Janet Carding, CEO or the Royal Ontario Museum, interviewed by Radall Craig on Canadian Television ... Click here This is an excellent interview and it provides an insight into what she has the potential to bring to her job in Tasmania.
Thursday, March 5, 2015
Wednesday, June 4, 2014
|A closed shop converted to a |
temporary POPup Gallery
or Installation space
No longer a DEADspace!
This was a storefront space with a small window on the street and they took turns creating installation pieces for that window. They also invited other artists to create works for the window. The name is Australian for "have a go (at it)." I learned about it while working with them at the USC Atelier Gallery (Michael included a teaser piece at the front of the gallery to lure unsuspecting shoppers into the gallery and likened it to the previous AVAGO).
When the Atelier had to relocate within the Santa Monica Place mall, I built a small AVAGO space into the new facade and curated various artists into that space in addition to the gallery itself.
The opportunity to create this AVAGO at the Brewery came about in conjunction with John O'Brien's Renovations show at the Brewery project. My intention was to activate this small room, which had once been a very small bathroom or water closet, and create an installation space for artists. I consider the site as an artwork of mine, however I also consider it a site for others to occupy.
This particular AVAGO is/was called Eridanus, which is the name of the constellation from which I borrowed the pattern for the holes in the door. The mythology related to Eridanus is interesting and rich, but it was really just the source I chose for the pattern. The constellation wasn't a part of the initial idea, I was only interested in seeing how much content could be inferred with the door, and yet allow other artists to use for their own works. My objective was to provide multiple peepholes in order to necessitate a multi-faceted artwork -- to create opportunities for works that might combine images, objects, electronic media, and text.
I have produced a couple of installations myself including Phaeton's Folly, and Woody. I also produced a piece for Joan Hugo that presented a Mark Niblock-Smith text. Artists who have produced works in the Brewery AVAGO are Tammy Fites, Cathy Hadad, Christian Mounger, Jessica Newman-Screntney, Bob Wilhite and of course Robert Wedemeyer.
The AUXILIARYmuseum has posted before some time ago asking if anyone remember AVAGO in Australia ... CLICK HERE TO READ MORE ON THIS
AVAGO is an old idea but a GOOD ONE!
Monday, May 5, 2014
Talking of interesting things, a display (above) of a novel way to depict Aboriginal presence in Australia ... For each wooden bead ... visitors at a local museum were asked to string one bead to represent one generation ... 2,000 beads later, and the local museum had completely revamped their approach to displaying Aboriginal histories ... and the musing continues in and out of the musingplace .... and beyond
|CLICK ON AN IMAGE TO ENLARGE|
Thursday, May 1, 2014
|CLICK HERE TO GO TO SOURCE|
Just as useful as the original ... Fake, copy, pastiche, forgery, reproduction. Many of the most bitter insults of the art world are designed to denigrate anything which is not the actual product of the master’s hand. People will make a special trip to Milan and stand in long queues to see the original Last Supper painted by Leonardo da Vinci himself. If that work was ever to come up for sale – which in itself would be considered an outrage – the sums involved would be utterly gigantic. The reproduction from a factory in the outskirts of Shenzhen, China, can be had for the price of a swanky new toaster. Its status is correspondingly very low indeed. If you had the original in your house, the most glamorous people in the world would want to be your friends. But if you display the copy, art world insiders will smirk and regard you as cultural low-life. We’ve uncritically absorbed the idea that copies are worthless ....CLICK HERE TO READ THE ARTICLE
Sunday, April 27, 2014
|click here to see the rest|
A scale model exhibited simultaneously with Depression commissioned by Ramiken Crucible and funded with capital leveraged against the permanent collection to be amassed by the gallery over the coming century, this building embodies the ideal art space. Constructed in international waters, this free standing open ocean platform will function as an independent state. This island fortress will provide artists with a private kingdom free from any moral law, civil code, or financial regulation. The building will house the ultimate gallery, named Unamerican Fine Arts, and is scheduled to open for the fall season of 2100. The scale model was designed and built by the architecture firm known as We Will Replace All Of You With Cool Mexicans.
Saturday, April 26, 2014
|To visit click here|
When was the last time you walked into a painting exhibition at a commercial gallery and saw something truly politically radical? .....“The Un-Officials | Art Before 85” highlights the practice of artists working in post-Reform China ...... [and] were active amidst the denouement of the prohibitive Cultural Revolution, as early as 1973, ........ [until] Deng Xiaoping after Chairman Mao’s death in 1976. “The Un-Officials” focuses on the efforts of two groups: the Wuming Painting Society (wuming means “no name,” or “anonymous”), founded in 1973, and the Xingxing (“Stars”) Group ...... [all] self-taught artists .... reject[ing] Socialist Realism ... paint[ing] in banned western styles ..... dodg[ing] government surveillance; many of these groups’ members were jailed for insurrection or sent to the countryside for “reeducation.” .... to connect click here
Friday, April 25, 2014
|CLICK HERE TO GO TO THE SOURCEmuse|
The so called GREAT WAR invokes a myriad of muses, emotion laden muses, muses about heroism, muses invoking nationalism, muses confronting debauchery, musing on selective memories, musing upon contested forgettings and more. On the cusp of a centenary commemoration the musing takes on poignance and places far away, and times long ago take on new significaces. A letter to an editor gets published, platitudes get to be repeated and truths are searched for. It seems not much is learned upon reflection. Likewise, musing can be a rhizomic journey and it's compulsions can lead you to some very dark places.
