Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Kate Newby in residency at Chinati Foundation
The Chinati Foundation in Marfa, Texas, U.S.A.
01 November —
31 December 2017
Working with a variety of media including installation, textile, ceramics, casting and glass, New York-based artist Kate Newby is a sculptor who is committed to exploring and putting pressure on the limits and nature of sculpture. As such, she is interested in not only space, volume, texture and materials, but where and how sculpture happens. Varying in scale, works are liable to take place fugaciously, as in the case of her ceramic skipping stones which she asks people to skip and have themselves photographed doing so, on the street in a given city, as in her concrete, poured puddles, or in the gallery proper, in subtly, but noticeably present architectural disruptions of the space itself. In every case the work bears a strong link to not just the every day, but to the lived—it wants to experience as much as it generates experience, collecting and registering the traces of the passing world, which it incorporates and is incorporated into. It is for this reason that if the handmade plays a very important role in what she does it is not merely romantic or even retrograde, but rather the aesthetic byproduct of a position that shamelessly embraces direct experience over the mediated.
Working with a variety of media including installation, textile, ceramics, casting and glass, New York-based artist Kate Newby is a sculptor who is committed to exploring and putting pressure on the limits and nature of sculpture. As such, she is interested in not only space, volume, texture and materials, but where and how sculpture happens. Varying in scale, works are liable to take place fugaciously, as in the case of her ceramic skipping stones which she asks people to skip and have themselves photographed doing so, on the street in a given city, as in her concrete, poured puddles, or in the gallery proper, in subtly, but noticeably present architectural disruptions of the space itself. In every case the work bears a strong link to not just the every day, but to the lived—it wants to experience as much as it generates experience, collecting and registering the traces of the passing world, which it incorporates and is incorporated into. It is for this reason that if the handmade plays a very important role in what she does it is not merely romantic or even retrograde, but rather the aesthetic byproduct of a position that shamelessly embraces direct experience over the mediated.