Heather Galbraith Trigger Points

TriggerPoints 3 protectiveness that thisisoverly andhaseven cautious termed been “vindictive may have exposed been to. tends position Theoppositional to posit sexualacknowledges andviolenttraumas that members ofacohort attemptsmemories to create a‘safe space’ for learning,onethat lectures that may triggerstressful anddamagingsublimated to warn students ofviolentand/or sexual content or ofcourses has generated heated debatecampus. Theimpetus onandoff learning contexts andbroadcasting. Theconcept and ispolarizing and destabilising. ‘Trigger warnings’ have commonwithin become elicit aninvoluntary response ormemory, onethat may traumatic be psychological process. across both stimuli andaffect, isadeeplyphysicalremembering and andvisceral Thisbodily cathartic. allusionintends to that suggest painful, yet theirrelease through manipulation headstowards the may appreciate spots initiallyintensely howhoninginonthese be can have undergone physiotherapy orhadadeeptissuemassage,you that istightandsore or‘knot’ of anodule whencompressed. Ifyou where muscleandnerve fibres meet, often typifiedby thepresence than surgery, drugsorpsychology. Itrefers to hyperirritable spots treats injury, deformity ordiseasethrough physical methods rather stems from point’ The term physiotherapy, ‘trigger apractice that mercurial, influencedby morph and be itcan therecall trigger ofrememberingaspects is that amemoryisfleeting. Itisalso understood rationally. Oneofthedelectable anddeeplyfrustrating or encountersactions are felt physically andemotionally aswell stimuli, haptic encounters andvisceral prompts, andhowepisodes, memory. Itexamines theway are memories triggered by sensory the United Kingdomto explore thepotent nature andslippery of fromworks NewZealand, theUnited States, Australia, Finland and bybonded interest orexperience. and charged for be, can individuals, and communities memories around triggerwarnings isalsoanindicator at just howcontentious potency, affect andquestioned veracity ofmemories. towarnings se,thetitlealludes surrounding per theissues the similar conditions.Whilethisexhibition not does address trigger may not constructive be inthetreatment ofanxiety, PTSD and In popular culture a ‘trigger’ can fire can asmuchitcan aweapon cultureIn popular a‘trigger’ Trigger Points draws together contemporary andhistorical 1 ”, noting that avoidance ofcharged matter subject 2 Thefracas memory-syndrome abuse-false- apr/07/sexual- science/2009/ theguardian.com/ https://www. founded in1992. Foundation was Syndrome the False Memory and intheUSA presses, popular and in specialist Memory Syndrome analysis ofFalse accounts and many published There are 2. mind/399356/ the-american- the-coddling-of- archive/2015/09/ com/magazine/ www.theatlantic. 2015, http:// Atlantic , September American Mind’, The ofthe Coddling ‘The and Jonathan Haidt, Greg Lukianoff1.

ideological oreconomic reasons.”ideological ofgunshotvictims assassinations “perpetrated for ethnic, political, Stars’ ofworkisdedicated in2014.Thisbody whichbegan to series, charts its opposite, (conscious theact orunconscious) offorgetting. of remembering theact about withincontemporary society. Italso complex understanding ofhowmemoryoperates andhowwethink history ofmemorycharts arocky passagetowards anincreasingly and recalled through (and re-made processes ofrecollection). Any constructed, mightbe conditions onhowanindividualsmemories than thepotential andcultural influenceofsocial environments and tendencies to leanmore onneuroscience andpathology rather Danziger alsoplots thedevelopment ofpsychoanalysis, highlighting cognitive memoryover organic somatic, memoryexisted. orbodily mind andthebody, where distinct hierarchies of‘intellectual’ or shifted dramatically. ashifting Heoutlines dualismbetween the andits withinourlivesworks significance structures andsocial has andculturalperiods contexts theunderstanding ofhowmemory interwoven evolution of‘memory’ where withindifferent time writer andhistorian Kurt Danziger traces anincredibly complex, communities (e.g.communities Reshina McBrideandTrayvon Martin). and theintense pressures felt by African workingclass American who have symbols become ofsystemic, institutionalised racism, andSitting Bull),others prominentX, less priorto theirdeath but or first are nation. Some iconic(e.g. Martin Luther King,Malcolm Trigger Points feature citizens, American primarilyAfrican American forgetting). Akinto abraided river presents ofremembering that works address (and thepolitics of drawing, juxtaposition/collage, andacts ofrepetition. Italso of smell,touch, submersion, psychoanalysis, incantation, theact terrain thisexhibition to seeks chart. is areflex, orisprone to infusionby figments ofourimagination is ofremembering.episode Thedegree to ofrecollection whichtheact or accumulative associations from thepresent that imbueeach gestures andmoments ofromanticism intheexhibition. bleak threads intertwine withhumorous, sardonic andpolitical Sasha Huber brings eight works from brings eightworks Huber Sasha theongoing‘Shooting The exhibition explores (without ahierarchy ofvalue) triggers Through thedevelopment ofahistory ofkindsmemory 5 The works presented Theworks within � , dark, traumatic, violentand , dark, 4 , com/?cat=10040 sashahuber. http://www.5. Paulo, 2008. Delhi, Singapore, São Town,Cape Madrid, Melbourne, NewPress, York, University , Cambridge Memory Mind: AHistory of Marking the 4. Kurt Danziger, wiki/Braided_river en.wikipedia.org/ https://load. or large sediment and/ high slope inriversoccur with Braided streams aits oreyots. or, inBritishusage, braidcalled bars temporary islands by smallandoften channels separated network ofsmall that consists ofa and hasachannel of channeltypes is oneofanumber Abraided3. river

TriggerPoints 5 photographs Noble madeusinganelectron microscope to enable data capture and analysis. microchips inserted that be can undertheskinaskeys to enable devices whichchart every step (every quickening ofheartrate), or integrated be can onto orinto thebody, monitoring suchasfitness stored andrecalled faster, usingincreasingly tiny gadgets. These memory. Since1999, were works whenthese made,data be can negate theneedfor theslippery, subjective ofhuman qualities Toolsrecall-on-demand. suchastouch memorykeys orbarcoding to mechanized meansofdata capture, summarization, storage and to ofthefingerprint, theuniqueness andsets upadistinct contrast based meansofnaming.Thenaphairstubble seemsmore akin atoolcoding, oftechnological monitoring andcontrol; apattern- with acompatible station. docking They developed alongsidebar store information, which release data whenthey into came contact but italsorelates to digital keys ortabs developed inthe1990sto touch (as inferred inthiscase scent/musk) asamemorytrigger, and scenario. ThetitleTouch hastwoprimaryreadings; Memory recall of not onlyamemorytriggered by touch, butalsoofscent This suite ofthree blackandwhite isvisceral images andstimulates hairfollicles emerging fromhair re-growth—dark pale,white skin. It explores thetopography ofthebody, inparticularpatterns of PrizeNobel recipient. heard by millionsaround theworld,andwhowas theyoungest-ever attempt onherlife, nowanactivist for female education whois Yousafzai—the to onlyperson intheseries have survived the shortage to ofpeople remember. Arecent Malala additionincludes of veneration sadlygrows asthisseries andgrows. There isno piece oflarch iscovered wood withwhite goldleaf, afurtheract to afiringrange rather thananartist’s studio. The surface ofeach artist donsearmuffs andsafety asifshewere goggles, heading while feeling, through herwholebody, ofrendering. theact The form usingthelinearmetalic staples isameans ofpaying homage, hundreds andhundreds ofslowlybuildinga Thisact oftimes. gun, intentionally ofpullingaguntrigger, mimicingtheact No Vertical Portraits Bee offifteen isaseries Song /theDead Anne Noble’s Touch gets series Memory upcloseandpersonal. Each workismadeusingavery forceful highpressure staple as amemoryset just into thefuture honeybee. Theartist hastalked asoperating images these about catastrophe theworldisfacing through therapid demiseofthe is aloving portrayal, aheart-felt for eulogy thenearecological hair folicle, andthephotoreceptors eyes. ofthecompound This forensic memorialportraits ofdeadhoneybees. We seeeach there isnolensofcamera to of” speak through are laying wingsonfilm.Theimages bee of light, “traceries panoramic in play includethelarge withinhivesOtherworks andcolonies. honeybee, andhowweunderstand thenetwork systems that are Nobleismakingto ofseries number examine theconditionof action onnaturalaction systems.” biological and imaginative to capacity fullycomprehend ofhuman theimpact ask someparallel butdifferent that questions draw onoursensory populations withthedeclineinpollination. Arthasanimperative to technology onthehealthofenvironment to andtherisks bee are struggling to understand, contain of andmanagetheimpact sustainability. ofecological issues about Noblereflects “Scientists keeperqualified bee andasacitizen whoisincreasingly concerned of thehoneybee onmultiplelevels, asanartist andresearcher, asa pressing concerns.Nobleisdeeplyengagedinthelife andplight is anintended lure to engage theviewerinmuchbiggerandmore refinedthese (even seducetheeye, images romantic) this Isuggest onpollination withinandoutsideimpact ofcommercial While uses. of honeybee inthewild.Nobleinvites colonies usto considerthe more salientandurgent isthealarmingandsuddendisappearance with dignityandaffection. They are mournedasindividuals,but sculpture orRenaissance portraiture. creatures These are treated seemsto ofeachbee The pose to nod from compositions Classical imaging technique embraces contemporary imagingtechnologies. reference anhistoric ofphotographic mode portraiture, yet the Freud Museum,London. Freud’s treatment room, set inalarge conservators ofSigmundFreud’s psychoanalytic couchfrom the laboratory, microscope. andexamined thoughahome-made thistimefromdead bees, discovered collection amorphological ina (2015)alsoimagefragile wingmorphology Bee wingsplucked from Jeremy Millar’s Analysis documents theliteral analysis by Spectregraph photogram (2014–2015) works made 6 . Theblackandwhite images 7

