One of the things that works in favour of the Angus show is the consistency of format and subject matter. It helps a big show hold together for a mass audience who might not be familiar with her work or New Zealand art history.
So how would a curator work with an artist whose practice has gone through a bunch of twists and turns? How would you take an audience with you from here
to here?
Images:
Michael Stevenson, Grave Flowers Louisiana, 1992. Oil on board. Image from the Hamish McKay Gallery website.
Michael Stevenson, The gift, 2004–06. Aluminium, wood, rope, bamboo, synthetic polymer paint, WWII parachute and National Geographic magazines. Collection Queensland Art Gallery, image from the APT5 website.
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