November 5, 2016 - May 28, 2017
Feature Gallery North
New Zealand artist Peter Stichbury is fascinated by society’s ongoing obsession with UFO phenomena. He paints historical UFO sightings, as well as portraits of the people who purportedly saw them. With penetrating, but perplexing gazes, Stichbury’s subjects are caught in an alternate reality—forever changed by their sighting experience, but also influenced by the myths, disinformation, and conspiracy theories society imparts on such experiences.
Curator: JoAnne Northrup
ARE THEY OUT THERE?
Saturday February 04, 2017
2:00 PM – 3:00 PM
Senior Astronomer and SETI researcher Dr. Seth Shostak bets that we will find extraterrestrial life in the next twenty-four years. Exploring the themes in Peter Stichbury’s Anatomy of a Phenomenon, Dr. Shostak will discuss society’s ongoing obsession with UFO phenomena, explain why new technologies and the laws of probability make the breakthrough likely and predict how the discovery of civilizations far more advanced than ours might affect us here on Earth.
Tracy Williams, Ltd. New York
People, Places, Things
7 July - 27 July 2016
Brent Holland Baker, Sue de Beer, Birgit Brenner, Richard Dupont, Nicole Eisenman,
Judith Eisner, Greg Fadell, Anthony Gormley, Deborah Kass, Mary Reid Kelley,
Jeff Koons, Damian Loeb, Robert Longo, Yasumasa Morimora, Matt Mullican,
Vik Muniz, Paulina Olowska, Peter Stichbury, Kara Walker
BAD HAIR DAY
Christchurch Art Gallery Te Puna o Waiwhetu
Curator: Ken Hall
A salute to the bearded, balding and bewigged. Highlighting heads and hairstyles from a span of over two-thousand years, Christchurch Art Gallery's upcoming exhibition is a playful take on everything from sideburns to split ends. Featuring more than 60 works, Bad Hair Day examines the changing expressions of hair through an eccentric compilation traversing time and trend. Gallery Director Jenny Harper says subversive humour plays an important part in many of the works, Bad Hair Day weaves an unpredictable path through a variety of works and media, from historical painting to contemporary photography and video.
Leo Bensemann, Otto Dix, William Hogarth, Anthony McKee, John Theodore Heins, Yvonne Todd
Steve Carr, George Moutard Woodward & Thomas Rowlandson, Ede & Ravenscroft London, Gavin Hurley, Claudius Brassington, Gavin Hipkins, Laurent Joseph Olivier, Marie Seymour Lucas, Pierre Auguste Renoir, Rembrandt van Rijn, Robert Walker, Heather Straka, James Lawson Balfour, Gregor Kregar, Kennaway Henderson, Anne Noble, Peter Stichbury, Eric Gill, Elsie White, Jacques Callot, Toyohara Chikanobu, David Cook, Jason Greig, Siliga David Setoga, Rita Angus, Lucas van Leyden, Joan Dukes, Heather Busch, Liyen Chong, Patrick Pound, William Blake, Roger Boyce, Ronnie van Hout.
4 June 2016 – 28 May 2017
In this large, beautifully presented book, Christchurch Art Gallery showcases 101 treasures from its collection – paintings, drawings, sculpture, film and photographs that stand out in a line-up of New Zealand’s most significant collected works. Enjoy thoughtful, conversational texts by Lara Strongman, Ken Hall, Felicity Milburn, Nathan Pohio, Peter Vangioni and Jenny Harper – written to feel as if the reader is standing with the curator in front of the painting. Also includes insightful interviews with artists and curators.
Order by emailing email@example.com
NDE, Felicity Milburn
101 Works of Art, catalog
Christchurch Art Gallery
It’s odd when your immediate reaction to a painting is to look away and over your shoulder instead. That’s how I felt when I first encountered Peter Stichbury’s unsettling NDE. When someone fixates anxiously on a point behind you it is undeniably off-putting - a classic schoolyard ploy – and what’s more, it disrupts comfortable art viewing protocols: rather than returning, or receiving, our gaze, the immaculate woman’s intense concentration elsewhere makes our presence seem somehow superfluous. It’s creepy intriguing and, yes, even a little insulting.
NDE made its first public appearance as a glowing, seven-meter-wide billboard on Christchurch Art Gallery’s exterior as part of our post-earthquake Outer Spaces program. Looming over Worcester Boulevard, her unnerving gaze rested squarely on the Christchurch City Council’s Civic offices, and no sooner was she installed than we began receiving expressions of alarm via our blog:
At 12:28 PM on 19/04/2013, Gus wrote: The painting is scaring people.
At 8:14 PM on 19/04/2013, Gus wrote: This is spooky! Take it down!
Mission accomplished, Stichbury may well have thought, given he’d previously admitted his hope that NDE would ‘induce an uneasy response, like witnessing a UFO’. The artist, in fact, had been managing some anxieties of his own – this was his first public artwork and also the first time he’s made a painting with the intention that it be translated into vinyl and blown up dramatically in scale. From his comments at the time, it’s clear the work received even more than his usual forensic attention to detail:
‘It feels slightly strange knowing it will be transformed into a huge illumination. All those small hairs and tiny details I’ve been sweating over will end up as scruffy foot-long gestural brushstrokes. I should really be painting with a microscope. Actually, once it’s blown up, even the linen will look like the moon’s surface.’
