Hans Ulrich Obrist

Anyone with interested in contemporary art must have read books by uber-curator Hans Ulrich Obrist. I asked our librarian Tom Irwin to research holdings of his books in New Zealand libraries. He found 137 entries. All can be inter-loaned via your local library.

Click here for New Zealand library holdings of Obrist's books.

One of my favourite Obrist books is do it – the compendium. This is a publication that affirms connections between life and art. It is humorous and engaging. For instance, Ben Kinmont suggests that we “invite a stranger into [our] home for breakfast.” 

"In 1993 I was at Café Select in Paris with Bertrand Lavier and Christian Boltanski discussing instruction works and how-to manuals and then we had this idea: what would happen if we started an exhibition that wouldn’t ever stop?" -  Hans Ulrich Obrist

Obrist’s book marks the 20th anniversary of his collaborative art project.  Artists prepare texts which become instructions for others to make artworks. Over 50 do it projects have happened in many locations.

Dwell has prepared a slide show about the publication.

Another profiles the book and quotes Louise Bourgeois.

hereelsewhere reiterates the life/art reality of the do it project

Brainpickings has a terrific response to Obrist’s book noting that Nairy Baghramian recommends “Following Gertrude Stein, every now and then sit with your back on nature.”

“do it is a kind of Catcher in the Rye for the curatorial world; it is a transformative mandatory read that connects a blur of dots into a cohesive and inviting image of both the art universe and the universe of ideas.”  - Douglas Coupland

Polynesia: the Mark and Carolyn Blackburn collection of Polynesian art

The Mark and Carolyn Blackburn collection of Polynesian art
Of the collection catalogues I studied this year one that I return to is a testament to what collecting can mean when it is both assiduous and informed. Polynesia: the Mark and Carolyn Blackburn collection of Polynesian art overviews this Hawaii-based collection of over 1,000 items. The Blackburn collection is considered the pre-eminent private collection of Polynesian art.

It is likely that such a collection can never be duplicated again because it focuses on artworks of the highest artistic rarity and quality. Many of the items are also amongst the earliest known examples. When I first saw this catalogue I instantly recognised that only a few public collections hold comparable material. The intelligence of the collector’s acquisition strategy is everywhere evident; it is as if they only decided to acquire the best of the best.

The items presented in Polynesia come from New Zealand, the Austral Islands, the Cook Islands, Fiji, Futuna, Hawaii, Malden Island, Easter Island, Rennell Island, Samoa, Tahiti, Tonga, and the Tuamotus, and other locations. This taxonomic approach is impressive because it very difficult to initiate such a collection on such a comprehensive basis. When the Blackburns began collecting decades ago, such broadness was still possible. It would be unachievable to assemble similarly today.

The Blackburn’s have been close friends of Adrienne Kaeppler for many years and, as the curator of Oceanic Ethnology at the National Museum of Natural History at the Smithsonian Institution in Washington, she was arguably one of the most experienced scholars to write the collection catalogue. Had he been able to contribute, Professor Roger Neich could have beneficially contributed. This is the most impressive catalogue because it is so far-reaching in its information.

Adrienne has commented, 'This is probably the best private collection of Polynesia in the world….They are not just outstanding pieces, but representative objects. It's very unusual for a private collector to look for so many different things.'

I met Mark and Carolyn Blackburn at a Pacific Arts Association conference in Rarotonga a couple of years back. I told them that I believed they had assembled the most important private collection of Polynesian art since that established by William Oldman (1879-1949). The New Zealand government in July 1948 purchased Oldman’s collection. Parts of the collection are now distributed between the Museum of New Zealand, Auckland Museum, Canterbury Museum and Otago Museum.

I certainly hope that the Blackburn collection can remain together because this is what curators call ‘a serious collection’. The Blackburns kept files about all their acquisitions and they extensively read all the literature – be it historical, modern or contemporary. Their collection catalogue is not widely available in New Zealand; four copies are held at Auckland Libraries. I recommend this wonderful book.

