Len Lye Committee

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Len Lye Committee MEETING AGENDA LEN LYE COMMITTEE Thursday 14 July 2016 at 2pm Plymouth Room Chairperson Cr Marie Pearce Members: Cr Richard Handley Cr Howie Tamati Mayor Andrew Judd Dr John Matthews Dr Roger Horrocks Mr Evan Webb LEN LYE COMMITTEE THURSDAY 14 JULY 2016 Addressing the subcommittee Members of the public have an opportunity to address subcommittees during the public forum section or as a deputation. A public forum section of up to 30 minutes precedes all subcommittee meetings. Each speaker during the public forum section of a meeting may speak for up to 10 minutes. In the case of a group a maximum of 20 minutes will be allowed. A request to make a deputation should be made to the secretariat within two working days before the meeting. The chairperson will decide whether your deputation is accepted. The chairperson may approve a shorter notice period. No more than four members of a deputation may address a meeting. A limit of 10 minutes is placed on a speaker making a presentation. In the case of a group a maximum of 20 minutes will be allowed. Purpose of Local Government The reports contained in this agenda address the requirements of the Local Government Act 2002 in relation to decision making. Unless otherwise stated, the recommended option outlined in each report meets the purpose of local government and: • Will help meet the current and future needs of communities for good-quality local infrastructure, local public services, and performance of regulatory functions in a way that is most cost-effective for households and businesses; • Would not alter significantly the intended level of service provision for any significant activity undertaken by or on behalf of the Council, or transfer the ownership or control of a strategic asset to or from the Council. Len Lye Committee Thursday 14 July 2016 LEN LYE COMMITTEE THURSDAY 14 JULY 2016 HEALTH AND SAFETY Emergency procedures APOLOGIES None Advised CONFLICTS OF INTEREST None Advised PUBLIC FORUM None advised DEPUTATIONS None advised MINUTES RECOMMENDATION That the minutes of the Len Lye Committee Thursday 8 June 2015 and the proceedings of the said meeting, as previously circulated, be taken as read and confirmed as a true and correct record. Carried B ITEMS FOR RECOMMENDATION TO COUNCIL B1 LEN LYE COMMITTEE UPDATE The purpose of this report is to provide an update on matters relating to the Govett-Brewster Art Gallery / Len Lye Centre. Len Lye Committee Thursday 14 July 2016 LEN LYE COMMITTEE THURSDAY 14 JULY 2016 Len Lye Committee Thursday 14 July 2016 1 ITEM FOR RECOMMENDATION ITEM B1 LEN LYE COMMITTEE UPDATE PREPARED BY: Simon Rees (Manager Govett-Brewster) TEAM: Recreation and Culture APPROVED BY: Teresa Turner (Recreation and Culture Manager) WARD/COMMUNITY: District Wide DATE: 11 July 2016 FILE REFERENCE: ECM 7173478 PURPOSE The purpose of this report is to provide an update on matters relating to the Govett-Brewster Art Gallery / Len Lye Centre. RECOMMENDATION That, having considered all matters raised in the report, the report be noted. SIGNIFICANCE AND ENGAGEMENT This report is provided for information purposes only, and has been assessed as being of some importance. DISCUSSION Govett-Brewster Art Gallery/Len Lye Centre — Programme of Activities The focus of the Govett-Brewster activities has been the exhibition EMANATIONS: The Art of the Cameraless Photograph curated by Geoffrey Batchen and the ‘projection series’ Syncopated Cinema curated by long-term, and former, NZ Film Archive director Frank Stark. These projects concentrate of Len Lye as maker of photograms and direct animations. The exhibition of kinetic sculptures Four Fountains has remained extant through the period — with the3 addition of moving image material from