Showing posts with label rose nolan. Show all posts
Showing posts with label rose nolan. Show all posts

Tuesday, 16 December 2008

Summer countdown

If you haven't already hustled over to Hamish McKay's to see the current Rose Nolan exhibition, you have until Friday to do so.



The show is a beauty, and McKay has plumped it out with examples of older work, so it almost makes up for missing Nolan's show at Artspace Sydney earlier this year. Nolan is currently working on a book (with Blair French) due to emerge mid next year.

Also coming to a shelf near you next July: Ed Winkleman's ' How to Start and Run a Commercial Art Gallery'. [Yes, he is aware of the irony of publishing a book like this in times like these]

Image
Installation view, Rose Nolan, 'More homework experiments', 2008. Image from the Hamish McKay website.

Tuesday, 1 April 2008

Adjectival


I tried several times to name this post, but you end up feeling like such a goober when you apply words like 'beautiful' or 'breathtaking' or 'extraordinary' to contemporary art.

All I can say is, if you're in Wellington over the next few weeks, make sure to stop by Peter McLeavey's and see Peter Robinson's one work show. As McLeavey doesn't have a website, check out similar recent works (including those shown in the above image) on the Sue Crockford Gallery website.

Along with Rose Nolan's wall work currently on show at City Gallery, Robinson's sculpture is already on my best-of list for 2008. Related to which - info about Nolan's Artspace Sydney show in May/June is now available, along with this image of Nolan working on the CG work.

Tuesday, 26 February 2008

Tidying up after myself

The three works by Julian Dashper mentioned yesterday are collectively titled 'Here I was given' (1990-1991).

And still can't find the dates for Rose Nolan's Sydney show ....

Monday, 25 February 2008

Writ large


UPDATE
Thanks for the image, J.


Reboot: The Jim Barr and Mary Barr Collection, the touring exhibition from the DPAG, opened on Friday night at City Gallery.

Once again, Rose Nolan walked away with the exhibition, with her huge wall painting SELFDOUBT filling the longest wall of the West gallery. This part of the exhibition takes its tone from Colin McCahon's I am Scared / I Stand Up; Nolan's statement might seem a little abject in this context, if you didn't know that in the Dunedin installation the work was SELFLESS, and in Christchurch the cheeky SELFISH snuck round the wall to invade Michael Stevenson's hanging space.

[Side-bar: Nolan is having a solo show at Sydney's Artspace later this year - I can't find the dates online (anyone?) but it must be quite soon, as the show travels to the IMA in Brisbane at the end of June.]

Another highlight for me were three works by Julian Dashper that have been added for the Wellington installation (absent from the Christchurch installation as they were needed for Dashper's CAG show 'To the Unknown New Zealander'). I'd round out my top three with the un-monumental room in the South gallery.

However, I think I preferred the Christchurch installation: the gallery proportions seemed better suited to the scale of the work, or to function better to create small groupings of works. The piece that suffers the most, I think, in Wellington is Don Driver's With Spirit - which was my revelatory experience in Christchurch (more Don Driver, I say). City Gallery's foyer also doesn't appear to have been able to accommodate Michael Parekowhai's Jim McMurty, who's recently been vacationing at the Māori Hall in Auckland, courtesy of Michael Lett.

Don't let any of my quibbling put you off though - get along and see the show.

Final thoughts

City Gallery: any chance you could talk to Robert Leonard and bring Nolan's show out here, as you did with Hany Armanious?

And: apologies for their not being any images here, but I can't find any installation shots online. Anyone else find it weird on Friday night that while we the audience can't take shots of the galleries, the Gallery was photographing us?

Image
Most of Rose Nolan's Selfdoubt. Also in the picture: Michael Parekowhai's I Am He.