Blog posts tagged with: Performance

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Oct 16, 2012
By
Tessa Laird
Len Lye: The Opera (2012) photo by Dean Carruthers

Tessa Laird reviews Len Lye: The Opera, the most recent and surprising new perspective on the colourful artists life and work.

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