the documentary The Walls Came Tumbling Down: the Art of the Sixties showing Len Lye at work in his studio with various kinetic sculptures. The New Zealand imprint of the book accompanying EMANATIONS has one of Len Lye’s portraits of Georgia O’Keefe on the cover; and the Govett-Brewster is about to release a publication gathering all of Lye’s photograms. During this period director Simon Rees has travelled extensively preparing institutional collaborations for the Govett-Brewster and on behalf of the Len Lye programming with a view to establishing exhibition programmes with: Tate Modern and Tate Britain (UK) in 2018; and the Tinguely Museum (Basel, CH) and Henry Moore Foundation (Leeds, UK) in 2019. The director and chief curator of the Tinguely Museum, Roland Wetzel and Andreas Pardey have booked travel to New Plymouth in late-November (2016). Rees also spoke as a keynote at the “Keeping Things Moving” conference of the Conservation Branch of the International Council of Museums [ICOM] annual congress in Milan (IT) — delivering a paper co-authored with Len Lye curator Paul Brobbel. At the congress Rees conducted an Len Lye Committee Thursday 14 July 2016 2 ITEM B1 ITEM FOR RECOMMENDATION important meeting with Tom Learner the Director of the Getty Conservation Institute [GCI]; with a view to sourcing funds from the GCI for kinetic sculpture and film restoration. Sarah Wall, assistant Len Lye curator, is currently preparing her first larger-scale exhibition for the Len Lye Centre’s Gallery 3. Set in Motion pairs work by Len Lye with work by a generation of artists making kinetic sculpture today; two of whom have been directly inspired by Lye. The participating artists, are: [Len Lye], Rebecca Baumann (AU), Zilvinas Kempinas (LT & US), Taree Mackenzie (AU), Ross Manning (AU). Revolving around Zebra and a 16mm film projection of Color Cry (1953), Lye’s kinetic sculpture and films become important points of reference for the younger artists’ work in this exhibition. It inspires us to consider how Lye’s work continues to be a catalyst and source of inspiration for artists today. Set in Motion includes a new work by Ross Manning, following his research in the Len Lye Collection and Archive. Manning drew inspiration from Lye’s abstract cameraless animations, and the kinetic qualities of cinema itself. The exhibition will be accompanied by a catalogue featuring commissioned essays by Amelia Groom, Dr Adam Jasper, Hannah Mathews, Patrice Sharkey, and Dr Danni Zuvela. Happily, the project has been awarded significant financial support by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. “Re-discovery” of a Len Lye photogram Approximately one month ago, while doing research in the Len Lye Foundation Research Archive curator Paul Brobbel “found” the photogram Earth Magnetic (1930). It had always been intended that EMANATIONS include every known photogram made by Len Lye we didn't know about this one, hiding and yet to be catalogued in the archives. It was the one that almost got away. While the image is familiar, it is Lye’s cover design for Laura Riding’s book of poetry Though Gently, this is something special. (A copy of Though Gently has been included in the vitrine of publications on show in Gallery 3 since the exhibition opened). This is the original work, Earth Magnetic, a photogram made by Lye in Majorca in 1930 where he lived and worked with Riding and her partner, the poet Robert Graves. We’ve been able to put Earth Magnetic into EMANATIONS in a special spot on the mezzanine of the Govett-Brewster, highlighting the depth of the Len Lye Foundation Collection and Archive, and the ongoing work to research and catalogue this wonderful resource. We hope there'll be more such surprises in the future. Simon Rees made a Stop-Press on the new publication collecting “all” of the