No Vertical Song isoneofa 8 . Thejewel-like tintypes 2016 and author, 28April between theartist Correspondence 8. noble/ conversations/anne- com/magazine/ https://ocula. February 2015, Wellington, 13 Chalmers, Kate Brettkelly- , with AnneNoble Aconversation 7. 2016 the authorFebruary Conversation6. with

TriggerPoints 7 televisual culture intellectuals/analysts isoutofkilter withwhat isusualwithin is role-play andwhenbigotry strikes areal chord. at points during the work. Butitremains ambiguousasto at pointshowmuch duringthework. brought into focus whenboth they break andBell character andlaugh isblatantpeople andovert. Thecomplicity ofthecast white youth is into ofexcruciating series jokes where racism directed at Aboriginal confessions are inaneandself-centered, andthey alarminglydescend sporting goldbikinisandbudgiesmugglerssporting dreamsthe hopes, andfears ofblondewigged,white Australian youths when artist/activist Richard isintherole Bell oftheanalyst, hearing again. Theiconicchaiseloungeisfestooned withrugsandcushions psychoanalysis thanwemay first think. the ‘patient’. Arguably ithasmore incommonwiththeprocess of intense dutyofcare anddedication to andsurvival thewellbeing of room for emotion orinterpretation. Rather itisonegoverned by an conservation.of museological Thisisarealm where there islittle of thisparticularobject, processes andalsothehighlyempirical andnotationassessing inintense detail talks to thereification of‘lifeauspices preservation’. Thevisualrecording ofthemeasuring, of psychoanalysis to subject being forensic examination underthe There isadeliciousirony inoneofthemost wellknownplatforms close scrutiny, whichoccurs inavery slowanddeliberate fashion. cushions. We bare, theobject witness elevated andlitto enable iconic couchdenudedofits oriental rugsandlush,patterned curious visitors andthoseonpilgrimage.InAnalysis weseethe is appropriately aquite fetishistic set up, many andwelcomes as ifFreud hasjust left theroom to take oracupoftea. acall It dwellinginanaffluentleafydomestic London suburbis staged Juxtaposed are scenes withthese moments where himselfis‘on Bell is explicitly through lampooned theskimpy attire oftheyouths. and stretched over culture multiplesuburbs.Thebeach ofAustralia surf lifebeach savers, butquickly grew to involve over 5,000 people the initialtension was located between Lebanese young menand media outlets. Referencing the2005riots inCronulla, Sydney, where opinionssharedand echoes across both andmainstream social Bell hasobservedBell theappearance oftwoAboriginal In Richard Bell’s Scratch anAussie, thetreatment couchappears 10 . Thisvideofrom 2008remorsefully still smarts 9 . Their testimonies and . Theirtestimonies and

the bikini’ ‘Sinister truthbehind 10. Hartford, Sonia seekers proud leisurebody aquatic athletes, and by lifesavers, surf are commonlyused which costumes, male swimming tight fitting for very brief Vernacular9. html 20130205-2dwdb. behind-the-bikini- sinister-truth- art-and-design/ entertainment/ theage.com.au/ 2013. Australia, 6February Age , Melbourne, , Melbourne, http://www. , The The Te Māori,andhave return’ worked with theideaof‘the to understand Art, NewYork. anniversary ofthedawnceremony at theMetropolitan Museumof Te Māorito theUnited States. September 2015marked the31st New Zealand,ittravelled butin1984 withthelandmarkexhibition currently located inPuke withinamuseumcase Ariki,Taranaki, at adigital visualization presented at a1:1 Thistauihu scale. is artists have arriving using 3Dscanning, theobject visuallymapped carved within theTe Huringa1stylistic The classification period). figurehead/prow from ofaMāoriwar canoe theTaranaki region, by Stuart Foster andKura Puke. Theworkcentres onatauihu (a compelling inequalmeasure.compelling oreroded.embellished Theresulting are works uncomfortable and imagery isdisturbed, yet itisambiguousasto whether theimage is violence inthetransformative process. Theoriginalphotographic diamonds butare considerably more gaudy. There isaninherent thirteen cubiczirconia (synthetic gemstones) of that qualities ape the traditional material associated withtheform, Fritsch embeds jade) earpendants prominent withinMāoriculture. Instead of astheformform (greenstone/ ofpounamu akapeu shape—known severe, scoringthrough theimageandinto thealuminummountto In board itself butalsoform abrutal visualmaskor interruption. atop metals and/or jewels.Therectangular slabsofsilver andcopper over thetop orembedding orbackintoappending images, these image ofanAryan group givingaseigheilsalute. Fritsch works Leni Riefenstahl’s OlympiaPart I&II),theother are-photographed (asis thedisusedoutdoor seen from pool Olympics the1936 Berlin Aotearoa, NewZealand. Two highlycharged are images used;one drawn from thecontexts oftheirhomenations and ofGermany oblique. Fritsch andHipkinsbringtogether imageryandobjects traumatic matter. subject saidto be Theirhandlingofitcan more be FoleyGary taking therole inthehot ofanalyst seat. andBell the couch’, thistimeamore swanky, white divan, withfellow activist Der Tiefenglanz (Kapeu)Der thejuxtaposition ismore physically The artists have engagedwiththecontext andongoinglegacyof Exploring fluidstates anddissipation ofbecoming isTe Mauri Karl Fritsch andGavin alsoaddress Hipkins’works potent and Der Tiefenglanz (Sprungbecken)Der ofthediving echotheshape

