Dunedin School of Art seminar program semester two - public welcome

Dunedin School of Art at Otago Polytechnic Public Research Seminars, Symposia and Postgraduate Workshop Programme, Semester Two, 2013

19 Riego Street Dunedin, Lecture Theatre P152, 12.30-1.30pm on Thursdays (except where otherwise indicated)

Note: All Research Seminars and Symposia are open to the public – all welcome, no RSVP and no charge.

Note: In accordance with the Otago Polytechnic MoU with local Kai Tahu runaka, we observe tikanga in our lecture and gallery spaces and thus request all attendees to refrain from eating and drinking (except water) and from sitting on tables in those spaces, thank you.

Seminar: Thursday 25 July (12.30-1.30pm) Alternative Realities By: Barry Cleavin Barry Cleavin has been involved in the making and exhibiting of prints since 1966. His prints and drawings generally interface words, images and paradox within the drawing, etching or digital mediums. Solo exhibitions have been presented under such titles as The Bitter Suites, As the Crow Flew, and Critical Masses. Cleavin has exhibited in many of the world's most significant Biennales – in Berlin, Krakow, Ljubljana, Paris, Sapporo, San Francisco, Tokyo, also regularly in New Zealand with works held in the collections of NZ public art galleries.

This seminar will be based around a notion concerning 'graphic literacy'. We have to learn to read drawing. We have to learn to read the print. Cleavin will present a series (mostly) of his own works where he will collide words with images and images with images. The seminar will be about literal / metaphoric / actual and virtual readings.

Seminar: Friday 26 July (2-3pm) What Should Artists Read when They are Doing Research? By: Prof. Ross Woodrow Professor Ross Woodrow is Deputy Director (Research and Postgraduate Studies) at the Queensland College of Art, Griffith University in Brisbane. His general research interest in the operation of visual images converges to a specialist focus on the themes of nineteenth-century racial representation, physiognomy, caricature and particularly the history and intersection of these areas. Having completed over 20 PhD supervisions, and examined a similar number, he is one of Australia’s most experienced academics in the field of studio research.

Postgraduate studio programmes vary considerably across Australia as elsewhere but there seems to be a consensus developing that candidates begin by defining a “Research Question”.  Prof. Woodrow will argue that this is a strategy to ensure that artists rush to the library or digital databases (if not Wikipedia) and privilege research methodologies that have little to do with the reality of studio investigation. To ask a studio practitioner to answer a research question is to ensure the subjugation of the studio output to a secondary role in the research. Rather than focus on the mysteries or metaphysics of the studio, Prof. Woodrow will answer the question in his title with exemplary suggestions and strategies for reading.

Seminar in 2 Parts: Thursday 1 August (12.30-1.30pm) 1.   Re-turning the Earth: Painting after a Berlin Residency By: Michael Greaves Michael Greaves is a Lecturer in Painting and International Liaison for the Dunedin School of Art

Greaves spent three months on an international   residency in Berlin, Germany, in 2012. This seminar reflects on experiences and investigations and focuses on how a sense of being “alien” in another country inspired a new body of work for exhibition in New Zealand.

2.  “Got Money from the Government”: an Augmented Reality Project By: Ted Whitaker Ted Whitaker graduated from the Dunedin School of Art with a BFA in 2010. He has exhibited locally at the Blue Oyster, None Gallery, Glue Gallery, The Dunedin Fringe Festival and The Anteroom. Ted is the curator for the DARt Collective (Dunedin Augmented Reality Art Collective), V-Space and Black Wax Surf Culture Zine. He works extensively with surfing communities, publishing zines and videos.  Ted is the Technician for Electronic Arts at the Dunedin School of Art, where he also teaches Digital Literacy.

A first major project after graduating with a BFA was to workshop new technology with Augmented Reality tools among a group of people. This seminar will expand on the process and challenges that came with obtaining a Creative New Zealand Grant for the project.

Seminar in 2 Parts: Thursday 8 August (12.30-1.30pm) 1.  Resisting Africa: a Postcolonial Project By: Victoria Bell Victoria Bell is a Lecturer in Textiles and Print at the Dunedin School of Art. She holds an MFA from Otago Polytechnic.  She was included in Ann Packer’s 2005 award-winning publication Stitch: New Zealand Textile Artists and received the Olivia Spencer Bower Award in 2006.

This project with soft sculpture textiles installation work was the culmination of Bell’s MFA research and has recently travelled on invitation to the Auckland Arts Festival. The seminar will focus on studio work which engages with tropes of colonialism (e.g. via British colonial furniture and hunting trophies) ) and how these can be subverted to critique a colonial desire for the “other”.

