Whanganuilibrary.com
Normal view MARC view ISBD view

The Domain / Gavin Hipkins ; edited by Courtney Johnston.

By: Hipkins, Gavin, 1968-.
Contributor(s): Johnston, Courtney [editor.] | Clark, George (Curator) [contributor.] | Leonard, Robert [contributor.] | Dowse Art Museum [host institution.].
Material type: materialTypeLabelBookPublisher: Wellington, New Zealand : Victoria University Press in association with The Dowse Art Museum, 2017Copyright date: ©2017Description: 240 pages : illustrations (some colour) ; 26 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 9781776561780; 1776561783.Subject(s): Hipkins, Gavin 1968- -- Exhibitions | Hipkins, Gavin, 1968- -- Criticism and interpretation | Photography, Artistic -- ExhibitionsDDC classification: 779.092
Contents:
View finder / Courtney Johnston -- The revenant / Robert Leonard -- There is no motion in a motion picture : on cinema, photography and the essay film / George Clark -- Plates -- Archive texts.
Summary: "Accompanying a major survey of Hipkins' work at The Dowse Art Museum (November 2017 - March 2018), The Domain is an extensively illustrated book that combines new essays with a selection of art writing from the past 20 years. It illuminates not only Hipkins' ever-evolving practice - which takes in a great variety of photographic media, from slide transparencies to moving image - but critical approaches to photography at the turn of the 21st century. Included here are plates from major bodies of work including The Habitat (1999-2000), Hipkins' study of Brutalist architecture on New Zealand universities; The Homely (1997-2000), a photographic tour through New Zealand and Australia, nominated for the inaugural Walters Prize; The Colony (2000-2002), shown at the 28th Sao Paulo Biennale; and Erewhon (2014), Hipkins' first feature-length film, an experimental adaptation of Samuel Butler's anonymously published 1872 novel Erewhon. Hipkins' work returns again and again to a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; and how social and political ideologies visually shape the world we live in. Here, followers of Hipkins can see how his career has unfolded and newcomers can discover one of New Zealand's most innovative, subversive investigators of photography." --Publisher description.
Tags from this library: No tags from this library for this title. Log in to add tags.
    average rating: 0.0 (0 votes)
Item type Current location Collection Call number Status Date due
Non-Fiction Davis (Central) Library
Non-Fiction
Non-Fiction 779.092 HIP Available

Enhanced descriptions from Syndetics:

Early in his career, New Zealand artist Gavin Hipkins was described by fellow artist Giovanni Intra as a 'tourist of photography'. This epithet has been used repeatedly by commentators on Hipkins' work to describe two intertwined aspects of his practice. As art historian Peter Brunt puts it, Hipkins is a constantly travelling photographer, 'an iconographer of desire, travel, time and ... modern communities', and a tourist within the medium, 'a great manipulator of the photographic artifact itself'. Accompanying a major survey of Hipkins' work at The Dowse Art Museum (November 2017 - March 2018), The Domain is an extensively illustrated book that combines new essays with a selection of art writing from the past 20 years. It illuminates not only Hipkins' ever-evolving practice - which takes in a great variety of photographic media, from slide transparencies to moving image - but critical approaches to photography at the turn of the 21st century. Included here are plates from major bodies of work including The Habitat (1999-2000), Hipkins' study of Brutalist architecture on New Zealand universities; The Homely (1997-2000), a photographic tour through New Zealand and Australia, nominated for the inaugural Walters Prize; The Colony (2000-2002), shown at the 28th Sao Paulo Biennale; and Erewhon (2014), Hipkins' first feature-length film, an experimental adaptation of Samuel Butler's anonymously published 1872 novel Erewhon. Hipkins' work returns again and again to a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; and how social and political ideologies visually shape the world we live in. Here, followers of Hipkins can see how his career has unfolded and newcomers can discover one of New Zealand's most innovative, subversive investigators of photography. With new essays by George Clark, Courtney Johnston and Robert Leonard, and archival texts by Barbara Blake, Peter Brunt, Blair French, Heather Galbraith, Giovanni Intra, Robert Leonard, Trevor Mahovsky, William McAloon, Karra Rees and Laurence Simmons.

Published to accompany the exhibition Gavin Hipkins: The Domain at The Dowse Art Museum, curated by Courtney Johnston, 25 November 2017-11 March 2018.

Includes bibliographical references.

View finder / Courtney Johnston -- The revenant / Robert Leonard -- There is no motion in a motion picture : on cinema, photography and the essay film / George Clark -- Plates -- Archive texts.

"Accompanying a major survey of Hipkins' work at The Dowse Art Museum (November 2017 - March 2018), The Domain is an extensively illustrated book that combines new essays with a selection of art writing from the past 20 years. It illuminates not only Hipkins' ever-evolving practice - which takes in a great variety of photographic media, from slide transparencies to moving image - but critical approaches to photography at the turn of the 21st century. Included here are plates from major bodies of work including The Habitat (1999-2000), Hipkins' study of Brutalist architecture on New Zealand universities; The Homely (1997-2000), a photographic tour through New Zealand and Australia, nominated for the inaugural Walters Prize; The Colony (2000-2002), shown at the 28th Sao Paulo Biennale; and Erewhon (2014), Hipkins' first feature-length film, an experimental adaptation of Samuel Butler's anonymously published 1872 novel Erewhon. Hipkins' work returns again and again to a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; and how social and political ideologies visually shape the world we live in. Here, followers of Hipkins can see how his career has unfolded and newcomers can discover one of New Zealand's most innovative, subversive investigators of photography." --Publisher description.