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Art and Future Art and Future Art and Future: Energy, Climate, Cultures Edited by Peter Stupples Art and Future: Energy, Climate, Cultures Edited by Peter Stupples This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Peter Stupples and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0410-7 ISBN (13): 978-1-5275-0410-3 CONTENTS List of Illustrations .................................................................................... vii Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Peter Stupples Chapter One ................................................................................................. 7 UNOVIS and the Future of Art Peter Stupples Chapter Two .............................................................................................. 17 Ecological Imperialism: Michael Shepherd’s Images of a Changing New Zealand Landscape Elizabeth Rankin Chapter Three ............................................................................................ 29 Questions of Culture, Natural Environment and Ecology Evelyn A. Armstrong Chapter Four .............................................................................................. 55 Nice Background: Two Perspectives Mark Bolland and Bridie Lonie Chapter Five .............................................................................................. 65 Scientific Reification David Green Chapter Six ................................................................................................ 81 Immanence and its Distortions: Metaphysics of an Art/Science Collaboration Ashley M. Holmes vi Contents Chapter Seven ............................................................................................ 99 Resonating Estuary: Transitions from Site to Art Jan Hogan Chapter Eight ........................................................................................... 115 The Water Project Margaret Feeney Chapter Nine ............................................................................................ 133 Civic Experiments: Tactics for Praxis Frances Whitehead Chapter Ten ............................................................................................. 145 Exhaustion Algorithm Luke Munn Chapter Eleven ........................................................................................ 161 Knowing Climate Change through Art Bridie Lonie Chapter Twelve ....................................................................................... 173 Pūkeko and Butter Papers: Reflections on an Environmental Art Practice Catharine Salmon Chapter Thirteen ...................................................................................... 191 Rocks By The Sea: An Artist’s Notes on his Growing Awareness of Climate Change and the Need for Cultural Reappraisal Nigel Brown Contributors ............................................................................................. 207 LIST OF ILLUSTRATIONS Fig. 1-1. Section of Suprematist works by Kazimir Malevich exhibited at the 0.10 Exhibition, Petrograd, 1915. This image is in the Public Domain. Fig. 1-2. Posed photo of Malevich with students and their “cosmic” work in Vitebsk, 1920. This image is in the Public Domain. Fig. 2-1. Michael Shepherd, The Advance on Rangiriri, 1990, triptych, oil on hardboard, installed size: 210 x 304 x 3. Private Collection. Courtesy of Milford Galleries Dunedin. Photo: Glenn Frei. Fig. 2-2. Michael Shepherd, Mural Design for a Holocaust Museum, 2009, oil on board, 150 x 250. Artist’s collection. Photo: Kellan MacCleod. Fig. 2-3. Michael Shepherd, The Invoice Spoken for Anathoth: Tree, 2012, acrylic on board, 35.6 x 60. Private collection. Photo: Kellan MacCleod. Fig. 2-4. Michael Shepherd, Commonwealth, 2012, acrylic on board. Artist’s collection. Courtesy of Two Rooms, Auckland. Fig. 2-5. Michael Shepherd. The Great Piece of Turf (AD), 2016, polymer and organic materials on handmade Hahnemühle paper, sheet: 58 x 76.2 x .5. Artist’s collection. Courtesy of Milford Galleries, Dunedin. Photography: Glenn Frei. Fig. 2-6. Michael Shepherd. The Promised Land, 2016, polymer and organic materials on handmade Hahnemühle paper, sheet: 58.2 x 76.3 x .3. Artist’s collection. Courtesy of Milford Galleries Dunedin. Photography: Glenn Frei. Fig. 3-1. Evelyn Armstrong, A Visual Transmutation of Forms, photo: Evelyn Armstrong © Fig, 3-2. Evelyn Armstrong, Cut Blocks of Ice, photo: Evelyn A. Armstrong © Fig, 3-3. Evelyn Armstrong, Homage to Ana Mendieta, photo: Evelyn A. Armstrong © Fig, 3-4. Evelyn Armstrong, The Life-Giving Cycle of Water, photo: Evelyn A. Armstrong © Fig. 3-5. Evelyn Armstrong, A Well’s Spring, photo: Evelyn A. Armstrong © Fig. 3-6. Evelyn Armstrong, A Hotel in Mazatlan, photo: Evelyn A. Armstrong © viii List of Illustrations Fig. 4-1. Mark Bolland, Destination Wedding, Tekapo, 2015, colour digital photograph. Fig. 4-2. Mark Bolland, Disused Railway Tunnel, Manuka Gorge, 2012, colour digital photograph. Fig. 4-3. Mark Bolland, Wires Through Tree, Lower Hutt, 2010, colour digital photograph. Fig. 5-1. Artist’s documentation of Embodied Earth, an installation shown as part of the Art and Light Exhibition held in the H.D. Skinner Annex, Otago Museum, Dunedin, New Zealand, August 2015. Fig. 5-2. Artist’s documentation of Embodied Earth, an installation shown as part of the Art and Light Exhibition held in the H.D. Skinner Annex, Otago Museum, Dunedin, New Zealand, August 2015. Fig. 5-3. The Fuller Projection Map is a trademarked design of the Buckminster Fuller Institute. ©1938, 1967 & 1992. All rights reserved, reproduced with permission, www.bfi.org. Fig. 6-1. Ashley M. Holmes, still frame capture from Indeterminate Gestures of Stones, digital movie, 0:33, 2013. Fig. 6-2. Ashley M. Holmes and Ruby Holmes, still frame capture from Immanence and its Distortions, single channel HD video, 16:9, colour, sound, 4:33, 2015. Fig. 6-3. Ashley M. Holmes and Ruby Holmes, still frame capture from Immanence and its Distortions, single channel HD video, 16:9, colour, sound, 4:33, 2015. Fig. 7-1. Work in progress, Hinsby Beach, Tasmania, 2016, photo: Jan Hogan. Fig. 7-2. Acoustic image produced by V. Lucieer, supported by the Marine Biodiversity Hub funded by the Australian Government's National Environmental Science Programme. Fig. 7-3. Acoustic image produced by V. Lucieer, supported by the Marine Biodiversity Hub funded by the Australian Government's National Environmental Science Programme. Fig. 8-1. Margaret Feeney, Robotic Water Gatherers: Family Group, 2017, mixed media, 35 x 78 x 18.6. Fig. 8-2. Margaret Feeney, Confused Water System, 2016, ink and paint on heavily gessoed paper, 121 x 80. Fig. 8-3. Margaret Feeney, Test Diagram, 2016, 29.8 x 20.8. Fig. 11-1. Jenna Packer, Bread and Circuses, 2013-14, acrylic on canvas, 120.5 x 160.1. Collection of the artist. Courtesy of Milford Galleries Dunedin. Fig. 11-2. Michele Beevors, Emu, 2017, wool, construction materials and wooden found objects, 200 x 80 x 60. Photo courtesy of the artist. Art and Future: Energy, Climate, Cultures ix Fig. 12-1. Catharine Salmon, Nature Morte: Milk Jug and Waterfowl I, 2013, installation detail. Fig. 12-2. Catharine Salmon, Nature Morte: Milk Jug and Waterfowl II, 2014, installation view. Fig. 12-3. Catharine Salmon, Bubble, 2016, installation view. Fig. 13-1. Nigel Brown, A Discussion Paper Written on Western Art, 2011, oil and acrylic on board, 165.1 x 124.8 x 5.5. Courtesy of Milford Galleries Dunedin. Photo: Glenn Frei. Fig. 13-2. Nigel Brown, I Wandered Lonely, 2013, acrylic on canvas, 165.1 x 124.7 x 5.4. Courtesy of Milford Galleries Dunedin. Photography: Glenn Frei. Fig. 13-3. Nigel Brown, World Government, 2012/13, acrylic and oil on board, 252.8 x 127 x 5.4. Courtesy of Milford Galleries Dunedin. Photography: Glenn Frei. Fig. 13-4. Nigel Brown, Society is about Trust? 2011, acrylic with oil on board, 165.1 x 124.7 x 5.4. Courtesy of Milford Galleries Dunedin. Photography: Glenn Frei. ACKNOWLEDGEMENTS This book is a selection of papers given at the Art and Future: Energy, Climate, Cultures Symposium at the Dunedin School of Art over the two days 14-15 October 2016. I would like to acknowledge the contribution of all those who gave papers and took part in discussions on a great variety of subjects related to the symposium theme, from all parts of New Zealand, from Australia, Canada and the United States of America. I would like to thank the head of the Dunedin School of Art at the Otago Polytechnic/Te Kura Matatini ki Otago, Professor Leoni Schmidt, for her enthusiastic support and financial patronage of this event. In particular for assisting the funding of our Keynote Speaker, Professor Frances Whitehead, Professor of Sculpture and Architecture at the School of the Art Institute of Chicago, funding further embellished by the Dunedin City Council, which was able to utilise Professor Whitehead’s expertise in local projects and planning. I would like to thank the Otago Community Trust
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