TriggerPoints 9 reference to thenotions oflightwaves andfrequencies.” ‘ understanding ofanultimate reality ofallthings: asenergy, with is expressed through performative incantation that reflects an tangible andtheintangible. Theartists have noted significance “This ofthe‘object’The significance inMāoriculture the encompasses of thetaonga (as to opposed afocus to its aesthetic qualities). ephemerality, drawing focus to theperspective ofcultural value of ceremonial incantation isheard. Thisheightens thesenseof so from therear From ofthecase. views,onlytheaudiotrack these in thesequenceitappears empty from thefront, andalways appears European settlers. conflicted timeofcolonisation ofAotearoa by the Britishcrown and this antiquated technology inTe Mauri points backto acrucialand technologies, digital animation andvirtualreality, buttheuseof Pepper’s Ghost illusionshave by usurped longbeen holographic Professor JohnHenryPepper andEnglishengineerHenryHicks). technique usedinTe Mauriwas developed inthe1860s(by within atikanga-based (ceremonial) context. ThePepper’s Ghost present visualisations ofhowtaonga are regarded andexpressed technologies: pushingthelimitsinorder ofits capabilities to digitalillusory imagingtechnologies andalsoutilises 4Kimaging within aneternal loop. transformedbeen into points oflightanimated to form anddissolve consent ofthekaitiaki (guardians) ofthistaonga, andthisdata has back to NewYork in2016. withthe scanned hasbeen Theobject the implications ofvirtuallybringingthistaonga (cultural treasure) heady spacefor narrative to emerge. Thepairingofahallucinogen linen. Thecombinationbed ofthetwoseems intentioned to create a produce effects) hallucinogenic andthesmellof recently departed family, knownfor its abilitythrough orsmokingto ingestion elicits associations ofthedatura plant(a ofthenightshade member mistedwhich inturnholdapaper withconcocted scent. Thescent In thisworkMitchell presents thinbrass strips together clamped explores adifferent ofthe intangible, aspect potency the of smell. mauri’ manifest inthisphysical realm: Te aomarama, often through Te Maurifeatures acabinet withsidewalls only. At somepoints The morphingprow ismanifest through earlyanalogue Vespertine (Datura, Slept,2014by ABed inOnce) Dane Mitchell 12

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Wellington, 2015. Massey University symposium, Triggering Memory Abstract for Kura Puke, Foster, Stuart 12. directional lamp. by apowerful stage, illuminated the level of the figure below set angle, withthe degree atset a45 an unbacked mirror reflection through through controlled at will disappear materialise and and forms could spectral figures in theatres, where was initiallyuses Victorian illusion history.html This peppers_ghost_ eyeliner3d.com/ 11. http://www.

The instructional tone to many of thedrawings that seekto map, thedeath ofalovedWitnessing oneforever scars thosethat live on. the manhimself, and to thedeeplyundignifiedprocess ofdying. leadingtoillness hisdeath. Itisanincredibly moving testimony to aimer inLiberatorbomb inWWIIandhis experience Bombers of (1992) bringstogether drawings relating to herfather’s role asa haunted usfor years. the cripplingfeelings of fear whenweconfront something that has identify withMorgan’s allempathize phobia,wecan specific with water wouldhave terrifying been for Morgan. Whether ornot we priortopool theperformance at Lovers’ Any volume Beach. of Morgan attempted thesubmersion intherelative safety ofahotel experience. Thevideofeatures imageryfrom whenRichards and accompanying text read by Richards attest, thiswas adisturbing seated mutualtrust. However, asboth thevideoimageryand Morganplace because andRichards are partners withadeep- of submersion inwater ever since.Theperformance couldtake catharsis. Morgan nearlydrowned petrified asachildandhasbeen J.hold Sally Morgan underthewater ofconfrontation/ inanact and Richards staged aperformance where Richards Jess would For aninterdisciplinary symposiumMorgan intheBahamas, explored indrowned/undrowned (2015)by Morgan andRichards. horse urine,weget scents that packanevocative punch. decayingof ahorsestraw, stables, with tones ofhorse musk, and whichrecreates (2013), andtheearlierworkEpona Once) thesmell direct olfactory encounter. WithVespertine (Datura, Slept ABed in withthepromiseoccasionally ortheideaofasmellrather thana a perceptual catalyst, andtoying workingcloselywithparfumeurs Mitchell hasexperimented extensively withthesenseofsmellas the exhibition, inherently scentbeing fleeting andhard to replicate. Thetemporaland memories. to oftheworkissignificant aspect ofinsomnia,orthedesirethe possibility toeveryday escape events experiences oftheday butthere abound, isalsoadarker undertone; mergecan imperceptibly withimagination asourbrain processes wheremoments ofslippinginandoutconsciousness memories with asite for sleepingischarged. References to dream states, A secondworkby Morgan, ALife inDiagrams a handmade book A sensoryexperience ofanother, more harrowing kindis

TriggerPoints 11 and historical context, includeanumber ofworks thiscollection contemporary Very artworks. diverse intheirmedium,content and charged to connections drawn be between thehistorical and selectedCollection, by Andrew J. asuite enables Saluti, ofsalient of losslife, andloss oflove. architectural borderland, Te Ao proposes extensions of disconnect, the provisionary setting ofadisusedwarehouse, assomekindof lament between ofBurnett theworks andTe Rohu. Cast within cultural contexts Te Ao traces identifiably similarsensations of wish ofTe Rohu for itto knownthat be thiswaiata Rapa in1846. InthesameaccountTomo that itwas the describes who was killedalongwitharound fifty others inalandslideat Te shortly after thedeath ofTe Rohu’s father Te HeuTukino II unworthy.” Te Taite Te Tomo that thewaiata describes from asuitor andpotential husbandwhowas eventually deemed TeAs Ao observes “Te Rohu issaidto have contracted leprosy acknowledged astheauthorofHewaiata mote mate ngerengere. interplay between thecouple. the exchange highlights thetense, charged andmessy emotional rendition ofThisBitter by Earth Clyde backdrop, Otisasmusical with hiswife intheirdimlylitlivingroom. WithDinahWashington’s Burnett’s Set inthelate 1970s inWatts, California thenotable scenefrom the imaginedintersection twoseeminglydisparate ofthese texts. new workTe Ao plots from offilmicsequences asmallnumber filmKillerof directed Sheep the 1977 by Burnett. Charles Inhis ngerengere ( a Ngāti Tūwharetoa waiata prompted by twokey reference points; anEnglishtranslation of emotional experiences ofMorgan andherfather. treatmentand inmedical ofdisease,onlyamplify theheightened technology,and explain mechanics, andstrategy inboth warfare initial colonialcontact.” not onlyafter thelossofherfather after butalsoduringthetimes The inclusion of works fromThe inclusionofworks theSyracuse University Art Although written invastly removed histories andsocio- Te Rohu ofNgāti Tūwharetoa (which isTe Ao’s iwi)is Shannon Te Ao’s (malady) newvideoworkUntitled (2016) is Killer of depicts theprotagonist Sheep Stan slowdancing Song for aleperous maladyc.1846) andascenefrom 13

(song/lament) Hewaiata mote mate was authored was written 2004. Auckland Press, University of Auckland:5th ed. (PartSongs One), Mōteatea The P. Ngā eds. Jones A.T.13. Ngata and strongly informs the way we de-code or unpack these recollections. orunpackthese strongly informs theway wede-code immersed induringthisprocess ofrecollection isnot neutral, it Our individualstate andthesocio/cultural/political context weare augmented (heightened, coloured, edited) through recollection. a process where ourperception ofrecollection andsequences are presented here tease outtheideaofmemoryasanactive principle, was developed Works alongsideistitledMemory retained ordiscarded by theviewer. Thesymposium thisexhibition and difficultmemories be considered,to andeitherexperienced tactile andolfactory triggers surface can charged, complicated hierarchy ofstimuli. to Itseeks provide aspacewhere visual,audio, process ofshared experience inhisessay. J. explores Saluti therelationship between printmakingandthe statement andrepresentations ofdocumentary imagery. Andrew air. There is strong metaphorical imagery, alongsidepolitical of more halcyon subjects, yet allthree have adecidedlymelancholic The atmospheric by works Bolton CoitBrown initiallyto appear be in heightened group conflict/trauma Callot, (Jacques AndyWarhol). sometimes alone(Leonard Ivan Baskin, andsometimes Meštrović) of renderings ofthehumanform incontortion anddistress, The exhibition not does aimto make anargument for any 14 . Theartworks Papers, 2015. Works Callfor are not)?”, Memory function (andwhich having amemorial “works” as seen ways are specific work? Inwhat aesthetic/existential cultural/political/ carry outtheir How domemories perform?memories the circulation of as: What work does interpreted, such this phrase canbe the various ways conversation about toseeks provoke Works” and theme is“Memory symposium’s 2016 14. “The