Back in the Gallery, the subsequently acquired original exudes an enigmatic perfection reminiscent of Hitchcock’s icy blondes, though closer scrutiny suggests she might have more in common with the fretful, too-perfect, ‘valids’ of Gattaca, Andrew Niccol’s 1997 sci-fi classic about a eugenically designed society. That initial, synthetic flawlessness unravels further every moment, revealing a series of subtle manipulations calculated to maximize our discomfort. First, those haunted, haunting eyes – enlarged and widened in the chilling ‘objective’ tradition of Lucian Freud, who Stichbury cites as a key influence – but also sunken, red rimmed and ringed with shadows. And the strangely ambiguous look within them – is this a woman who is startled, afraid or merely processing some life-changing new information? Her clothing (chic trench or lab coat?) is similarly inconclusive. Our viewpoint is so low and close we can almost see her pupils dilate, and Stichbury’s fascination with testimonies of near death experience, documented and analyzed in countless internet forums. Across age, gender and religion, several core motifs recur: a sensation of bodily detachment, a feeling of serenity and the presence of a light, traveled through or toward. Have we stumbled across someone on the cusp of the hereafter? Her implied, inaudible gasp seems to support it. Whatever she has seen or experienced, it has, at least temporarily, removed her from our sphere into another – leaving us uncomfortably close, but worlds apart.
La exposición ARSTRONOMY. Incursiones en el cosmos, comisariada por Danielle Tilkin, nos sumerge en el complejo mundo del cosmos a través de su reflejo en el arte contemporáneo. Los viajes espaciales, lo astral, lo cósmico, lo científico y lo ufológico son temas presentes en el arte del siglo XX que han sido fuente fundamental de inspiración para muchos creadores y que se ven materializados en esta exposición.
ARSTRONOMY reflexiona sobre la unión entre la ciencia, la imaginación, la tecnología y el arte mediante la obra de más de treinta artistas: Alfonso Borragán, Pamela Breda, Michael Buthe, Robert Dimatteo, EVRU, Laurent Grasso, Greatest Hits, Keith Haring, Susan Hiller, Mike Kelley, William Kentridge, Yves Klein, Július Koller, Gyula Kosice, Paul Laffoley, Robert Llimós, Abu Bakarr Mansaray, Tony Oursler, Trevor Paglen, Panamarenko, Sigmar Polke, Joan Rabascall, Rotraut, Thomas Ruff, Nicolas Schoffer, Bob Smith, Peter Stichbury, Thomas Struth, Ionel Talpazan, Mark Tansey, Paul van Hoeydonck, Angelo Vermeulen, Anton Vidokle, William Adjété Wilson y Michael Zansky.
Este catálogo digital incluye, además del texto de la comisaria, aportaciones de destacados especialistas, como Chris Aubeck, fundador del colectivo de investigación histórica Magonia Exchange, y el pensador y escritor alemán Boris Groys. La Casa Encendida, 2015
Authors: Danielle Tilkin , Borys Groys and Chris Aubeck
Paul van Hoeydonck, Joan Rabascall, Yves Klein, Rotraut, Julius Koller, Sigmar Polke, Panamarenko, Paul Laffoley, Mark Tansey, E.M.S. Evrugo mental state, Robert Llimós, Michael Zansky, Bob Smith, Susan Hiller, Thomas Ruff, Thomas Struth, William Kentridge, Ionel Talpazan, Keith Haring, Tony Oursler, Mike Kelley, Abu Bakarr Mansaray, Peter Stichbury, Laurent Grasso, Pamela Breda, Alfonso Borragán, Greatest Hits, Trevor Paglen, William Adjété Wilson, Anton Vidokle, Angelo Vermeulen, Michael Buthe, Nicholas Schöffer, Gyula Kosice, Robert Dimatteo.
Curated by Danielle Tilkin
La exposición ARSTRONOMY aborda el cosmos desde distintos aspectos –lo astral, lo espacial, lo científico y lo ufológico– y reflexiona sobre el impacto que la investigación científica, los viajes espaciales y la ciencia ficción han tenido en el arte contemporáneo a través de una selección de obras de más de veinte artistas nacionales e internacionales.
Los viajes espaciales, la ciencia ficción o la llegada del hombre a la Luna son temas presentes en el arte del siglo XX y, en muchos casos, han significado una fuente fundamental de inspiración, confrontación, reflexión y provocación. Esta connivencia entre ciencia e imaginación en la que la tecnología se da la mano con la ficción es lo que mejor define el concepto de la exposición ARSTRONOMY.
