ESSAY by LUKE DUNCALFE, 2005
for Toby Collett “Processing Vision” exhibition at Window Gallery
Like the depressed Marvin from the Hitchhiker’s Guide to the Galaxy to Tony Oursler’s screaming avatars, we recognise more of ourselves in the disorders of behaviour than in any representation of personality functioning as personality ought to.
REVIEW by ANDREW CLIFFORD, 2005
of STELLA BRENNAN’s Wet Social Sculpture at St Paul St Gallery
After opening an exhibition, most artists are usually worn out from frantic last-minute preparations, working the room and then the obligatory late dinner out.
ESSAY by SIMON KONG
for Matthew Ayton.
Matthew asked me to describe my experience of sound and how it inspires me as an artist.
Flyer by DEIDRE BROWN, IAN CLOTHIER, LONNIE HUTCHINSON, JANINE RANDERSON, ANGELA MAIN and CAROLINE MCCAW, 2005
with an introduction and artists’ statements about four projects that were made in collaboration with computer science students from the HITLabNZ at the University of Canterbury.
ESSAY by ROBERT LEONARD, 2004
for STELLA BRENNAN’s exhibition Tomorrow Never Knows.
Brennan’s digital print reproduced an aerial view of a gigantic geodesic dome on fire, a plume of dark toxic smoke billowing from its pre-fab acrylic panels. It could have been a riff on Ed Ruscha’s The Los Angeles County Museum of Art on Fire (1965-8), except that Brennan’s fantastic image was for real.
ESSAY by SEAN CUBITT, 2005
for STELLA BRENNAN’s Dirty Pixels Exhibition.
Sometime between the upsurge of science fiction writing in the 1960s and the beginning of the new century, the future happened. The paranoia and the technofuturism were true: we have videophones! A shadowy cartel of vast corporations runs the planet!