurau Auckland. Its path creates a portage, connecting two harbours, permitting the movement with waka (canoe) between the east and west coasts. This portage has seen over one thousand years of occupation and use. Pre-colonisation, the Whau was one of the main active frameworks of social connection and economic production and in the colonial economy it played a crucial role in the settlement and urbanisation of Auckland’s west, as both a transport route for food and as a source of clay. In latter decades however, the Whau has lost its importance. No longer a transport route, and for much of the recent past a boundary between municipalities, it has increasingly become the site of multiple conflicts across jurisdictional, economic, land use and natural systems. Muddy Urbanism is a special urban-research workshop at The School of Architecture and Planning (The University of Auckland) that engages in the critical mapping of the Whau in order to visualise the many conflicts that have been hidden from institutional thinking and to propose new interfaces between urban policy, ecological systems and community participation for the regeneration of this catchment. This research project amplifies the local as a critical site of intervention for rethinking existing land use, public and environmental infrastructure, and neighbourhood-based socio-economic development, in order to re-imagine a productive coastline for the many different waterfronts of Auckland.

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  • Flotilla Whau, a work as part of the Rosebank Art Walk, Auckland Arts Festival

    Patel, N; Waghorn, Kathy; Bush, R

    Creative work
    The University of Auckland Library

    Development of one day participatory event / socially engaged art work for the Rosebank Artwalk, curated by Marcus Williams as part of the Auckland Arts Festival. Commissioned as part of the Rosebank Art Walk (Auckland Arts Festival 2013) the Flotilla Whau was intended as a one-day event where a collection of water-craft traversed a marked course on the Whau river in Auckland, new Zealand. Situated as both art work and community development event, the flotilla brought river users together, stimulating connection and ongoing discussion. The intention of the flotilla was to mark out this marginal estuarine space, in some way drawing attention to it, and in so doing re-establishing the river as a visible,material space that can be occupied, a place one can be in and on. The Flotilla was repeated in 2014 as a stand alone event, with the number of participants increasing from 50 to 300. As a result of the success of these two events the Flotilla Whau was offered funding from Auckland Council for 2015, which allowed for the event to grow the performative spatial and visual components. The 2015 Flotilla Whau took place on Sunday February 8 in collaboration with the Voyager, New Zealand Maritime Museum.

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  • The Fluid City, a work as part of the Rosebank Art Walk, Auckland Arts Festival

    Waghorn, Kathy; Longley, Alys; Brown, C; Brierley, Gary; Fitzpatrick, Katrina; Sunde, Charlotte; Ehlers, C; Martin, Rosemary; Wood, Rebecca

    Creative work
    The University of Auckland Library

    collaborative research project funded through Transforming Cities The Fluid City project was initiated through a Transforming Cities research grant at the University of Auckland to promote inter-disciplinary urban research for sustainable futures. The premise of Fluid City is that the arts can play an important role in communicating issues of sustainability in novel ways that capture public imagination and provoke alternative understandings and visions of the city. Our motive for undertaking this collaboration was to produce new ways of disseminating hard science knowledge concerning the effects of the urban realm on fresh water catchments and the harbours with the diverse publics of Auckland. Our response then was to generate a mechanism to support a fluid approach to the sharing and exchange of water knowledge and to make a space for the close encounter with water from our urban streams, creeks and rivers.The Fluid City project is anchor-less and mobile, taking the form of three strange, translucent cupboard-like structures each towed by bicycle. Like a stream the bicycle powered Fluid City winds its way through the city’s streets, creating a sense of anticipation and wonder. It then temporarily occupies an urban space and garners the unsuspecting public as audience. The three cupboards open, releasing images, objects, performance, and between them creating a space to pause in the city. Each cupboard and its yellow-aproned attendant invites the passer-by to engage with water; to view, through a diver’s mask, a film showing the passage of water through the city; to don a lab coat and guided by a microbiologist see the usually invisible microbial universe of the city’s waterways, active, alive and full of creatures; to sit on an upturned bucket and listen through headphones to different voices sharing stories and knowledge of the city’s fluid states; to pick up a pen and write or draw your own memories and concerns about water on postcards and contribute this writing to a gently flapping washing line of thoughts; to follow characters through a dance and audio performance evoking the invisible stories of a reclaimed harbour through movement, poetry and sound. In 2013 the Fluid City project was invited to be part of the Rosebank Project (Auckland Arts Festival) which began with the premise that through a better knowledge of place, communities grow and that culture is the mechanism by which this occurs. The project was centered in the industrial precinct and suburban area of Rosebank Rd in Auckland, New Zealand, built over an estuarine peninsula of significant ecological worth and geological interest; the site of the oldest market gardens in Auckland. The Fluid City was adapted to work with the specific estuarine conditions of this local and was operational over the weekend of March 23-24, alongside the work of twenty-five designers, artists and collectives. The Rosebank Project was conceived and curated by Marcus Williams.

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  • Rare Form

    Pritchard, E; Mullins, K; Gregory, Nuala

    Creative work
    The University of Auckland Library

    Curators, artist Rare Form brings together a group of artists who work in sculpture, paint, print and assemblage, all of whom pull apart the method and order of art-making. Some works are comprised of many parts while others record a series of actions, and the means of generation or construction is often evident in the finished works. The object, the illusion, the form and the frame are subverted, giving the works a sense of playful intoxication; both the artists and their creations are in rare form.

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