Archive for 2021
Events
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EWRB Competency Refresher Course on 17th November (November 2 2021)
Every licensed electrical worker must complete a competence programme to refresh their knowledge and assess their competence every 2 years.
If you're a registered electrical worker looking to renew your practising licence, join us on 17th November for our EWRB Competency Refresher Course.
How this works:- Refresh your skills and assess your competency through this refresher course on 17th November.
- Once you pass the competency programme, we'll share your details within the EWRB portal.
- Apply to renew your practising licence - EWRB will already have confirmation that you have met your competency obligations and are eligible to renew.
Apply here for the upcoming course.
Get in quick as we have a limited number of spots available for this date. -
Tertiary Open Days 2021 (May 10 2021)
Dunedin Tertiary Open Days are on Sunday 23 May and Monday 24 May 2021
Come along to Tertiary Open Day and see first-hand the fantastic range of study options available at Otago Polytechnic. There's plenty to see and do, and there's food, too!
Grab a bacon buttie and pedal yourself a delicious smoothie while you find out everything you need to know to make a decision about study.
We'll have people available to show you around, answer your questions and give you a taste of life at OP. It's a a full day of seminars and activities - and a key event for Otago Polytechnic.
We can't wait to welcome you and your whānau to our campus to experience what we have to offer.
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EXHIBITION Neil Grant: Master Potter (June 28 2021)
8 - 28 OCTOBER, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, DUNEDIN
Neil Grant: Master Potter
Exhibition and Book launchThis exhibition and book shine a light on the development of Neil’s skill and artistry with clay and fire.
“Twenty years to learn, twenty years to forget, and then the real work begins to find your voice”
Neil Grant is an artist and a ceramicist. In his twenties he learned to work with clay, to throw, to mould, to coil, to slab build, to glaze, to fire a kiln, to decorate simple and complex surfaces. He has been a leader in ceramics education for over 40 years. His sixty-year career as a ceramic artist spans the years from the flowering of domestic rustic pots to large sculptural ceramics and major architectural commissions. He is well known for his distinctive reworking of traditional Shino-Japanese pottery into a fusion of Anglo-Oriental forms but recreating them in new and exciting ways.This exhibition and associated events are held in conjunction with the Festival of Ceramics which will take place in Dunedin over Labour weekend 2021, when Ceramics NZ holds its 60th National Diamond Jubilee Exhibition.
See here for full details of Exhibition, Workshops and Public Programme | 8 - 28 October
Neil Grant is a master potter of New Zealand.
This lavishly illustrated book, is a celebration
of Grant's life and work and spans his
sixty-year career as a ceramic artist.City of Literature Book event
Neil Grant: Master Potter | An evening with the Author and ArtistWEDNESDAY 20 OCTOBER
6PM - Dunningham Suite, Dunedin Public Library
Pre-order your copy now, please contact Pam McKinlayOrder form and payment details at pam.mckinlay@op.ac.nz
A limited number of copies of Neil Grant: Master Potter, by Peter Stupples will be available on the night.
Copies will be batch printed
Cost per book $90.00 incl GST (pick up Dunedin)PLUS: Indicative price for
Track and trace P&P $17.70 NZ
Extra for rural delivery $4.00 NZ -
Ako espresso café on Harbour Terrace is opening! (June 3 2021)
Our Level 5 New Zealand Diploma in Hospitality Management students are poised to present their pop-up experience at our Ako espresso café on Harbour Terrace (next to Manaaki Restaurant)
One 2-week block - Tuesday, Wednesday, Thursday starting 8 June until 17 June.
Then again after the holidays for a 3-week block, this time Wednesday, Thursday, Friday starting 28 July until 13 August.
For your convenience we are open from 8.00am to 2.00pm daily.Home-baked sweet and savoury products are prepared fresh each day. Treat yourself further with our hot coffees priced at only $3.00.
Our loyalty card is a further incentive; buy 4 cups of coffee and get your 5th one free.
Our students are really looking forward to being able to serve our guests at Ako espresso café again. They have worked hard to develop a varied menu, beverage list with dine-in and pick-up options.
Find us on Google maps
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Public Seminar: Mark Baskett - on ‛research’ when evaluating and discussing visual art (March 29 2021)
THURS 1 APRIL, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Mark Baskett
On the echinate question of what might be meant by the term ‛research’ when evaluating and discussing visual art.
From the making of art that favours imaginative exposition and the exploration of certain internal states of mind— to long hours spent in archives, or wandering work-specific sites, or simply trawling for facts and fragments online: ideas around the place and potential role of research in my artistic practice have changed significantly over the last twenty years. And even today, when hearing the word ‛research’ attached to examples of creative visual art, I am often left wondering about what, more precisely, might be meant by the use of this term. Does it point to a clearly outlined framework and methodology with distinct and communicable results? Is doctoral research in the area of visual arts now a new gold standard by which we might measure the value and seriousness of work made today? Though I cannot provide definitive answers to such questions, I am fascinated by what might be meant or indeed not meant when the term research is applied to visual art. In this seminar I will thematise these concerns by putting forward a selection of my own artistic work and reflecting on the presence and the changing use of the term research both in and around the context of the work.
Mark Baskett is a practicing visual artist, born in Dunedin, New Zealand. His tertiary education began with a BFA at what was then titled “The Quay School of Arts”, in Whanganui, New Zealand. From 2005-2007 he completed
an MFA after studying at the Bauhaus Universität, in Weimar and the Üniversität der Kunst (UdK) in Berlin. From 2007-2015 he lived in Zürich, where he exhibited regularly and participated in a variety of artist residencies; both
in Switzerland and in Germany. His work has also been shown in Belgium, the United States, Australia, and New Zealand. Currently he is employed part time as a teacher in the Arts and Media Department at the Nelson Polytechnic (NMIT).
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Public Seminar: Kathryn McCully - DIY Museums (February 23 2021)
THURS 25 FEB, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Kathryn McCully
We Create Our Own Museums
DIY Museums is an art & design research project that emerged in response to gaps in the provision for community participation in local museums in Murihiku (Southland). A DIY approach became increasingly pertinent in the course of the research following the closure of City Gallery in 2017, and Southland Museum and Art Gallery in 2018, both of which followed the closure of Anderson Park Art Gallery in 2014.
The DIY Museums’ research ethos is to perform a responsive museum model that connects with the aspirations of community members to develop and present their own museum experiences. I describe my role as a socially-engaged artist and curator who advocates for, and facilitates, a diversity of co-created, community-driven museum experiences. The research explores DIY practices already evident in the region’s over forty ‘micro’ and ‘small’ museums with no permanent full-time staff, advocating for public arts and cultural institutions to create museum experiences in partnership with their communities.
The DIY Museums’ project serves as a field-test that sets the stage for the facilitation of a new conception of museum professionalism consistent with socially-engaged art practice and institutional critique. Research methods include local museum-making, responsive animations, poster and billboard campaigns, and a website.
Kathryn McCully is Programme Manager for Visual Art, Film and Animation in the School of Visual and Screen Arts at the Southern Institute of Technology in Invercargill. She has a Master of Fine Arts from the Dunedin School of Art and is currently studying towards her PhD at the Auckland University of Technology. Kathryn is passionate about the democratization of the public museum experience, by moving the focus away from buildings and employees towards the process and place of ‘museum making’ in the construction of meaning for local communities. -
Collections 19 Fashion Show (October 30 2019)
COLLECTIONS 2019 showcases fashion students from Otago Polytechnic School of Design.
Join us as our graduating students send their latest fashion collections down the catwalk in an exciting display of talent and creativity.
Friday 22 November
The Hub, Forth Street
7:00pm (doors open), seated by 7:45pm for an 8pm start
(Doors open at 7.00pm for ticket holders to explore our School of Design Student Showcase.)
News
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immersed - Becky Cameron (Post-graduate Season Exhibition) (March 3 2022)
Note: the DSA Gallery is not open to the Public under the current Covid-Protection Framework.
Documentation of exhibitions will be shown in our online flickr gallery the week following exhibitions.immersed
Becky Cameron
Post-graduate Season Exhibition
EXHIBITION DATES: 8 - 11 March 2022
DSA GALLERY: Ground Floor, P Block, Riego Street (off Albany St), Dunedin
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2022 Information for New and Returning Tauira (January 28 2022)
2022 Information for New and Returning Tauira:
Bachelor of Visual Arts + Graduate Diploma in Visual Arts (Level 7)Warm greetings to all learners!
To those returning, thank you for continuing to share your mahi and creativity with us. To those who are new to the Dunedin School of Art, we look forward to meeting you and welcoming you into our community. Please find below important information about the 2022 academic year.
DAY ONE OF SEMESTER 1 - ALL LEARNERS
The first day for all learners, new and returning in the Bachelor of Visual Arts and Graduate Diploma in Visual Arts (Level 7) Programmes is: Monday 21st February, 2022Programme Timetables & Room locations will be available from the School of Art entrance (P Block), online in your OP Student Hub or from your course Lecturer.
If you are a part-time learner please check with your studio lecturer or Summer Young (summer.young@op.ac.nz) as your timetable may vary from the standard path.
BVA 1
9:00-9:30: Please enter the Dunedin School of Art at the main P Block entrance (main entrance off Riego Street). Please expect to show your vaccine pass. We have allowed some time for everyone to arrive and get settled re: Vaccine Passes etc.
9:30-10:30| BVA 1: P152: ground floor of the Dunedin School of Art, P Block. Introduction to the Dunedin School of Art
- Get a preview of your first year at the Dunedin School of Art
- Find out about the School
10:45-12:00: P103, P105a (Computer Labs): ground floor, Dunedin School of Art
A guided walkthrough of required OP systems that you’ll need for a successful start to your year.- Tip: Have your OP user name and password with you
12:00-1:00 | Lunch break – BYO Lunch (O Block Hub Café Open)1:00pm | BVA 1: O119: VA501002: Studio Methodologies 1 course begins with Michele Beevors and Kiri Mitchell (Room O119 is on the ground floor O Block - the new building next to P Block)
BVA 2
9:30-10:00: Please enter the Dunedin School of Art at the main P Block entrance. Please bring ID so that we may verify your Vaccine Pass. We have allowed some time for everyone to arrive and get this done re: Vaccine Pass Verifications.
10:00 | BVA 2 P201 VA601002: Studio Methodologies 3 course begins with Scott Eady & Michael Morley
12:00-1:00 | Lunch break – BYO Lunch (O Block Hub Café Open)
1:00 pm| BVA 2 P201 VA601002: Studio Methodologies 3 cont.
BVA 3 |Graduate Diploma in Visual Arts (Level 7)
(Morning free)
12:30-1:00: Please enter the Dunedin School of Art at the main P Block entrance (main entrance off Riego Street). bring ID so that we may verify your Vaccine Pass. We have allowed some time for everyone to arrive and get this done re: Vaccine Pass Verifications.
1:00pm| BVA 3 / Grad Dip. STUDIOS VA/VG701002: Studio Practice 5 courses begin in Studios (Please refer to studio specific information from your studio lecturer)
ACCESS: All Students will need an OP Student ID to access buildings under the ‘red’ traffic light setting (as doors remain closed/locked under ‘Red’) so please arrange to get your OP Student ID card from OPSA, before Monday 21 February if possible (or during the first week for term). Staff will be at the main P Block doorway on Monday to provide entry access on day one. Call into OPSA - OP Hub, Forth Street, for your OP Student ID cards (OPSA: https://opsa.org.nz/ )Returning Learners, your 2021 OP Student ID will work for the first few weeks of Term 1, so you can use these until you get your 2022 ID card from OPSA, to access buildings.
A reminder; From 1 February 2022, Otago Polytechnic requires all tauira (learners), kaimahi (staff), contractors and visitors to have a valid My Vaccine Pass to enter any Otago Polytechnic site.
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Many changes have and are, occurring due to the shifting nature of COVID-19 and our preparedness for teaching and learning in this changing context. Please see OP - COVID-19 Updates here: https://www.op.ac.nz/hub/student/coronavirus-information/ and via your Student Hub.Due to COVID-19, some plans have changed regarding the start of the Bachelor of Visual Arts & Graduate Diploma in Visual Arts (Level 7) programmes but we are pleased to confirm that we will be teaching on site (with a heightened capacity to pivot to online delivery when required), under the government’s COVID-19 Protection Framework – traffic light settings. We will be beginning our programmes under the ‘red’ setting. We value studio learning and have been working to provide safe, on site teaching for you in 2022. Please expect more changes, along the way but trust that our decision making is centered around providing the best possible art education for you.
IMPORTANT CONTACTSHead of Programme: Bachelor of Visual Arts: Victoria Bell: Victoria.bell@op.ac.nz
Dunedin School of Art: Academic Administrator: Summer Young: Summer.young@op.ac.nz
OP Registry, Student Administrator: Art (for questions around enrolment): ebsart@op.ac.nz
OP Student Support Services: https://studentservices.op.ac.nz/ -
Apply now: 2022 Dunedin School of Art Foundation Scholarships (November 11 2021)
Due date: 3 December 2021 2022 Dunedin School of Art Foundation Scholarships
The following conditions apply:- Three scholarships are offered for applicants applying for an on-site Dunedin School of Art program in 2022. In recognition of Otago Polytechnic’s commitment to Te Tiriti o Waitangi one scholarship will be awarded to a learner of Māori descent while the additional two will be available to all applicants.
- Each scholarship will be to the maximum value of $NZ5,000.00
- Criteria for the scholarships are that the applicant:
- Is applying for either the Bachelor of Visual Arts or a post-graduate programme of at least 120 credits.
- Has consistently achieved grades of Merit or above, or the equivalent.
- Has supplied documentation of 12 art works to be submitted with your application (no original works, as these will not be returned to the applicant). Documentation is either digital or no larger than A4 size.
- Demonstrates in their application that Dunedin School of Art’s combination of workshop-based, material practices skills and theory is appropriate for their study pathway.
- Has submitted their application by email to artadmin@op.ac.nz , or in person to Otago Polytechnic Customer Services, The Hub, Forth Street, Dunedin by 5pm Friday, December 3 2021.
