The museum must be ethically compromised. Public funds are always precarious. Adapting means either accepting funds from questionable sources, or committing sacrilege by selling items to stay afloat.
There’s a violence to Holden’s work. But it’s not the masculine violence of abstract expressionism, in which the product is an excavation of process. Holden is more calculated.
Here we are… home, at last, on display at Toi Pōneke until 26 July, features work from two artists engaging with this loss.
MOAMOA is Oh’s first major solo show at City Gallery, organised in conjunction with Dunedin Art Gallery, and features a range of work produced in the last decade.
A review of Slip Cast, an exhibition currently on at The Dowse.
I guess what I’m trying to say could have been said another way, but children tend to respond to stimuli in an unmediated, visceral way. The museum is inextricably linked with death.
Denny’s concern here is ownership and translation. What we lack, it seems, is an adequate vernacular, both legally and socially, to talk about existing in a digital context.
It was only with the advent of Modernism that we saw the invention of the ‘white cube’. Perhaps in accordance with the movement’s underpinning theme of self-reflection, agents in the art world put the gallery space under the microscope as they searched for a innovative way to exhibit revolutionary new art.
Lexicon’s setting is an imagined Africa. A place, that for Sassen, is informed by nostalgia; she lived in Kenya between the ages of three and five. For the viewer, however, this place is informed by every previous imagining of Africa as Other.