Discussing Mo'ui Tukuhausia
This piece of writing is an interview between curator, Bruce E. Phillips and artist, Kalisolaite 'Uhila. The interview is about 'Uhila's time living as a homeless person as an artwork. 'Uhila lived as a homeless person from 19 March to 1 April 2012 to find out what it is like to be homeless. He aimed to see how other people perceived him as homeless and how he was treated.
'Uhila discovered that as a homeless person he was looked down upon by people in a higher social class than the homeless. He was spat at and abused verbally. He was mistreated, seen as inhuman.
My thoughts on the artwork, I feel as though 'Uhila proved that people can be spiteful and nasty for no apparent reason, other than merely seeing another human in a homeless state.
The text was very insightful and informative. I received a lot of information on 'Uhila's artwork. I learnt what it was, what it was about and the result. ' Uhila's interview answers explained a lot about the artwork and his findings.
'Uhila discovered that as a homeless person he was looked down upon by people in a higher social class than the homeless. He was spat at and abused verbally. He was mistreated, seen as inhuman.
My thoughts on the artwork, I feel as though 'Uhila proved that people can be spiteful and nasty for no apparent reason, other than merely seeing another human in a homeless state.
The text was very insightful and informative. I received a lot of information on 'Uhila's artwork. I learnt what it was, what it was about and the result. ' Uhila's interview answers explained a lot about the artwork and his findings.
'Uhila, K. and Phillips, B. E. (2012). Discussing Mo'ui Tukuhausia. In Phillips, B. E. & Lal, R. (Eds.), What do you mean, we? (pp. 46-53). Auckland, Te Tuhi Centre for the Arts.
Seung Yul Oh
This piece of writing is a critique on Korean artist, Seung Yul Oh's paintings and his painting style. It was written by art critic, Andrew Paul Wood, who writes "Oh's paintings make me laugh." The text is addressing the idea that Oh creates work that is funny, cartoon-like and cute. He mentions that the work of Oh is surrealist but also identifies recognisable forms in the work, Ssyang Bbong, such as birds.
Wood gives us a brief background on Oh which reveals a bit about the artwork. It is based on East Asian Pop Culture.
Wood raises the question - is there a place for humour in art galleries as this particular piece by Oh is 'funny' to Wood. I believe that art can play on any emotion or feeling, including humour therefore, yes there is a place for humour in galleries in my opinion.
Wood gives us a brief background on Oh which reveals a bit about the artwork. It is based on East Asian Pop Culture.
Wood raises the question - is there a place for humour in art galleries as this particular piece by Oh is 'funny' to Wood. I believe that art can play on any emotion or feeling, including humour therefore, yes there is a place for humour in galleries in my opinion.
Wood, A.P. (2009). Seung Yul Oh. In F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Black Collection (p.44). Wanaka: Real Art Charitable Trust.
Francis Upritchard
This article is talking about an exhibition by Francis Upritchard, written by H. Galbraith. It tells us that she made shrunken heads, a sacred item in some cultures, and given them characteristics to make them different. These characteristics are things such as 'comedic hairstyles' and moustaches to make them seem 'funny '. However, to some people they may not appear as humorous but instead may appear as disrespectful.
In a way, Upritchard is bringing humility to these objects and almost mocking cultures who see shrunken heads as sacred and precious.
The shrunken head, in this instance, is taken from the maori culture. Upritchard made these shrunken heads depicting NZ European (European descendants) or pakeha. Upritchard's heads do not resemble those of 'warriors or valiant tribesman', which Galbraith tells us they are traditionally supposed to depict.
In a way, Upritchard is bringing humility to these objects and almost mocking cultures who see shrunken heads as sacred and precious.
The shrunken head, in this instance, is taken from the maori culture. Upritchard made these shrunken heads depicting NZ European (European descendants) or pakeha. Upritchard's heads do not resemble those of 'warriors or valiant tribesman', which Galbraith tells us they are traditionally supposed to depict.
Galbraith, H. Psychic Pushing. In H. Galbraith (Ed.) Francis Upritchard: Save Yourself (pp. 31-33). New Plymouth: Govett-Brewster Art Gallery and Francis Upritchard: Save Yourself Project Team. (Exhibition catalogue.) (Plus images of Upritchard's work from pp. 94-96 and p 6.)
Octavia Cook
This text is an article about the work of Octavia Cook, written by Anna Miles. Miles has provided information regarding Octavia Cook's jewellery business, The name of it is Cook & Co, which Miles has revealed that this name was inspired by a well known jewellery company, Tiffany & Co.
This text enlightens us as to the 'symbol', or 'Coat of Arms' that represents the brand, and what it consists of. Octavia Cook has made jewellery based on famous silhouette jewellery that includes the silhouette of Queen Elizabeth II, in the piece Mutual Appreciation Brooches; OC Wearing QEII AND QEII Wearing OC.
Cook uses materials such as acrylic to make her pieces. Most probably because this is an inexpensive material that is easily sourced. It comes in a range of different colours; Cook uses a lot of different colours in her works. It is also an easily shaped material and can be adhered to other materials easily.
Miles, A. (2009). Octavia Cook. In. F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Silver Collection (p. 7). Wanaka: Real Art Charitable Trust.
Wayne Barrar
This piece of writing is about Wayne Barrar's photography work that shows familiar New Zealand landscapes juxtaposed with signs of humanity. It is written by Jill Trevelyan, and she has used Barrar's "Beneath Bowen Falls To Mitre Peak, Fiordland 2000" as an example to illustrate the nature versus man-made seen in Barrar's work. Barrar photographs NZ landscapes that have man-made objects in them, such as the wooden boardwalk composed directly in the centre of the particular work mentioned. Trevelyan writes of other examples of Barrar's work, such as a photograph of the Mohaka forest featuring a power pylon.
Trevelyan reflects on the fact that photography replaced the purpose of painting, which is to capture scenes for republishing. Barrar uses his photography to show these landscapes to an audience to show the transition of beautiful, untouched landscape to a human occupied and changed area.
Trevelyan, J. (2009). Wayne Barrar. In F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Silver Collection (p. 1). Wanaka: Real Art Charitable Trust.
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