The successful awardees will be chosen by a panel led by the Head of the Te Maru Pūmanawa, College of Creative Practice and Enterprise. Successful applicants will be notified in writing by Otago Polytechnic’s Scholarship Coordinator.Otago Polytechnic Limited have the power to terminate the scholarship if the recipient ceases to follow the regulations of the programme of study and/or brings the reputation of Otago Polytechnic Limited into disrepute.Also note: Alumni and Friends Benefits - Fee discount of 15% for Registered alumni enrolling for fee-for-service courses or assessments. -
Ceramics Studio Talks - Labour weekend Sunday O Block (October 22 2021)
SUNDAY 24 OCTOBER, 1.30-3.30PM, CERAMICS DEPARTMENT, O BLOCK, ART SCHOOL, Entrance off ANZAC AVENUE
Post-Graduate Ceramics students talk about their studio practice.
ALL WELCOME - See map here https://www.op.ac.nz/students/campuses/dunedin/map/
Bronwyn Mohring 1.00 – 1.30 PM
Naked Clay & Captured Glass
Sculptural Explorations into Sagar Firings and Cast GlassLiz Rowe 1.45 – 2.15 PM
‘The Exchange’
Production of bowls for exchangeLissie Brown 2.30 – 3.00 PM
Our earliest influences and perceptions of the world are born in the relationships we have with those who raise us. We unwittingly carry forward ripples from previous generations, whilst also being informed by events and opinions specific to their own time. How we traverse these gaps is dependent upon a number of factors both personal and societal. My study addresses the complex bonds that connect one generation of women to the next with recent practice centred around the female form, working with a range of disciplines including ceramics, sculpture and drawing.
Please RSVP for the afternoon Session : https://artsymposium.op.ac.nz/rsvp/
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Neil Grant Survey Exhibition at Dunedin School of Art (October 21 2021)
Neil Grant is an artist and a ceramicist. In his twenties he learned to work with clay, to throw, to mould, to coil, to slab build, to glaze, to fire a kiln, to decorate simple and complex surfaces. He has been a leader in ceramics education for over 40 years. His sixty-year career as a ceramic artist spans the years from the flowering of domestic rustic pots to large sculptural ceramics and major architectural commissions. He is well known for his distinctive reworking of traditional Shino-Japanese pottery into a fusion of Anglo-Oriental forms but recreating them in new and exciting ways.
This exhibition and associated events are held in conjunction with the Festival of Ceramics which will take place in Dunedin over Labour weekend 2021, when Ceramics NZ holds its 60th National Diamond Jubilee Exhibition.
READ MORE IN THE OTAGO DAILY TIMES ARTICLE > hereSee here for full details of Exhibition dates and opening hours, Workshops and Public Programme | 8 - 28 October
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EXHIBITION AND BOOK | NEIL GRANT: MASTER POTTER (September 29 2021)
8 - 28 OCTOBER, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, DUNEDIN
Neil Grant: Master Potter
Exhibition and Book launchThis exhibition and book shine a light on the development of Neil’s skill and artistry with clay and fire.
“Twenty years to learn, twenty years to forget, and then the real work begins to find your voice”
Neil Grant is an artist and a ceramicist. In his twenties he learned to work with clay, to throw, to mould, to coil, to slab build, to glaze, to fire a kiln, to decorate simple and complex surfaces. He has been a leader in ceramics education for over 40 years. His sixty-year career as a ceramic artist spans the years from the flowering of domestic rustic pots to large sculptural ceramics and major architectural commissions. He is well known for his distinctive reworking of traditional Shino-Japanese pottery into a fusion of Anglo-Oriental forms but recreating them in new and exciting ways.This exhibition and associated events are held in conjunction with the Festival of Ceramics which will take place in Dunedin over Labour weekend 2021, when Ceramics NZ holds its 60th National Diamond Jubilee Exhibition.
See here for full details of Exhibition dates and opening hours, Workshops and Public Programme | 8 - 28 October
Please note: RSVPs are now closed to attend the Opening event.
We have reached the maximum number of people allowed under Level 2 at Otago Polytechnic.Please see exhibition page for dates and gallery hours, and workshops and demonstrations at Labour weekend.https://artsymposium.op.ac.nz/
Exhibition and Public Programme | 8 - 28 October
Friday 8 October Neil Grant Exhibition Opening
Dunedin School of Art Gallery 5.00PM
RSVPs are now closed to attend the Opening event.Monday 11 October to Friday 15 October
Neil Grant Exhibition
Dunedin School of Art Gallery
Hours 10AM to 4PM daily
(closed weekend 9-10 October)Monday 18 October to Thursday 28 October
Neil Grant Exhibition
Dunedin School of Art Gallery
Hours 10AM to 4PM daily
(closed weekend 16-17 October)Thursday 14 October
DSA Foundation evening event (by invite) Wednesday 20 October
City of Literature book event
An evening with the Author and Artist(Levels update: At Level 2 the venue is at the Dunedin School of Art and Architecture, O Block Hub, Anzac Avenue)
FREE - Please RSVP for tickets at https://tinyurl.com/Neil-Grant-PotterSaturday 23 October - Monday 25 October
Ceramic Student Exhibition - O Block Hub (next to Ceramics Department - Hours 10AM to 4PM daily) Sunday 24 October
Studio Demonstration - 3D printer.
Please RSVP for morning or afternoon sessions for Sunday a workshop events https://artsymposium.op.ac.nz/rsvp/Sunday 24 October
Postgraduate Students - studio floor discussions
Please RSVP for morning or afternoon sessions for Sunday a workshop events https://artsymposium.op.ac.nz/rsvp/Sunday 24 October
Neil Grant - Meet the potter (gallery hours)
Please RSVP for morning or afternoon sessions for Sunday a workshop events https://artsymposium.op.ac.nz/rsvp/Monday 25 October
Ceramic Workshops with Michael Tannock (full day)
Enrolment details (link) Neil Grant is a master potter of New Zealand.
This lavishly illustrated book, is a celebration
of Grant's life and work and spans his
sixty-year career as a ceramic artist.City of Literature Book event
Neil Grant: Master Potter | An evening with the Author and ArtistWEDNESDAY 20 OCTOBER
6PM - Dunningham Suite, Dunedin Public Library
(Levels update: This event will go ahead as planned at the Dunedin Public Library at Level 1, at Level 2 the alternative venue is at the School of Art and Architecture, O Block Hub, Anzac Avenue)
Pre-order your copy now, please contact Pam McKinlayOrder form and payment details at pam.mckinlay@op.ac.nz
A limited number of copies of Neil Grant: Master Potter, by Peter Stupples will be available on the night.
Copies will be batch printed
Cost per book $90.00 incl GST (pick up Dunedin)PLUS: Indicative price for
Track and trace P&P $17.70 NZ
Extra for rural delivery $4.00 NZ
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Advanced Throwing Demonstration and Workshop with Michael Tannock (September 20 2021)
MONDAY 25 OCTOBER, 2021, 9:00 AM – 4:00 PM, CERAMICS STUDIO, DUNEDIN SCHOOL OF ART, 115 Anzac Avenue, Dunedin.
ENROLMENTS ESSENTIAL
https://www.eventbrite.co.nz/e/advanced-throwing-demonstration-and-workshop-with-michael-tannock-tickets-168503270819
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Exhibition: Isolated Jewellers - BVA 1 Jewellers' exhibition (September 20 2021)
17-24 SEP, V-SPACE, BILL ROBERTSON LIBRARY, UNION STREET, DUNEDIN
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Exhibition: A Little More Magenta (September 15 2021)
20 SEP - 1 OCT, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, DUNEDIN
A Little More Magenta
Photography Alumni Exhibition
Exhibiting Artists: Alysha Bailey | Robyn Bardas | Emily Crooks | Lucy Fulford | Emily Hlaváč Green
Thomas Lord | Alex Lovell-Smith | Kevin Miles | Kristin O’Sullivan Peren | Dallas Robertson
Jessie-Lee Robertson | Kate van der Drift | Hayley Walmsley
Curated by Mark Bolland & Rachel H Allan
EXHIBITION DATES: 20 September - 1 October 2021
EXHIBITION VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Friday, 10am – 4pm
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Public Seminar: Lucy Hammonds talks about the DPAG Joanna Paul Exhibition (August 13 2021)
THURS 19 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Lucy Hammonds
Joanna Paul – The all-purpose room
This seminar expands on an essay in the forthcoming publication Joanna Paul – Imagined in the context of a room (published August 2021), reflecting on the impact that male-centric perspectives have had on the shape of art history in Aotearoa. Using the career and context of Joanna Paul as a focus, this discussion will consider what our art history might look like if we work to re-centre artists who have previously inhabited the margins.
Lucy Hammonds is a curator and writer based in ¯Otepoti Dunedin. Presently working as a curator at Dunedin Public Art Gallery, her research interests span contemporary and historic art, craft and design. Recent projects include Joanna Paul – Imagined in the context of a Room (August 2021), Ralph Hotere: ¯Atete (To Resist) (2020-21) and New Networks: Contemporary Chinese Art (2018-19).
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Public Seminar: Amanda Watson - Painting with places and people (August 6 2021)
THURS 12 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Amanda Watson
Painting with places and people: Exploring the idea of working collaboratively to see places in unexpected ways
Paintings and other symbolised image systems contribute to the way we see and understand the world, however accurate or flawed they may be. I am interested in how to make paintings that allow environments to be creative protagonists rather than passive objects of representation. My painting practice involves engaging with geographical places by wrapping surfaces of the land found there, and as a result the canvas records my encounters with it over time and reveals exchanges between myself as an artist and the outside and studio environments in the context of “new-materialist” theory. The paintings yield a dense and complex view of place and make manifest the relationships between process, gesture, environments, and myself, and in this way reveal experience of place in unexpected ways. In this presentation I will share my current thoughts about how this idea can be extended to a collaborative approach in the making process of paintings by including bystanders, locals, and friends, and how that might affect the recording of encounters of place and our understandings of it.
Amanda Watson is a visual artist, researcher and educator who is curious about the world we live in and how we communicate about places and geographies. She was awarded a Bachelor of Fine Arts from Elam School of Fine Arts, University of Auckland, where she majored in painting, a Postgraduate Diploma in Museum Studies from Massey University, and a Master of Arts with Distinction in Painting from Waikato Institute of Technology. Her work has been exhibited and shared through exhibitions, awards, editorials and published reviews in New Zealand and overseas and accessioned into public and private collections.
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Reflections and Facets: DSA Student Jewellery Exhibition in Christchurch (August 4 2021)
10 -21 AUGUST, THE DEN, 181 High St, CHCH
Contemporary jewellery from Dunedin School of Art students.
Venue: The Den - Artist Project Space
Address: 181 High Street in ChristchurchThe Den is open Wednesday to Saturday 10am-4pmOPENING 10 AUGUSTParticipating students: Maddy Barker, Nona Shackleton, Michaela Woolf, Jan Dobbie and Rose Pickernell.
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OPEN DAY 2021 at the Dunedin School of Art (August 3 2021)
14 AUGUST,10.00AM - 3.00PM, DUNEDIN SCHOOL OF ART, RIEGO STREET, (just off Albany Street), DUNEDIN
OPEN DAY and FREE demonstrations in the Dunedin School of Art Studios and Workshops.
The Open Day will be from 10am - 3pm at the Dunedin School of Art. Studios will be open so visitors can see students working with our workshop facilities.
There will also be two exhibitions of student work from Year 1 and Year 2 Bachelor of Visual Art students, and other work will be exhibited throughout the school.
This is an opportunity to see whether you are interested in studying with us in: our Levels 5 and 6, Photography and Digital Media diplomas, our Level 5 and 6 Ceramic programmes, our Bachelor of Visual Arts, our Graduate Diploma in Visual Arts (for those who already have a degree in another subject) and our postgraduate programmes.Thinking of applying for Art School?
Staff will be available for one-on-one conversations with those who wish to apply for art school or who would like a tour of the school. If you are interested please bring images of your work on your cell phone or in any other easy form and we will assist you to make an application.
Dunedin School of Art, Riego Street (off Albany Street)
Saturday, 14 August, 10.00am – 3.00pm
For more information: 0800 762 786
artadmin@op.ac.nz - SAVE THE DATE (August 3 2021)
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Creative Interventions in Public Spaces: Maggie Covell (August 2 2021)
8 AUGUST - 12 SEPTEMBER, Union Lawn [Otago University], Museum Reserve [Otago Museum], Logan Park, Bayfield Park, The Oval, and Mornington Park.
Maggie Covell
Hidden in Plain Sight: [Post] Feminist intervention in Decorative Art
MFA projectHidden in Plain Sight is a current MFA [Masters in Fine Art] research project by Dunedin based visual artist Maggie Covell. The project centers on mental health, and body autonomy issues connected to; individuals who identify as female within New Zealand society, and the social histories relating to this. The project will examine the relationships between the individual, the private and the public space through a series of installations within targeted social spaces.
These works will function as creative interventions that aim to facilitate discussion and other interpersonal actions. The project will be carried out in three phases which focus on participation.
Billboard installations feature wallpaper designs consisting of mass produced items associated with mental health, and body autonomy arranged in familiar patterns. The installation also features a grouping of smaller signs which reinterprets language taken from info-signs found in public spaces as a protest action. A QR code will redirect individuals to an information page, where they are able to track the progression of the project.
Six geographical locations around Dunedin have been selected to showcase the installations, these are;
Union Lawn [Otago University], Museum Reserve [Otago Museum], Logan Park, Bayfield Park, The Oval, and Mornington Park.
The locations will be managed in two drops [two groups] with the first installed 8th August on display for two weeks and then second installed on 22nd August on display for three weeks.
Billboard installations are in association with Otago Polytechnic, Dunedin School of Art, Otago University and Dunedin City Council [DCC].
Thanks to Speedprint for sponsoring phase one of the project, Peter Marshall for the Billboards construction, and to the project’s installation team.
You can follow the project on;
maggiecovell.com https://maggiecovell.com/pages/up-coming
Instagram https://www.instagram.com/maggie.covell.art/
Facebook https://www.facebook.com/nzartmaggiecovellImage: Maggie Covell. Trauma Chevron, digital wallpaper treatment, 2021.