To read an interview with Mark Blackburn
http://www.tribalmania.com/INTERVIEW.BLACKBURN.htm

To sample what is held in the Mark and Carolyn Blackburn collection
http://www.bridgemanart.com/search/location/Mark-and-Carolyn-Blackburn-Collection-of-Polynesian-Art/11771

Adrienne Kaeppler
Polynesia: the Mark and Carolyn Blackburn collection of Polynesian art
Honolulu: Distributed by the University of Hawai’i Press, 2010
ISBN 9781883528386

Remembering Rita Angus

I recently asked on this blog what Rita Angus’s voice sounded like. I was telephoned by Petar Vuletic and he told me that he knew her well towards the end of her life. I asked Petar to draft some recollections about the artist. Petar kindly sent me the following memoir; which I have illustrated with a painting that Rita painted shortly before she met him.
I first met Rita Angus when I bowled up to her home in the 60s. I was a young university student. I arrived unannounced and she graciously received me. After that, we would meet whenever I came to Wellington. This was over a period and I have not thought about it really until now when someone mentioned your blog and that you were interested in what Rita had sounded like.

We would go for long walks around Wellington -for hours at a time and on one occasion for nearly 6 hours. I recall on the last walk we ever had, we would pause every 100 yards or so, for her to rest and then carry on. During these walks, she would be pointing things out that were of interest and relevance to her. For example - the pile of gravestones that had been uprooted from a cemetery to make way for a motorway. This was a short distance from where she lived, landmarks such as the French Maid coffeehouse. On these walks we would be discussing art, what had influenced her and in particular what had influenced her the most. I recall in this regard her telling me that what had been the seminal influence on her art had been an exhibition of Canadian Regional Art (in the 1930s).

I recall her also telling me how upset she was about some of what was being written about her and her art and how strongly she disagreed with it. She disagreed about there being a so-called ‘harsh quality of New Zealand light”. It has nothing to do with my work she had said more than once. Also she showed me some of her works which included small abstract paintings one of which was I thought exceptional. I believe that this work went to North America and I have never seen it since. Curiously, it reminded me of both Malevich and Kandinsky. We talked about other art and artists such as Theo Schoon. I recall her talking about the Milligans who used to host regular meetings for artists in their circle.

After our walks; and sometimes before we set out, she would make me a cup of tea at her home. The china was English bone china. As a consequence of our long walks and the time spent together I have a very distinct recollection of her voice. As you may appreciate, it is difficult to describe such things.

However, as my first language is not English, I have always been interested in accents, and in the different forms of regional and class dialects in New Zealand (as an outsider -born here, but nonetheless apart.) Some districts have terms peculiar to that region for example - containers in which strawberries are sold were called variously: pottles, (Dunedin), punnets, (Wellington), and chips. (Auckland). New Zealanders have considerable variation from province to province and island to island. It may seem less so to those whose first language is English, as one never perceives that one has an accent oneself, instead, it is all about other people.

From my perspective, I should describe her speaking voice as strong and firm, not loud but quite forceful. Clear in enunciation, precise, and never mumbling or indistinct. I should describe her as having a New Zealand educated, provincial accent. Not twangy, reflecting or so it seemed an accent more usual when one is from a comfortable financial background- but particularly such as found in the Hawke’s Bay and lower North Island. Not like the Remuera version of the received pronunciation of English. Nor was it like the Fred Dagg parody of New Zealand English, so beloved by advertising agencies and others who like to over exaggerate, to make a difference when the subtleties are there, anyway.

I have a 92 year old aunt, born in Carterton, and educated there and in Horowhenua, whose grandmother was a teacher and father a farmer, whose accent reminds me very much of Rita Angus. Words and phrases from those places and those times recur in her speech and also remind me of Rita.