photograms to insert Earth Magnetic; delaying the publications release date — but for a good reason. Restoration/repair of works Arranged by Simon Rees in conjunction with Paul Brobbel and Evan Webb, Len Lye Foundation director, a version of Len Lye’s Grass that has been in bad repair and on public display at Lumley House on Shortland Street in Auckland has been returned to New Plymouth for restoration — at the cost of the owner. Once repaired the Govett-Brewster and Foundation will undertake to draft new provisos to ensure it is displayed properly and duly looked after in the years ahead. Len Lye Committee Thursday 14 July 2016 3 ITEM FOR RECOMMENDATION ITEM B1 After one year’s worth of restoration work in New Plymouth by Stuart Robb and Leith Robertson, for the Len Lye Foundation, and videographic recording by Bryan James, the Len Lye sculpture Loop (1965) was returned in full working order to the collection of the Art Institute of Chicago. Loop hadn’t been exhibited in many years and this October it will be returned to view within the Art Institute’s permanent collection. Events On Friday 8 July the Govett-Brewster produced the one day symposium “Practices in Contemporary Photography in collaboration with Te Papa Tongarewa the Museum of New Zealand, which had hosted a related one day event on Saturday 11 June. The first such ticketed event —with speakers from Melbourne, Auckland, and Wellington — the symposium was a sell-out (with all 62-places in the cinema full). The audience travelled from all over New Zealand to be in attendance. Media Coverage for Len Lye and/or Len Lye Centre May (2016) • Gekkan NZ • Objektiv Norway • Gay Express • Taranaki Daily News • Taranaki Daily News • Taranaki Daily News online • The Silent Grapevine / Deaf New Zealand • The Listener • Radio NZ • Trends Ideas • Art News NZ • Slate Magazine June (2016) • The Big Idea online • The Listener • Mind Food • New Zealand Herald • Taranaki Daily News
Recommended publications
  • University of Victoria Special Collections Graves, Robert, 1895-1985 SC050
    University of Victoria Special Collections Graves, Robert, 1895-1985 SC050 Title Robert Graves collection Dates 1934-1970 Extent 2.8 m of textual records ca. 200 photographs 22 drawings 1 portrait Biographical Sketch Robert Graves was an English poet and novelist. Born in London, he was the son of A. P. Graves, who had taken a leading part in the Irish Renaissance in literature and music. Robert Graves was educated at Oxford and served with the British Army in France in World War I. Graves lived at various time in England and Majorca. His early poetry received critical praise. He also collaborated with Laura Riding in "A Survey of Modernist Poetry". He is best known for his historical novels, including "I, Claudius" and "Claudius the God". Other works include "Goodbye to All That" and "The Long Week-End". Graves was professor of poetry at Oxford from 1961 to 1966. Scope and Content The collection consists of Graves' autograph diary (1935-1939), with enclosures including letters from his children, photographs, clippings, and transcripts of poems, articles and letters; correspondence written by Graves to various people, including Isla Cameron, Selwyn Jepson, Aemilia Laracuen, Andrew Mylett, and Raphael Patai; poetry worksheets (1965-1970) and prose and poetry worksheets (1970); manuscripts including essays, reviews, forewords, prefaces, articles, lectures, and for the works "King Jesus", "The Anger of Achilles", "Hebrew Myths: The Book of Genesis", "Greek Gods and Heroes", "An Ancient Castle", "La Luna de los Perros", and "Juvenalia and Other Poems"; photographs; and drawings of Majorca by Paul Hogarth. The collection is arranged in lots as its various parts were acquired not as a single purchase but from different book dealers at different times.