La muestra reúne a artistas nacionales e internacionales de distintas generaciones que, desde la década de 1950, han reflexionado, investigado o interpretado innumerables fenómenos en torno a lo astral, lo cósmico o lo científico para producir obras en las que la imaginación, la fantasía y la creatividad incursionan en el espacio, la política, la ciencia y la tecnología.
Comisariada por Danielle Tilkin, ARSTRONOMY aborda el cosmos desde distintos aspectos a través de fotografías, vídeos, pinturas y esculturas de varias generaciones de creadores como Paul van Hoeydonck, Joan Rabascall, Yves Klein, Rotraut, Julius Koller, Sigmar Polke, Panamarenko, Paul Laffoley, Mark Tansey, E.M.S. Evrugo mental state, Robert Llimós, Michael Zansky, Bob Smith, Susan Hiller, Thomas Ruff, Thomas Struth, William Kentridge, Ionel Talpazan, Keith Haring, Tony Oursler, Mike Kelley, Abu Bakarr Mansaray, Peter Stichbury, Laurent Grasso, Pamela Breda, Alfonso Borragán, Greatest Hits, Trevor Paglen, William Adjété Wilson, Anton Vidokle, Angelo Vermeulen, Michael Buthe, Nicholas Schöffer, Gyula Kosice y Robert Dimatteo.
En paralelo se programarán distintas actividades en torno a la muestra.
Richard Dolan: Why UFOs Matter
Anatomy of a Phenomenon @ Tracy Williams, Ltd. NYC, until 15 November 2014
‘I feel that I could go before a committee of scientists and convince them that there is overwhelming evidence that the UFO phenomena exists and that it is an unrecognized, unexplained phenomenon for science, but something that I think I could prove. My personal contention is that the phenomenon is the result of an intelligence that it is a technology directed by an intelligence, and that this intelligence is capable of manipulating space and time in ways that we don’t understand. I could convince a committee of my peers that the phenomenon is real, that it is physical, and that we don’t understand it. I could not convince them that my speculation is correct; there may be alternative speculations. The essential conclusion I’m tending to is that the origin of the phenomenon of the intelligence is not necessarily extraterrestrial.’
Jacques F. Vallée
(Interview with Christopher O’Brien)
Anatomy of a Phenomenon
16 Oct- 15 Nov 2014
Preview: 16 October, 6-8 pm
Tracy Williams, Ltd.
521 West 23rd Street
New York, NY 10011
NEW YORK, NY.- Tracy Williams, Ltd. announces Anatomy of a Phenomenon, Peter Stichbury’s third exhibition with the gallery. The show is titled after the computer scientist and astronomer Jacques Vallée’s 1965 book, investigating and appraising data collected on unidentified aerial phenomena from 1947 until 1964. In this exhibition of oil on linen paintings, Stichbury examines the data and culture associated with unidentified aerial phenomena. Japan Airlines, Alaska, 1987, explores a case in which pilot Captain Kenju Terauchi transmitted information of an immense walnut shaped object flanking his flight over Alaska. It and two other objects were tracked on radar from the ground as well as from the plane itself. Terauchi was subsequently grounded. Mona Stafford, based on the famous Stanford Kentucky Abduction case of 1976, considers the three women who claim to have been taken from a quiet Kentucky road by a UFO and examined by its non-human occupants. Harvard Professor of Psychiatry, Dr. John Mack, who studied the controversial area of alien abduction and coined the term ‘experiencers’, was wholly convinced by the veracity of certain abduction claims; however, conflicting interpretations pervade this area of investigation, including assertions of witness confabulation, sleep paralysis, and false memory syndrome. Around 95% of ‘sightings’ emerge as homemade tributes to the genuine phenomena, employing a range of props, from barely visible strings, to digital manipulation to produce an image of a sighting. Multiple factors have derailed widespread scientific investigation into the subject: daily reported hoaxes, the Hollywood-esque portrayal of the subject in cinema and wider popular culture, academic ridicule, and government investigations including the 1968 Condon Report. The resulting demotion of the subject to folklore status leaves behind the flimsy shell of a subject, permeated by half-truths, hoaxes, misidentification and government disinformation, while the truth is pushed further out of reach. General Nathan Twining, Head of U.S. Air Force Materiel Command wrote in The Twining Memo, September 23, 1947, “The phenomenon reported is something real and not visionary or fictitious.” Jacques Vallée agrees that the reality of the phenomenon is undeniable, but posits that its origin may challenge popular interpretations, suggesting it could be inter-dimensional, rather than extra-terrestrial in nature. Other evaluations consider it could be military deep black stealth projects, co-opting UFO folklore to cloak it from public knowledge. Stichbury uses the tension between the eccentric world of ufology and serious academic inquiry to consider more universal human drives: the push to comprehend fully the human species’ place in the universe, to address the perception of isolation, to demystify and quantify the unknown. From these issues emerges the consideration of where absolute truth ultimately lies, amongst motive, memory, and strategic positioning.
More Information: http://artdaily.com/news/73959/Anatomy-of-a-Phenomenon--Peter-Stichbury-s-third-exhibition-with-Tracy-Williams-Ltd--opens-in-New-York
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