Not Signed-In
Which clippings match '20th Century Art' keyword pg.1 of 2
07 AUGUST 2016

1974 documentary about Aotearoa New Zealand artist Ralph Hotere

"Directed by Sam Pillsbury, this 1974 film observes Ralph Hotere — one of New Zealand's greatest artists — at a moment when excitement is gathering about his work. Lauded as a 'classic' by Ian Wedde, the documentary is framed around the execution of a watershed piece: a large mural Hotere was commissioned to paint for Hamilton's Founders Theatre. Interviews with friends and associates — poets Hone Tuwhare and Bill Manhire, art critics, officials and dealers — are intercut with fascinating shots of Hotere working (including making art by photocopying or 'xerography')."

1

TAGS

197420th century artabstract artists • Ad Reinhardt • Aotearoa New Zealandart critics • art dealer • art documentary • art historian • artist • Barry Lett • Bill Manhire • Brian Shennan • David Fowler • Dunedinfine art • Founders Theatre • geometric abstraction • Gordon Brown (art historian) • Hamilton • Hone Tuwhare • Ian Wedde • Jack Body • John Scott • Land Wars • Landfall (literary journal) • Lynton Diggle • MaorimuralNew Zealand artistNew Zealand on ScreenNZ Film ArchiveNZ On Screenpainting • photocopying • Port ChalmersRalph Hotere • Rodney Kirk-Smith • Roger Collins • Sam Pillsbury • spray painting • Te Aupouri • Te Rarawa • visual artist • xerography

CONTRIBUTOR

Simon Perkins
23 JUNE 2014

Louise Bourgeois: a conversation with Bernard Marcadé 1993

"La vieille dame qui traverse la rue au bras d'un jeune homme barbu, c'est elle, Louise Bourgeois (1911–2010), dont l'histoire nous est d'abord brossée à grands traits par le biais de photographies tirées des archives familiales. La rencontre en chair et en os a lieu chez elle et dans son atelier, à Brooklyn, où elle entreprend une exégèse de son oeuvre dans une optique résolument psychanalytique. Rythmé par la visite de quatre sculptures ou "cellules" ("Choisy", "Hands and Glass Balls", "Arch of Hysteria", "Eves and Mirrors") avant leur départ pour la Biennale de Venise en 1993, l'entretien avec Bernard Marcadé et Jerry Gorovoy est placé sous le signe de la maison (familiale et symbolique) comme matrice de l'oeuvre. Au traumatisme de base, "fissure de la cellule familiale", car le père ramenait quantité de maîtresses, s'ajoute sa moquerie quant à l'absence de phallus de la petite fille. La passion pour la géométrie aux lois immuables, l'emboîtement des pièces, devient alors recherche de perfection et ironie : démolir des formes est posé en équation avec la destruction du père. L'oeuvre, riche en retournements, émerge du discours par l'humour et la vigueur des "show–off" de mamelles ou divers phallus érigés et animalisés."

Fig.1 Paru en 1993 chez CNC [Centre national de la cinématographie], [Paris] dans la collection Images de la culture / Mémoire | Camille Guichard.

1
2

3

TAGS

199320th century artart work • arte video • artistbalance • Bernard Marcade • biopic • Brooklyn • Camille Guichard • Centre Georges Pompidou • destruction of the father • erect phallus • explicit sexual imageryfatherfemale artistfrancais • French artist • Jerry Gorovoy • Louise Bourgeois • memoire • New York • peeling an orange • psychoanalysis • Reunion des musees nationaux • sculptor • search of perfection • sexually explicit work • shock artshow and tell • Sunday salon • Terra Luna Films • Venice Biennale • women artists

CONTRIBUTOR

Simon Perkins
02 SEPTEMBER 2013

Retrospective exhibition of surrealist artist Meret Oppenheim

"Die Meret Oppenheim Retrospektive im Bank Austria Kunstforum zeigt Arbeiten aus allen Schaffensperioden Meret Oppenheims. Eine umfassende Schau, die Gelegenheit bietet, Meret Oppenheim abseits bekannter Klischees neu zu entdecken."

(Joseph Schimmer, 20.03.2013)

1
2

CONTRIBUTOR

Simon Perkins
16 MARCH 2013

Dorothy Iannone's Innocent and Aware

Dorothy Iannone, "Innocent and Aware", 8 March 2013 – 5 May 2013, Camden Arts Centre in London.

"Iannone's portrayals of male and female sexuality celebrate the joy of her most intimate relationships while subverting traditional gender stereotypes of dominance and control. Through graphic paintings, sculptures and video boxes her works depict partly–clothed and naked figures on bright psychedelic backgrounds of flora, mandalas and biomorphic patterns. Recalling classical Indian erotic art, Egyptian frescoes and Byzantine mosaics, Iannone's intricate work communicates a personal narrative, passionate love affairs and lifetime pursuit of 'ecstatic unity' through transcendence and spirituality."

(Camden Arts Centre, 2013)

1

TAGS

201320th century artartistbiomorphic • biomorphic patterns • ByzantineCamden Arts Centrecontroldominance • Dorothy Iannone • ecstasy • ecstatic unity • erotic artexhibitionexplicit sexual imageryfemale artistfemale sexuality • fresco • gender representationgender stereotypesgenitals • graphic paintings • innocenceintimacyintimate sexuality • love affair • lovemaking • mandala • mosaicnaive stylenaively drawn figuresnaked figuresNorth American artistpenispersonal narrativephysical lovepsychedelicpsychedelic imageryself-taughtsex • sexual liberation • sexual politicssexualityshock artspectacle • spiritual awareness • spiritualitytranscendence • unconditional love • vagina • video box • vulvawomen artistswomen in art and design

CONTRIBUTOR

Simon Perkins
10 MARCH 2013

Ralph Hotere, New Zealand Artist, Dies at 81

Ralph Hotere 1931–2013 "was one of New Zealand's leading abstract artists, well known for his enigmatic, black painted surfaces stripped with luminous lines of color. He was not a strict formalist or wary of content. When an aluminium smelter was proposed for the Aramoana wetland, he famously nailed protest works on local telephone poles, painted on corrugated iron. And although his message was never explicit, his black paintings emerged at the height of the Civil Rights movement and suggested themes of historical crisis: war, nuclear testing, the Cuban Missile Crisis and Apartheid. With an understated gravitas unusual in protest art, Hotere demanded that his work speak for itself.

Although Hotere did not want to be pigeonholed as a 'Māori artist,' his works were steeped in the spiritual world of his ancestors. He was one of the first generation of Māori artists in New Zealand who, with quiet perseverance, forged a path for subsequent generations of artists by establishing a distinctive visual vocabulary that would be influential to both Māori and Pakeha (European) artists alike."

(Andrew Clifford, 1 March 2013, ArtAsiaPacific Magazine)

Fig.1 Ralph Hotere with his Black Phoenix installation at the Dunedin Public Art Gallery in 2000. Photo by Stephen Jaquiery.

1

TAGS

201320th century artabstract artists • aluminium smelter • Aotearoa New ZealandAramoanaartist • Black Phoenix (artwork) • Careys Bay • deceased • distinctive visual vocabulary • Dunedin • Dunedin Public Art Gallery • funeral • humble origins • Maori • Mitimiti • New Zealand artist • New Zealand cultural identity • Order of New Zealand • paintingsPakehaPort Chalmersprotestprotest artprotest worksRalph Hotere • significant figure • South Island • tangi • the spiritual world of ancestors • the work speaks for itself • visual artist

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.