TriggerPoints 13 Andrew J. Saluti Shared Experience of and TheProcess Memory: Printmaking The Impression of

shared artistic experience. and effective mediumwhenconsideringmemoryasapartofthe acutely, through theart ofprintmaking multiplicity. Photographs, cast sculptures andmost andceramics, elements ofrecollection mayexpressed best be by theprocesses of equally considered inelicitation ofmemory. Whencombined,these the conversation oftriggeringresponse,the act theartist’s intent isalsogermaneto the intended concepts to theutmost audience.Whenconsidering garneragreatermultiple can ofexperiences pool anddisseminate work acts asacatalyst for thedesired response. Theartofthe an interpretation oftheartist. Thereproductive ofthe component toopposed theuniqueexperience ofasingularpaintingthat is from ourenvironment, andviewedby many simultaneously, as that photography yield:arecognizable can image,captured looking atlooking it.” than apainting,may changeits meaning according to whois eachoneofusforgets“because different things,aphoto, more onthechosenoutput.depending experience have, can from exponentially be eitherside,can altered relationship between artandmemory, that theimpact amemoryor technical process that anartist employs inthisequation for the complete thisbasicprocedure. Ifoneconsiders thevariable of concept imagery oreven innate humanbehaviors asatool to convey their take advantage ofthis,drawing onshared experiences, popular art and ubiquitous way memoryinserts itself into anencounter with will process thisnewinformation. Thismay themost be profound experiences andideasto inform what they see/hear andhowthey and where theviewerbringsto theexchange theirownpersonal knowingly ornot, releases thecontrol ofmeaningto theviewer, is constant. inthisconversation, There where isa‘trust’ theartist, static orephemeral, theinterface between theartist andtheviewer hearing, experiencing. Whether the workisflat ordimensional, experience; what heorsheisseeing, andtheviewerassesses give andtake. Theartist presents anidea,emotion, an The relationship between the artist andtheviewerisasymbiotic — Art critic, authorandartist JohnBergerArt critic, stipulated that one that isunconsciousandinvoluntary. Routinely artists will — dependent onthematerialdependent brought by theviewerto 1 Berger was inpartreflecting ontheshared nature — so theartist’s concepts andinterpretations are — a historically significant Penguin 1973. Books, Corporation and British Broadcasting . London: of Seeing JohnBerger.1. Ways

TriggerPoints 15 reminiscence oftheartist’s exact mark of themaker’s inspiration. They store for future distribution the or thestencil-like ofasilkscreen, mesh isthephysical incarnation the engraved onaflat plank, sheet lines a wood orzinc, ofcopper image. Thecreation whether ofsaidmatrix, it’s acarved relief on element manipulated by theartist orcraftsman to create arepeated andconcept.function Itwas thefirst artform to utilize amatrix- an Grandes MiseresdelaGuerre ( and battlefields, Callot’s Les arguably most important work, on paper. Well knownfor hisvast, multi-plate viewsofbattles depth offield,asensespacenot seenincontemporary works on thetwodimensionalplane.His etched environments offer a artist’s line plate andtheamountoftimeacidisallowedto eat away at the by altering thewidthsofhisdrawing tools against thegrounded of thevarying weights oftheetched line a pioneeroftheburgeoning process ofetching. Hisdevelopments commentator anddocumentarian. Trained asanengraver, Callot was and most influentialexamples oftheartist/printmaker associal both avisualartandchronicle histories. ofsocial the print, andlater photography, have dualroles had significant as shared history transcends andtext. books For theart of centuries, of theprinted word, that theimpact printmakinghashadonour While Dicken’s quote ismainlydirected to andimport theimpact only product ofcivilization to necessary theexistence offree men.” wonderful progress energy ofmechanical andskill,theprinter isthe all discoveries inscience andart, ofallthegreat results inthe maintaining anartist’s physical andconceptual intent. of theprintexceeds ofany theimpact singularpaintingwhilestill as astatement ofhistorical record to passedon…thereach thenbe asatool usethisobject The viewercan ofreflection, asdecoration, to simultaneously be experienced enmasseaswellintimately. process, historical asingleartistic, perception orsocial hastheability in massthrough theimpression from matrixes. these Through this The reflection distributed, be can works ofthese recalled, andshared The printuniquelyevokes thepractice ofmemoryinboth Jacques CallotJacques (French 1592–1635) isoneoftheearliest DickensIn 1850Charles wrote that “…Of allinventions, of — allowed Callot to ofperspective pushtheboundaries The Miseries of WarThe Miseries ) from 1633, — an artistic hippocampus. an artistic hippocampus. — masterfully worked Syracuse University withaMasters degree inPainting, Brownand atmospheric landscapes. graduated from viewer beyond theirphysical space,through hisdelicate print process to create that works wouldtransport the altering theweightandcontract oftheetched line. to create depth offieldthrough various etching techniques create ashared experience amongasingleartist’s vision. impact to war, recorded andreproduced inmassfor maximum since.” commentary…social hasinspired antiwar ever depictions ofmilitaryday-to-day consequences affairs. Theirbitter portable, sharable, and“exposed inrealistic detail the the ThirtyYears War inEurope. Theprints were small, atrocities andwarmongering observed first handfrom Consisting of18smalletchings, depicts the theseries would influencetheartist’s role insociety for centuries. Like Callot, Bolton CoitBrown (1864–1936) utilized the This large impression (above) illustrates Callot’s ability 2 They offer animmediate andguttural response —

realizing acontrary ofviewthat point would Society, 1985. Philosophical PA: American Philadelphia, Society, pp. 79–106. Philosophical at theAmerican HeldA Symposium andSciences:Arts No. 6, TheVisual Series”, Vol. 75, Society, New Philosophical of theAmerican from “Transactions , Century Europe in Seventeenth of Changingvalues Warfare: AStudy Rabb, K. Theodore 2. etching. at Florence), 1622, (or Fair at L’Impruneta Callot,Jacques The The Great Fair Artists and

TriggerPoints 17 the memoryofexperience: themist kissing your skinasitfloats feelingtriggering aspecific aresense ofplace.Thescenes often subtle, soft, butdeliberate in heavily influencedby Tonalism, capture asurreal, transcendental printmaker. Bolton Brown’s experimental lithographic landscapes, process theartist’s that heinsisted that heco-sign editionsasthe BrownGeorge Bellows. believed sofervently inthecollaborative artists such asJohnSloan,Rockwell Kent, and most significantly mastery oftheprocess would leadto master becoming printer for new methods ofpreparing andetching lithography stones more than500recipes for lithographic crayons andvarious art oflithography, onthetechnique obsessing anddeveloping Show inNewYork City. At theageof50Brown taught himselfthe as apainter,little success Armory thoughhedidshowinthe1913 New York, usingtheutopian ofJohnRuskin. models Brown had found theByrdcliffe Colony intheCatskill Mountains of Woodstock, insistence Hewouldcontinueonto ontheuseofnudemodels. Drawing andPainting in1891 traveling to west California to establish Stanford’s of Department — — one that conjured couldonlybe from only to dismisseddueto be his 3 . His brown-1864-1936/ com/572596/bolton- fletchergallery. 27, 2016. http:// Accessed April website.Gallery Brown. TheFletcher Artist: Bolton 3. Alabama. riots inBirmingham, documentary ofrace photographic Moore’s original May 17, 1963. Charles LIFE Magazine, grounded counterpoint to theircontemporaries. Identifying with and MauricioLasansky, developed genre apowerful that acts asa attention, agroup ofartists includingLeonard JackLevine, Baskin, of Pop Artdominated themainstream andgarnered international the familiar. reinvent them,triggeringanewexperience with what wethinkofas nature oftheprintprocess to manipulate and well-knownimages nightmare recalled from aterrible reality. Warhol thephysical uses Moore’sCharles originalphotograph are degraded, dirty, like ahazy image to changetheviewer’s established context. Thedetails of Warhol alters thisimage Alabama activists andthecivilrights movement inAmerica. outrage from thatsupport would“win allover theworld”for the Attack istheNegroes’ Reward’. an caused Theoriginal images LIFE Magazineinamontage that illustrated Dogs thestory ‘The The originalphotograph was featured intheMay 1963 editionof wellknowntowould be the1960s culture oftheUnited States. to viciouslyattack African demonstrators, American ascenethat RiotRace , Warhol appropriates allowed dogs animageofpolice ideas ofourshared Inhisscreenprint massidentities. Birmingham their concepts, creating inmultiplethat works reflect and images Roy Lichtenstein, Richard Hamilton andAndyWarhol. States aswelltheUnited Kingdom,leadby artists Oldenburg, Claes art form meantfor Pop massappeal. ArtflourishedintheUnited from culture, popular massproduction, advertising to create a“low” artists to began rebel against thegenre, opting to draw images upon hub ofwestern artfrom Paris to NewYork City. later, Adecade many AbEx dominated theartscene,andresulted intheshift ofthecultural automatic, impulsive, non-representational ofcreation. modes Expressionism, thefirst artmovement trulyAmerican featuring their embattled homelandsledto theevolution ofAbstract consistency withbroad appeal. him to recreate andshare sensations inastounding these detail and branches ofatree. Brown’s ultimate control ofhistechnique allowed above alake at dawnorthesoundofa faint breeze ticklingthe At thissametime,whenAbstract Expressionism andtherise Pop artists sawtheprintmediumasidealprocess to reinforce After World War II,themassinfluxofEuropean artists fleeing — cropping reframing thecomposition, the 4