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  • 29 Nov 2015 Projection Series #1 Len Lye's
    25 Jul – 29 Nov 2015 Projection Series #1 Projection Series 1: Len Lye’s Colour Box 25 July – 29 November 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box Len Lye’s Colour Box Running25 July –time: 29 November 51 minutes 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box RunningLen25 July Lye Curator:–time: 29 November 51 minutesPaul 2015Brobbel AssistantDaily, 1pm Len Lye Curator: Sarah Wall RunningLen Lye Curator:time: 51 minutesPaul Brobbel AssistantImages: Unless Len Lye otherwise Curator: stated Sarah allWall material courtesyLen Lye Curator: of the Len Paul Lye Brobbel Foundation and the Govett-BrewsterAssistantImages: Unless Len Lye otherwise Art Curator: Gallery, stated Sarah from allWall material material madecourtesy and preservedof the Len by Lye The Foundation New Zealand and the ArchiveGovett-BrewsterImages: ofUnless Film, otherwise ArtTelevision Gallery, stated and from Soundall material material Ngā Taongamadecourtesy and Whitiāhua preservedof the Len Me by LyeNgā The FoundationTaonga New Zealand Kōrero. and the ArchiveGovett-Brewster of Film, ArtTelevision Gallery, and from Sound material Ngā TaongaPrinter:made and Whitiāhua preserved Me by Ngā The Taonga New Zealand Kōrero. Paperstock:Archive of Film, Television and Sound Ngā Typeface:TaongaPrinter: Whitiāhua Me Ngā Taonga Kōrero. ISBN:Paperstock: 978-0-908848-80-5 Typeface:Printer: Color Cry All Souls Carnival ISBN:PublishedPaperstock: 978-0-908848-80-5 in association with the Projection SeriesTypeface: Len Lye’s Colour Box, 2015. 1952-3Color Cry 1957All Souls Carnival ISBN:Published 978-0-908848-80-5 in association with the Projection Series© 2015 Govett-BrewsterLen Lye’s Colour ArtBox, Gallery, 2015. 1952-33Color min, 16mm Cry Kodachrome, sound 195716min,All Souls 16mm colour, Carnival sound thePublished artist, in writers association and contributors.
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  • On the Design of Len Lye's Flaming Harmonic
    21ST INTERNATIONAL CONFERENCE ON ENGINEERING DESIGN, ICED17 21-25 AUGUST 2017, THE UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER, CANADA ON THE DESIGN OF LEN LYE'S FLAMING HARMONIC McGregor, Angus (1); Gooch, Shayne (1); Webb, Evan (2) 1: University of Canterbury, New Zealand; 2: Len Lye Foundation, New Zealand Abstract Len Lye (1901-1980) was an artist who wanted to build kinetic sculptures at a monumental size however he was constrained by the availability of resources and technology. This paper examines the structural design of a vertical cantilever beam which is a key element in the monumental version of Lye’s ‘Flaming Harmonic’. In ‘Flaming Harmonic’ the vertical cantilever vibrates at resonant bending and whirling frequencies due to a reciprocating harmonic ground movement which is provided by a mechanical drive. Lye produced a 1.3m tall model of a similar work called ‘Harmonic’. Design rules developed in this paper show that ‘Flaming Harmonic’ can be produced at a height of 14m. Similarity between ‘Harmonic’ and ‘Flaming Harmonic’ ensures that while the artwork is produced posthumously, artistic integrity for the larger work will be preserved. The vibratory mode shapes and corresponding stresses are established for ‘fixed’ and ‘pivot’ clamp designs. It is shown that while a slightly different vibrating shape is achieved using each method the ‘pivot’ clamp design results in a lower bending stress and hence a longer life for the vertical cantilever. Keywords: Collaborative design, Design practice, Optimisation, Simulation Contact: Dr. Shayne Gooch University of Canterbury Mechanical Engineering New Zealand [email protected] Please cite this paper as: Surnames, Initials: Title of paper.
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  • 1 the Communicating Village: Humphrey Jennings And
    THE COMMUNICATING VILLAGE: HUMPHREY JENNINGS AND SURREALISM NEIL GEORGE COOMBS A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy January 2014 1 Acknowledgments. With thanks to my supervisors Dr David Sorfa and Dr Lydia Papadimitriou for their support during the process of writing this thesis. 2 Abstract This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943).