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Public Seminar: Miranda Bellamy & Amanda Fauteux (August 1 2021)
THURS 5 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Miranda Bellamy & Amanda Fauteux
Artists Miranda Bellamy & Amanda Fauteux will share about their practice and their two recent exhibitions, A Wardian Case at RM Gallery in T¯amaki Makaurau and radiata at Blue Oyster Art Project Space in ¯Otepoti.
Miranda Bellamy and Amanda Fauteux are partners and artistic collaborators who extend the stories of wild plants through site-specific research and experimentation. Working through ideas of reciprocity, animacy, and the personhood of non-humans is central to their practice. By listening to plants and responding through interdisciplinary projects, they queer the constructs that separate human beings from non-human beings and make space for the critical revision of human histories.
Bellamy holds a BFA from the Dunedin School of Art and Fauteux holds an MFA from Concordia University in Montréal. Since their collaborative practice began in 2019, they have attended artist residencies in New York and Vermont, USA, and have exhibited their work in Aotearoa, Canada, and the USA. In June 2020 they were digital artists-in-residence with Artspace Aotearoa. They live in ¯Otepoti.
www.mirandabellamy.com, @_miranda_was_here www.amandafauteux.com, @amanda.fauteux
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David Green in association with Dunedin Dream Brokerage - George Street Projections (July 27 2021)
THURS 29 JULY - 8 AUG, nightly from 5.30PM at 343 GEORGE STREET, CENTRAL DUNEDINLocal video installation artist David Green and Dunedin Dream Brokerage are teaming up for a third collaboration: Bruno’s Thin Skin, a site-specific video installation opening on the 29th of July at 343 George Street.
The UN Agenda for Sustainable Development includes 17 Sustainable Development Goals (SDGs) with the dictum “leaving no one behind”. Whereas SDG #6 (“Ensure access to water and sanitation for all”) explicitly addresses this issue, underpinning all 17 goals lies the global demand for a radical change in our individual and collective relationship with water. In the same way, the four cornerstones of Te Whare Tapa Whā rest on our inalienable requirement for clean fresh water. There can be no physical, spiritual, family, or mental health without robust systems and agreements in place that guard and uphold this fundament. Water is the life force: orthodox or atheist, we can all agree that water is sacred; no life can stir without water in its liquid form.
At this moment, across the planet, people are fraught with anxiety over water issues; every day we find ourselves confronted — in real- time — with our absolute reliance upon enough and our utter vulnerability to too much. Water quality, something until now we in Aotearoa/New Zealand have had the luxury of taking for granted, is slipping through our fingers. Once lost, the remediation of waterways becomes intensely problematical.
Perhaps the time has finally come to pause, have a good think about our relationship with water, and take a few hard decisions.
Seeing the Earthrise in 1968 made us feel that although we may be alone in the Universe, the Earth is still colossal. Since 1991 Bruno Latour has been quietly working to reset the way we conceptualise our planet. From the top of the atmosphere to the bottom of the ocean, life’s playground is as slight as the skin of an apple relative to our planet. Environmental scientists now refer to the fragile soap bubble that surrounds our sun orbiting rock, the “critical zone”:
“At the scale of the usual planetary view, the thin surface of the critical zone is barely visible, it being only a few kilometres up and a few kilometres down at most. It is no more than a varnish, a thin mat, a film, a bio film. And yet, pending the discovery and contact with other worlds, it is the only site that living beings have ever experienced. It is the totality of our limited world. We have to imagine it as a skin, the skin of the Earth, sensitive, complex, ticklish, reactive.” - Bruno Latour on Critical Zones
Bruno's Thin Skin is a site-specific video art installation, intended to speak to our lively biofilm, our water bubble: our precarious niche on this fine planetary skin that has made life as we know it possible. The design primarily features organic motion dynamics such as tree leaves in the wind, zooplankton, bull kelp flowing in the tide, cataracts, and other small fragments of digital video captured around Te Waipounamu. The digital projections will spill out of the shopfront windows and onto the street, image fragments interacting with interior and exterior architectures, cars, trucks, buses, and pedestrians.
Dunedin Dream Brokerage has delivered 53 unique events since it’s launch (as Urban Dream Brokerage: Dunedin) in 2015, and aims to activate the city’s under-utilised buildings through a lively and diverse programme. Dunedin Dream Brokerage is funded by Ara Toi Åtepoti, the Dunedin City Council’s Arts and Culture Strategy, with support from the Otago Chamber of Commerce and Otago Polytechnic.
The installation will run for 10 days. -
Public Seminar Programme: Semester 2, 2021 (July 20 2021)
Dunedin School of Art Lunchtime Research Seminar Programme Semester 2, 2021
Please check for updates if we are in COVID-19 Levels above Level 1.
THURS 22 JULY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Lesley Brook
How artworks emotionally engage: 19 influential factorsIn 2020 the Dunedin School of Art held the exhibition The Complete Entanglement of Everything. Lesley Brook interviewed 25 participants about their emotional responses to the artworks in this exhibition. In this presentation Lesley will report some of the findings from this research, which she has undertaken for her Master of Professional Practice degree. In describing their strongest emotional responses to the artworks, participants also articulated why they had these emotional responses. Analysis of transcriptions of these interviews reveals the factors that influenced them in forming those emotions. The 19 factors identified relate to the individual viewer, or to the artwork being viewed, or are independent of both viewer and artwork.
Lesley Brook is the Research Projects Coordinator in the Directorate of Research and Postgraduate Studies at Otago Polytechnic. Her research interests are in the impact of research beyond the academic community.
THURS 29 JULY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Alistair Fox
A "Sacral Vision": The Influence of Renaissance Painters on the Film Aesthetic of Pier Paolo PasoliniSince the earliest days of cinema, a symbiotic relationship has existed between painting and fiction films, given that both depend upon similar expressive procedures: the creation of a visual image within a frame, selection and composition of objects included, and the generation of a perspective for the viewer. It is not surprising, therefore, to find that a reciprocal exchange between the two media has always existed, usually taking one or both of two forms: citation and stylistic imitation.
This seminar will explore how these two types of pictural imitation are exploited in the films of Pier Paolo Pasolini, one of the most admired masters of twentieth-century cinema – a filmmaker, poet, and intellectual who was also a student of art history as well as a painter in his own right. The presentation will demonstrate how Pasolini, who had a particular predilection for the artists of the Italian Renaissance, deployed citation for satirical purposes in the service of a radical socio-political agenda, and how he used stylistic imitation to convey a sense of the sacredness of a primitive human reality that he opposed to the vulgarity and complacency of the contemporary bourgeoisie.
Using illustrations and film clips, the discussion will examine Accattone, Mamma Roma, La Ricotta, The Gospel According to Matthew, and The Decameron, showing the influence of painters that include Caravaggio, Jacopo da Pontormo, Rosso Fiorentino, Masaccio, Giotto, Piero della Francesca, Mantegna, and Goya, with the aim of demonstrating the commonality of the aesthetic principles that inform both media, and also the ongoing usefulness of paintings as a source of inspiration for the mise-en-scène of filmmakers.
THURS 5 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Miranda Bellamy & Amanda Fauteux
Artists Miranda Bellamy & Amanda Fauteux will share about their practice and their two recent exhibitions, A Wardian Case at RM Gallery in Tāmaki Makaurau and radiata at Blue Oyster Art Project Space in Ōtepoti.
Miranda Bellamy and Amanda Fauteux are partners and artistic collaborators who extend the stories of wild plants through site-specific research and experimentation. Working through ideas of reciprocity, animacy, and the personhood of non-humans is central to their practice. By listening to plants and responding through interdisciplinary projects, they queer the constructs that separate human beings from non-human beings and make space for the critical revision of human histories.
Bellamy holds a BFA from the Dunedin School of Art and Fauteux holds an MFA from Concordia University in Montréal. Since their collaborative practice began in 2019, they have attended artist residencies in New York and Vermont, USA, and have exhibited their work in Aotearoa, Canada, and the USA. In June 2020 they were digital artists-in-residence with Artspace Aotearoa. They live in Ōtepoti.
www.mirandabellamy.com, @_miranda_was_here www.amandafauteux.com, @amanda.fauteux
THURS 12 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Amanda Watson
Painting with places and people: Exploring the idea of working collaboratively to see places in unexpected ways
Paintings and other symbolised image systems contribute to the way we see and understand the world, however accurate or flawed they may be. I am interested in how to make paintings that allow environments to be creative protagonists rather than passive objects of representation. My painting practice involves engaging with geographical places by wrapping surfaces of the land found there, and as a result the canvas records my encounters with it over time and reveals exchanges between myself as an artist and the outside and studio environments in the context of “new-materialist” theory. The paintings yield a dense and complex view of place and make manifest the relationships between process, gesture, environments, and myself, and in this way reveal experience of place in unexpected ways. In this presentation I will share my current thoughts about how this idea can be extended to a collaborative approach in the making process of paintings by including bystanders, locals, and friends, and how that might affect the recording of encounters of place and our understandings of it.
Amanda Watson is a visual artist, researcher and educator who is curious about the world we live in and how we communicate about places and geographies. She was awarded a Bachelor of Fine Arts from Elam School of Fine Arts, University of Auckland, where she majored in painting, a Postgraduate Diploma in Museum Studies from Massey University, and a Master of Arts with Distinction in Painting from Waikato Institute of Technology. Her work has been exhibited and shared through exhibitions, awards, editorials and published reviews in New Zealand and overseas and accessioned into public and private collections.
CANCELLED - DUE TO LEVEL 4
THURS 19 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Lucy Hammonds
Joanna Paul – The all-purpose room
This seminar expands on an essay in the forthcoming publication Joanna Paul – Imagined in the context of a room (published August 2021), reflecting on the impact that male-centric perspectives have had on the shape of art history in Aotearoa. Using the career and context of Joanna Paul as a focus, this discussion will consider what our art history might look like if we work to re-centre artists who have previously inhabited the margins.
Lucy Hammonds is a curator and writer based in Ōtepoti Dunedin. Presently working as a curator at Dunedin Public Art Gallery, her research interests span contemporary and historic art, craft and design. Recent projects include Joanna Paul – Imagined in the context of a Room (August 2021), Ralph Hotere: Ātete (To Resist) (2020-21) and New Networks: Contemporary Chinese Art (2018-19).
CANCELLED - DUE TO LEVEL 4
THURS 26 AUGUST, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Jenna Packer
Utopiaroa
I am looking at the active relationship between ideas and practice in my most recent body of work, “Utopiaroa”. My painting over the last few years has been concerned with tracing aspects of social and political thought; the Enlightenment, redemption myths, neo-liberalism and populism have been central. I’m interested in using metaphors to examine political and cultural hegemony and to try to understand some of the constructs we are living with and under. In my recent work I’ve started examining the arrival in Aotearoa of modernist, capitalist land use ideas and their legacy in relation to current ecological and psychological crises. During my residency at the DSA I’ve been revisiting this work and paying attention to the provisional states that are normally lost during my painting process. Trying out transparency copying, printing, photo-etching, experimenting with mirror-image and a reduced palette, I have also been trying to resolve some of the questions arising from using colonial art-historical sources; referencing work that we are so familiar with, but creating a critical distance from it.
I’m interested in how layers of historical source material can be peeled apart and examined for traces of the author's Intentions, selections or exclusions. When I’m working, the relationship between critical thinking and making is also layered; slowing down and pulling apart the process and the images and then trying to re-configure them is where I’m at currently.Jenna Packer is a practicing visual artist and lives at Waitati. She graduated from Ilam School of Art in 1988 with a Bachelor of Fine Arts, and went on to complete a Bachelor of Arts in History with First-Class Honours at the University of Canterbury the following year. Through the 1990s Jenna spent time at the Glasgow Print Workshop, The Slade School of Art (London) and La Rouelle Studio (France), and has been exhibiting work since 1990 both within New Zealand and abroad.
CANCELLED - DUE TO LEVEL 4
THURS 2 SEPTEMBER, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Cecilia Novero
To Look at Art with a Dog's Nose or Learning to Smell in the company of Ghosts...
Through three distinct art installations that include olfaction as one of their aesthetic tools, I take to task some of the most common analyses of the recurrence of smell in contemporary art. Namely, I argue that if art's focus on smell may be meant to enhance and revive a sense of place, as Ursula Heise put it, this deliberate revamping is problematic. First I maintain that narratives of emplacement risk informing nostalgic curatorial projects, or fetishising one sense versus another. More conceptually, such revivals invoke notions of "immediacy" and "presence," as part and parcel of "emplacement" (e.g., expressed through words such as "belonging”). Against such pitfalls, the art projects this paper considers emphasize the "material spectrality" and uncanny (unhomely) inhabitation of historical time. Rather than confirming one's presence in the present, or conjuring the past in the present as presence, the installations under scrutiny here exacerbate the always already mediated materiality of smells' passing or invisibility. While still engaging individual memories, Teresa Margolles's Vaporization, Korpys/Löffler and Schmal’s Geist and Jenny Gillam’s Frank emphasize the encounter with the past as a temporal and spatial instance of disorientation, occurring in a present that, as a consequence, is found never to be present to itself, to be homogenous. An effect of this art may be, then, that smells jolt one's sense of self-presentness and, indeed, identity, precipitating the perception that self and world are bound together in multidimensional, plural processes of co- becoming that include non-human-animals.
Cecilia Novero has a PhD in German Studies from the University of Chicago (USA). After positions held at the University of Michigan, Vassar College and Penn State University (UP), she joined the University of Otago (NZ) in Cecilia's research and teaching interests are the interdisciplinary fields of Food Studies, Animal Studies and the Environmental Humanities. She pursues these interests by focusing on Visual Culture, mostly 20th and 21st- century European cinema and the art and texts produced by the historical Avant-garde and the Neo-Avant-garde movements. In her scholarship Cecilia has also explored the material role that nature and non-human animals play in literary and philosophical texts, in particular post-humanism. She examines all texts, whether art, film or literature, comparatively and cross-culturally. Cecilia has an abiding interest in the literature and art from the former German Democratic Republic, travel literature, adaptation theory, gender and queer theory, as well as critical theory – especially but not limited to the works of Walter Benjamin, Herbert Marcuse and Theodor W. Adorno.