2.   “A Novel Excuse”: Being an Aratoi Fellow at the New Pacific Studio in the Wairarapa By: Anita DeSoto Anita DeSoto is a Lecturer in Drawing at the Dunedin School of Art. She has exhibited for 12 years, especially in Auckland and Dunedin. Her painting is located within the Neo-Romantic genre and highlights the uncanny, desire, seduction, pain and pleasure.

This seminar reflects on experiences while being an Aratoi Fellow on Residency in the Wairarapa during 2013.  The residency culminated in an invited exhibition at the Aratoi Public Gallery and new directions within the body of work shown there are discussed in the seminar.

Seminar in 2 Parts: Thursday 15 August (12.30-1.30pm) 1.   Analogue and Dialogue Drawing By: Kyung-Joo Kim Kyung-Joo Kim (KJ) is currently the Asia:NZ Foundation Artist-in-Residence at the Dunedin School of Art. She comes to us from the Goyang Studio at the National Museum of Contemporary Art in Korea. KJ has exhibited widely in many countries and contexts and will show her new work in the DSA Gallery during her residency.

ThT This seminar will focus on different types of drawing within the context of contemporary art. Drawing has come off the page in an era of expanded fields in the arts.  The seminar will focus on how the artist responds to new opportunities.

2.   Drawing Your Way Across New Zealand By: Hannah Joynt Hannah Joynt is a Lecturer in the School of Design at Otago Polytechnic and an alumnus of the Dunedin School of Art. She won the Christchurch Centre of Contemporary Art Anthony Harper Contemporary Art Award in 2009.

Hannah Joynt took some time off work to walk from Cape Reinga in the north to Bluff in the south over five months, drawing most days along the way. This seminar reflects on her experience, on drawing processes and the outcomes of the project.

Seminar Day: Friday 16 August: (9am – 5pm) WHOLE DAY MFA SEMINARS  (Separate Program TBC – 9 presenters, including lunch) – all welcome Organised by: Alex Kennedy A range of seminars will present the current work of postgraduate students at the Dunedin School of Art.  Programme to be confirmed nearer the date.

Seminar: Thursday 22 August  (12.30-1.30pm) What’s it Doing: Recent Art Projects By: Sean Kerr Sean Kerr lives and works in Auckland, New Zealand, where he is a Senior Lecturer at Elam School of Fine Arts, University of Auckland . He is currently undertaking further studies as a candidate for DOCFA and has  produced two books, Bruce is in the garden, so someone is in the garden, and Pop. Both were published by Clouds Publishing. Selected exhibitions include: Song and Dance, The Physics Room, Christchurch, 2012; Super music, Superdeluxe, Tokyo, 2011; Run Artist Run, 55 Sydenham, Sydney; Donkey Pong, I.C.A.N. Sydney, 2011; Bruce danced if Victoria sang, and Victoria sang; so Bruce danced, part II , The Dowse Art Museum, Lower Hutt, 2011; Bruce danced if Victoria sang, and Victoria sang; so Bruce danced, part I ,Artspace and Gus Fisher Gallery, Auckland, 2010; CMC, Superdeluxe, Sydney Biennale, Sydney, 2010; Ping Pong Pop, Electrosmog, Debalie, Amsterdam, 2010;Friends Reunited Part 3,Mirror States, Campbell- town Public Art Gallery, Sydney, 2008; Music 4 4 Blackberrys, Gus Fisher Gallery, Auckland, 2007; Neigh-bourhood Watch, SCAPE, Christchurch, 2006; Music 4 100 Computers, Rhizome.org Commis- sion, New York, 2006; The Mountain, Prospect 2004, Wellington, 2004; The Conversation, Seoul Biennale, Seoul, 2002; and The Binney Project, Te Papa Tongarewa, Museum of New Zealand, 2002.

Sean Kerr will talk about his recent art projects that investigate the emergent area of new media technologies, incorporating internet art, installation and sonic practices, but with a particular focus on the expectations and effects of interactivity. This often includes ill-mannered scenarios and 'misbehaving' machines that owe as much to communication theory as slapstick comedy, exploring both social and technological dynamics.

Thursday 29 August (12.30-1.30pm) Paradigmatic Phases in Visual Representation By: Prof. Estelle Maré Professor Estelle Maré is a Research Fellow of the University of the Free State and of Tshwane University of Technology in South Africa. She is the editor of the South African Journal of Art History. She was awarded the Stals Prize for her contributions to South African art and architecture.

Symposium Day: Friday 30 August (8.30am – 8.00pm) WHOLE DAY Art and Money Symposium (Separate Programme TBC – lunch and dinner included – all welcome.) Collaboration between the Dunedin School of Art, the Culinary Arts Programme at Otago Polytechnic and Brandbach, a division of the University of Otago School of Business.

