SON the FOUR WOMEN at CENTRAL Llbrary MODERN
Total Page：16
File Type：pdf, Size：1020Kb
MOURNING [A] SON THE FOUR WOMEN AT CENTRAL LIBRARY MODERN ART – a MODERN WEAPON ISSUE 17 The haunting realities of war and Terrible at getting to know the person The story of how the CIA used July 28, 2014 the importance of photography to the next to you? It’s time to swim against modern art to assert cultural critic.co.nz ritual of remembering. PAGE 18 the current. PAGE 22 superiority over Russia. PAGE 26 ISSUE 17 July 28, 2014 NEWS & OPINION FEATURES CULTURE ABOVE: From “Modern art | 16 | WORLD WAR ONE CENTENARY 18 | MOURNING [A] SON 30 ART – a modern 28 July marks the beginning of the First With both the 100-year anniversary of World War One and OUSA 32 | FOOD weapon” Art Week in mind, this is a look at the haunting realities of war for World War Centenary. However, there 33 | BOOKS Illustration: continues to be opposing opinions on New Zealand communities and the importance of photography to Daniel Blackball the use of white poppies as a symbol the ritual of remembering. 34 | FILM of peace, John Key has been accused of By Sandy Callister 37 | GAMES having “no sense of history” for allow- 38 | MUSIC COVER: ing New Zealand’s general election to From | coincide with a key commemoration, 22 | THE FOUR WOMEN AT CENTRAL LIBRARY 44 LETTERS "Mourning Scarfie culture: it’s a beast that thrives in this fine province that | and the University of Otago is still yet to 46 LOVE IS BLIND [a] son” people from all around New Zealand, and the world, come to. It see a Roll of Honour on campus. Illustration: pushes us to go crazy and challenges the limits of our bodies and Daniel Blackball By Josie Cochrane our laws. But when it comes to getting to know the person sitting next to you in the library, it’s somehow “gotta be a prank.” It was time to swim against the current. By Max Callister-Baker “ 04 | NEWS What we’ve done is chosen to have high quantity, low quality education by regulating 11 | SPORT fees, and everybody has to go along and do 26 | MODERN ART – a MODERN WEAPON it, because if they don’t, it’s assumed that you 12 | POLITICS While the U.S. military was out fighting for the American way weren’t even good enough to do that. It’s actu- | in Greece, its government was perfecting more peaceful ways of 14 NEWS IN BRIEFS ally making us worse off to have subsidised asserting U.S. cultural superiority. It has hardly been kept a secret 40 | SCIENCE, BITCHES! and price controlled, low quality education. that Government-connected billionaires donated to burgeoning 40 | QUEER EYE artists, but recent revelations of ex-CIA operatives put a clincher on 41 | DEFENDING THE KINGDOM the conspiracy: The Man funded modern art. DAVID SEYMOUR - ACT PARTY CANDIDatE FOR EPSOM | 41 TOO MUCH SCREENS By Josie Adams ” - PAGE 12 EDITOR FEATURE WRITER Laura Starling Sir Lloyd Queerington CONNECT Critic is a member of the Andrew Kwiatkowski Sam Fleury Aotearoa Student Press Zane Pocock Josie Adams Association (ASPA). Disclaimer: Baz Macdonald Elisabeth Larsen the views presented within this NEWS EDITOR CHIEF REPORTER READ ONLINE: Adrian Ng Stacey Kennedy CRITIC.CO.NZ OR publication do not necessarily Josie Cochrane Laura Munro Tohora Te Maiharoa represent the views of the Editor, CONTRIBUTORS ISSUU.COM/CRITIC_TE_AROHI Planet Media, or OUSA. FEATURES EDITOR NEWS INTERNS Sam Hall-McMaster DISTRIBUTOR Loulou Callister-Baker Nina Harrap Press Council: people with a Sarah Robertson Max Pocock GET IN TOUCH: Anna Whyte complaint against a magazine SUB EDITOR Allison Hess [email protected] should first complain in writing to Emily Draper ONLINE CONTENT MANAGER Max Prestidge Kristen Stewart FB.COM/CRITICTEAROHI the Editor and then, if not satisfied Oli Cameron with the response, complain to SECTION EDITORS Sandy Callister TWEET: @CRITICTEAROHI TECHNICAL DESIGNER the Press Council. Complaints Daniel Lormans Max Callister-Baker ADVERTISING SALES should be addressed to the Sam Clark (03) 479 5335 Carys Goodwin Chelsea Boyle Josh Hannagan Secretary, PO Box 10-879 P.O. BOX 1436, The Terrace, Wellington. DESIGNER & ILLUSTRATOR Hannah Collier Alex Campbell-Hunt Elaine Oldham DUNEDIN Daniel Blackball Sophie Edmonds Elsie Jacobson Tom Tremewan 2 | Issue 17 Critic EDITORIAL great to see writing and art – two of my favourite Like the handfuls of students involved in each GUEST EDITORIAL 17 things – merge together, but these various clip- issue of Critic – many of whom with aspirations WAR AND PIECES OF ART pings also make me reflect on the importance of of being some sort of writer or reporter – emerg- a continuing dialogue on Dunedin’s art scene by ing artists and project spaces need environments uried in 15-year-old documents, re- local publications. Whether people “get” the art where they feel that they can begin and develop ceipts and eccentric handwritten art or not (there are always going to be