You may notice some changes to the magazine. We’ve added three new columns, to run alongside Justin Paton’s established one, Longer Look.
Megan Dunn will be contributing a regular column. It takes its title, The Listening Room, from a Magritte painting of a giant apple, so expect the unexpected.
Dispatch will feature reports from overseas correspondents, beginning with Gregory Burke witnessing the impact of Covid on art, from lockdown in Canada.
Watchlist will put a spotlight on emerging artists. Lucy Jackson kickstarts the series with a notice on expressionist painter Hannah Ireland.
We have also reintroduced the Opinion column, with a timely report from Abby Cunnane and Amy Chapman-Howden on art and climate change.
Aaron Lister reports on the City Gallery Wellington’s upcoming blockbuster exhibition, Swedish artist–mystic Hilma af Klint. At the dawn of the twentieth century, af Klint invented an entirely new artistic language—possibly even abstraction itself.
Closer to home, we engaged seven writers to each discuss a work of their choice by Rita Angus, in anticipation of her exhibition New Zealand Modernist, opening at Te Papa in December.
Curator Juliana Engberg introduces Swiss video artist Pipilotti Rist, whose work features in her current Auckland Art Gallery exhibition All That Was Solid Melts.
Bridget Riggir-Cuddy writes on Meg Porteous’s image-conscious photography.
Laurence Simmons unpacks Kushana Bush’s congested, timeless, placeless, mythic tableaux.
Lana Lopesi talks to curator Hanahiva Rose about her exhibition Stars Start Falling, which brings together works by Pasifika artists Teuane Tibbo, Ani O’Neill, and Salome Tanuvasa.
In our new ArtMarket section, Hamish Coney reports on growing interest in early New Zealand photography at auction.
Our Books section showcases a single title, as Peter Brunt previews Brett Graham’s Tai Moana Tai Tangata—still at the printers.
SKETCHES & REVIEWS
Sketches continues to cover events around the country. In this issue, it features exhibition reports and an innovative new programming partnership between Auckland’s Objectspace and Christchurch’s Centre of Contemporary Art. And, there are prizewinners to acknowledge, like Māori curator Nigel Borell winning the Arts Foundation’s first Moment In Time Award He Momo.