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  • Len Lye: Motion Sketch April 17 – June 8, 2014
    Len Lye: Motion Sketch April 17 – June 8, 2014 Drawing Room and The Lab Opening Reception: Wednesday, April 16, 6–8pm For further information and images, please contact Molly Gross, Communications Director, The Drawing Center 212 219 2166 x119 | [email protected] April 7, 2014 New York – The Drawing Center presents Len Lye: Motion Sketch, curated by Gregory Burke, Executive Director/CEO of the Mendel Art Gallery and Remai Art Gallery of Saskatchewan, and Tyler Cann, Associate Curator of Contemporary Art at the Columbus Museum of Art and Len Lye Curator-at-Large for the Govett-Brewster Art Gallery. The first solo exhibition of the work of Len Lye in an American museum explores the filmmaker’s multidimensional practice specifically in relation to drawing. Lye’s kinesthetic approach to line—related to Surrealist automatism and anticipating aspects of Abstract Expressionism—also informed his practice in painting, Len Lye, Drawing for Head Man of the Seed World, c. 1930s photography, film, and sculpture. Not limited to works on paper, the exhibition will also reveal Ink on paper, 10 3/5 x 8 2/5 inches. Len Lye Foundation how Lye’s concept of "doodling" underpinned his approach to much of his work. Collection, Govett-Brewster Art Gallery Len Lye: Motion Sketch includes a selection of paintings, drawings, and photograms, never before seen in the United States. In The Drawing Center’s Lab gallery, an extensive film program is presented on video, including such landmark films as Tusalava, 1929; A Colour Box, 1935; and Free Radicals, 1957/1979. Len Lye’s career was marked by a lifelong fascination with movement and an aspiration to compose motion; the movement of the drawing hand was an important touchstone for his works in various media.
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  • Jan 2017 – 2018 Projection Series #9 Len Lye's Jazz
    Dec – Jan 2017 – 2018 Projection Series #9 Projection Series #9: Principal Funder Len Lye's Jazz 30 December 2017 – 30 March 2018 Len Lye's Jazz Approximate running time: 30 minutes Curated by Paul Brobbel Organisation Partners Essay by Nicolas Pillai Film texts by Emma Glucina and Paul Brobbel Catalogue edited by Paul Brobbel Published in association with the Projection Series #9: Len Lye’s Jazz © 2017 Govett-Brewster Art Gallery, the artists, writers and contributors. Apart from any fair dealing for the purposes of private study, research, criticism, or review as permitted under the Copyright Act, no part of this catalogue may be reproduced without the prior permission of the publisher. Printer: Fisher Print Paperstock: ECO100 Typeface: Lettera Pro, Lettera Text Pro ISBN:978-0-908848-94-2 Govett-Brewster Art Gallery Private Bag 2025 New Plymouth 4342 Aotearoa New Zealand govettbrewster.com The Govett-Brewster Art Gallery/Len Lye Centre’s state-of-the-art 62-seat cinema encourages audiences to experience the films of Len Lye and the wider world of local and international cinema. We welcome you to see historical experimental film, contemporary artists’ moving image and regular film festival programming. At the heart of the Len Lye Centre’s cinema programme is the Projection Series, our regular film programme surveying the landscape of historical and contemporary fine art filmmaking. Still from Musical Poster #1 1940 Len Lye Centre Cinema Photo: Patrick Reynolds P / 3 Govett-Brewster Art Gallery Projection Series P / 4 Len Lye's Jazz and movement help to create a character of humour and charm.
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  • Len Lye Media Release Final
    For immediate release PATTERSONS ARCHITECTS CREATES TRIBUTE TO ARTIST LEN LYE ”Great architecture goes 50/50 with great art” – Len Lye, 1964. The new Len Lye Centre in New Plymouth, Taranaki, New Zealand, designed by Patterson Architects Associates, opens as a combined art museum with the Govett-Brewster Art Gallery on 25 July, 2015. The building was commissioned by the New Plymouth District Council and financed via an extensive government-led fundraising program. It is New Zealand’s only museum dedicated to a single artist, the pioneering filmmaker and kinetic sculptor Len Lye (1901-1980). The building’s design articulates Len Lye’s philosophy on the relationship between art and architecture. The space is reverential, creating a sensory experience from light as a 'temple' for art. To celebrate the Taranaki region’s innovative steel industry, the ‘temple’ is wrapped in a curved façade of highly reflective stainless steel – its architects refer to this as "Taranaki's ‘local stone’". The exterior creates different reflections during each day and season, and a plaza around the building to showcase these light reflections is due to be installed early next year. “Lye was fascinated with temples and our design uses principles from the classical world, as well as Polynesian forms and ideas,” says the Design Director of Patterson Associates, Andrew Patterson. “These influenced Lye and he was after all, the client.” Patterson Associates developed the design in a holistic or adaptive way, using what Patterson calls a ‘systems methodology’. Rather than following classical proportion and aesthetics, they used patterns in the ecology of the project’s environments to drive design elements.