THURS 9 SEPTEMBER, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Mark Stocker
Virgin in a Condom: Te Papa’s baptism by fire
The assemblage by British artist Tania Kovats, Virgin in a Condom, created probably New Zealand’s greatest ever art controversy in 1998. This came about through its exhibition in the British Council sponsored Pictura Britannica, which opened at Te Papa just 15 days after the museum itself. For many people who had welcomed Te Papa as “our place”, the sense of betrayal was considerable. Prominent art world figures, however, rallied behind the chief executive, Cheryll Sotheran, and her decision not to withdraw the exhibit. This paper relates to Mark Stocker’s publication of an exhaustive 25,000 word article on the theme in Tuhinga, Te Papa’s refereed journal, and draws on the hundreds of letters written by members of the public to the museum, lodged in its corporate records. Other primary material, together with interviews with two key Te Papa players at the time, Ian Wedde and the late Sue Superville, also shape Mark’s account.
Dr Mark Stocker is a semi-retired art historian, who taught at the universities of Canterbury and Otago before moving to Te Papa where he spent five years as curator of Historical International Art. He has been sole editor of the last four issues of Tuhinga, and his recent books include the edited New Zealand Art at Te Papa (2018) and the imminent When Britain Went Decimal: The Coinage of 1971. He lives in Christchurch.
THURS 16 SEPTEMBER, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Ed Ritchie and Megan Brady
Gown Seminar
Ed Ritchie and Megan Brady both studied under the broad umbrella of the DSA sculpture department and will talk through their practices since leaving Dunedin School of Art in 2017. They have exhibited both individually and collaboratively across Aotearoa. Their practices intersect and cross over themes of collaboration, friendship, architectural nuances, public space and security.
Megan Brady is a multidisciplinary artist based in Ōtepoti, Dunedin. Graduating in 2017, she holds a Bachelor of Visual Arts (First Class Honours) from the Dunedin School of Art, and shortly after exhibited her first solo show “A quiet corner where we can talk” (2018) at the Dunedin Public Art Gallery. Recent shows include “Dead Reckoning” (The Physics Room, Christchurch, 2019), “we painted the walls with cracks” (Play_station, Wellington, 2020), “The florist sent the flowers was pleased” (Favour, Dunedin, 2020) and “Lay in measures” (Enjoy, Wellington, 2021). Within the creative community of Ōtepoti she is a board member of the Blue Oyster Arts Trust and facilitates creative practices at Studio2/Margaret Freeman Gallery, a small, all-inclusive art studio for local artists with disabilities.
Based in Ōtepoti, Ed Ritchie has a predominantly object-focused practice, working with a range of found materials, often responding to architectural attributes of given space or echoing familiar mechanisms in their assemblage. Ed completed a Bachelor of Visual Arts (Hons) in 2017 through the Dunedin School of Art and has since become a founder and co-facilitator of ARI Favour. Recent exhibitions include: “Central heating” (Dunedin Public Art Gallery, Ōtepoti, 2021); “Lay in Measures” (Enjoy, Wellington, 2021), “Hush Swarms, Hot lunch”
(Ōtautahi Christchurch, 2020), “Console Whispers” (Blue Oyster Art Project Space, Ōtepoti, 2019).
THURS 23 SEPTEMBER, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Scott Eady and Graham Fletcher
A Tale of Two Residencies
In this seminar, Dunedin School of Art lecturers Scott Eady and Graham Fletcher will report on residencies undertaken in Ōtepoti Dunedin and Whanganui respectively.
Scott will share some of the processes behind three projects undertaken as Dunedin Public Art Gallery’s 2020 Ōtepoti Dunedin artist in residence. He says: “Routine and the mundane may provide comfort and structure but can also reveal opportunities for new knowledge. Making things as an artist, as a person, and as a citizen in a place where the history is, is crucial.” In his work to date, Graham, as a New Zealand born Samoan, has explored complex cultural issues within a post-colonial context. He was the recipient of the Tylee Cottage residency (Feb–June 2021) and will discuss research and work undertaken throughout the residency, which will be exhibited at the Sarjeant Gallery in August 2022.
Scott Eady is a senior lecturer at the Dunedin School of Art. In his art practice, he seeks to push past “what is” to prompt a consideration of “what could be”. His 2019 exhibition “Images of Love” highlighted his interest in reimagining everyday objects and things – an action echoed in the benches of his Dunedin Public Art Gallery project Cinelli 250. A graduate of University of Auckland’s Elam School of Fine Art (MFA, 1999), Eady’s work is held in major collections such as Museum of New Zealand Te Papa Tongarewa, Dunedin Public Art Gallery, The Hocken Collection Uare Taoka o Hākena and The Chartwell Trust. He has exhibited artwork extensively both nationally and internationally, including at the Gwangju Biennale (2012) and Venice Biennale (2013).
Graham Fletcher has been a practicing artist since 1997, and has exhibited in numerous shows including: Biennale d’art contemporain de Nouméa, Tjibaou, Cultural Centre, New Caledonia (2000); “IKI and Thanks for All the IKA”, Contemporary Art Centre, Lithuania (2003); 10th Festival of Pacific Arts, American Samoa (2008); “ATA: An Exhibition of Contemporary Samoan Art”, Harris Gallery – University of La Verne, California (2012); “Home AKL”, Auckland Art Gallery (2012); The Seventh Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery – Gallery of Modern Art, Brisbane, Australia (2012); “Future Primitive”, Heide Museum of Modern Art, Melbourne, Australia (2013); and “Time of Others”, Museum of Contemporary Art, Tokyo (2015), travelling to The National Museum of Art, Osaka (2015), Singapore Art Museum (2015–2016) and the Gallery of Modern Art, Brisbane (2016). More recently, a retrospective of Fletcher's work entitled “The Third Space: Ambiguity in the Art of Graham Fletcher” (2018) was exhibited at the Gus Fisher Gallery in Auckland and curated by Linda Tyler and Hannah Burgoyne.
THURS 30 SEPTEMBER, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Vicki Lenihan
Local stories, local artists: Cultural cringe or celebrating who we are, where we are
With borders closed, in an increasingly competitive domestic tourism market, Ōtepoti Dunedin’s ability to draw visitors is being tested. While we can proudly claim to have the populist soundtrack to our lives sorted, we are surrounded by images created by internationals who often stay only long enough to install. This is the time for us to champion the importance of upholding and developing our own histories and visual identity, to grow our visible expressions of pride in what’s special about us, and reap the wellbeing and possibly financial benefits of carving out our own contemporary story.
Vicki Lenihan (Waitaha, Kāti Māmoe, Ngāi Tahu) is a multimedia artist whose practice centres on sustainability, celebrating identity interwoven with our unique and irreplaceable environment, and highlighting issues connected to self-determination and hauora. She is also a writer; an educator; a museum professional; a regular broadcaster; an arts producer; secretary of the Paemanu Ngāi Tahu Contemporary Visual Arts Charitable Trust, and Community Events Advisor – Cultural at the Dunedin City Council.
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Public Seminar: How artworks emotionally engage - Lesley Brook (July 12 2021)
THURS 22 JULY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Lesley Brook
How artworks emotionally engage: 19 influential factors
In 2020 the Dunedin School of Art held the exhibition The Complete Entanglement of Everything. Lesley Brook interviewed 25 participants about their emotional responses to the artworks in this exhibition. In this presentation Lesley will report some of the findings from this research, which she has undertaken for her Master of Professional Practice degree. In describing their strongest emotional responses to the artworks, participants also articulated why they had these emotional responses. Analysis of transcriptions of these interviews reveals the factors that influenced them in forming those emotions. The 19 factors identified relate to the individual viewer, or to the artwork being viewed, or are independent of both viewer and artwork.
Lesley Brook is the Research Projects Coordinator in the Directorate of Research and Postgraduate Studies at Otago Polytechnic. Her research interests are in the impact of research beyond the academic community.
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Dunedin Secondary Schools Portfolio Art Exhibition (June 25 2021)
WEDNESDAY 7- FRIDAY 9 JULY, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET
Dunedin Secondary Schools Portfolio Art Exhibition
Come support our young Dunedin artists as they showcase a range of work from their NCEA portfolios.
Bring along your phone and show us your instagram photos of your work as well.
Venue: Dunedin School of Art Gallery
19 Riego Street, (Off Albany Street), Dunedin
Dates: Wednesday 7 - Friday 9 July, 2021
Gallery Hours: 10AM - 4 PM Daily
Closing: Friday 9 July 6PM - 7.30PM
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Public Seminar: Sonya Lacey - Artist Talk (June 11 2021)
THURS 17 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Sonya LaceyArtist Talk
Working across video, installation and performance, my practice is often concerned with systems of communication and the social scenarios they give rise to. A body of work will often begin with fact but end as fiction, for example, an interest in a particular situation (eg, a designer, a typeface or a site) may spark the initial idea, but the idiosyncratic process of making and remaking the work sees the real become inseparable from the imagined.
My talk for the DSA students will give an overview of some recent projects as well as taking a look back at some of the work I made during art school and my involvement with Newcall Gallery – an artist run space, studio collective and occasional publishing imprint that ran 2008–2010.
Sonya Lacey is the current Dunedin Public Art Gallery artist in residence. Her exhibition Weekend is nominated for the Walters Prize and is currently showing at Auckland Art Gallery Toi o T¯amaki. She has exhibited throughout New Zealand at galleries including Artspace, Govett Brewster Art Gallery, The Dowse Art Museum and Te Tuhi Centre for the Arts. Her video By Sea has been extensively screened internationally including at the London International Film Festival and her work was recently included in the Singapore Festival of Moving Image: State of Motion 2020. She currently sits on the board for Circuit Artist Film and Video Aotearoa.
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Public Seminar: David Green - Mise en Abyme: Mirrors in Art, Mirrors in Theory (June 8 2021)
THURS 10 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
David Green
Mise en Abyme: Mirrors in Art, Mirrors in Theory
From the time of the pharaohs up to the present, graphically, materially, or metaphorically, mirrors contribute to countless works of art. Their invention 8000 years ago (of polished obsidian) captured the reflectivity of a still pond and turned it into a transferrable spectacle. The mirror was humanity’s first virtual reality tool. Over the millennia, though initially only for the very wealthy, these flexible forms of optical reflectivity have imbricated themselves into our daily human experience.
On the one hand the mirror seems to offer a straightforward proposition: WYSIWYG. But while the mirror may never lie, it invariably deflects. A mirror is the one object that, without debate, we all experience differently; when two or more people look at this object at the same time, they can never see exactly the same thing in it. In this way the mirror offers us a spontaneous view of our phenomenological predicament. Certainly, it is the deceptive potentials in the reflection of light and space that make mirrors so valuable to magicians and tricksters. Arguably for visual artists, it is through their very ability to distort that mirrors reveal most valuably. This seminar will explore the mirror as a material and as a conceptual apparatus in historical and contemporary art, while considering its theoretical implications through the lenses of philosophy and critical theory.
David Green is a video installation artist with a background in film production and visual effects. His artworks often appropriate and re-contextualise moving images produced by both professionals and amateurs in order to reveal embedded social and cultural themes (iconological meanings). He is currently teaching part-time at the Dunedin School of Art while working on a PhD with a creative component in the department of Media, Film, and Communication at Otago University. His written thesis conducts an interdisciplinary dialogue between ideas of film spectatorship, video art, and embodied cognition. This research provides a framework for his practice: experimental gallery-based and site-specific art installations that deploy moving-images.
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Public Seminar: Anna-Marie White - Brett Graham’s Tai Moana Tai Tangata exhibition / contemporary Taoonga (May 28 2021)
THURS 3 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Anna-Marie White
Brett Graham’s Tai Moana Tai Tangata exhibition at Govett-Brewster and contemporary Taoonga
M¯aori curator, art historian and researcher, Anna-Marie White (Te ¯Atiawa) outlines the development and presentation of the exhibition ‘Tai Moana Tai Tangata’ by Brett Graham (Tainui, Ng¯ati Koroki Kahukura) at the Govett Brewster Art Gallery as both an outcome of kaupapa M¯aori research practice and exercise in Maori curatorship.
‘Tai Moana Tai Tangata’ evolved from White’s doctoral research, which investigated Brett Graham’s work within the context of debates about the definition of contemporary M¯aori art. Reviving the arguments of Hirini Moko Mead (1984) and in reference to Paul Tapsell’s 1998 definition of taonga, White’s 2020 doctoral thesis, ‘Contemporary Taonga: The Art Works of Brett Graham’, emphasised the essential role played by M¯aori in the reception and performance of contemporary M¯aori art as taonga.
Leading from these findings, and as an extension of kaupapa M¯aori research practice, White invited Graham to develop an exhibition at the Govett Brewster Art Gallery based on the historic relationship between their respective iwi. The resulting exhibition created an opportunity for Taranaki and Tainui M¯aori to engage and restate the principles of their political pact, Te Kiwai o te Kete, forged during the New Zealand Land Wars, in the present. This meeting activated the art works as taonga with the exhibition going on to directly serve the needs of Taranaki M¯aori while resonating with a broad spectrum of audiences in spite of the myriad challenges issued by the exhibition.
An introduction to this installation and key art works outlines these challenges concluding with a personal reflection on this transformative experience from the perspective of the curator.
Dr Anna-Marie White (Te ¯Atiawa) has held a number of curatorial positions across museums and art galleries in Aotearoa. Key exhibition projects include P¯akeh¯a Now! (2007), The Maui Dynasty (2008) and Kaihono Ahua: Vision Mixer (2013) with recently published essays on Jonathan Mane-Wheoki and George Hubbard reflecting on key movements of contemporary M¯aori art history of the 1990s.
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Public Seminar: Kim Lowe - East meets West down South (May 23 2021)
THURS 27 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Kim Lowe
East meets West down South
Kim will be discussing her work in terms of her mixed-race whakapapa (NZ Chinese/Cuban/P¯akeh¯a from Southland). Working primarily in printmaking and painting she explores aspects of her ancestry through early Chinese design forms and motifs, faux narrative and appropriation. Also, for the 10th anniversary of the ¯Otautahi earthquakes, she will be sharing some post-quake creative community building initiatives from New Brighton and the eastern suburbs.