May 17, 1963. Magazine, pp. 30–31. Reward’, Life is theNegroes’ Dog’s‘The Attack Moore, 4. Charles

TriggerPoints 19 known. The artist’s hand in this manipulation is many times less less times known. Theartist’s handinthismanipulation ismany moments from life ormanipulating what wethinkofas‘real’ or achieved by thereproduction from anoriginal filmmatrix process ofrecollection. Photography offers thesamebroad reach, employ similartechnical characteristics that reinforce theconceptual theprint’s andespecially ceramics, close cousin,photography, all the useofmemoryinart. Many processes, includingsculpture, and guttural expression ofraw, humanemotion. their piercing eyes andsharptalons, evoke that basesentimentality the Humanist’s aimedto expose. Baskin’s crows andravens, through contemplative, andsometimes savage basic, course ofthoughtthat mythical creatures asavehicle andallegoryact to express useofanimalforms.pomorphic Theassociation ofbirds, dogs, face isset backinthemidst of hiswail. ofcarvednest defineandfocus marks onaman’s expression ashis in Baskin’s. Thewrithingangst TheCry articulated woodcut ina matter.subject Thisuseofconceptual markmaking isreadily seen of lineworkto state definethephilosophical andgravitas ofthe exaggerated cross-contoured forms andvarying widthsanddepths base istheheavily drawn, graphic artists line.These often employ photographic imageryfrom contemporary culture, theconceptual Insteadand scenes. imageryorappropriating ofutilizingpopular state, andprovide adimensionalityandmassto theirfigures graphic, expressive that marks conjure aninnerturmoiloremotional ourselves andtheworldaround us. response from theviewer Realism artists ofthe1930s, these soughtto elicitanemotional influenced byExpressionism, German Surrealism, andtheSocial humanity through introspection, observation andreflection. Heavily rootedmade works intheinvestigation ofthepsychological state of by introspective modern andhiscontemporaries thinking.Baskin Enlightenment, whentheauthorityoffaith was againchallenged and reason. beliefsflourishedoncemore These duringtheAge of Greek andRoman cultures asanoutlinefor personal enrichment Renaissance where scholars andartists looked backto theancient movementHumanism, thephilosophical that originated duringthe This isnot to implythat printmaking andtheprintaloneprovokes Another themeoften usedby artists these istheanthro- A commonvisualthread to theHumanist’s workistheuseof — engaging usto howwesee question — capturing audience to interact withourshared experiences. platform for thegreatest interaction between artist and savored andshared. Theprinthashistorically created a mine from memory, contributingobjects that are saved, to offer anidealsolutionwhenartist attempts to dismissed inaseaofinformation. Theprintcontinues ephemeral but thetangibility experiences ofthese isexceptionally engage aglobalcommunitywithcommunalencounters, and engagingplatform for artists to create that works common tools oftheinformation ageoffer animmediate physicality ofbronze. Today, digital processes andthe the transportability, themassreach by islessened the oftheprint’simpact andetching woodblocks plates, but from molds tool inaprint, sculpture ordrawing. Thecraft ofcasting artist given by ordrawing theuniquemarkofacarving obvious theintent inthecreation ofthe oftheimage- — — many overwhelmed times andquickly the sculptural matrix — aligns withthe

TriggerPoints 21 TriggerPoints 23 Mick Richards. Brisbane, photo: Milani Gallery, of theartist and still, detail). Courtesy 2008 (production Scratch anAussie, PREVIOUS PAGES: Gallery, Brisbane. artist andMilani Courtesy ofthe 2008 (video still). Scratch anAussie, THIS PAGE: Indigenous art, Sakàhan: International largest showof International in theNational ofCanada’s Gallery hewas In2013 included and America. important institutions inAustralia ofsoloexhibitionsa number at andhasexhibitedcollections, in in most majorNational andState Australian artist. isrepresented Bell establishing himasanimportant National ArtAward, Aboriginal he was therecipient oftheTelstra In 2003and self-determination. emancipation of Aboriginal politics and hasremained committed to the generation activists ofAboriginal art production. Hegrew outofa of Western, colonialandIndigenous complex problems artistic andpolitical artists, Bell’s workexplores the One ofAustralia’s most significant installation, performance andvideo. a variety ofmediaincludingpainting, in Brisbane,Australia. across Heworks Richard (b. Bell 1953)lives andworks artist andMilaniGallery, Brisbane. 10 minsduration. Courtesy ofthe 2008–2010). Singlechannelvideo, (from ImaginingVictory thetrilogy Scratch anAussie, 2008 Richard Bell

Arnhem, theNetherlands. in Jerusalem ShowandSonsbeek’16 this year hewillparticipate inThe in the20thSydney Biennale.Later Amsterdam andiscurrently exhibiting the Stedelijk MuseumBureau in the exhibition Participates Bell at In 2016hehaswas of thesubject curatedIndonesia, by Esche. Charles New York andtheJakarta Biennale, Prize andparticipated inPerforma 15, was afinalist intheArchibaldBell of Contemporary Arts, Perth. In2015, Embassy at opened thePerth Institute Art. In2014,Bell’s soloexhibition Moscow BiennaleofContemporary Indigenous Art, andat theFifth

TriggerPoints 25 TriggerPoints 27 TriggerPoints 29 (video stills). Te Mauri,2016, PREVIOUS PAGES:

Awesome Festival, Perth, Australia, Performance Arcade, AkldFringe and Auckland, Jeuplay 2013; for Dark, Robra/Arbor2013; for Artinthe include Tūrama for pou WgtnLUX, collaborative installation works Prague Quadrennial. Stuart’s recent forĀhua otheRā-ngī the2015 AUT) for thenational exhibition (withlead designer AmandaYates: Quadrennial, and andco-curator Zealand’s presentation at the Prague 2011 Stuart was solecurator for New In andmethodologies. aesthetics use oftechnology, interdisciplinary connectedness through innovative communicate cultural andsocial environmentsand site-specific that experiences, presented inpublic immersive interactive artanddesign digital technologies. Stuart creates perception, and,haptic of qualities architecture, of phenomenology of Stuart’s research are drawn from University. Thefounding principles Te Kunenga kiPūrehuroa Massey Rauwharangi College ofCreative Arts, ToiMahutonga ofDesign, School FosterStuart withinNgāPae works video, duration 5mins. Te Mauri,2016, Kura Puke Stuart Foster + tematahiapo.org research groups includehttp://www. Massey University, 2011. Kura’s Day, 2011;Talanoa, AAANZ, 2013; conference and2015;Kingitanga 2013 Whenua IndigenousResearch presentations includeHeManawa New Zealand, 2008–2012. Conference Museums andTe Manawa Gallery, United States, Pataka andPukeariki inNewMexico,Machine Wilderness exhibition for ISEA2012 Albuquerque: tukutuku panel for theinternational Ariki, anilluminated, animated authored suchasTePuna artworks technologies, inproducing sole experiences that utilize electronic transmission through creative continuum ofindigenousknowledge Kura’s research exemplifies the ki Pūrehuroa Massey University. College ofCreative Arts, Te Kunenga ofArt,Rehua School Toi Rauwharangi Kura Puke withinWhitio works collective.blogspot.co.nz groups includehttp://interrupt- Zealand (2012).Stuart’s research Wendy Neale,Royal ofNew Society Perth Australia, Flitch with 2012; with Natalie McLeod, Form Gallery, Singapore, Micro-inhabitation 2013; , MarinaBay, ChirpandGeoPing 2013; .http://www.koraatu.org power 2016’ presented at Parihaka here andthere’ for ‘water, peace, konā Erapa ikonā cast your glow Waiw’kai’o, 2015, for‘Etuhii Scanz; lightonthe Bearing Tīahoaho: Joining of Worlds, Surrey 2014; UK, London, 2014andTeUCL, Hononga: Wairua: Pathways of theintangible, Taranaki, 2014for MAP;Te Ara tatou te tangata: We are, thepeople for2013 TEZA/Letting Space;Ko brilliance intheworld, Christchurch, E hahananeiite Hīnātore: To emit māmā whenua:landinglightly, and, for3rd2013 Nature; Scanz: He Traversing theheavens, Taranaki, installations includeTipi-Rā-ngī: andKura’sStuart collaborative

