ART à la mode ♡
The Art Paper online bulletin
Resistant to Wear: Claudia Kogachi's Rugged Heart
Francis McWhannell writes about Claudia Kogachi's exhibition Rugged Heart at Visions.
Ben Sakoguchi, Chinatown
Ben Sakoguchi's witty combinations of commercial signage, history painting, and Pop Art comment on the American Dream and its fraught entanglement with xenophobia and racism. His exhibition Chinatown runs through 15 May at Bel Ami, Los Angeles.
Emily Hartley-Skudder, on kitsch and “suspicious pleasantness”
Emily Hartley-Skudder discusses her sculptural paintings in Germfree Adolescents, on view until 10 April at Jonathan Smart Gallery, Christchurch, Aotearoa/NZ.
We chat to Claudia Kogachi
The artist discusses the evolution of her practice, rug-making, and painting the people closest to you — in the context of her exhibition It is what it is, through 10 April at Jhana Millers, Wellington.
Yuki Kihara, サ-モアのうた (Sāmoa no uta) A Song About Sāmoa - Fanua (Land)
Yuki Kihara's evocative panoramic installation, サ-モアのうた (Sāmoa no uta) A Song About Sāmoa - Fanua (Land), on view at Milford Galleries Dunedin, 27 March–19 April 2021, Aotearoa (New Zealand).
An Interview with Tom Tuke
Tom Tuke discusses puppetry and his recent project, Paloma and the Do of Death.
New paintings by Jeffrey Harris
Jeffrey Harris presents his first major exhibition of new work in Tāmaki Makaurau in over 20 years.
Rea Burton, on friends and pests
Becky Hemus interviews Rea Burton about her painting practice, and current exhibition Mates at Robert Heald, Wellington.
In Conversation with Wong Ping
Sam Gaskin spoke to animation artist Wong Ping over Zoom about Fables 1 and Fables 2—on show through 29 May at Gus Fisher Gallery, Tāmaki Makaurau (Auckland)—and making art in Hong Kong under increasing political pressure from Beijing.
We visit the Raumati Toi Sculpture Symposium
On until 28 March at Takaparawhau/Bastion Point, Hapimana St, Orakei, Tāmaki Makaurau.
Present Tense
Micheal Do, curator of the Auckland Art Fair Projects 2021, speaks to participating artists Casey Carsel, Tanya Martusheff, Lucy Meyle, Elisabeth Pointon, Becky Richards, and Ashleigh Taupaki, in a roundtable discussion with The Art Paper Editor-in-Chief, Becky Hemus.
Highlights from the Auckland Art Fair 2021
Five artworks that still resonate.
Timeless Vessels
Julie Cromwell sculpts timeless vessels that explore the materiality of clay through forms inspired by antiquity. We sat down with Julie to discuss her practice, alongside her exhibition with Sanderson at the Auckland Art Fair.
Outtakes from our shoot with Issue 00 cover star Yona Lee
Yona Lee's sculptural practice combines elaborate linear structures of stainless steel tubing with everyday objects of urban and domestic spaces. Our inaugural Issue 00 features Lee photographed alongside a selection of her sculptures.
In print: George Watson on Robyn Kahukiwa
“Robyn Kahukiwa’s mahi toi is direct and bold, her paintings simultaneously embrace the warmth and richness of Te Ao Māori, of our values, spirituality, and practices whilst also depicting the fraught social realities for many Māori living in colonised Aotearoa,” writes George Watson in Issue 00.
In print: Priscilla Rose Howe on Susan Te Kahurangi King
“We have entered the realm of the otherworldly—the linear, the logical and the structured, folding inward and expanding outward upon the drawing plane. Her way of working has a strong sense of urgency and intuition, her mark-making has a zest that is distinguishably hers,” writes Priscilla Rose Howe on Susan Te Kahurangi King in Issue 00.
In print: Erin Griffey on Claudia Jowitt
“With Fijian heritage on her paternal side, Jowitt literally embeds her family roots––sea and land––into her works by incorporating shells and coral pieces found on the shoreline as well as traditional Fijian materials vau (Hibiscus fibre) and masi (Fijian white tapa),” writes Erin Griffey in Issue 00.
In print: Landshaping: Seeing differently with Conor Clarke, by Maya Love
“With words as her foundation, Conor Clarke walked around her neighbourhood, allowing intuitive associations to guide her choice of site and subject. She used a pinhole camera with no viewfinder, restricting her control over aesthetic choices and allowing for guesswork. The visual is no longer the only means of interpretation. Here, land is something to be smelt, touched, heard, felt and imagined,” writes Maya Love in Issue 00.
Print archive: The void and its parody: Thinking alongside Robert Jahnke’s Whenua kore, by Carl Mika
“Robert Janhke’s sculpture Whenua kore (2019) discloses significant possibilities for mātauranga Māori thought, raising the question of how Te Kore, or nothingness, impinges on our everyday activities,” writes Carl Mika in Issue 00.
In conversation with Emily Karaka
Emily Karaka’s works explore aspects of te ao Māori, and political and environmental issues. We speak to her about her career and some of the meanings within her paintings.