Jim Allen; Len Lye; Hélio Oiticica; Christina Barton; Tyler Cann; Mercedes Vicente; Govett-Brewster Art Gallery.; Adam Art Gallery.
|注意：||"Published by Govett-Brewster Art Gallery and Adam Art Gallery Te Pātaka Toi with the generous support of Michael Lett and Museum of New Zealand Te Papa Tongarewa on the occasion of the exhibition Points of Contact: Jim Allen, Len Lye, Hélio Oiticica, Govett-Brewster Art Gallery, New Plymouth, Aotearoa New Zealand, 11 December 2010-27 February 2011, and toured with the assistance of Creative New Zealand Toi Aotearoa and Michael Lett to Adam Art Gallery Te Pātaka Toi, Vicotoria University of Wellington, Aotearoa New Zealand, 18 March-22 May 2011"--P. .
"Reflections, documents, documentation"--Cover.
|描述：||79 p. : ill. (chiefly col.) ; 24 cm.|
|内容：||Reflections. Points of contact / Tyler Cann and Mercedes Vicente. Harbingers / Guy Brett. Phoenixes / Christina Barton. Jim Allen interviewed by Tyler Cann and Mercedes Vicente --
Documents. Small worlds, installation at Barry Lett Galleries, Auckland, 1969. Contact, performed at the Auckland City Art Gallery as part of Four Men in a Boat performance series programmed for the Auckland Festival, 1974. Jim Allen, letter to Guy Brett, 3 August 1968. Jim Allen, letter to Len Lye, 21 November 1973. Jim Allen interviewed by Len Lye, 25 October 1968 --
Documentation. Points of contact : Jim Allen, Len Lye, Hélio Oiticica at the Govett-Brewster Art Gallery and Adam Art Gallery.
|責任：||edited by Christina Barton, Tyler Cann and Mercedes Vicente.|
New Zealand born Len Lye and Brazilian Hélio Oiticica are acknowledged internationally for their respective practices. These span direct film, kinetic sculpture, painting, installation and participatory performance, as well as bodies of writing that pushed language into new territory in ther efforts to convey their revolutionary views on art and life. Jim Allen, in contrast, is not as well known as he should be and whose ‘environmental structures’ and performances established him as the primary figure of post-object art in New Zealand in the late 1960s and 70s. Points of Contact joins a number of recent surveys that challenge the European and North American art historical paradigm, proposing and examining instead parallel and specific art historical trajectories outside these centres, in both their local and global dimensions.