276 results for Creative work

  • the second of the ordinary practices & regroup, reorder, restore!

    ET AL.

    Creative work
    The University of Auckland Library

    Site-specific installation linking art, technology, politcal ideologies, scientific theories, fringe religious practices and behavious modification. IMA receives major funding from Arts Queensland and the Australia Council and Artspace receives major funding from Creative New Zealand.

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  • Blind Glass

    Cherrie, Derrick

    Creative work
    The University of Auckland Library

    'Blind Glass' was a collection of works that drew their form and imagery from familiar every-day situations. The works employed a broad array of materials and pre-constructed objects, including: shelving, tables, household objects, sheets of particle board, plastic laminate, fibreglass, mirror and paint. There was a consistent reference throughout the exhibition to the body. The works have the potential to be read as bodily supports (furniture) and body substitutes (physical and psychic). They opened outwardly onto a socially indexed environment and inwardly through personal reflection. Like partial stage sets, the works are presented as traces of scenarios suggesting narrative. However, despite the apparent potential of subjective relations and what might be described a sculptural variant of narrative production, one would be hard put to summarize quite what story has been told. The sculptures occupy what might be described as a zone existing somewhere between the recognisable and familiar matters of their everyday qualities, and an almost dreamlike state of autonomous ideals and semantic absence. A key objective was to have the sculptures open onto a sense of an alterity in opposition to, yet emerging out of, the commonality of their more obvious indices.

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  • TAG - Simon Ingram and James Cousins

    Cousins, James; Ingram, SA

    Creative work
    The University of Auckland Library

    A two-person exhibition featuring 4 works by each artist. The principle of the exhibition was such that points of formal and conceptual commonality in each artists' painting practice would be unpacked, analyzed and re-configured discursively through the playful and collaborative process of selecting and installing the works. These were not major works, but ones that represented experimental and oblique moments of discovery in each artist's practice and were not necessarily works either artist would ordinarily exhibit. The exhibition received a review on ArtForum online, on the Minus Space website and on a local art review website called eyecontact. See: http://www.gowlangsfordgallery.co.nz/exhibitions/pastexhibitions/2010/iniative1cousinsingram.asp

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  • National Projects 2010

    Crowley, Lisa

    Creative work
    The University of Auckland Library

    A major exhibition of photographs which investigates the complex project of Nation building that occurred in NZ post WW2. The exhibition has a particular interest in the representational methods and communicative modes of address employed by both the state and creative practitioners during this period of history.

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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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  • Nuala Gregory - new works

    Gregory, Nuala

    Creative work
    The University of Auckland Library

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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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  • Colin McCahon The Titirangi Years 1953-1959

    Simpson, Peter

    Creative work
    The University of Auckland Library

    This exhibition included examples from all McCahon’s series between 1953 and 1959 including Towards Auckland (1953-54), Manukau (1954), Kauri (1953-57), Titirangi (1956-57), French Bay (1954, 1955, 1956-58), The Wake (1958, 16 panels shown in full) and the Elias Series (1959). It also included significant individual works such as I AM (1954), Let us possess one world (1954-55), Painting (1958), Cross (1959), and John in Canterbury (1959). Displayed in the very environment in which the works were painted, this exhibition enabled an unusually intimate response to McCahon’s painting during a crucial watershed period of his career, when he was first moving beyond landscape regionalism and figurative religious paintings towards more expansive modes influenced by international practice, especially abstraction. The exhibition of 42 works broke records for attendance at Lopdell House and was widely noticed in the media. It was directly associated with the refurbishment of the McCahon house in Titirangi and the establishment of a major residency in McCahon’s name, a project I participated in as Trustee of the McCahon House Trust.

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  • Calls from the Ark, for bass clarinet

    Elmsly, John

    Creative work
    The University of Auckland Library

    One of 34 composers selected for this compilation «ShortCuts» – das ist eine bislang einzigartige Sammlung von kurzen Stücken für zwei Klarinetten bzw. Bassklarinetten. Das Kompendium von 34 vielfältigen Miniaturen von Musikschaffenden aus vier Kontinenten der Erde bildet eine Momentaufnahme gegenwärtigen Komponierens. Initiiert wurden die «ShortCuts» von den Klarinettisten Petra Stump und Heinz-Peter Linshalm. Zwanzig dieser Stücke finden sich auf der der Abo-Auflage der Neuen Zeitschrift für Musik beigege benen CD.

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  • Front Load

    Cousins, James

    Creative work
    The University of Auckland Library

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  • Coleccion Grafica

    Gregory, Nuala

    Creative work
    The University of Auckland Library

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  • Four times painting

    Ingram, SA

    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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  • Ripped

    Lee, Pei-Jung

    Creative work
    The University of Auckland Library

    I feel "it" ripped out of me, hurting and angry, bleeding and feeling empty. But life goes on and I go on with this life "ripped".

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  • Light, Water, Pigment - an active accord

    Gregory, Nuala

    Creative work
    The University of Auckland Library

    Exhibition of 9 paintings for the Second International Conference on Semiconductor Photochemistry. The exhibition was based on common materials used in photochemistry and watercolour painting, water, pigment and light.

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  • White Feathers, for narrator and orchestra

    Elmsly, John

    Creative work
    The University of Auckland Library

    Premiere public performance

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  • Living Halls (Solo exhibition curated by Rhana Davenport)

    Jack, Fiona

    Creative work
    The University of Auckland Library

    LIVING HALLS is a growing collaborative archive. The paintings, drawings, honour boards, documents, database, photos, stories and audio recordings that make up this archive tell us about the war memorial halls of Aotearoa. Following the Second World War, New Zealanders wholeheartedly embraced the idea of constructing utilitarian memorials to honour soldiers killed in action instead of the ‘traditional’ monuments favoured after the First World War. Government subsidies encouraged the widespread building of community centres and halls as ‘living memorials’ for all to share. These were ‘monuments with an inside’1, conceptually complex spaces that were built by communities to symbolise their grief, but also to solve a practical need for a place to gather for everything from dancing to voting.

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  • Snow Ball Blind Time

    Robinson, Peter

    Creative work
    The University of Auckland Library

    The Govett-Brewster is proud to announce the release of the highly anticipated publication Peter Robinson: Snow Ball Blind Time, a beautiful and enduring companion to the landmark exhibition of the same name, commissioned by and presented at the Gallery in 2008. More than an exhibition catalogue, Snow Ball Blind Time traces Robinson’s exploration of materials and ideas through the eight major projects since his formative ACK installation at Artspace, Auckland 2006, seen as a pivotal change of direction in his artmaking practice. Govett-Brewster Director Rhana Devenport, the book publisher and commissioner of the work says, “This new contribution to art publishing in Aotearoa registers one of the most conceptually powerful and physically arresting projects in recent times. Snow Ball Blind Time was an ephemeral art project entirely deserving of this attention.”

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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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  • Random Walk in Brussels

    Ingram, SA

    Creative work
    The University of Auckland Library

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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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