Art New Zealand – August 2019
76 PETER SHAND Judy Millar’s painting was the subject of an overview exhibition curated by Roland Wäspe, Director of the Kunstmu ...
77 conceive... philosophy’smeansofexpressionis closedin on itself, unable to experiment and dissolve ideas, as the painter’s ‘ma ...
78 renting pictorial conventions of gesture, composition or surface. The impact of the work remains extraordinary and compelling ...
79 differently flat tape surfaces arranged in geometric compositions are each quietly compromised whether by the cut of the hand ...
80 JON BYWATER ... Venice, lost and won, Her thirteen hundred years of freedom done, Sinks, like a seaweed, into whence she rose ...
81 (andso,perhaps,thequestionofhow,whyandto what ends we might be moved by it). Mitchell involves the data he has gathered in a ...
82 already noted, the printer is installed amongst empty shelves. The first qualification the pavilion attendant makes is that n ...
83 Or is this more a ‘now’ we need to move past? Mitchell notes the delectable industry term ‘frankenpine’ for the cell towers h ...
84 PRISCILLA PITTS There are many ways one could construct an exhibition of Frances Hodgkins’ work—and over the years a number o ...
85 LatershewasassociatedwithEnglishneo-romantic artists such as John Piper, Graham Sutherland and Paul Nash and was friendly wit ...
86 has several key works including the extraordinary double portrait Loveday and Ann (1915–16), the large, ornate drawing Seated ...
87 once you are able to see the ‘what’ you begin to see the ‘how’; how this exceptional artist translated the everyday into comp ...
88 Hodgkins’ approach to picture-making. The drawing for Jane Saunders and Hannah Ritchie (c.1923) is also here but not, alas, t ...
89 aware of. Wide appeal is not necessarily incompatible with intellectual heft and there are those of us who would have liked t ...
90 PETER IRELAND I do not dream of Sussex Downs, Or quaint old English quaint old towns, I think of what may yet be seen In John ...
91 deliberately posed or set-up scenes. Its method was observation and its aim truth to experience; a way for the photographers ...
92 maintained in the way that mud sticks. But as the distinction between nineteenth- and later twentieth- century practice sugge ...
93 theoftenidealisednotionof‘relationship’;thenhis later2014/15series,D,P, O.portrayingunflinchingly and co-operativelyhis fathe ...
94 Memorialist of the Migrant Odyssey Andy Leleisi’uao’s Kamoan Mine DAVID EGGLETON At night, the golden arches of McDonald’s gr ...
95 suspendedbetweentwoworld-views—Fa’aSamoa, and the New Zealand way of doing things—in the wake of globalisation. The exhibitio ...
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