This symposium will include 18 presentations by academics and artists from New Zealand, Australia, Greece, South Africa  and elsewhere. It will commence with a mihi whakatau at 8.30am and end with an exhibition opening and an art & food extravaganza from 5.30 – 8pm.

Thursday 5 September (12.30-1.30pm) Prawat Laucharoen and TR5 (Temporary Residency 5) Cork, Ireland By: Neil Emmerson Neil Emmerson is an Australian artist living and working in New Zealand. He is Senior Lecturer and Head of the Print Studio at the Dunedin School of Art at Otago Polytechnic. Noted for both his print works and his sculptural installations, he freely combines printed images with a wide assortment of other media (including plastics, fabrics and recorded sound) to create complex 3 dimensional structures and site specific installations. Through such assemblages he makes gentle play with notional oppositions, masculine/feminine, Eastern/Western and the public and the personal, variously exploring cultural traditions, sexual politics and personal desires. Since 1983 he has held over 25 solo exhibitions and his work has been collected by major Australian institutions such as the National Gallery of Australia, National Gallery of Victoria, Monash University Museum of Art and the Queensland Art Gallery.

Neil Emmerson attended the 5th Temporary Residency run by Prawat Lauchanoen in Cork, Ireland in June, 2013. Previous residencies have been held in New York, Hawai and Tasmania and are facilitated by Prawat and Anne Kirker. These residencies bring together a small number of print practitioners from around the world to work together and investigate the possibilities for contemporary print. Prawat is a Thai expat who has lived in New York since the 1960s where he has been a master printer and an artist working with print.

Symposium Day:  Tuesday 10 September (10am—4pm) WHOLE DAY Kai Tahu Visual Culture Symposium  (Separate Programme TBC – lunch included, all welcome.) Organised by: Simon Kaan and Pam McKinlay in conjunction with Kai Tahu artists and academics. A number of Kai Tahu artists and academics will present on their own work and issues raised in this work.

Seminar: Thursday 19 September (12.30-1.30pm) The Importance of Makeshift Structures: “House” and Identity. By: Ron Bull Ron Bull is a Senior Lecturer in the Treaty Education Training Unit of Staff Capability.  He is from a strong ‘mutton birding’ family and regularly makes the trip to the islands off the coast of Stewart Island to participate in the annual harvest.  This activity provides both a practical and a theoretical basis which helps to inform his self-identity both personally and within a larger socio-cultural construct.  His current area of research interest is the political economy of identity politics, in particular around landscape, food and economic practice.

The ‘wharerau’ or round house is a design structure commonly used in Southern Maori architecture.  While they have been referred to as “makeshift structures of little importance”, this will be explored in context, using Claude Lévi-Strauss’ concept of “house”, the physical and metaphysical arrangements around the social and political structures that tie an interest group together.

Film Screening: Thursday 26 September (12.30-1.30pm) Excerpts from “Paranesia” and the “Arts of Oceania” (TBC) By: Peter Stupples, David Green and Simon Kaan Peter Stupples is a Senior Lecturer in Art History & Theory at the Dunedin School of Art. David Green is a Lecturer in Electronic Arts in the same School. They collaborated on making the film called Paranesia, which includes interviews with contemporary Māori artists.  They also collaborated  on creating  a series of online lectures on the Arts of Oceania. Simon Kaan is the Kai Tahu advisor and mentor in the Dunedin School of Art.

Seminar: Thursday 31 October (12.30-1.30pm) Choreographing the Screen By: Daniel Belton Internationally recognised choreographer and film maker, Daniel Belton, shows his latest work and shares insights behind their making.  This opportunity offers a rare chance to see inside the artist’s process and talk with him directly about his work for stage and screen.

"My work explores the dance-screen relationship through a conceptual framework of time and space.  Choreography in moving image is sculpting with light. We are working the plastic space of the screen in a very physical way. This film window is as much instrument as the body is instrument. Both speak to each other in a kinetic sense. I look to produce work which challenges the way we perceive the moving body and how we interface with boundaries set by screens, cameras, projectors and post-production technologies." (Daniel Belton)

Seminar : Thursday 7 November (12.30-1.30pm) Report: “place_ment” , an exhibition in Florence, Italy, October 2013 By: Johanna Zellmer Johanna Zellmer is a Senior Lecturer in Jewellery & Metalsmithing in the Dunedin School of Art. She exhibits at Alchemie: The School of Contemporary Jewellery in Florence, Italy, in October and returns to report on a collaborative studio project and publication with two German associates.

Johanna Zellmer’s work in place_ment  explores experiences of migration and finding oneself in a new and strange country. She works with people from different countries who have come to New Zealand. National signage, passports and re-placement of objects on the body deploy jewellery and metalsmithing skills together with photography and bookbinding in a project consisting of many dimensions.