TriggerPoints 31 TriggerPoints 33 Gallery, Wellington. Hamish McKay of theartists and zirconia. Courtesy aluminium, cubic silver gelatin print, (Kapeu), 2012, Tiefenglanz Der McKay, Wellington artists andHamish Courtesy ofthe silver, copper. print, aluminium, silver gelatin 2012, (Sprungbecken), Tiefenglanz Der PREVIOUS PAGES:

Wellington andsoon. Munich, Te Papa National Museum Amsterdam, Pinakothek derModerne Museum London, Stedelijk Museum of ArtNewYork, Victoria andAlbert including theMetropolitan Museum museums andpubliccollections, acquired by leadinginternational jewellery maker. Hisworkhasbeen highly influentialcontemporary expressive range, makinghima they alsodramatically reframe its solutions ofhigh-street jewellery, in ‘Flintstones’ thetechnical mode, and Australia. Whilehisringsape, in theUnited States, Europe, Asia extensively andpresenting lectures travelled around the worldexhibiting inWellington,and works andhas years in Munich.Fritsch nowlives andwasGermany basedfor many Karl Fritsch was inSonthofen, born Hamish McKay Gallery, Wellington. zirconia. Courtesy oftheartists and silver gelatin print, aluminium,cubic (Kapeu) Tiefenglanz Der , 2012, Hamish McKay, Wellington. copper. Courtesy oftheartists and silver gelatin print, aluminium,silver, (Sprungbecken) , 2012, Tiefenglanz Der Gavin Hipkins Karl Fritsch +

The University ofAuckland. Professor ofFineArts, at ElamSchool New York, 2015. HeisanAssociate 2015, andTheJewishMuseum, International FilmFestival Rotterdam, Recent group exhibitions include: Festival andEdinburgh ArtFestival. the NewZealand International Film Or Over—premiered theRange at Butler’sSamuel 1872 novel Erewhon, Erewhon—an essay adaptation of 2014, Hipkins’first feature film installations, andartist videos.In and digital technologies, photo- viaarangediscourses ofanalogue architectural, andcommodity his practice hasengagedpostcolonial, and film.Over thelast twodecades artist withphotography whoworks Gavin Hipkins isanAuckland-based Melbourne. professor at theRMITUniversity practices. Fritsch iscurrently adjunct running parallel to theirindividual collaborativeepisodic exchange continue to have avery fruitful, Tiefenglanz , and Der on theseries Fritsch andHipkinsfirst collaborated Courtesy oftheartist. and larch 2014. wood, leaf onmetal staples whiteseries, gold the areAll works from USA–1890, USA) Sitting Bull(1831, USA–2014, USA; McBride (1995, USA); Jr. USA); Jr. LutherMartin King FOLLOWING PAGES: (1996, USA–2014, (1929, USA–1968, Shooting Stars Reshina Reshina Brown Michael

and leader Hunkpapa Lakota holy man USA–1890,(1831, USA) Bull Sitting and Anti-Vietnam war protester Student at Kent State University (1949, USA–1970, USA) Sandra Lee Scheuer Teenage boy USA–2012,(1995, USA) Trayvon Martin Teenage girl USA–2014,(1995, USA) Reshina McBride rights activist Muslim minister, humanandcivil USA–1965,(1925, USA) Malcolm X civil rights movement leader Pastor, activist, humanitarian and (1929, USA–1968, States) United LutherMartin KingJr. anthropologist Zoologist, primatologist, and USA–1985,(1932, Rwanda) Diane Fossey St.School, Louis Graduate from NormandyHigh USA–2014,(1996, USA) Michael Brown Jr. Sasha Huber Sasha

University, Helsinki (Finland). of Artatart at Aalto theDepartment research onracism through thelensof and iscurrently undertaking doctoral University Helsinki, ofArtandDesign in 2014.SheholdsanMAfrom the in 2015, andthe19thBiennaleofSydney including the56thlaBiennalediVenezia in numerous international exhibitions, Shehasparticipated dynamics. power the potential to renegotiate unequal offering asaweapon, significance aware whilebeing works ofits symbolic ofproducingcapable visuallyarresting compressed-air staple gunasatool She hasalsodiscovered the interventions. and performance-based writing, collaborations withresearchers, video,encompasses photography, within alayered creative practice that andrespondsuses to archival material historyconnecting andthepresent, she Sensitive to thesubtle threads colonial residue left intheenvironment. particularlyinrelationand belonging, to ofmemory concerned withthepolitics (Finland). Huber’s workisprimarily Haitian heritage basedinHelsinki isavisualartist ofSwiss- Huber Sasha Courtesy oftheartist. staples andlarch 2014. wood, areseries, white goldleafonmetal areAll works from theShooting Stars

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the artist. 2015. Courtesy of Stills from Analysis, Davies Dance for 2017. performance work withSiobhan He iscurrently developing anew numerous international publications. and abroad, andhascontributed to numerous exhibitions inBritain Tom Morton, 2014.Hehascurated Lincoln,curatedThe Collection, by is Almost Years SixThousand Old, by BrianDillon,2014;andTheWorld Norwich andAmsterdam, andcurated Turner Contemporary, thentouring to andthePleasureArt of Knowing, Turner Contemporary, 2015;Curiosity: the Jakarta Biennale,2015;Self, numerous group exhibitions including includedinHis workhasalsobeen Glasgow,and OtherActs, CCA, 2011. Sympathies,2011; andResemblances, Farmer), Project Arts Centre, Dublin, 2013; Oblate, Southampton CityArtGallery, Whitstable Biennale,2014;The Sztuki, exhibitions, Muzeum includeM/W College ofArt. Hisrecent solo London, andatutor at theRoyal Jeremy Millarisanartist livingin Courtesy oftheartist. 18 mins49 duration. secs single channelvideo, stereo, Analysis, 2015, Jeremy Millar