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  • JIM TUCKER Reveals the Full Story of John Matthews and the Most Remarkable Art Coup in New Zealand History
    Len and I JIM TUCKER reveals the full story of John Matthews and the most remarkable art coup in New Zealand history: n the end, it came down to one sleepless night in New York. It was in the autumn of 1975, when two men – one an artistic I genius, the other a clever engineer from New Zealand – lay awake on separate floors of a Greenwich Village apartment building and wrestled with a dilemma that would determine their destinies, one way or another. It wasn’t as though John Matthews arrived at this pivotal moment without warning, however. Len Lye had done this before: his final grandiose costing for a kinetic sculpture at the Jewish Museum to commemorate the holocaust had left its trustees stunned, and they drifted quietly away. The same had happened with the US big art foundations - Ford, the Guggenheim, and others. Sponsors ran from the room at the sheer audacity, scale – and cost – of Len Lye’s kinetic visions. Only one full-scale version had ever been built, a Wind Wand in Toronto that was so poorly interpreted Lye demanded it be dismantled. Yet it still came as a shock. Matthews had returned to New York after many months of experimenting with long strips of recalcitrant stainless steel in his New Plymouth engineering company’s workshop, confident he had tamed the complexities of up-scaling one of Lye’s most controversial kinetic works, Trilogy. As Lye had requested, he’d built a working model about eight feet high. It ran perfectly. Along with another kinetic sculpture, Fountain, it would be a crowning exhibit for the city’s relatively new, avant garde art museum, the Govett-Brewster Art Gallery, on whose behalf Matthews had travelled to meet fellow Kiwi Len Lye in 1974.
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  • Len Lye's When the Pie Was Opened
    CHAPTER 10 219 A ‘Symphony of Britain at War’ or the ‘Rhythm of Workaday Britain’? Len Lye’s When the Pie Was Opened (1941) and the musicalisation of warfare. Anita Jorge 220 SOUNDINGS Introduction ‘Do you think that modern war has no music? That mechanisation has banished harmony, and that because her life is for the moment so grim Britain no longer thinks of singing? What an error’ (Jennings, 1942, p. 1). These words, taken from Humphrey Jennings’s treatment of his ‘sonic documentary’ Listen to Britain, made in 1942 and sponsored by the British Ministry of Information, are emblematic of the wartime offcial discourse that postulated the intrinsic musicality of the sounds of warfare. Offcial discourses on sound were not new: they had started to develop in the inter-war period in reaction to the emergence of new kinds of noise that came to be associated with the advent of ‘modern civilisation’. As extensively shown by James Mansell (2016), during the war, the debate broadened out to become a matter of national well-being, and above all, social cohesion. Positing that a discrete collection of sounds possessed an intrinsic musicality was part and parcel of the offcial propaganda discourse aimed at rationalizing the unknown and controlling the fears of civilians. It implied that something as chaotic and unfathomable as the sounds of warfare was actually driven by a sense of purpose and harmony, and that Britons were ‘pulling together’ in the war effort to the sound of a ‘national symphony’ across social and geographical divides. It was also a way of reassuring the people by maintaining the illusion that there existed an organised and systematic retaliation to enemy attacks.
