“The study will examine the contribution of government-funded cultural industries, such as film, television, literature, museums, and performing arts, to New Zealand, and to driving our creative industries”, says Steve Maharey.
“This pilot project will examine the issues facing New Zealand’s cultural industries, and the role of this government in further supporting their sustainability and development.
“This pilot project also aims to get greater value from the ideas and expertise within New Zealand’s humanities research community.”
The new study will be a partnership between the Ministry of Research, Science and Technology and the Ministry for Culture and Heritage on how humanities research can contribute to policy that will help further develop cultural industries in New Zealand.
Jussi Pylkkanen, President of Christie's Europe, 44, Finnish
Famed for his aristocratic bearing and almost snobby delivery. Can at times be agonizingly slow, due in part to the spike in phone bidding, although lately has speeded up his march through ever-larger London sales. Style: a tad pompous and some say patronizing, but with the boyish enthusiasm to get the job done.
Tobias Meyer, worldwide head of contemporary art, Sotheby's, 44, Austrian
Cool, poised, glamorous face of Sotheby’s. Although not everyone warms to his imperial style, undeniably a pro, cutting a trim figure at the podium, announcing bid increments with a Teutonic crispness while keeping the body language simple. Style: strong and confident if a bit impatient at the rostrum.
A consultant at the prestigious New York executive search firm Russell Reynolds Associates, MacKay, 66, is a sort of art world superhero, swooping in whenever museums are in need of a new director.
Early in my editing career I was startled when, after we had finished an edit, a crusty, hard-bitten culture writer, a woman at least twice my age, told me, "That was great -- better than sex!"
I make no such exalted claims, but there's no doubt the editing process can be an intimate and gratifying experience for both parties. Although, to pursue our somewhat dubious metaphor, there are also times when writer and editor, instead of lying back and enjoying a soothing post-fact-check cigarette, stare emptily at the ceiling and vow never to share verb tenses with anyone again.
With just four paintings (spanning 40 years), Hamish has magicked up an overview of Mrkusich's work. There's the brushy Painting No 7 (1960), and elegant 'Segmented Arc' from 1982, the recent Painting III Red (2000) and the somewhat odd but also quite entrancing Four Zones (1966), shown above.
You wanna know the hilarious things Alibi... you're right, we are here completing projects that we have to do for our contextual studies -- and yes, some of our writing might be garbage as you and John have pointed out in some other comments.(we're obviously not as intelligent as you appear to be!)
None of us want to post on here because the environment is completely negative and does not inspire me to want to engage with any of you and learn anything from you at all. While I agree with what it says on this page about criticism being good (and therefore encouraged)-- there's a difference, I think the criticism we're looking for is 'constructive'.
So, don't worry, we are all meeting with our 'teacher' to get our 'homework' marked today, so you can be glad that many of us will probably disappear and you can have your elitist website back.
The site is hardly 'elitist', Jabby, and hardly 'negative' when regulars mutter about the site being bombarded by contributors who lack the conviction to stand their ground and argue their point of view.
If you write when you don't want to and say things you don't mean, what use is that? The result is clutter with no substance.
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Seraphine Pick: Recent PaintingsImage: Seraphine Pick, Untitled (Bird) 2006, oil on linen. Image from the Michael Lett Gallery website.
Ramp Gallery
Collingwood St, Hamilton
6-24 August 2007
This week I've banged my drum on a few pet topics, namely blogging and succession planning in New Zealand art galleries.We will invest in providers who deliver high quality arts experiences for New Zealanders in the metropolitan centres of Auckland, Wellington, Christchurch and Dunedin. These opportunities will include:We will invest in targeted opportunities that provide high-quality arts experiences in up to four identified provincial centres.
- facilitating the touring of work
- investing in key providers to deliver quality arts experiences locally and regionally.
We will develop systems that enable organisations to better monitor audience numbers attending events.
We will develop and implement a touring strategy [my emphasis].
So it seems today’s ideal museum-director candidate would have a PhD in Art History, an MBA, plus several years of Foreign Service and corporate experience under the belt. ... perhaps it’s time to widen the notion of how museums are led: Splitting the job into business and art functions, rather desperately seeking candidates combining all the skills required in the modern museum era and paralyzing the institution until the ideal candidate surfaces.
“The job doesn’t even resemble what is once was,” he said, listing all his increased bureaucratic responsibilities: dealing with the legal and human resource departments, overseeing publications and, more recently, negotiating with foreign governments that demand the return of artworks they argue were acquired illegally. ...
“If we were to project forward the person I was 30 years ago, that person wouldn’t remotely be qualified for this job,” he said. “I wouldn’t want the job either, because frankly I wouldn’t want to spend so much of my time on nonartistic matters.”
