Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Fiona Connor, Felix Los Angeles 2021
Cheateau Shatto, Los Angeles, USA
29 July —
01 August 2021
Aotearoa artist Fiona Connor features in Felix Los Angeles 2021, alongside Parker Ito and Johnny Negron, part of LA's Felix Art Fair.
Aotearoa artist Fiona Connor features in Felix Los Angeles 2021, alongside Parker Ito and Johnny Negron, part of LA's Felix Art Fair.
Ani O'Neill and Yuk King Tan, Dreaming, after all, is a form of planning
1301PE, Los Angeles
17 July —
11 September 2021
1301PE, in partnership with Starkwhite, New Zealand, presents Dreaming, after all, is a form of planning, a group show featuring New Zealand artists Ani O'Neill and Yuk King Tan alongside Australian artists Rebecca Baumann and Johnny Neische.
Dreaming, after all, is a form of planning will be featured as 1301PE’s participation in GALA's inaugural Gallery Weekend Los Angeles, running from July 28 – August 1.
1301PE, in partnership with Starkwhite, New Zealand, presents Dreaming, after all, is a form of planning, a group show featuring New Zealand artists Ani O'Neill and Yuk King Tan alongside Australian artists Rebecca Baumann and Johnny Neische.
Dreaming, after all, is a form of planning will be featured as 1301PE’s participation in GALA's inaugural Gallery Weekend Los Angeles, running from July 28 – August 1.
Emma McIntyre, Ensemble
Chateau Shatto, Los Angeles, U.S.A.
01 May —
26 June 2021
In a milieu that continues to be shaped by slipperiness and temperamental restrictions, a space in Château Shatto’s exhibition program quickly arose at the beginning of May. Rather than compensating with a hastily-conceived exhibition, the Gallery uses the afforded time and space to enact a gesture of exchange with treasured colleagues, having extended invitations to a handful of galleries and artist run-spaces to suggest artists and artworks to compose an exhibition. It’s a simple re-wiring of the development of an exhibition: a procuring idea isn’t first conceived and then materially expressed through an arrangement of works; rather, the exhibition materializes then we can observe any chemistries and dissonances that might arise. Artworks find themselves alongside each other, not by a relational conceit, but by organizing structures beyond themselves.
In a milieu that continues to be shaped by slipperiness and temperamental restrictions, a space in Château Shatto’s exhibition program quickly arose at the beginning of May. Rather than compensating with a hastily-conceived exhibition, the Gallery uses the afforded time and space to enact a gesture of exchange with treasured colleagues, having extended invitations to a handful of galleries and artist run-spaces to suggest artists and artworks to compose an exhibition. It’s a simple re-wiring of the development of an exhibition: a procuring idea isn’t first conceived and then materially expressed through an arrangement of works; rather, the exhibition materializes then we can observe any chemistries and dissonances that might arise. Artworks find themselves alongside each other, not by a relational conceit, but by organizing structures beyond themselves.
Fiona Connor, Drafting Space
1301PE, Los Angeles, U.S.A.
24 April —
12 June 2021
1301PE presents Drafting Space, an exhibition of drawings by Fiona Connor, Morgan Fisher, Jessica Stockholder, and Diana Thater.
For this group exhibition the artists consider first drafts, technical drawing, preparatory sketches, or blueprints for things yet to be realized. Throughout the past year of uneasy limbo, the prospect of making plans for the future has become fraught. We’ve had to ask ourselves: What do we plan for? What can we plan for? What if the plan is all we have?
The quality of this work is often technically intricate yet loose, full of movement, with a relationship to a material environment but also existing in a somewhat playful, imaginary space where a potential future is drafted on paper.
1301PE presents Drafting Space, an exhibition of drawings by Fiona Connor, Morgan Fisher, Jessica Stockholder, and Diana Thater.
For this group exhibition the artists consider first drafts, technical drawing, preparatory sketches, or blueprints for things yet to be realized. Throughout the past year of uneasy limbo, the prospect of making plans for the future has become fraught. We’ve had to ask ourselves: What do we plan for? What can we plan for? What if the plan is all we have?
The quality of this work is often technically intricate yet loose, full of movement, with a relationship to a material environment but also existing in a somewhat playful, imaginary space where a potential future is drafted on paper.
Emma McIntyre, Pour plenty on the worlds
Chris Sharp Gallery, Los Angeles, U.S.A.
23 January —
06 March 2021
Chris Sharp Gallery presents its inaugural exhibition, a solo of the New Zealand-born, Los Angeles-based artist, Emma McIntyre.
Emma McIntyre practices what could be considered “promiscuous abstraction.” This is due in part to how she handles her medium and in part to her frame of reference. Pictorially, her paintings are liable to resemble landscapes, events, and explosive, if lyrical recapitulations of the history of abstraction, or all of the above. Their apparent, action-packed spontaneity is belied by the obvious complexity of thought and breadth of art historical engagement that informs them. Looking at her recent works, one might think of everything from the work of Joan Mitchell to scenes or stills from Carolee Schneemann’s Fuses (1967) to the most tempestuous landscapes of Turner (with little Whistler’s smuggled in here and there), Fragonard, early Jack Whitten, and Michaela Eichwald, to name a few.
Chris Sharp Gallery presents its inaugural exhibition, a solo of the New Zealand-born, Los Angeles-based artist, Emma McIntyre.
Emma McIntyre practices what could be considered “promiscuous abstraction.” This is due in part to how she handles her medium and in part to her frame of reference. Pictorially, her paintings are liable to resemble landscapes, events, and explosive, if lyrical recapitulations of the history of abstraction, or all of the above. Their apparent, action-packed spontaneity is belied by the obvious complexity of thought and breadth of art historical engagement that informs them. Looking at her recent works, one might think of everything from the work of Joan Mitchell to scenes or stills from Carolee Schneemann’s Fuses (1967) to the most tempestuous landscapes of Turner (with little Whistler’s smuggled in here and there), Fragonard, early Jack Whitten, and Michaela Eichwald, to name a few.