This is how it seems to me looking back now after all these years. Rita seemed to like me. She was very open and forthcoming. I doubt that I was unique in this. Over the years I have found it upsetting to hear her described as unpleasant, ill mannered and difficult to approach or talk to. That was not my experience. I found her warm, gracious; receptive to ideas; and to the discussion of art. She did feel used by factions in the art establishment of the time. She did not like this and was quite forceful to me about this. It would not be surprising then if those who tried to manipulate her and her work to their own ends found her unreceptive.
Petar Vuletic

Caption:
Rita Angus
Scrub burning, Northern Hawke's Bay 1965
oil on board
Auckland Art Gallery Toi o Tāmaki
purchased 1966

The word of the day

Today was a good one, so much information at the conference and such great presenters.

I won't go into all the details but the main draw for me was a talk by Sebastian Chan and Angelina Russo on Planning Social Media in Museums (blogs, wikis, digital stories...). How to use it, when to use it and how important it is that museums and galleries become part of this online world, and online communities. In fact the word “community” was a major factor in the presentation.

The idea that there are ready-made communities of users that you can tap into or give a voice to online is fascinating. We concentrate so often on the physical visitor, the idea of building a community online or a group of communities seems something that is worth considering as it bypasses any problems physical sites have in regard to location (the internet is everywhere), access (most people are online in some form or another, disabilities can perhaps more easily be provided for than on an onsite location) and speed of growth (an online community can grow incredibly fast by word of mouth internationally). In turn this online community ma become onsite visitors, or may still experience the institution online in a rewarding way.

Just my thought for the evening. Love to know what you think?


image: www.digitalmediagalaxy.com/ category/podcasts/feed

Podcasting for the people

Unknown, Man Thinking, etching, Auckland Art Gallery Toi o Tamaki, gift of Mr G M Mitford, 1883


Before going to sleep I thought about some discussion on Podcasting that happened in a workshop yesterday. What could we produce as a series of podcast. Should it be behind the scenes, discussions on particular works of art, artists interviews…..

Where to start, so I thought if there is anyone out there reading this maybe I would ask you. What would you like to hear from the Auckland Art Gallery. Let me known, if we know it’s wanted by our audience it’s a great start.

NB. I couldnt find an image in our collection with the description thinking woman hence the Man Thinking.

Back to the future for a minute or two

Backtracking a bit to my trip to the Art Gallery of Greater Vancouver that I saw while on Vancouver Island.

As well as the usual collection exhibitions I also saw an amazing installation by Graeme Patterson called Woodrow. This contained a number of building structures, animals and people made in miniature and inside the buildings there were animations being shown of stories which re-create an imaginative view of the real-life village of Woodrow, Saskatchewan (in the middle of Canada apparently, from the installation, not the busiest of places).

The stories were totally amazing, from men hiding each others underpants to a deer and a monkey chasing each other through the town with the help of a ghost subway train. The animations were totally beautiful and although some of the creatures were a bit spooky there was so much humour as well. Totally enthralling and surprising in this gallery that proves never presume what you will see in an institution from it’s size or proximity.

Graeme Patterson, The Deer, 2006, wood, foam, foam-core, fur, rubber, electronics, Collection of the Artist

Bonjour

Bonjour à tous de Montréal
Finally I arrive at the heart of my visit to Canada, the beautiful French/English city of Montreal. The city seems much grittier and older than Vancouver. It certainly has a French air to it and everyone seems to walk just that little bit slower.

I have managed to brush up on my school French and therefore have not starved. Some places seem to speak English and some French but I am trying to use as much French as possible. As my first day was a Monday of course all galleries/museums were closed so I gave myself a tour of as much of Montreal as I could. Here is a few photos.



Viex Montreal (Old Montreal) with its lovely buildings, churches and cathedrals



Marche Bon Secours (1846) in Vieux Montreal



McGill University, the snow, and a sculpture of founder James McGill surveying the land. A beautiful university which holds the Redpath Museum of zoology, geology and ethnological pursuits (image below). The taxidermied animals here were fantastic, and the huge Albertoaurus skeleton in the centre was certainly intimidating.