251 results for Creative work

  • 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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  • At water's birth for piano trio

    de Castro-Robinson, EK (2009)

    Creative work
    The University of Auckland Library

    a piano trio commissioned by NZTrio in 2007

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  • 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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  • 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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  • 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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  • The Village: Solo exhibition (multiple venues)

    Hipkins, Gavin

    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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  • Bruce danced if Victoria sang, and Victoria sang; so Bruce Danced, Part 1

    Kerr, Sean

    Creative work
    The University of Auckland Library

    Bruce danced if Victoria sang, and Victoria sang; so Bruce danced, Part 1 covers Sean Kerr’s work through the period 2010-2000. It recognises the instability of media art, looking back to recreate previous works, exploiting the juxtaposition of past and present to illustrate potential trajectories between works. Whether delivered live in the mode of performance, completed by the active role of the viewer, upgraded to evade redundant technology, or the simple practicality of reconfiguring an installation for a new site, Kerr’s work refuses to be fixed in time through the process of a conventional retrospective. Taking place simultaneously at the Gus Fisher Gallery and Artspace, this exhibition is the first survey of Kerr’s work. One of New Zealand's leading digital artists, Kerr's interests lie in the emergent area of new media technologies, incorporating internet art, installation and sonic practices, but with a particular focus on the expectations and effects of interactivity. This often includes ill-mannered scenarios and ‘misbehaving’ machines that owe as much to communication theory as slapstick comedy, exploring both social and technological dynamics. Bruce danced coincides with the launch of a new book covering Kerr’s work from the early 1990s to the present day. The 160-page publication On the Nose, published by Clouds, is out in September. This exhibition and publication is supported by a National Institute of Creative Arts and Industries (NICAI) Research Development Fund.

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  • ...a tent, pitched in the wilderness

    Jenkinson, Megan

    Creative work
    The University of Auckland Library

    ‘A tent, pitched in the wilderness’, shown at prominent Sydney gallery Stills, features deserts, architecture and artifacts photographed in Egypt and European museums in late 2011. Inspired by Antarctica, this work identifies a visual and experiential correspondence between the deserts of hot and cold regions, yet acknowledges major differences in the impact of civilization: “Jenkinson’s photographs of / deserts [contain] phantom remains of past civilizations and intimations of possible futures”, Sydney Morning Herald. In highlighting the continuing relevance of the past, this work stands in contra-distinction to the current tendency to give primacy to the new and ever-present, e.g. the recent Egyptian uprising is shown as part of an historical continuum of conflict rather than an insolated incident, a point astutely unraveled by S. Rosenblum in the interview she conducted for East Sydney Radio.

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  • Kei konei koe: ō Tapuwae ki Tāmaki Makaurau - You Are Here: mapping Auckland

    Waghorn, Kathy; De Groot, C; Auckland War Memorial Museum Tamaki Paenga Hira

    Creative work
    The University of Auckland Library

    The exhibition Kei konei koe: ō Tapuwae ki Tāmaki Makaurau You Are Here: mapping Auckland, took place in the Pictorial Gallery of the Auckland War Memorial Museum, 30 September, 2011 to 12 August, 2012. This exhibition was developed in partnership with Dr. Cris de Groot, Unitec Institute of Technology, a team of Unitec computing and product design students, and Kathy Waghorn from the School of Architecture and Planning at The University of Auckland. You Are Here explores 200 years of Auckland’s planning and evolution using 40 maps as the lens.

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  • Crystal Spirit

    Speers, James

    Creative work
    The University of Auckland Library

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  • Numerology and Territories

    Speers, James

    Creative work
    The University of Auckland Library

    In a commercial setting, you don't need to read the sign to get it. It works in your peripheral vision. You see its colour. There are so many stories that come from a shade of blue or the depth of a red [...] I'm interested in that meditative moment, when you're looking at a magazine or a billboard and you're emptying your mind. You just download whatever image it is and you're not even really processing it. Auckland based artist Jim Speers' current exhibition Numerology and Territories continues his interest in appropriating the language and materials of local industry. His text based works carefully select the names of companies that make us aware of the semantic construction of a brand. VeilSide, for instance, is a company that specialises in customising body work for sports cars. The capitalisation of the 'V' and 'S' exists in the original brand. However by lifting these words out of their original context and simplifying the type, Speers places emphasis on the poetic combination of words and the way they function in an urban setting.

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  • Vivaldi, A. Cello Sonatas Nos. 1-6 (with versions by L. Dallapiccola) (JH Tibbles, harpsichord) [CD recording]

    Tibbles, James; Rummel, M

    Creative work
    The University of Auckland Library

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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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