Kim Lowe is an artist, printmaker and educator based in ¯Otautahi Christchurch and originally from Waihopai Southland. She completed a BFA (Printmaking) from Dunedin School of Art in 1996; an MFA in Printmaking from the University of Canterbury in 2009; and was the Olivia Spencer Bower Award recipient 2019. She has been involved in many post-quake projects over the past 10 years including Shared Lines: Sendai-Christchurch Art Exchange; TEZA New Brighton; Toi Te Karoro and Te Kura Tawhito. She currently lectures in Art and Design at Ara Institute of Canterbury Ltd.
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TOP ART - NCEA Level 3 portfolios 2020 (May 15 2021)
24 MAY - 3 JUNE, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, DUNEDIN
TOP ART
Annual touring exhibition featuring a selection of the NCEA Level 3 portfolios that achieved Excellence in Visual Art in the previous year
EXHIBITION DATES
24 May – 3 June 2021 - (open 1 - 4pm Monday 24 May)DSA GALLERY
Ground Floor, P Block
Riego Street (off Albany St)
DunedinGALLERY HOURS
Monday to Friday
10am – 4pm -
Artist Talk - Robert Jahnke (May 10 2021)
*CANCELLED * FRIDAY 21 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Robert Jahnke
Artist Talk
Professor Robert Jahnke (Ngai Taharora, Te Whanau a Iritekura, Te Whanau a Rakairo o Ngati Porou) is an artist, writer and curator working principally as a sculptor, although trained as a designer and animator. His work focuses on the dynamics of inter-cultural exchange and the politics of identity. Jahnke primarily teaches into the MVA and PhD (FA) programmes out of Palmerston North.
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Public Seminar: Taarati Taiaroa - Tell them I said … (May 10 2021)
THURS 20 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Taarati Taiaroa
Tell them I said …
Taarati Taiaroa (Ng¯ati T¯uwharetoa, Ng¯ati Apa, Te ¯Ati Awa, Ng¯ati Kotimana) is an independent cultural worker whose work over the past 10 years has focused on the ethics of curatorial, artist-initiated, community based and collaborative practice.As a participant in the Emerging Curators Programme (2015-16) she articulated a manifesto for her “conversational research” approach to working with others that is process driven and resists pre-determined outcomes. In this seminar she will discuss “conversational research” as enacted in artistic collaborations and curatorial projects. In doing so, she will reflect on the process that led her to understand and articulate her own ethics and the impact of this on decision making within her practice, and ultimately what she has been working on as the Blue Oyster Summer Resident.
The title of this seminar references the 2016 collection of essays by Martin Herbert, Tell Them I Said No, in which he considers various artists’ withdrawal from the art world or their open antagonisms to its machinations.
A graduate of the University of Auckland, Taarati Taiaroa holds Masters degrees in both Fine Arts and Museums and Cultural Heritage. As a co-director of RM, an artist-run-space in central Auckland, she contributed to the facilitation, production and coordination of over 50 exhibitions and events. In 2019 she co-convened the ST PAUL St Curatorial Symposium, It's as if we were made for each other; was a guest faculty member on the ICI for the Curatorial Intensive Auckland at Artspace and was Artist-in-residence at the Centre of Action Research and Evaluation at Massey University, Palmerston North.
In 2020 she was Assistant Curator, M¯aori Art on the exhibition Toi T¯u Toi Ora: Contemporary M¯aori Art at Auckland Art Gallery Toi o T¯amaki. In this role, Taarati was able to put to use her MA thesis which sought to write a history of Maori art exhibitions (1958-2013). It focused on the group exhibition as a formative form in the reception, kaupapa and strengthening of a contemporary M¯aori art voice. She was supported to complete this thesis by the Marsden Funded Toi te Mana project, lead by Dr. Deidre Brown, Dr, Ngarino Ellis and the late Prof. Jonathan Mane Wheoki. Since 2013 she has been sharing her research through symposium papers, exhibitions, public programmes, and publications. Recent written contributions can be found in Crafting Aotearoa (2019) and the latest edition of Toi o T¯amaki’s magazine Art Toi (Dec 2020).
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Graham Fletcher - Sarjeant Gallery Te Whare o Rehua, Whanganui Residency (May 7 2021)
THURS 6 MAY 7.30PM, Sarjeant Gallery Te Whare o Rehua, Whanganui
Artist in Residence Talk
Painter Graham Fletcher is the current artist-in-residence at Tylee Cottage. He will be in residence until June and comes to Whanganui from Dunedin where he is Principal Lecturer at the Dunedin School of Art. He has been a practicing artist since 1997 and his work to date as a New Zealand-born Samoan has explored complex cultural issues within a post-colonial context. Fletcher will discuss past and present work.
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Scott Eady - Cinelli 250: Ata mārie Ōtepoti at DPAG (May 7 2021)
17 APRIL - 7 NOV 2021, DUNEDIN PUBLIC ART GALLERY, OCTOGON, DUNEDIN
SCOTT EADY
Cinelli 250: Ata mārie Ōtepoti
Bathgate Series
Cinelli 250: Ata mārie Ōtepoti has been an ongoing project for Scott Eady, since he purchased a Cinelli road bike in 2018 and began cycling to work along the edge of the Otago Harbour. As part of each journey, he stopped to greet the day with the words ‘ata mārie Ōtepoti’ from a public bench, documenting the rising sun in a black and white photograph. In his installation at Dunedin Public Art Gallery, Eady creates a site of contemplation and discovery for gallery visitors and performers alike. Alongside this Eady presents Bathgate, a series of photographs that traces another of the artist’s regular journeys. He has worked alongside students at Bathgate Park School, introducing the magic of Box Brownie photography to a new generation.Scott Eady (b.1972) is a senior lecturer at the Dunedin School of Art. Eady’s art practice often pushes past ‘what is’ to prompt a consideration of ‘what could be.’ His 2019 exhibition Images of Love highlighted his interest in reimaging everyday objects and things – an action echoed here in the benches of Cinelli 250. A graduate of Elam School of Fine Arts, at The University of Auckland (MFA, 1999), Eady’s work is held in major collections such as Museum of New Zealand Te Papa Tongarewa, Dunedin Public Art Gallery, The Hocken Collection Uare Taoka o Hākena and The Chartwell Trust. He has exhibited artwork extensively both nationally and internationally, including at the Venice Biennial in 2013.
A Dunedin Public Art Gallery Visiting Artist Project supported by Creative New Zealand Toi Aotearoa along with project partner, Dunedin School of Art.
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Finalists in the Kiingi Tuheitia Portraiture Award (May 5 2021)
Congratulations to current and recent graduate students; Ngahina Belton-Bosworth and Hemi Hoskings-Kereopa, who are are finalists in the Kiingi Tuheitia Portraiture Award.
See all the finalists works at this website.The Kiingi Tuheitia Portraiture Award is a competition that encourages emerging Māori artists to create portraits of their tūpuna (ancestors) in any medium. The Award was launched in August 2020 and is hosted and administered by the New Zealand Portrait Gallery Te Pūkenga Whakaata in honour of Kiingi Tuheitia.
The Kingii Tuheitia Portraiture Award provides emerging Māori artists with the opportunity to showcase their talents on the national stage, while also playing an important role in recording and celebrating tūpuna (ancestors) and their stories.
The Award culminates with an exhibition of finalist artworks at The New Zealand Portrait Gallery Te Pūkenga Whakaata in Wellington over a three month period, timed to coincide with Matariki 2021. Judging of the shortlisted works is undertaken by a distinguished panel at the opening of the exhibition.
> Read more in the Otago Daily Times
(Ngahina Beltno-Bodsworth | Te Moana. Tō Māua Haerenga)
(Hemi Hosking-Kereopa | Tawhiao Matutaera Potatu Te Wherowhero)
Ko Te Tohu Kiriaro o Kiingi Tuheitia he whakataetae e whakatenatena ana i ngā kaitoi Māori whanake ki te whakarite kiriaro o ōna tūpuna ki ngā toi huhua. I rewa te Tohu nei i te Ākuwhata o te tau 2020. E whakahaerehia ana tēnei tohu e Te Pūkenga Whakaata hei whakahōnore i a Kiingi Tuheitia.
E tukuna ana e Te Tohu Kiriaro o Kiingi Tuheitia kia āhei ngā kaitoi Māori whanake ki te whakaata i ngā pukenga ki te motu whānui, ā, e whakakaupapa ana i te mau pupuru me te whakanui i ngā tūpuna tae noa ki ā rātou kōrero.
Ka oti te Tohu nei ki te whakaata i ngā toi tauwhiti ki Te Pūkenga Whakaata i Te Whanganui-a-Tara mō te toru marama te roa, hei te wā o Matariki 2021 ka tū. He Pae Whakahirahira kua tohua hei whakawā i ngā toi tauwhiti i te tīmatanga o te whakaaturanga.
Ko te Tohu tuatahi nei ka tū hei te 2021, ā, ka huri i te motu. -
Public Seminar: Metiria Turei - Historical and contemporary use of M¯aori visual art in the transmission of M¯aori legal knowledge (May 4 2021)
THURS 13 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Metiria Turei
Historical and contemporary use of M¯aori visual art in the transmission of M¯aori legal knowledge
The description of Indigenous Peoples as having an ‘oral culture’ is simplistic, often used as shorthand to suggest that oral cultures are non-literate and therefore more primitive. That implication undervalues Indigenous peoples’ visual culture of documenting, recording, and creating social, legal, and political information through mark making and encoded objects. Where a culture uses its artistic system to create objects whose primary purpose is to communicate information across time and place, those objects can be said to be “encoded objects”. The form, shape, materiality, surface design and construction of the object can all contribute to the meaning it holds, as can the nature and status of its maker and the time and place of its making.
When thinking about the documentation of indigenous law and how indigenous law is communicated and taught, it seems obvious that objects and visual markings would be used for that purpose just as objects (such as law books) and visual markings (such as writing) is used to communicate state law. My thesis explores the legal literacy of M¯aori visual art and asks whether M¯aori law is documented in visual art works such as pou, ta moko and raranga.
image credit: Pou Tangaroa, Kati Hui Rapa, Alex Whitaker, Warrington Domain
Metiria Turei - ¯Ati Haunui a P¯ap¯arangi, Ng¯ati Kahungunu ki Wairarapa, Rangitane.
Metiria Stanton Turei lives in Dunedin, Aotearoa. Metiria built a career as a social activist, lawyer and member of the New Zealand Parliament over 20 years before moving to develop her art practice. Her art work focuses on Indigenous Futurism, M¯aori self determination in the present and the future and is primarily in performative textiles, activated on the body and presented in film and photographs. She has a law degree from the University of Auckland and a BVA Honours from the Dunedin School of Art. She works for the University of Otago in the Faculty of Law.
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Public Seminar Programme TERM 2, 2021 (May 4 2021)
Dunedin School of Art Lunchtime Research Seminars Term 1, 2021
THURS 6 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Simon Swale
Peripatetic
Peripatetic: in which the artist scrambles, scrapes and scratches, drifts, lurches, and rambles, in an attempt to make sense of both his practice and the world in which we exist, and how one feeds the other.
In this seminar Simon will discuss his developing practice since completing his MFA in 2020. Focusing on work developed as part of his ongoing participation in the Handshake Project, this may be seen as fragmentary, discursive, and somewhat discontinuous. Yet for all this meandering and drifting, it is hoped a certain cohesion may come to light and may in fact define the model for an ongoing practice.
Simon Swale is a Senior Lecturer at the School of Design, Otago Polytechnic. Teaching on the Fashion program, Simon has published widely on fashion design and the fashion system. Simon completed a Master of Fine Art at the Dunedin School of Art in 2020 with a focus on contemporary jewellery. He won the Jewellery category at the 2020 NZ Student Craft Design Awards and was an International Graduate Show prize winner at Galerie Marzee in the Netherlands. Simon is currently a participant of the Handshake Project mentorship program for emerging NZ jewellers and is mentored by Berlin based German artist Gabi Schillig.
THURS 13 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Metiria Turei
Historical and contemporary use of Māori visual art in the transmission of Māori legal knowledge
The description of Indigenous Peoples as having an ‘oral culture’ is simplistic, often used as shorthand to suggest that oral cultures are non-literate and therefore more primitive. That implication undervalues Indigenous peoples’ visual culture of documenting, recording, and creating social, legal, and political information through mark making and encoded objects. Where a culture uses its artistic system to create objects whose primary purpose is to communicate information across time and place, those objects can be said to be “encoded objects”. The form, shape, materiality, surface design and construction of the object can all contribute to the meaning it holds, as can the nature and status of its maker and the time and place of its making.
When thinking about the documentation of indigenous law and how indigenous law is communicated and taught, it seems obvious that objects and visual markings would be used for that purpose just as objects (such as law books) and visual markings (such as writing) is used to communicate state law. My thesis explores the legal literacy of Māori visual art and asks whether Māori law is documented in visual art works such as pou, ta moko and raranga.
Metiria Turei - Āti Haunui a Pāpārangi, Ngāti Kahungunu ki Wairarapa, Rangitane.
Metiria Stanton Turei lives in Dunedin, Aotearoa. Metiria built a career as a social activist, lawyer and member of the New Zealand Parliament over 20 years before moving to develop her art practice. Her art work focuses on Indigenous Futurism, Māori self determination in the present and the future and is primarily in performative textiles, activated on the body and presented in film and photographs. She has a law degree from the University of Auckland and a BVA Honours from the Dunedin School of Art. She works for the University of Otago in the Faculty of Law.
THURS 20 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Taarati Taiaroa
Tell them I said …
Taarati Taiaroa (Ngāti Tūwharetoa, Ngāti Apa, Te Āti Awa, Ngāti Kotimana) is an independent cultural worker whose work over the past 10 years has focused on the ethics of curatorial, artist-initiated, community based and collaborative practice.As a participant in the Emerging Curators Programme (2015-16) she articulated a manifesto for her “conversational research” approach to working with others that is process driven and resists pre-determined outcomes. In this seminar she will discuss “conversational research” as enacted in artistic collaborations and curatorial projects. In doing so, she will reflect on the process that led her to understand and articulate her own ethics and the impact of this on decision making within her practice, and ultimately what she has been working on as the Blue Oyster Summer Resident.
The title of this seminar references the 2016 collection of essays by Martin Herbert, Tell Them I Said No, in which he considers various artists’ withdrawal from the art world or their open antagonisms to its machinations.
