ART à la mode ♡
The Art Paper online bulletin
Cast your dreamhouse to the wind
Adwait Singh on Areez Katki’s exhibition As this chin melts on your knee, on view at TARQ Mumbai through 24 February 2024.
Contours of migration
Dr Kirsty Baker on Rozana Lee’s Sekali pendatang, tetap pendatang at Te Uru Waitākere Contemporary Gallery, 18 March – 30 July 2023.
Murmuring Shadows
Francis McWhannell on Hamish Coleman, Wax and Wane, 13 May–17 June 2023.
Print Archive: George Watson, Filial
Lily McElhone on George Watson’s Filial; Envy6011, 9 September – 8 October 2022.
Exuberant flowers, plants and herbs
Lorena Muñoz-Alonso on Ann Shelton, A Lovers’ Herbal; PHOTO OP., 5–26 November 2022.
Print archive: Venereal Sacraments
Julia Craig on Owen Connors’ egg tempera paintings.
Positions
Bridget Riggir-Cuddy on Rea Burton and Meg Porteous, Birds; Neon Parc City, Naarm, 21 October - 19 November 2022.
Art Criticism: An essay in eight parts
Fergus Porteous on Shiraz Sadikeen, Ends; Coastal Signs, 15 September - 22 October 2022.
Ornery and Opulence: In the thrall of Andrea du Chatenier’s ceramics
Commissioned by Sarjeant Art Gallery Te Whare o Rehua Whanganui and republished on the occasion of du Chatenier’s exhibition Elephant’s Ear at Anna Miles Gallery, through 3 November 2022.
Looking for a Massage?
An essay on Sebastian Martley’s exhibition Deep Issue at Satchi & Satchi & Satchi (written by robots, edited by Beth Clemens).
Various Saturns
An essay by Sholto Buck on Nick Mullaly on the occasion of the artist’s exhibition at KAUKAU.
Hard Limits: on Hikalu Clarke’s Dredge
Gallerist Dan du Bern of Sumer on Hikalu Clarke’s current exhibition at the gallery.
Ruby Wilkinson, Sun Room
An essay by Tendai Mutambu on Ruby Wilkinson’s Sun Room.
twisting, turning, winding: takatāpui + queer objects
A selection of texts on artworks from the exhibition catalogue for twisting, turning, winding: takatāpui + queer objects at Objectspace, Aotearoa.
Cake By The Ocean
Lachlan Taylor on Cat Fooks—commissioned by Anna Miles and Ramp Gallery on the occasion of Fooks’ exhibition, Cake By The Ocean.
Print archive: Smooth Signs
From The Art Paper Issue 02—Romily Plourde Marbrook on Taylor J. Wagstaff’s Smooth Signs.
Life after Punk
An essay by Jenny Watson on Rea Burton’s Punk Paintings. Commissioned by Robert Heald Gallery on the occasion of the exhibition.
Dipping Mortal
Lachlan Taylor on Barbara Tuck’s painting Dipping Mortal (2014)—republished from an exquisite collection of essays in the new book Delirium Crossing, edited by Anna Miles and Christina Barton.
Print archive: On Openings, Daniel Strang’s filmic event
Daniel Strang’s digital video Openings is structured around a narrow schema: near-exhaustive documentation of every scene that depicts art exhibition openings from the history of cinema (1945 to 2020), arranged chronologically by the year of each film’s release.
Print archive: Imperial Vegetables, Lachlan Taylor on Ayesha Green’s I thought I heard you crying in the forest
“It’s a painting about power, and the ways that power is gained, maintained, coveted, stolen, and mourned through systems of representation.”