exhibitions their creative endeavours. Open minds and fre- B proposals, I try and identify the junk that raise eyebrows for the wrong reasons), this quent exposure are essential. Artists, writers from the historical documents at the Blue Oyster relationship between publications and galleries and admirers of either, all have to begin doing Art Project Space. I have been going through is vital to maintaining awareness of art practices what they do somewhere. Like all beginnings, these archival documents for two months. At in Dunedin and throughout New Zealand. It’s also things aren’t going to always work out. There are times it feels repetitive but, more often than not, vital as a way of documenting art practices and mistakes. But it is my hope that students (and the piecing together an important part of Dunedin’s artists in New Zealand’s history. University) do more for these support networks. contemporary art scene is fascinating. There It’s as simple as checking out an exhibition on is so much significant New Zealand history in This relationship is especially important when Dowling Street on the way to the gym. Sure, the boxes: handwritten notes by Steve Carr; a other entities like the University of Otago have anyone could dismiss art but how much more decorated exhibition invite by Kim Pieters; an proven to have a contrasting and unhelpful disas- interesting (for literally everyone) is it to try artist agreement signed by Julian Dashper; the sociation with these spaces and emerging artists. and give a fuck? - PAGE 12 2005 Graduate Exhibition plan that included The fact that various artworks put on display for the increasingly admired artist Kushana Bush. the collaborative event Art on Campus in 2012 Alongside the weekly art page, two of this are still hanging around the University, with no week’s Critic features are art themed, in con- As someone who comes from a family that con- payments yet made to purchase the artists’ works, junction with OUSA’s Art Week. Furthermore, stantly exposed me to art as I grew up, looking means that this dissociation is undeniable. Sure, with the centenary of the First World War falling through these archival documents causes me the University is a huge organisation and this may on the publication date of this issue, Dr Sandy to quietly nerd out in the Blue Oyster safe (it’s be an administrative mistake. But with its very Callister’s piece on photography in the War holds literally a safe, my key has a whistle in case I get own Art History department, a significant New a two-fold relevance. locked inside) where I work. My nerding-out is Zealand art school right next door and the myriad only exemplified by the numerous clippings from spaces for emerging artists throughout Dunedin, Loulou Callister-Baker Critic over the years that either feature reviews of the University should be excited and active in their Critic Features Editor Blue Oyster shows or interviews when there have relationship with the Dunedin art scene rather than been changes to the directorship. Not only is it let these works gather dust. Critic Issue 17 | 3 NEWS APPLIED SCIENCES LOCKS OUT STUDENTS DESIGN STUDENTs’ OBVIOUS SNUGGLING DEEMED AN UNSAFE BIOHAZARD he University of Otago’s Department of Working on assignments is also extremely dif- timetable. “Doing four papers in a semester can Applied Sciences has received backlash ficult for students to complete on their personal fill up your timetable, or leave you with awkward T from undergraduate design students computers. Williscroft said, “The software we gaps and clashes,” said a student. “Based on the because of a new rule denying student access use is all industry standard.” Students require number of others who I also see at all hours of to facilities after 5pm. The rule applies to use access to programs such Adobe Photoshop, the night working in there, it is obvious that they of the Applied Sciences stone building, which Illustrator and CAD (Computer-Aided Design). struggle as well,” he said. is currently shared with the Department of A student license for such programs can cost Food Science. around $170 per year. Williscroft said, “It’s not Due to the vast number of student complaints, just computers that we need as well. Most of Applied Sciences staff met with students this Jason Williscroft, a third-year student studying our work involves working as groups, using the past Monday to decide on an alternative. “We design, told Critic, “Locking the doors down at printers and other materials.” have voiced our opinion, and [Professor Laing] 5pm doesn’t just affect those who put work off is deliberating on how to formulate a solution,” until the last minute, it impacts on groups of In regards to the reasoning behind the new rule, Richard Rishanghan, class representative for us who want to meet up and work on a project; Professor Raechel Laing, HOD of Applied Sciences, DESN201 told Critic.