A graduate of the University of Auckland, Taarati Taiaroa holds Masters degrees in both Fine Arts and Museums and Cultural Heritage. As a co-director of RM, an artist-run-space in central Auckland, she contributed to the facilitation, production and coordination of over 50 exhibitions and events. In 2019 she co-convened the ST PAUL St Curatorial Symposium, It's as if we were made for each other; was a guest faculty member on the ICI for the Curatorial Intensive Auckland at Artspace and was Artist-in-residence at the Centre of Action Research and Evaluation at Massey University, Palmerston North.
In 2020 she was Assistant Curator, Māori Art on the exhibition Toi Tū Toi Ora: Contemporary Māori Art at Auckland Art Gallery Toi o Tāmaki. In this role, Taarati was able to put to use her MA thesis which sought to write a history of Maori art exhibitions (1958-2013). It focused on the group exhibition as a formative form in the reception, kaupapa and strengthening of a contemporary Māori art voice. She was supported to complete this thesis by the Marsden Funded Toi te Mana project, lead by Dr. Deidre Brown, Dr, Ngarino Ellis and the late Prof. Jonathan Mane Wheoki. Since 2013 she has been sharing her research through symposium papers, exhibitions, public programmes, and publications. Recent written contributions can be found in Crafting Aotearoa (2019) and the latest edition of Toi o Tāmaki’s magazine Art Toi (Dec 2020).
FRIDAY 21 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Robert Jahnke
Artist Talk
Professor Robert Jahnke (Ngai Taharora, Te Whanau a Iritekura, Te Whanau a Rakairo o Ngati Porou) is an artist, writer and curator working principally as a sculptor, although trained as a designer and animator. His work focuses on the dynamics of inter-cultural exchange and the politics of identity. Jahnke primarily teaches into the MVA and PhD (FA) programmes out of Palmerston North.
THURS 27 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Kim Lowe
East meets West down South
Kim will be discussing her work in terms of her mixed-race whakapapa (NZ Chinese/Cuban/Pākehā from Southland). Working primarily in printmaking and painting she explores aspects of her ancestry through early Chinese design forms and motifs, faux narrative and appropriation. Also, for the 10th anniversary of the Ōtautahi earthquakes, she will be sharing some post-quake creative community building initiatives from New Brighton and the eastern suburbs.
Kim Lowe is an artist, printmaker and educator based in Ōtautahi Christchurch and originally from Waihopai Southland. She completed a BFA (Printmaking) from Dunedin School of Art in 1996; an MFA in Printmaking from the University of Canterbury in 2009; and was the Olivia Spencer Bower Award recipient 2019. She has been involved in many post-quake projects over the past 10 years including Shared Lines: Sendai-Christchurch Art Exchange; TEZA New Brighton; Toi Te Karoro and Te Kura Tawhito. She currently lectures in Art and Design at Ara Institute of Canterbury Ltd.
THURS 3 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Anna-Marie White
Brett Graham’s Tai Moana Tai Tangata exhibition at Govett-Brewster and contemporary Taoonga.
Māori curator, art historian and researcher, Anna-Marie White (Te Ātiawa) outlines the development and presentation of the exhibition ‘Tai Moana Tai Tangata’ by Brett Graham (Tainui, Ngāti Koroki Kahukura) at the Govett Brewster Art Gallery as both an outcome of kaupapa Māori research practice and exercise in Maori curatorship.
‘Tai Moana Tai Tangata’ evolved from White’s doctoral research, which investigated Brett Graham’s work within the context of debates about the definition of contemporary Māori art. Reviving the arguments of Hirini Moko Mead (1984) and in reference to Paul Tapsell’s 1998 definition of taonga, White’s 2020 doctoral thesis, ‘Contemporary Taonga: The Art Works of Brett Graham’, emphasised the essential role played by Māori in the reception and performance of contemporary Māori art as taonga.
Leading from these findings, and as an extension of kaupapa Māori research practice, White invited Graham to develop an exhibition at the Govett Brewster Art Gallery based on the historic relationship between their respective iwi. The resulting exhibition created an opportunity for Taranaki and Tainui Māori to engage and restate the principles of their political pact, Te Kiwai o te Kete, forged during the New Zealand Land Wars, in the present. This meeting activated the art works as taonga with the exhibition going on to directly serve the needs of Taranaki Māori while resonating with a broad spectrum of audiences in spite of the myriad challenges issued by the exhibition.
An introduction to this installation and key art works outlines these challenges concluding with a personal reflection on this transformative experience from the perspective of the curator.
Dr Anna-Marie White (Te Ātiawa) has held a number of curatorial positions across museums and art galleries in Aotearoa. Key exhibition projects include Pākehā Now! (2007), The Maui Dynasty (2008) and Kaihono Ahua: Vision Mixer (2013) with recently published essays on Jonathan Mane-Wheoki and George Hubbard reflecting on key movements of contemporary Māori art history of the 1990s.
THURS 10 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
David Green
Mise en Abyme: Mirrors in Art, Mirrors in Theory
From the time of the pharaohs up to the present, graphically, materially, or metaphorically, mirrors contribute to countless works of art. Their invention 8000 years ago (of polished obsidian) captured the reflectivity of a still pond and turned it into a transferrable spectacle. The mirror was humanity’s first virtual reality tool. Over the millennia, though initially only for the very wealthy, these flexible forms of optical reflectivity have imbricated themselves into our daily human experience.
On the one hand the mirror seems to offer a straightforward proposition: WYSIWYG. But while the mirror may never lie, it invariably deflects. A mirror is the one object that, without debate, we all experience differently; when two or more people look at this object at the same time, they can never see exactly the same thing in it. In this way the mirror offers us a spontaneous view of our phenomenological predicament. Certainly, it is the deceptive potentials in the reflection of light and space that make mirrors so valuable to magicians and tricksters. Arguably for visual artists, it is through their very ability to distort that mirrors reveal most valuably. This seminar will explore the mirror as a material and as a conceptual apparatus in historical and contemporary art, while considering its theoretical implications through the lenses of philosophy and critical theory.
David Green is a video installation artist with a background in film production and visual effects. His artworks often appropriate and re-contextualise moving images produced by both professionals and amateurs in order to reveal embedded social and cultural themes (iconological meanings). He is currently teaching part-time at the Dunedin School of Art while working on a PhD with a creative component in the department of Media, Film, and Communication at Otago University. His written thesis conducts an interdisciplinary dialogue between ideas of film spectatorship, video art, and embodied cognition. This research provides a framework for his practice: experimental gallery-based and site-specific art installations that deploy moving-images.
THURS 17 JUNE, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Sonya LaceyArtist Talk
Working across video, installation and performance, my practice is often concerned with systems of communication and the social scenarios they give rise to. A body of work will often begin with fact but end as fiction, for example, an interest in a particular situation (eg, a designer, a typeface or a site) may spark the initial idea, but the idiosyncratic process of making and remaking the work sees the real become inseparable from the imagined.
My talk for the DSA students will give an overview of some recent projects as well as taking a look back at some of the work I made during art school and my involvement with Newcall Gallery – an artist run space, studio collective and occasional publishing imprint that ran 2008–2010.
Sonya Lacey is the current Dunedin Public Art Gallery artist in residence. Her exhibition Weekend is nominated for the Walters Prize and is currently showing at Auckland Art Gallery Toi o Tāmaki. She has exhibited throughout New Zealand at galleries including Artspace, Govett Brewster Art Gallery, The Dowse Art Museum and Te Tuhi Centre for the Arts. Her video By Sea has been extensively screened internationally including at the London International Film Festival and her work was recently included in the Singapore Festival of Moving Image: State of Motion 2020. She currently sits on the board for Circuit Artist Film and Video Aotearoa.
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Dunedin Schools Game Jam - Tech Week 2021 (April 16 2021)
What's it all about?
To coincide with the recently established Centre of Digital Excellence (CODE) in Dunedin, Otago Polytechnic is proud to host the Dunedin Schools Game Jam.
The event is open to Dunedin high school students studying the digital curriculum at years 12 and 13, and will run over the weekend of May 28 – May 30.
When
FRIDAY 28 MAY
6:00PM - 10:00PMSATURDAY 29 MAY
9:00AM - 10:00PMSUNDAY 30 MAY
9:00AM - 6:00PMLocation
Otago Polytechnic, D Block, Level 3,
Forth St, North Dunedin, DunedinStudents will form teams and be assigned a theme on the inaugural night, and then spend the next 48 hours designing and coding a fully-fledged game!
Throughout the weekend, mentors from the local game industry, as well as staff and senior students in the Bachelor of Information Technology programme will be on hand to guide participants and offer advice and feedback on the games as they progress.
These events are awesome for fostering friendships, increasing confidence and creating opportunities within the game dev communities. Students get to challenge themselves and their creativity, explore new roles, and develop and refine skills.
The Game Jam will culminate in a mini showcase of the games on the Sunday evening, where members of the public are welcome to be in attendance. There will be food provided and spot prizes awarded throughout the event.
More info coming soon!
Register now to keep updated and stay tuned for further info.
Before attending, you must be aware our Code of Conduct and Safe Space Policy. The Otago Polytechnic and Dunedin Schools Game Jam have zero tolerance for harassment or bullying of participants in any form.
This community event listing is made possible with the support of NZTech
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Public Exhibition: Charlotte McLachlan - Animal Inside (April 16 2021)
4-6 MAY, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Charlotte McLachlanAnimal InsideEXHIBITION DATES: 4-6 May, 2021VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street off Albany St), DunedinGALLERY HOURS: Monday to Friday 10am – 4pmCLOSING: Friday 7 May, 5 – 7pm -
Public Exhibition: Caitlin Donnelly - Māmā (April 16 2021)
11 - 13 MAY, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Caitlin DonnellyMāmāEXHIBITION DATES: 11 - 13 May, 2021VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street off Albany St), DunedinGALLERY HOURS: Monday to Friday 10am – 4pmCLOSING: Friday 14 May, 5 – 7pm -
Public Seminar: Simon Swale - Peripatetic (May 12 2021)
THURS 6 MAY, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Simon Swale
Peripatetic
Peripatetic: in which the artist scrambles, scrapes and scratches, drifts, lurches, and rambles, in an attempt to make sense of both his practice and the world in which we exist, and how one feeds the other.
In this seminar Simon will discuss his developing practice since completing his MFA in 2020. Focusing on work developed as part of his ongoing participation in the Handshake Project, this may be seen as fragmentary, discursive, and somewhat discontinuous. Yet for all this meandering and drifting, it is hoped a certain cohesion may come to light and may in fact define the model for an ongoing practice.
Simon Swale is a Senior Lecturer at the School of Design, Otago Polytechnic. Teaching on the Fashion program, Simon has published widely on fashion design and the fashion system. Simon completed a Master of Fine Art at the Dunedin School of Art in 2020 with a focus on contemporary jewellery. He won the Jewellery category at the 2020 NZ Student Craft Design Awards and was an International Graduate Show prize winner at Galerie Marzee in the Netherlands. Simon is currently a participant of the Handshake Project mentorship program for emerging NZ jewellers and is mentored by Berlin based German artist Gabi Schillig.
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Public Exhibition: Charlie Rzepecky, BEAST (April 12 2021)
12 - 15 APRIL, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Charlie RzepeckyBEASTEXHIBITION DATES: 12 - 15 April, 2021VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street off Albany St), DunedinGALLERY HOURS: Monday to Friday 10am – 4pmOPENING: Monday 12 April, 5 – 7pm -
Public Seminar: Bridie Lonie - The Anthropocene (April 6 2021)
THURS 8 APRIL, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Bridie Lonie
The Anthropocene
The Anthropocene is a term currently used to characterize the ways that our current world, and our view of it , is changing, for the human, the more-than human, the sentient and the non-sentient alike. The term uses a Greek word for human, and this has led to many challenges and the framing of alternatives terms that include causes (The Capitalocene, The Plantationocene, signifying slavery), and consequences: the Necrocene, for example, signifying the extinctions that are currently occurring. There are many other terms .The seminar considers the issue of naming as a political strategy and the implications for such down-stream results as audiences and funding. The role art plays as a container, a vehicle for meaning, feeling and sensation in this new. complex period is central to the seminar.
Bridie Lonie, BFA, PhD (Closer relations: art, climate change, interdisciplinarity and the Anthropocene, Department of History and Art History, University of Otago, 2018). Bridie Lonie has worked in art education since the 1980s.
She was a founding member of the Women’s Gallery in Wellington (1980-84), an editor with Marian Evans and Tilly Lloyd of A Women’s Picture Book, 25 Women Artists of Aotearoa/New Zealand) Spiral/the Government Printer, Wellington 1988 and co-published with Marilynn Webb “Marilynn Webb, Prints and Pastels”, Otago University Press , 2003. She has written for Art New Zealand and the Listener.
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Alumni feature in Dunedin Public Art Gallery exhibition (March 18 2021)
20 March 2021 - 18 July 2021, DUNEDIN PUBLIC ART GALLERY, THE OCTAGON, DUNEDIN
suite 20/21: part 2
Alexandra Kennedy, Ed Ritchie, Justin Spiers, Octavia Cook
In 2014, Dunedin Public Art Gallery began a biennial exhibition series focusing attention on changing aspects of contemporary art in Ōtepoti Dunedin. The unique circumstances of the past year have meant that this programme has developed into a two-part exhibition series Suite 20/21: Part One and Two. We are excited to open Suite 20/21: Part Two from March 20, presenting new exhibitions from four artists working in Ōtepoti - Alexandra Kennedy, Ed Ritchie, Justin Spiers (Alumni from the Dunedin School of Art) and Octavia Cook. Each of these artists are significant to the creative landscape of Ōtepoti, and far beyond, and together give a glimpse of this city’s rich and varied contemporary art community.