Mondegreen (with Geoffrey Lodz XDO XOL, 2014;XDO ,

TriggerPoints 41 TriggerPoints 43 Zurich. RaebervonStenglin, of theartist and silver. Courtesy sterlingperfume, , 2013,Epona PREVIOUS PAGES: Zurich. RaebervonStenglin, Courtesy Pellion diPersano. Photo: Sebastiano paper, clamps. brass,perfume, Ozone Notes), 2014, Lighting (Three Cairalience/ THIS PAGE: Brewster ArtGallery, NewPlymouth at Artspace, Auckland; Govett- has alsohadmajorsoloexhibitions Trülzsch, Germany, Berlin, all2013. He Switzerland; andDaneMitchell Sassa of Mass,RaebervonStenglin, Zürich, Auckland, NewZealand; Conservation Explications, HopkinsonMossman, 2014;Other Los USA, Angeles, Mitchell, Christopher Gallery, Grimes Zürich, Switzerland, 2015;Dane Is Wetness, RaebervonStenglin, exhibitions includeAllWhatness of Technology. Hisrecent solo Philosophy from Auckland University New Zealand, andaMaster of Auckland Institute ofTechnology, ofVisualArtshis Bachelor from Auckland, NewZealand. Hereceived Dane Mitchell was in1976 born in RaebervonStenglin, Zurich. Courtesy oftheartist and brass,perfume, paper, clamps. Slept 2014, inOnce), Vespertine (Datura, ABed Dane Mitchell

and Christopher Los Grimes, Angeles. Auckland; RaebervonStenglin, Zurich represented by Hopkinson Mossman, Biennale, 2010. Dane Mitchell is Singapore Biennale,2011;Busan United Kingdom; Biennial, 2012, Korea; South Biennale 2012, Liverpool New Zealand, both 2014; Gwangju World Undone,Auckland ArtGallery, Kunsthaus Glarus,Switzerland; A Place Like This,Klontal Triennale, Museum ofArt, Australia, 2015;A Try theSpirits,MonashUniversity 2016; Believe Not Every Spirit, But distributed 20thBiennaleofSydney is already here group exhibitions include:TheFuture His 2009; 2011; Daadgalerie, Berlin, and DunedinPublic ArtGallery, all — it’s just not evenly

TriggerPoints 45 TriggerPoints 47 TriggerPoints 49 the artist. Courtesy of handmade book. in Diagrams, 1992, views from ALife Selected page PREVIOUS PAGES: of theartists. Courtesy (looped). 8 minutes duration single channelvideo, The Drowning, 2014, Still from THIS PAGE:

Arts at Massey University. Triennial. Morgan isProfessor ofFine aspartoftheIN>Time SAIC, Galleries was Artist inResidence at the Sullivan at Defibrillator and Chicago Gallery Dublin.In2016sheperformedGallery Richards, shepresented at theMart Richards,with Jess asMorgan and andincollaborationin theBahamas, Te Tuhi Anatomy inAuckland; Deep years shehasgiven performances at Inrecent ofcollections. in anumber Arcade, NewZealand. Herworkisheld Switzerland andat thePerformance at Fribourg Belluard/Bollwerk ICA, international festivals: at London’s selectedShe hashadartworks for and NewZealand. Ireland, USA, UK, Netherlands, Germany, Brazil, Japan, France, Switzerland, the Belgium, exhibitedHer artworkhasbeen in exhibited artist basedinNewZealand. JMorgan isaninternationallySally video withsound,70 minsduration. Morgan +Richards, singlechannel drowning/undrowning, 2015 Courtesy oftheartist. J.Sally Morgan, handmadebook. inDiagrams,A Life 1992 Morgan +Richards J.Sally Morgan

Research Associate. a Massey University Honorary residence inNewZealand. Sheis novel andhasrecently taken up She iscurrently workingonherthird TrustBook andtheUKSunday Times. cooperation publishedby theScottish creative writingassociated withthis ofprojects,a number andhashad collaborated J. withSally Morgan on by Sceptre in2013/14. Shehas Cooking, was published withBones Trust) in2014.Hersecondnovel, partnership withtheScottish Book andat2013 theArdtornish Estate (in awarded residencies at Cove Park in Awards.Scottish Book Shewas Costa First Novel Award andthe for theGreen Carnation Prize, the andwasSceptre shortlisted in2012, novel, Snake, was publishedby Ropes and performance artist. Herdebut Richards. Richards Jess isawriter (biography to theleft) andJess Morgan &Richards J. isSally Morgan

TriggerPoints 51 TriggerPoints 53 Company, Wellington. and Bartley & Two Rooms, Auckland Courtesy oftheartist, pigment prints. #3,1999/2015,#2, Touch #1, Memory PREVIOUS PAGES: THIS PAGE AND

know orunderstand we theplaces her workispreoccupied withhowwe OverMelbourne. multiple projects the National ofVictoria Gallery in of ContemporaryGallery Artand Portrait Gallery, theQueensland theAustralianin Melbourne, National Centre for Contemporary Photography the Patio Herreriano inSpain,the KunstvereinNeuer Berliner inBerlin, at theMuséeduQuaiBranly inParis, her workhasfeatured inexhibitions that toured NewZealand 2001–2003, ofamajorretrospectiveThe subject most respected photographers. Laureate andoneofNewZealand’s University, aNewZealand Arts Professor ofFineArts at Massey Anne NobleisDistinguished Bartley &Company, Wellington. and Two Rooms, Auckland and pigment prints. Courtesy oftheartist #7,Portraits #2, 2015, #13, VerticalNo Bee /TheDead Song Bartley &Company, Wellington. and Two Rooms, Auckland and pigment prints. Courtesy oftheartist 1999/2015, Touch #3, #2, Memory#1, Anne Noble

Higashikawa Prize. is therecipient ofthe2015Japanese natural systems. biological AnneNoble of ourbiodiversity andthefragility of the declineofhoneybee, theloss to develop newworkconcernedwith residency at Columbia College,Chicago Fulbright fellowship andaninternational 2014 shewas awarded aNewZealand Whiteout/Whitenoise (forthcoming) In 2011, TheLast Road,Clouds2013, and and exhibition projects, Clouds IceBlink, to complete three photographic book FoundationScience artist inresidence the Antarctic in2008asaUSNational Antarctic Arts Fellow andreturned to inAntarcticaweeks asaNewZealand see andinhabit. three In2001shespent

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Gallery, Wellington. Robert Heald of theartist and drawing). Courtesy 2016, (working (malady)Untitled , FOLLOWING PAGES: Wellington. Heald Gallery, the artist andRobert still). Courtesy of 2016, (production (malady)Untitled , THIS PAGE: Artist Show, Artspace, Auckland, 2012; Project New Space, Dunedin,2013; Party of theWhale,BlueOyster Art Gallery, Auckland, Follow 2013; the I mademeown Teeth, Papakura Art Asia, CityGallery, Wellington, 2013; Archive, Auckland, Moving 2013; on 2014; Te Hou,NewZealand Hiki Film You, 19thBiennaleofSydney, Desire Time, te tuhi,2015;You What Imagine Recent exhibitions includeUnstuck In orlinguisticsocial structures. testing theimplications ofalternative drawn from Māoriparadigms andalso has seenhiminvestigating material The majorityofTe Ao’s recent enquiry performance andvideoartpractices. current research interests include is anartist, writer andcurator whose Shannon Te Ao (Ngāti Tūwharetoa) Heald Gallery, Wellington. Courtesy oftheartist andRobert Cinematography IainFrengley. duration.7 mins45secs single channelvideo, stereo, (malady),Untitled 2016, Shannon Te Ao

Toi Rauwharangi. University’s CollegeofCreative Arts where helectures at Massey Te Ao iscurrently basedinWellington Auckland Toi ArtGallery oTāmaki. nominated for the2016Walters Prize, Te2012. Ao isoneoffour artists Awards, Waikato Museum,Hamilton, and theNational Contemporary Art

TriggerPoints 59 TriggerPoints 61 Collection University Art the Syracuse Works from

1957.043. Art Collection, Syracuse University Gift to thecollection, collé onwove paper. lithograph andchine Pine Borough, 1919, 1864–1936American Bolton CoitBrown

TriggerPoints 63 Leonard Baskin © 1960.068 Art Collection, Syracuse University purchase,Collection paper. fiber Japanese Woodcut on The Cry, 1960 1922–2000American Leonard Baskin 1957.042 Art Collection, Syracuse University to thecollection, on wove paper. Gift 1916, lithograph ShadowsSifting , Bolton CoitBrown 1957.037Collection, University Art Syracusecollection, paper. Gift to the lithograph onwove Cloudy Dawn,1916, Bolton CoitBrown The Estate of

TriggerPoints 65 Ivan Městrović Ivan Městrović American, born Woman in despair, Croatia 1883–1962 1945, bronze. Collection Job (study), 1945, purchase, Syracuse bronze. Collection University Art purchase, Syracuse Collection, 1964.230 University Art © The Estate of Collection, 1964.229 Ivan Městrović © The Estate of Ivan Městrović 1965.0070 Collection, Art Syracuse University purchase,Collection on wove paper. photo screenprint by 10Painters , portfolio Riot, 1964, from the Birmingham Race 1928–1987American Andy Warhol 10 Works