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  • Len Lye's Jam Session
    Len Lye’s Jam Session 25 Jul — 29 Nov 2015 Len Lye, Baby Dodds, 1947, photogram Len Lye Foundation Collection, Govett-Brewster Art Gallery/ Len Lye Centre Govett-Brewster Art Gallery Len Lye’s Jam Session P / 3 Len Lye, Film Len Lye, Film still from still from ‘Free ‘Swinging the Radicals’, 1958 Lambeth Walk’, 1939 (revised 1979) Courtesy of the Courtesy of the Len Lye Foundation Len Lye Foundation from material made from material made and preserved by and preserved by The New Zealand The New Zealand Archive of Film, Archive of Film, Television and Television and Sound Ngā Taonga Sound Ngā Taonga Whitiāhua Me Ngā Whitiāhua Me Ngā Taonga Kōrero Taonga Kōrero P / 4 Govett-Brewster Art Gallery Len Lye’s Jam Session P / 5 Len Lye, Grass, 1961-1965 Len Lye Foundation Collection, Govett-Brewster Art Gallery/ Len Lye Centre P / 6 Govett-Brewster Art Gallery Len Lye’s Jam Session P / 7 Sound crazy people vibrate to sound and this is for them; it’s got some of the sharpest astringent zings of sound that’s ever cut the air.1 Sound crazy people! That’s Len Lye in a nutshell. An artist behind some of the most inventive films ever made. Creator of frenetic kinetic sculpture on a sublime scale. His theory of ‘Old Brain’ knowledge deep in our DNA, Aotearoa New Zealand’s surrealist of the South Seas. (All wrapped up in his unique language, from plumbing the depths of the ‘Happiness Acid’ to the rejoicing ‘Zizz!’) The above quote comes from Len Lye in the mid-1960s as he contemplated his kinetic sculpture — in his own terms, ‘tangible motion sculpture’ — as musical instruments.
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  • Len Lye Trilogy
    Len Lye Trilogy (A Flip and Two Twisters) Cover: ‘Trilogy (A Flip Opposite: and Two Twisters)’, 1977/2016 A Flip and Two performing at Twisters, Berkeley Govett-Brewster Art Museum, 1965 Trilogy (A Flip Art Gallery/Len Len Lye Foundation and Two Twisters) Lye Centre, 2016 Collection, 1977 Collection Govett-Brewster Len Lye Foundation Govett-Brewster Art Gallery/ Collection, Art Gallery Len Lye Centre Govett-Brewster Photo: Leith Photographer Art Gallery/ Robertson unknown Len Lye Centre P / 2 John Matthews Len Lye in studio in studio with with ‘Flip’, ‘Twister’, New New York, c. 1974 York, c. 1974 Len Lye Foundation Len Lye Foundation Collection, Collection, Govett-Brewster Govett-Brewster Art Gallery/ Art Gallery/ Len Lye Centre Len Lye Centre Photographer Photographer unknown unknown P / 4 Govett-Brewster Art Gallery Len Lye Trilogy (A Flip and Two Twisters) P / 5 Len Lye in studio with ‘Flip’, New York, 1970s Len Lye Foundation Collection, Govett-Brewster Art Gallery/ Len Lye Centre Photographer unknown P / 6 Govett-Brewster Art Gallery Len Lye Trilogy (A Flip and Two Twisters) P / 7 Trilogy (A Flip and Two Twisters) Paul Brobbel Len Lye Curator, Govett-Brewster Art Gallery/Len Lye Centre Intense, frightening and beautiful, the expertly engineered Trilogy is one of Len Lye’s most captivating works. Suspended from the ceiling, a large loop (Flip) and two long strips of stainless steel (Twisters) are spun and contorted into a motorised dance. Tension builds in the flexing steel, followed by sudden whiplash stops. The thunderous crash of Trilogy reverberates around the gallery, a sound described by Lye as like ‘icicles tumbling down your back’.
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  • Robert Graves Poeta 1895-1985
    Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955).
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