Read more in the Otago Daily Times arts feature >
A DPAG Biennial Contemporary Dunedin Programme
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Research Seminar in Visual Arts: Tom McLean - Imagining Gorse in New Zealand Art and Literature (March 10 2021)
WED 17 MARCH, 5.30PM DUNEDIN, F209 PUNA KAWA, OTAGO POLYTECHNIC, F BLOCK, FORTH STREET, DUNEDIN
Tom McLean
Imagining Gorse in New Zealand Art and Literature
The thorny evergreen shrub known as whin, furze, or gorse is closely connected to the British Empire, both geographically and imaginatively. Gorse is common in Britain, where it was long burned in fires and used as a farmland hedge. Under its various names, it appears in Victorian literature as a symbol of uncultivated, hardscrabble life. In Wuthering Heights, Catherine describes Heathcliff as “an arid wilderness of furze and whinstone.” Introduced to New Zealand in the early nineteenth century (Charles Darwin noted seeing it in 1835), gorse became an unmanageable pest to farmers, but it also infiltrated New Zealand art and literature. In this presentation, I provide a brief history of gorse in the Victorian imagination before focusing on Janet Frame’s short story “Gorse is not People” and on a body of works by the sculptor Peter Nicholls. If Frame finds an untamed, Romantic wildness in the spiky shrub, Nicholls suggests a way forward, informed by New Zealand’s complex history and new insights on gorse’s environmental possibilities.
Thomas McLean is Associate Professor in English at the University of Otago. He is the author of The Other East and Nineteenth-Century British Literature: Imagining Poland and the Russian Empire (2012), editor of Further Letters of Joanna Baillie (2010), and coeditor of a new edition of Jane Porter’s 1803 novel Thaddeus of Warsaw (2019). He writes regularly on art, literature, and migration, most recently for the Los Angeles Review of Books.
(image credit: Tony Wills, Gorse covering hillside previously cleared of native forest for farming, Wellington, NZ CC BY-SA 3.0)
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Public Seminar: Ed Hanfling - The “ethical turn” in contemporary art as research (March 1 2021)
THURS 25 MARCH, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Ed Hanfling
The “ethical turn” in contemporary art as research
Over the last few decades, artists working and studying within academic institutions have gradually gained acknowledgement that making art counts as research. Convincing the wider academic community of the merits of practice-based research has meant demonstrating the application of rigorous research methods and systems. But artist-academics still tend to baulk at the process of submitting their research projects to the scrutiny of institutional ethics committees, a routine process in other research disciplines. There are reasons for this reluctance – including the belief that the artist’s role is to challenge social mores and take risks rather than to be conformist and careful – but also a sense in which it is in tension with a conspicuous tendency in the wider field of contemporary art, the very “industry” from which the standards upheld by art schools are derived. Call it the “ethical turn”, away from the “shock tactics” of twentieth century avant-gardes, to an ethos of care; away from individualism and irresponsibility, to a more community-minded engagement with diverse social and cultural values. What relationships or overlaps can be drawn between the ethics of the academy and the ethics of the art world? How might artist-academics respond to the ethical guidelines and structures of their research-based institutions?
Ed Hanfling is a lecturer in art history and theory at the Dunedin School of Art. He is a regular contributor to the quarterly journal Art New Zealand, has published books on New Zealand artists such as Roy Good, Milan Mrkusich, Ian Scott and Mervyn Williams, and is co-author of the book 250 Years of New Zealand Painting (to be published by Bateman later this year). Ed heroically serves as the DSA’s representative on the Otago Polytechnic Research Ethics Committee (OPREC).
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Public Seminar Programme TERM 1, 2021 (March 1 2021)
Dunedin School of Art Lunchtime Research Seminars Term 1, 2021
THURS 4 MARCH, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Matt Ellwood
The research versus the encounter
Utilising his own work spanning more than 20 years, Matt Ellwood will discuss how encounters and research can serve very different purposes when building an art practice across academic, public and commercial contexts.
Matt Ellwood was born in Wellington (1973) and currently lives in Auckland where he is Head of the Fine Arts School at Whitecliffe. He is represented by Melanie Roger Gallery. Ellwood’s work utilises appropriation-based strategies predominantly manifested through representational charcoal drawing and highly crafted, handmade sculptures. His practice deliberately conflates together contexts that formally resonate but also create nonsensical readings that challenge and disrupt the visual and textual systems of advertising meta-systems.
He graduated with a first class honours MFA from Elam in 2003 where he received the Vice Chancellor’s scholarship and was included in the Govett Brewster’s review of contemporary New Zealand art in the same year. Ellwood has received other prestigious awards for his works including the Wallace Arts Trust Development prize in 2004 and the Kaipara Foundation Wallace Arts Trust Award in 2011. These included artist residencies at the ISCP in New York and the ASCC in Solothurn, Switzerland respectively. He has been a regular exhibitor in curated exhibitions, selected art events and awards such as the Headlands Sculpture on the Gulf, Te Tuhi drawing wall and billboard projects, the annual Wallace Art awards, Parkin Drawing Prize and National Contemporary Art Awards. Recent solo exhibitions include: Autumn Collection (Melanie Roger Gallery, Auckland), Smoking Tom Ford (GSCA, Sydney), Taste the Good Times (Wallace Arts Centre, Auckland), and Frieze Saint Laurent (Melanie Roger Gallery, Auckland).
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THURS 11 MARCH, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Tim Croucher
Somewhere Around Here
In this seminar I will talk about a recent body of work part of which was shown at RAMP Gallery in Hamilton in 2019 under the title Somewhere Around Here. Emil McAvoy wrote about the exhibition: “…Tim Croucher's portrayals of the Waikato delicately balance affection and irony, depicting pastoral scenes and provincial situations which mingle recollections, historical events, tender encounters and furtive activities. Somewhere Around Here features Croucher's recent landscape paintings based on scenes observed from the water during trips along the Waikato River between Kirikiriroa (Hamilton) and Taupiri, alongside motorbike trips in the Waikato region and from drives to Auckland and across to Thames. This local scenery is both amplified and distorted through gestural paint application and an often non-naturalistic colour palette. Disquieting occurrences are sometimes inserted to upset these images' potential for idyllic representation.”
Tim Croucher has been living in Hamilton for almost 30 years and making and exhibiting paintings from there. He has been involved in a committee that instigates, curates and funds large public sculpture projects, in the development of an annual Street Art Festival, he’s looked at zillions of NCEA level 3 and Scholarship Painting folios, had some exhibitions in NZ and China in collaboration with artists from there, and taught Painting, Drawing and Installation at undergraduate and postgraduate levels since late last century at Waikato Institute of Technology.
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THURS 18 MARCH, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Sandra Heffernan
A Sense of Place
Heffernan’s work captures spaces that become symbolised in ecological colour and materials; whether dye applied to fabric, or natural pigments from bacteria, or in materials solving waste problems. In this lecture the introduction reveals the influences informing the works. Two distinct strands exist: textile design led research in exploration with industry and science, and inquiry related to material culture.
Two key projects provide overviews of textile design works and collaborative projects: Sunplumwineberry, a light emitting carpet; and Through the Globe, an original design created during an Artist in Residency in Portugal, then exhibited during Contextile. Published papers, for example, Sunplumwineberry, Novel Natural Colorants; Here and There Now, evidence the material culture aspects of the works.
The second strand of research is Material culture, and includes a commissioned book chapter Lost in the History of Modernism, that reveals modernist embroidery design contributions responding to intense political activity, and attempts to address the gender gap in history. In conclusion new works including Violet-bleu, colour created from bacteria will be discussed.
Dr Sandra Heffernan is an international textile designer exhibiting sustainable colour and material works, bio- textiles, and author of numerous papers. This design research contributes to global and national forums, including Commonwealth Secretariat Natural Fibre Forum, International Wool Textile Organisation, and Textile Exchange. Sandra adopts novel approaches in collaborations, blurring the boundaries between design, science and technology. Additionally, systematic theoretical investigation informs practice-led responses to industry challenges. Her design works were exhibited at the Biennale d'Art Contemporain Sacré, Menton, France (2019); Contextile, Guimarães, Portugal (2016); Borders International Art Show, Venice (2016); and in 2020 she received an Originality Award from the Museo Pérez Enciso Textile Ethnographic Museum Museo, Spain.
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THURS 25 MARCH, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Ed Hanfling
The “ethical turn” in contemporary art as research.
Over the last few decades, artists working and studying within academic institutions have gradually gained acknowledgement that making art counts as research. Convincing the wider academic community of the merits of practice-based research has meant demonstrating the application of rigorous research methods and systems. But artist-academics still tend to baulk at the process of submitting their research projects to the scrutiny of institutional ethics committees, a routine process in other research disciplines. There are reasons for this reluctance – including the belief that the artist’s role is to challenge social mores and take risks rather than to be conformist and careful – but also a sense in which it is in tension with a conspicuous tendency in the wider field of contemporary art, the very “industry” from which the standards upheld by art schools are derived. Call it the “ethical turn”, away from the “shock tactics” of twentieth century avant-gardes, to an ethos of care; away from individualism and irresponsibility, to a more community-minded engagement with diverse social and cultural values. What relationships or overlaps can be drawn between the ethics of the academy and the ethics of the art world? How might artist-academics respond to the ethical guidelines and structures of their research-based institutions?
Ed Hanfling is a lecturer in art history and theory at the Dunedin School of Art. He is a regular contributor to the quarterly journal Art New Zealand, has published books on New Zealand artists such as Roy Good, Milan Mrkusich, Ian Scott and Mervyn Williams, and is co-author of the book 250 Years of New Zealand Painting (to be published by Bateman later this year). Ed heroically serves as the DSA’s representative on the Otago Polytechnic Research Ethics Committee (OPREC).
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THURS 1 APRIL, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDINMark Baskett
On the echinate question of what might be meant by the term ‛research’ when evaluating and discussing visual art.
From the making of art that favours imaginative exposition and the exploration of certain internal states of mind— to long hours spent in archives, or wandering work-specific sites, or simply trawling for facts and fragments online: ideas around the place and potential role of research in my artistic practice have changed significantly over the last twenty years. And even today, when hearing the word ‛research’ attached to examples of creative visual art, I am often left wondering about what, more precisely, might be meant by the use of this term. Does it point to a clearly outlined framework and methodology with distinct and communicable results? Is doctoral research in the area of visual arts now a new gold standard by which we might measure the value and seriousness of work made today? Though I cannot provide definitive answers to such questions, I am fascinated by what might be meant or indeed not meant when the term research is applied to visual art. In this seminar I will thematise these concerns by putting forward a selection of my own artistic work and reflecting on the presence and the changing use of the term research both in around the context of the work.
Mark Baskett is a practicing visual artist, born in Dunedin, New Zealand. His tertiary education began with a BFA at what was then titled “The Quay School of Arts”, in Whanganui, New Zealand. From 2005-2007 he completed
an MFA after studying at the Bauhaus Universität, in Weimar and the Üniversität der Kunst (UdK) in Berlin. From 2007-2015 he lived in Zürich, where he exhibited regularly and participated in a variety of artist residencies; both
in Switzerland and in Germany. His work has also been shown in Belgium, the United States, Australia, and New Zealand. Currently he is employed part time as a teacher in the Arts and Media Department at the Nelson Polytechnic (NMIT).
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THURS 8 APRIL, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDIN
Bridie Lonie
The Anthropocene
The Anthropocene is a term currently used to characterize the ways that our current world, and our view of it , is changing, for the human, the more-than human, the sentient and the non-sentient alike. The term uses a Greek word for human, and this has led to many challenges and the framing of alternatives terms that include causes (The Capitalocene, The Plantationocene, signifying slavery), and consequences: the Necrocene, for example, signifying the extinctions that are currently occurring. There are many other terms .The seminar considers the issue of naming as a political strategy and the implications for such down-stream results as audiences and funding. The role art plays as a container, a vehicle for meaning, feeling and sensation in this new. complex period is central to the seminar.
Bridie Lonie, BFA, PhD (Closer relations: art, climate change, interdisciplinarity and the Anthropocene, Department of History and Art History, University of Otago, 2018). Bridie Lonie has worked in art education since the 1980s.
She was a founding member of the Women’s Gallery in Wellington (1980-84), an editor with Marian Evans and Tilly Lloyd of A Women’s Picture Book, 25 Women Artists of Aotearoa/New Zealand) Spiral/the Government Printer, Wellington 1988 and co-published with Marilynn Webb “Marilynn Webb, Prints and Pastels”, Otago University Press , 2003. She has written for Art New Zealand and the Listener.
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THURS 15 APRIL, 12.00 – 1.00 PM, P152, DUNEDIN SCHOOL OF ART, RIEGO STREET, DUNEDINDr. Caro McCaw Art
Design and education through social practice
In this seminar Caro will walk through her practice as it has evolved over the last 30 years, starting at the Dunedin School of Art. From print publications, to empty shops and species ambassadors her practice focuses more on enabling relationships than leaving physical marks or objects. Current projects include the Dunedin Dream Brokerage and co-ordinating Otago Polytechnic’s DESIS lab.
Caro McCaw investigates how we come to understand our landscapes, local knowledge, and regional cultures and contexts through collaborative creative practice. She asks how we may work around colonial ways of seeing to visualize and understand our shared histories and sites more socially. Caro is an Associate Professor and Academic Leader in Communication Design at Otago Polytechnic. She is involved in a wide range of local community and regional development projects often working with collaborative student-staff teams, and local community groups, including museums. Caro is a member of the AKO Academy of Tertiary Teaching Excellence and in 2016-17 was a Fulbright Scholar-in-Residence at SUNY Canton, in Upstate New York. She is the co-ordinator of DESIS Otago.
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MID SEMESTER BREAK
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Art graduate’s exhibition a response to surroundings (February 22 2021)
Anna-Marie Mirfin may have completed a Bachelor of Visual Art, but her connections to Otago Polytechnic continue in the form of an exhibition in the Hub.
Anna-Marie’s “SUPPORT: Rūma Hui/Meeting Room H105”, has its official opening on Thursday, February 25, and runs until March 5.
Subtle, thoughtful and beautifully constructed, the work will test the viewer’s ability to see for themselves – and to look intelligently.
Utilising ceramics, strings, museum putty, engraved glass, video and other found items, the evolving installation is both a continuation of an earlier exhibition by Anne-Marie, titled “Urban Ecologies” (2020, and an ongoing response to Otago Polytechnic’s Hub, gardens and, specifically, room H105.
Displayed as part of the Dunedin School of Art’s 2020 end-of-year student exhibition, “Urban Ecologies” formed a network of possible connections between different entities and moments experienced in local urban environments. The project manifested as a multimedia web composed of fibers with found/made items and video works embedded throughout.