TriggerPoints 69 THIS PAGE AND FOLLOWING: Jacques Callot French 1592–1635 Selections from Les Grandes Miseres de la Guerre, 1633, etchings on laid paper. Collection purchase, Syracuse University Art Collection, 1998.101.01

Bi graphies at Massey University. students withintheCollegeofCreative Arts Currently MFA shesupervises andPhD Secret Power at the2015Venice Biennale. New Zealand exhibition SimonDenny: , andCommissionerofthe OutBack Door forin 2009and2013 BillCulbert’s Front was NewZealand’s Commissioner Deputy Yourself for the2009Venice Biennaleand curated Francis Upritchard’s exhibition Save College,London.Goldsmiths Galbraith co- inCurating from of FineArts, andanM.A. from University ofAuckland, ElamSchool Centre, London. Galbraith holdsaBFA Exhibitions Organiser at CamdenArts St Gallery, AUT University, Auckland, and the inaugural Director/Curator ofSt. Paul and at Wellington. CityGallery Shewas Zealand Te Papa Tongarewa, Wellington, CuratorSenior Artat theMuseumofNew University, Wellington. Before that, shewas of Creative Arts Toi Rauwharangi, Massey ofArt,Whiti oRehua School intheCollege Heather Galbraith isAssociate Professor at since 2009. atin MuseumStudies Syracuse University faculty intheGraduate member Program of NewYork anactive andhasbeen adjunct a Board oftheMuseumAssociation Member the exhibition. iscurrently Saluti servingas FoundationAssociation Grant of insupport awarded anInternational FinePrint Dealers the PhiladelphiaMuseumofArt;andwas New Mexico, theLibrary ofCongress and Blanton Museum ofArt, theUniversity of collaborated withinstitutions includingthe Taller deGrafica Popular, November 2013, Making Revolution: Printsandthe Mexican tour through 2014.Saluti’s exhibition Print Pictorial American Press (2009)on willbe andWinslowNH in2013; Homerandthe ArtGallery,the Thorne–Sagendorph Keene, Foosaner FLand ArtMuseuminMelbourne, EditionsArt 2000–2010 traveled to the exhibition His2011 (2013). woodcuts of Japanese League ofNewYork (2007), andasurvey (2009), earlyprints from theArtStudents included theworkofAmosPaul Kennedy, Jr. and inNewYork City. Exhibitionshave Fine Arts exhibition heldboth inSyracuse faculty advisorfor theannualMasters of printmaking, andprinthistory, andisthe andtaughtdesigned indrawing, courses of prints onpaper. andworks Hehas to theUniversity’s encyclopedic collection process inSUArt’s Print Study Room, home tolecturing students prints about and the artofprint. often Hecan found be Andrew’s passionandcuratorial focus is and thePalitz inNewYork Gallery City. Syracuse University [SUArt] ArtGalleries University ‘09. HeisAssistant Director ofthe from inMuseumStudies Syracuse an M.A. from Louisiana State University ‘02 and Andrew hasanMFA Saluti inPrintmaking Pressing Print:Universal Limited in Wellington. English andHistory from Victoria University Canterbury Universirty, andaBA (Hons) in a BFA from ofFineArts IlamSchool Masters from ofDesign Massey University, andcitizenpolicy engagement. Brown holds andcentrallocal government strategy, centred to methodologies design transform researchers applyinguser- anddesigners for aninitiative Public to Good, engage by role asDirector ofToi Āria:Design object. practice Herdesign iscomplemented in anon-linearform andasanembodied andmoredesign recently explores thebook sits withinanestablished disciplineofbook Massey University, Wellington. Herresearch College ofCreative Arts Toi Rauwharangi, Pae inthe Māhutonga ofDesign, School Anna Brown Lecturer isaSenior at Ngā

TriggerPoints 75 Ackn wledgements last five years. Syracuse andMassey Universities over the grown theresearch relationship between and Kendall Phillipswhohave fostered and certainly not least Professors Kingsley Baird ofWinnie’searly period life. Andlast but her to undertake thisproject duringthe Yaghoubi andbaby Winniefor enabling would alsolike to thankherpartnerMostafa ‘onand book theroad’. Heather Galbraith Shaun Waugh for helpingto get thisshow Tim Larkin,Daniel Boobyer, Ilka Kapica and Ao, andCollegeofCreative Arts colleagues helpful, ashasfaculty ShannonTe member and ChrisUlutupuhave incredibly been JudeRobertson interns Robbie Handcock, TheCollegeofCreativework. Arts MFA publication for herelegantandinsightful gotothanks AnnaBrown, ofthis designer and RaebervonStenglin, Zurich. Deep Brisbane; HamishMcKay Gallery, Wellington representatives including:MilaniGallery, of alltheparticipating artists, andtheir withoutthegenerous possible been input Syracuse University. Itwouldnot have the CollegeofVisualandPerforming Arts, University Wellington, NewZealand and of Creative Arts Toi Rauwharangi, Massey by ofArt, WhitioRehua School theCollege and Initiatives. Theexhibition issupported Associate GlobalAcademic Dean, Programs Communication andRhetorical and Studies by Professor Kendall of Phillips,Department the MemoryWorks Symposium organised invitation to curate anexhibition alongside University for ArtGalleries extending the The curators wouldlike to thankSyracuse 20 May Andy Warhol Ivan Meštrović CallotJacques Bolton CoitBrown Leonard Baskin University ArtCollection: ISBN XXXXXXXXXXXXX and JudeRobertson. from withsupport Saluti, Robbie Handcock Editorial team: Heather Galbraith, Andrew J. Publication by design AnnaBrown Syracuse University. Symposium convened by Kendall Phillips, J. alongsidethe MemoryWorks Saluti, Curated by Heather Galbraith andAndrew NY1006, United States Lubin House,11E61st St, NewYork, The Palitz Gallery, Syracuse University’s Works from theSyracuse Shannon Te Ao Anne Noble Morgan +Richards J.Sally Morgan Dane Mitchell Jeremy Millar Huber Sasha Karl Fritsch +Gavin Hipkins Stuart Foster +Kura Puke Richard Bell Trigger Points oftheexhibition ontheoccasion Galleries Published by Syracuse University Art – 30 June2016

private andmuseumcollections. University’s and collection permanent a variety ofnotable exhibitions from the Throughout theyear, thegallerypresents Louise Palitz andherlate husbandBernard. throughpossible ofSUalumna thesupport in2003,Opened thegalleryismade visual arts venue inmidtown Manhattan. is theSyracuse University ArtGalleries’ University’s Lubin HouseinNewYork City, The Palitz Gallery, located inSyracuse Art Centers (CMAC). ofSU’sa member CoalitionofMuseumand throughout theyear. TheSUArt is Galleries temporary exhibitions andpermanent The SUArt host avariety Galleries of University’s extensive collection. permanent venue for thevisualarts andhomeofthe traveling exhibitions. Itisthemaincampus University’s and collection permanent experiences andencounters withthe community through meaningfuleducational Syracuse University (SU)andtheSyracuse theculturalenhances environment of The Syracuse University ArtGalleries Galleries: Art theSyracuseAbout University

TriggerPoints 77 TriggerPoints 79 FRONT COVER: PREVIOUS PAGES: Sasha Huber Sally J. Morgan Reshina McBride A Life in Diagrams, (1995, USA–2014, 1992, (page view) USA), from the handmade book. Shooting Stars series, Courtesy of white gold leaf on the artist. metal staples and larch wood, 2014. BACK COVER: Courtesy of the artist. Anne Noble No Vertical Song FIRST PAGE: / The Dead Bee Jeremy Millar Portraits #2, 2015, Still from Analysis, pigment print. 2015, (detail), single Courtesy of the channel video, stereo, artist, Two Rooms, 18 mins 49 secs Auckland and duration. Courtesy Bartley & Company, of the artist. Wellington. MASSEY UNIVERSITY MASSEY RESEARCH ONLINE http://mro.massey.ac.nz/

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Trigger Points

Galbraith, HL

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