![]() It also gives me an interface to compose works.” Putting that at the core of my practice gives me the freedom to admit everything and anything, micro and macro, metaphysical and corporeal, as legitimate content. “The Sefirothic structure, or Tree of Knowledge, is really a metaphorical file and folder system for all a conceptual paradigm for understanding everything. “Personally, I need to put some kind of order on experience for sake of sanity and negotiation,” she said. ![]() She drew on the Jewish Sefiroth as a model for thinking about the relationship between the physical and the metaphysical. In the early 1990s, Julia Morison used gold and shit in many works, exploring the idealised and base elements of human experience. Instead, photography was seen as a product of, and a participant in, current social and cultural values. No longer was a photograph considered a truthful representation of reality. The artists included in both publications questioned in various ways the assumptions and rules of image making, manipulating the media and making a political move from the standpoint of taking a photograph, to making one. Six Women Photographers (1986) was edited by artists Merylyn Tweedie and Rhondda Bosworth for Photoforum and Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography (1989) was the catalogue for an exhibition curated by Gregory Burke for City Gallery Wellington. The essays and images in these books showed how artists were utilising new strategies, breaking away from the prevailing documentary photography tradition that was, and still is, widespread in Aotearoa. In the late 1980s, a significant shift for photography in Aotearoa New Zealand was identified in two art publications.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |