By Dr Susan Ballard, Eyeline Number 86, 2017
All posts by stella
With Madeleine Morley for Port magazine (UK)
In the Sixties and Seventies Guy Ngan was a public art insider, an artist working with architectural practices and the Ministry of Works.
Berlin-based New Zealand artist Michael Stevenson has a talent for excavating aberrant examples, for taking sidebar stories and making them into the main event.
A trawl through the archive of artist Bruce Barber.
Exhibition Catalogue
Artspace, 2002
Alex Monteith’s work combines the formal and the relational, engaging with communities of practice and creating events engineered for the camera.
By Robert Leonard
Stella Brennan’s print reproduced an aerial view of a gigantic geodesic dome on fire, a plume of dark toxic smoke billowing from its pre-fab acrylic panels.
Patricia Piccinini’s art has been seen around the world—from Venice to Tokyo to Lima—but her recent work has a particularly antipodean tang. Her invented creatures recall the hybrid peculiarities of animals such as the platypus…
Breuning makes videos and photographs; he is master of the constructed scenario. Descriptions of his work catalogue props – paring knives scotch-taped to fake-blooded hands, woolly hats, trainers, ski pants…
The story of artist-run galleries begins, at least for my generation of emergent, post-pubescent, pre-mortgaged Auckland artists, with Teststrip.
Arcadia draws on computer game aesthetics and the models of conflict and competition they both participate in and help to foster.
The Substation Singapore, 2008
Exhibition Catalogue
St Pauls St, 2005
Artspace, 1999
Artworks 1998 – 2005, with essays by Robert Leonard and Sean Cubitt.
I first started thinking of paint as a weighty physical material at the end of my first year at Art School. In preparation for the final exhibitions, everything received a frenzied application of white acrylic to banish the year’s smears and splatters and gallerise the institution.
I’ve been having trouble with my eyes lately. Nothing serious, but experts have been peering through my lenses, systematically dazzling me. It all started with dark spots – tiny moving shadows flicking across the white page, the glowing screen, the blue sky.
By Sean Cubitt
After a century of rectangular cinema, it is more than time enough to reconsider the shape of screens.
Key texts on New Zealand new media art, edited by Su Ballard and Stella Brennan, 2008