“Rūma Hui/Meeting Room H105” brings together elements from “Urban Ecologies” that are relevant to this particular site: ceramic pieces made in response to the song of birds often seen around the Polytechnic campus; a video responding to the song of a Tui and connective strings that find new attachment points/supports in concrete, glass, and carpet.
The installation also integrates assemblages made with items found in the nearby area (including spray-painted debris linked to a new on-site building development).
“Within the installation there are various responses to birdsong in drawing, video and ceramics, alongside assemblages of found materials linked to the Otago Polytechnic gardens,” Anna-Marie explains.
“Thinking about the installation in its new context, the words on the exterior of the room – 'Support' and 'Rūma Hui/Meeting Room' – all communicate with the work.
“This 'support' could refer to structural reinforcement, as well as care and balance in mutualistic relationships, while 'Rūma Hui/Meeting Room' could consider the gathering or coming together of many different elements in the space.”
“People are invited to use the space (respectfully). They are free to use any drawing materials provided to respond to the Hub, gardens, or other ecological networks.”
Details:
“SUPPORT: Rūma Hui/Meeting Room H105”, by Anna-Marie Mirfin.
Ceramics, strings, museum putty, engraved glass, video and other found items.
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Exhibition: Punk is Dead by Joe Smith (February 18 2021)
8 - 11 MARCH, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Joe Smith
Punk is Dead
EXHIBITION DATES: 8 March - 11 March, 2021
VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Thursday, 10am - 4pm
Please note: Closed on Public Holidays
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Exhibition: Mark Baskett - The Neighbourhood | Selected Works 2017 - 2021 (March 26 2021)
26 MARCH - 9 APRIL, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Mark Baskett
The Neighbourhood
Selected Works 2017 - 2021EXHIBITION DATES: 26 March - 9 April, 2021
VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Thursday, 10am - 4pm
Please note: Closed on Public Holidays
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Exhibition: Charlie Rzepecky - Beast (February 9 2021)
12-15 APRIL, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Charlie Rzepecky
Beast
EXHIBITION DATES: 12 - 15 April, 2021
EXHIBITION OPENING: Monday 12 April, 5 - 7pm
VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Thursday, 10am - 4pm
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Exhibition: Matthew Trbuhović - Arrested Movement (February 9 2021)
1-4 MARCH, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, OTAGO POLYTECHNIC, DUNEDIN
Matthew Trbuhović
Arrested Movement
EXHIBITION DATES: 1 - 4 March, 2021
EXHIBITION CLOSING: Friday 5 March, 5 - 7pm
VENUE: DSA GALLERY, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Thursday, 10am - 4pm
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VOCATIONAL PROGRAMMES PHOTOGRAPHY & DIGITAL MEDIA - Level 6 courses enrol now (February 2 2021)
VOCATIONAL PROGRAMMES IN PHOTOGRAPHY & DIGITAL MEDIA
Level 6 courses - enrol now
Never has there been a more exciting time to enter the rapidly changing industry of digital content creation!Hone your creativity while developing professional and technical skills in photography and video production through real world experiences.Across a range of practical courses you will work with industry professionals and experienced lecturers to develop a compelling portfolio of best practise, experience, and digital content.Hit the ground running for a career in this exciting and expanding field and apply today! -
VOCATIONAL PROGRAMMES PHOTOGRAPHY & DIGITAL MEDIA - Level 5 programmes enrolling now (February 2 2021)
VOCATIONAL PROGRAMMES IN PHOTOGRAPHY & DIGITAL MEDIA
Level 5 courses - enrol now
Working with industry professionals and experienced lecturers you will develop a compelling portfolio of best practise, real world experiences, and digital content in photography and video production. -
Exhibition: Alice Jones - Fairy Tales (The Dark Side) (February 1 2021)
22 - 25 FEB, DUNEDIN SCHOOL OF ART GALLERY, P BLOCK, DUNEDIN SCHOOL OF ART, RIEGO STREET (off Albany Street)
Alice JonesFairy Tales: The Dark Side
Post Graduate Examination Season
EXHIBITION DATES: 22 - 25 February, 2021
CLOSING: Friday 26 February, 5 – 7PM
VENUE: DSA GALLERY Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Friday, -
Our 2020 highlights (January 21 2021)
2020 has been a unique year. One that has challenged us all and helped us grow. The determination that all our learners have shown during the 'year of covid' has blown us away. It's amazing what you can achieve when you set your mind to something.
In a year defined by change and challenge, we want to congratulate all of our learners and whanau on their many achievements in 2020.
Here are just a handful of highlights from 2020 which we're very proud of.
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Exhibition: Sarah McKay - Possession (January 20 2021)
1-4 FEB, DUNEDIN SCHOOL OF ART GALLERY, RIEGO STREET, DUNEDIN
Sarah McKay
Possession
Masters Examination ExhibitionEXHIBITION DATES: 1 - 4 February, 2021
CLOSING: Friday 5 February, 5 – 7pm
VENUE: DSA Gallery, Ground Floor, P Block, Riego Street (off Albany St), Dunedin
GALLERY HOURS: Monday to Friday, 10am – 4pm
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The biological state of instruments by Johanna Zellmer (January 19 2021)
14 DEC 2020 - 1 MARCH 2021, BIOCHEM, UNIVERSITY OF OTAGO
Johanna Zellmer
"The biological state of instruments"
Weekdays 8.30am - 5.30pm (closed 24 Dec '20 - 4 Jan '21)
2nd Floor laboratory window
Department of Biochemistry
710 Cumberland Street
Otago University, Dunedin
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Contemporary jewellery from the collection of the Dunedin School of Art at Nelson Jewellery Week 2021 (January 18 2021)
SAT 26 MARCH, NELSON PROVINCIAL MUSEUM
"By degree" - Contemporary jewellery from the collection of the Dunedin School of Art
NELSON JEWELLERY WEEK (NJW)
Starts 26th March 2021
Venue: Nelson Provincial Museum
Celebrating the School’s 150th anniversary, this exhibition provides a small slice of the Dunedin School of Art, Otago Polytechnic Art Collection, as works of significance, represented through the decades. The extensive collection comprises over 1600 catalogued works dating to the early 1970s following amalgamation with the Otago Polytechnic.
Works from the Jewellery studio find their way into the collection with new accessions acquired every year through donations or purchases either from staff, artists’ in residence or students. The end of year SITE exhibitions offer a prime opportunity to support our emerging artists.
As a valued asset, the art collection adorns the student, staff and public environments of the Polytechnic and supports learning as a teaching tool.
As of this year the Dunedin school of Art is the only New Zealand institution able to offer dedicated studies in contemporary jewellery through to a Master of Fine Arts level.
An online catalogue of the work on display is accessible via QR code, alongside some printed hardcopies available inside the museum.
Nelson Jewellery Week, an inaugural contemporary jewellery event, will coincide with another jewellery exhibition HANDSHAKE PROJECT: Chain Reaction, a curated jewellery exhibition at Refinery ArtSpace.
Nelson Jewellery Week and HANDSHAKE will be held in conjunction with and is supported by, Arts Council Nelson, Refinery ArtSpace, Creative New Zealand, Nelson Marlborough Institute of Technology, Uniquely Nelson, and the Nelson Regional Development Agency. Nelson Jewellery Week will be held at various locations throughout Nelson including NMIT, Refinery ArtSpace and local galleries and jewellery workshops and retail spaces.
(Image: student Lisa Walker at the Dunedin School of Art, photograph by Lloyd Godman)
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2021 start dates (December 14 2020)
2021 start dates:
You can apply and enrol in our Art programmes until 22 Feb 2021.
Start date: Monday 22 February, 2021.
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Two Dunedin School of Art artists win ECC NZ Student Craft/Design Awards 2020 (December 10 2020)
Congratulations to Simon Swale and Eva Ding, two Dunedin School of Art artists who have won awards in the ECC NZ Student Craft/Design Awards 2020 for their work in jewellery and ceramics.
The ECC NZ Student Craft / Design Awards are open to all students who are currently enrolled to study in 2020 or who have completed their studies in 2019.
Rebecca Fox talks to Simon Swale and Eva Ding about their winning pieces.
> Read more in the Otago Daily Times...
(Image credit: Simon Swale - Fair Trade)
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Mapping the Anthropocene Archive (October 23 2020)
Mapping the Anthropocene Archive
Mapping the Anthropocene documentation of the exhibition is now online at our flickr gallery, with Photography by Jodie Gibson."The Complete Entanglement of Everything"28 SEP- 2 OCT, 2020, Dunedin School of ArtŌtepoti Dunedin, New ZealandFor more information about all works please see the full catalogue including exhibition essay by Bridie Lonie online at issu.com:https://issuu.com/dunedinschoolofart/docs/the_complete_entanglement_of_everything_exhibition
Archive page of publications and supporting material for:
Symposium event: Mapping the Anthropocene in ¯Otepoti/Dunedin - Climate change, community & research in the creative arts,
Exhibition "The Complete Entanglement of Everything"and associated event are available atFor more information please contact organising committee Bridie Lonie (Head of School, Dunedin School of Art)
and Pam McKinlay (Symposium Liaison) at artsymposium (at) op.ac.nz. -
Dunedin campus welcomes overseas visitors (February 19 2020)
Our Dunedin campus welcomed staff and students from our partner institution South Puget Sound Community College (SPSCC) in the United States in early February.
The college has articulation agreements into our business and visual arts degrees. A number of students will be transferring credits they gained at SPSCC into Otago Polytechnic programmes.
Last week, we hosted Dave Taylor, senior Vice-President International of Niagara College, Canada, to our Central and Dunedin campuses.
He was particularly interested in learning about our Māori Strategic Framework - Canada is undergoing a Truth and Reconciliation process with its indigenous cultures, and a number of partner institutions are interested in our strategies for success of our Māori students.
Recently, we welcomed 72 international students who are beginning their studies with us. Thirty of these students are here for a semester on exchange agreements with partner institutions, principally from Europe.
We are looking forward to hosting Adam Thomas from our partner institute Humber College, Canada. He will be collaborating on research with our information technology programme.
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OP students getting international experience (February 19 2020)
Otago Polytechnic students are preparing for the global workplace along with students from other polytechnics through study tours.
Students have been taking part in six-week study tours funded by the Prime Minister’s Scholarships for Asia (PMSA). They are developing their capabilities to succeed in the global workplace through experiences that will teach them cultural competence, problem solving and other skills.
Ten OP students have been in Coimbatore, India, studying Business and Supply Chains, and six OP students plus one Southern Institute of Technology and three Eastern Institute of Technology students have been studying tourism and hospitality management in Da Nang, Vietnam.
The OP students are from across our programmes, including: Engineering, Design, Business and Culinary Arts
The aims of the India study tour were:
- To understand the critical but complex business, logistics and supply chain issues in the rapidly growing Indian economy.
- To explore opportunities, understand issues and develop relationships for future engagement.
While on the study tour, the students learned about:
- Textile and Garment Supply Chains.
- Health Care and Pharmaceutical Supply Chain.
- Fresh Fruits and Vegetable Supply Chains.
The aims of the Vietnam study tour were
- To understand the growth and strength of the tourism and hospitality industry in Vietnam.
- To experience operational aspects of the international tourism and hospitality Industry.
- To extend knowledge of key business and management principles.
Other students will soon participate in PMSA-funded semester long exchange study at our partner institutions. They include an IT student who is going to study in business courses in Japan at Kansai University, Osaka.
A second-year business student is currently settling into a nine-week Winter School programme in Finland at Lappeenranta University of Technology.
In February/March we look forward to welcoming back two engineering students after the completion of their study abroad semesters. One has been studying “Creating Resilient Cities” in the Netherlands, at Rotterdam University of Applied Sciences. The other has been studying courses in Renewable Energies in Germany, at Stralsund University of Applied Sciences.
A Bachelor of Applied Science student is returning from a semester of study at Fontys University of Applied Sciences, the Netherlands. She studied in the Sports Performance programme at Fontys. The course completes her degree study.
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Central campus hosts Mexican delegation (February 19 2020)
Our Central Campus hosted a delegation from the Mexican government in February.
This was a ministerial group from Jalisco province, which made time to divert from their tour specifically to visit the campus, and view the activities that are representative of the region.
This visit follows meetings in mid-2019 with the Central Campus staff in Mexico. Alex Huffadine (Market Manager for Latin America) and Carolyn Patchett visited Mexico to begin building relationships with a view to adding Mexican students to the growing number of Latin students at the campus.
The Central Campus has been steadily growing the number of programmes to cater for Latin American student. Specially land based programmes with English are popular. The Chilean government in particular has been strong in supporting these programmes in order to build capability and capacity in their younger population. The Mexican delegation has visited to look to also engage in these programmes.
The programmes are unique, as they enable learners to come with low level English and build skills in technical studies related to New Zealand’s rural sector. They also build English capability. Students have pre-planned paid work experience provided. Mixed together this is a powerful set of learning in a New Zealand rural setting.
The Jalisco province, where the officials are from, is the strongest agricultural and horticultural producing region in Mexico. The group has been touring New Zealand to view our rural sector and the productivity we demonstrate. It is hoped Otago Polytechnic will see students from Mexico join our rural suite of programmes over the next year.
The ministerial delegation was exposed to a range of learning at the campus, as well as experiencing a connection with our industry in the wine and cherry sectors with visits to Amisfield winery, 45 South Cherry exports and a range of other Central Otago export properties.
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Campus expansion plans gain consent (November 19 2019)
Plans to expand Otago Polytechnic's Central Campus have received approval from the Central Otago District Council.
Construction of new facilities at our Bannockburn Rd site are on track to begin next year.
The project would not be affected by proposed national polytechnic reforms, campus manager Kelly Gay says.
The council's hearing panel has granted land use consent for the polytechnic to erect buildings at its Bannockburn Rd site, on the outskirts of Cromwell.
Otago Polytechnic has proposed a four-stage development to expand the Bannockburn Rd facilities and relocate some operations from its Cromwell site there.
The plan includes the construction of a new cooking and hospitality building, incorporating a retail cafe/restaurant; a retail outlet for the existing brewery; a distillery, comprising a teaching facility and retail outlet; new propagation facilities, including retail sales of plants grown on site; and other new student learning spaces and administration areas.
Otago Polytechnic has sought a 10-year, "flexible consent" because of the staged nature of the project.
