Peripheral Relations: Marcel Duchamp and New Zealand Art 1960-2011 is a major exhibition organised by the Adam Art Gallery. Drawing on the PhD research of Marcus Moore, guest curator of the exhibition, it explores the influence of Marcel Duchamp on New Zealand art, canvassing the history of Duchamp’s reception in New Zealand from 1960 to the present.
Join us for our annual summer book sale! Our bookstore features dozens of new and out-of-print publications on reductive art and ideas on the international level, including artist monographs, exhibition catalogs, journals, ephemera, and select vintage books. All publications are 50% off.
In this solo exhibition for MOP, Kyle Jenkins has created a new body of work that involves the deconstruction and reconstruction of various relationships between conceptualised and physical interpretations of space. The conceptual foundation for the work is the Rolling Stones concert at Altamont Speedway on Saturday, December 6, 1969, where various interpretations of space collapsed into chaotic and evolving forms of activity.
My paintings may have become less explicit, but my ambition to seduce viewers into reflecting on their own conditions – optical, physical, historical and otherwise – remains undiminished. Painting is a very intimate delivery system.
A grey wall installation based on a eight drawings shown on shelves throughout the space. The drawings will continue a translation process by taking the shape vocabulary of the animation, and utilizing it in an installation context. This continued process creates shifts and changes in the language of the work while keeping an inherent structure.
Assembling works from industrial materials like lighting gels, common packaging plastics, Mylar, and other commercial-grade films, New York-based artist Rey Akdogan is interested in the physical presence of her works and consistently highlights their materiality.
David Reed, born 1946 in San Diego and a resident of New York since the 1970s, has in his good forty creative years developed an oeuvre that, with all its concentration on specific forms of painting, also maintains relationships to other, more recent image media, especially to film and video art.
In this exhibition, Andrews will present a site-specific arrangement of works made between 1998-2012, collectively pointing towards his ongoing interest in the (seemingly distant yet re-occurring) forms of Non-Objectivity and Constructivism.