Some time ago Trev left the hill, the one that did a lot of the work, and took on a journey for serious musing. The good news is that the baton has been picked up so that the auxiliaryMUSING may continue even if intermittently and somewhat less reliably.
“Today I'm out wandering, turning my skull
into a cup for others to drink wine from.
In this town somewhere there sits a calm, intelligent man,
who doesn't know what he's about to do!”
|CLICK HERE TO GO TO SOURCE|
In 21st C museums the frontline of the muse is likely to be something of a struggle between the 'authenticists' and ... let's call them 'The Thinkers".
With current technology, even 20th C technology, it is possible to produce FORENSICcopies. Just think about Rodin's Thinker of which there are about 28 FORENSICcopies in the world – all there without diluting the power of the work.
So why not acquire a FORENSICcopy of Dancing Shiva and bypass the ARTcrooks that sold one for a lot of money to Australia's National Gallery.
What's more, by doing so, vest musing value in the cultural property, leave mere things in place and debunk the mythologies that CROOKartdealers feed off.
Just a muse!
|A report on the SHIVAdebacle CLICK HERE|
Wednesday, August 7, 2013
CLICK ON A HEADING TO READ THE ENTRIES
Art (132) Biodiversity (137) Birds (88) Penguins (23 Borrowing and Lending (34) Bugs, insects and spiders (21) Collections Online (183) Colossal squid (141) Conservation (38) Cook Islands (1) Copyright (4) Crustacea (2) Disasters (22) Bay of Plenty oil spill (6) Christchurch earthquake (9) Education (15) Events (76) Exhibitions (250) Collecting Contemporary (11) Slice of Heaven: 20th Century Aotearoa (48) Field trips (92) Fish (34) Fossils (11) History (173) Fashion (51) Textiles (20) Kids (30) Mammals (24) Māori (65) Museums (36) News (31) Pacific (83) Photography (72) Plants (153) Bryophytes (3) Ferns (54) forget-me-nots (6) Marine algae (1) Orchids (4) Plantago (1) Pseudopanax (9)] Sedges (3) Veronica (1) Reptiles (17) Research (2) Te Papa Press (10) Warhol (5) Whales (83) Pygmy right whale (23) Whales | Tohorā (57)
Tuesday, August 6, 2013
|CLICK HERE TO VISIT THE BLOG|
Fascinating sunfish factsTe Papa recently received a rare sunfish specimen from Auckland Museum, so we decided to find out more about these mysterious ocean-dwelling animals. Here are our fascinating facts:
1.Sunfish don’t have a tail! Some people call them a ‘gigantic swimming head’ (which seems a bit rude). Instead of a tail their dorsal and anal fins are fused together into a rudder-like structure called a clavus. The sunfish swims by flapping its dorsal and anal fins synchronously, like oars. This is a common sunfish, also called an ocean sunfish, Mola mola. Our specimen is the rarer sharp-tailed sunfish, Masterus lanceolutus.
2. There are four species of sunfish: common sunfish (Mola mola), slender sunfish (Ranzania laevis), sharp-tailed sunfish (Masterus lanceolutus) and southern ocean sunfish (Mola ramsayi). The species at Te Papa is a sharp-tailed sunfish. Scientists know the most about the common sunfish, so we’re pretty excited to be able to find out more about the rare sharp-tailed sunfish.
3. Sunfish are the heaviest bony fish species alive today. Common sunfish weigh around a metric tonne on average. The biggest common sunfish ever caught weighed over two metric tonnes!
The Queen Victoria Museum & Art Gallery and the Tasmanian College of the Arts (Inveresk) invites people in Launceston to an Art Forum by Australian-American Artist and Writer
12.30pm Thursday 12 September 2013
Gallery 2, QVMAG Art Gallery, Royal Park
2 Wellington Street, Launceston
Admission is free
RSVP by Monday 9 September 2013 on T 6323 3798 or E firstname.lastname@example.org Friends please quote your membership number
Denise Green (born Melbourne 1946) studied at the Sorbonne in the late 1960s and received her MFA at Hunter College, New York in 1976. She has lived and worked in Australia and New York since 1972.
Green first received public recognition through her participation in the Young American Artists: 1978 Exxon National Exhibition at the Solomon R. Guggenheim Museum, New York; and the seminal 1979 New Image exhibition at the Whitney Museum of American Art, New York. Over the last decade, surveys of her work have been shown at the Art Gallery of New South Wales, Sydney; MoMA PS 1, New York; and the Museum Kurhaus Kleve, Germany. Green is currently a senior visiting critic in the Graduate Department at the Pennsylvania Academy of Fine Arts. She is represented in all major Australian collections.
She will talk about the challenge for an artist to fashion a career on three separate continents (Australia, North America and Europe) over four decades, from the late 1960s through to today. In her lecture she discusses her response to the dominant credo of the 1970s, which asserted that artworks should speak for themselves and that artists should not have to explain the underlying meanings in their work. In the 1990s she began writing about art to counter these arguments. She recounts how being more articulate about her work opened up a dialogue and helped cultivate relationships with galleries and museum curators in Europe and the USA.
Denise Green is one of a small number of Australian artists who have established significant careers as artists internationally, whilst maintaining strong links with Australia. We are very privileged to host Denise Green's brief visit to Tasmania and warmly invite all those interested in art to attend this most significant forum.