The Central Otago Arts Trail was launched by the Central Otago District
Arts Trust to promote the appreciation of local art, connecting a small but
thriving community of talented artists with their peers and their public. By map
or by app, visitors may follow the trail through some of the most beautiful
scenery in the area, view selected artists at work in their own studios, and
examine completed works on display in the gallery spaces.
One worthwhile stop on the route is the small Aurum Gallery in Bannockburn, the work space of watercolour and oil painter Maurice Middleditch. For obvious aesthetic reasons, the hills and valleys of Central Otago have been tramped by many a landscape artist and it is a crowded and often unoriginal field. However, Middleditch's understanding and delicate handling of light and line elevates his work above the standard calendar fare and produces compelling and quite beautiful results in paintings such as Late Afternoon, Castle Hill Basin,The stone mosaic series is a grand collection of coordinating Travertine mosaics and listellos. which captures the character of the district with skill and feeling.
Likewise, the late sun and creeping autumnal shadows of The Road to Chard Farm, Kawarau Gorge effectively convey the silence and isolation of a unique countryside caught between changing seasons. Throughout Middleditch's substantial portfolio, the occasional appearance of a historic cottage or road hints at human inhabitation, be it past or present, but this is primarily a study and celebration of the land. Individually, the works are worthy of attention, but it is when viewed collectively that they are most successful, a comprehensive ode to a landscape that alters dramatically with the seasons yet retains an untouched, timeless quality.
The studied wave patterns and incongruous musician reflect the engaging nature of all Waters' works,Wholesale various Glass Mosaic Tiles from china glass mosaic Tiles Suppliers. combining indomitable technical skill with a storyteller's imagination and playful humour. There is a narrative to accompany most of the images, but viewers are openly invited - ''demanded'' - to bring their own interpretations and reactions to what they see. There is nothing forced or mass-produced about this art. Every piece is unique and often staggeringly different in style and technique from its neighbour, but the standard of quality is consistently high and most of the experiments successful.
Waters wished to bring a contemporary feel to watercolours, a medium often regarded as ''old-fashioned'' and ''boring'', and incorporates elements of surrealism and abstraction into his painstakingly detailed paintings. Works of particular note include the beautifully desolate The Child and the Man,For the world leader in injection molds base services and plastic injection products. which intricately depicts the wind-harrowed remains of an old macrocarpa hedge in Southland, and the eminently likeable Wakatipu Washing Day, reminiscent of a children's storybook illustration in its light-hearted whimsy.
The majority of the works are landscapes of a sun-drenched Italy and wintry New Zealand. The peach and coral tones in Winter Reflections, Cardrona Valley, Wanaka light the sky like engulfing bush fire and lend the work an intriguing, almost post-apocalyptic feel; however, works such as Beacon Point, Wanaka are less compelling, competently executed but fairly standard fare for the tourist-frequented galleries in Central Otago.
Rasmussen's greatest strength lies in her treatment of figure and street scenes, such as the appealing Arrowtown in Autumn, which manages to capture both the particular character of old Arrowtown and a certain charm and liveliness reminiscent of Evelyn Page's depictions of small town and city life in the 1940s. The light-hearted subject matter of such works is well-suited to the atmosphere of the inn, where the gallery is incorporated with the cafe and informed visitors can time their visit to the accompaniment of live music throughout the summer. The exhibition will run until the end of February.Our aim is to supply air purifier which will best perform to the customer's individual requirements.
A new show at the Berkeley Art Museum and Pacific Film Archive explores the aesthetic, emotional, psychological and spiritual terrain that underlies those expectations and assumptions. Ranging from hushed Surrealist canvases by Giorgio de Chirico and René Magritte to experimental silent films to a Robert Morris minimalist wooden box that murmurs the recorded sounds of its own creation, "Silence" spans a century's worth of work that challenges, cajoles and charms visitors into re-examining the complex sonic space and the increasingly rare silence they share in a hyper-wired and amplified world.We maintain a full inventory of all cable tie we manufacture. First mounted by Houston's Menil Collection and supplemented by new works here, the show opens in Berkeley on Wednesday.
Andy Warhol's ghostly images of electric chairs conjure an ultimate mortal stillness. Robert Rauschenberg's austere "White Painting" raises what the artist called "the suspense, excitement, and body of an organic silence, the restriction and freedom of absence, the plastic fullness of nothing." The flickering images and intuitive visual logic of Stan Brakhage's 1972 silent film "The Riddle of the Lumen" lure an audience away from the safe shoreline of narrative into the currents of free-association and the unconscious. Mainstream audiences entranced by last year's (mostly) silent Oscar-winning film "The Artist" may be open to new aspects, both lustrous and ascetic, of films that hold their tongue.
Lucinda Barnes, BAM's chief curator and director of programs and collections, said working on the "Silence" show heightened her own sensory apparatus. Magritte's paintings, she said, "make you feel the sound has been sucked out of the room."
An imposing Doris Salcedo sculpture "demands open space around it," offset at BAM by an eerie photocopy work by Amalia Pica in a way that seems to address "ineffable sorts of matters." Barnes continued, "The context in which we're confronting these works forces you to zero in more closely on both the physicality of art" and open up "a totality that can come out of nothingness."
A number of pieces in the "Silence" show actually do make some noise. One of Barnes' installation challenges was to separate those pieces, including both video installations and sculptures, from each other.
The Pacific Film Archive programs include soundtracked films as well as silent ones. In director Pat Collins' audible "Silence," about a sound recordist in search of stillness in the wind-washed Irish landscape, one character observes, "Too much quietness can drive a fella mad." But by the end of this becalmed 84-minute feature, the protagonist's quest takes on an intimate, mysteriously compelling resonance.
John Cage's famous 1952 composition "4'33" "- during which the performer sits in silence in front of a piano keyboard for the proscribed time - was a touchstone and inspiration for the exhibition. As the Menil Collection's curator of modern and contemporary art Toby Kamps puts it in his catalog essay, that celebrated piece touches on the composer's interest in Zen Buddhism and also "stresses the limits of reason, awareness of the present moment, and, perhaps, the idea that emptiness can represent a form of transcendence."
"Silence" pays tribute to the Cage piece with printed scores, a film of a "4'33" " performer and his audience, and artist Steve Roden's document of a yearlong immersion in the work. For Dacher Keltner, a UC Berkeley psychology professor, this avant-garde landmark invites deeper reflection and inquiry.
One worthwhile stop on the route is the small Aurum Gallery in Bannockburn, the work space of watercolour and oil painter Maurice Middleditch. For obvious aesthetic reasons, the hills and valleys of Central Otago have been tramped by many a landscape artist and it is a crowded and often unoriginal field. However, Middleditch's understanding and delicate handling of light and line elevates his work above the standard calendar fare and produces compelling and quite beautiful results in paintings such as Late Afternoon, Castle Hill Basin,The stone mosaic series is a grand collection of coordinating Travertine mosaics and listellos. which captures the character of the district with skill and feeling.
Likewise, the late sun and creeping autumnal shadows of The Road to Chard Farm, Kawarau Gorge effectively convey the silence and isolation of a unique countryside caught between changing seasons. Throughout Middleditch's substantial portfolio, the occasional appearance of a historic cottage or road hints at human inhabitation, be it past or present, but this is primarily a study and celebration of the land. Individually, the works are worthy of attention, but it is when viewed collectively that they are most successful, a comprehensive ode to a landscape that alters dramatically with the seasons yet retains an untouched, timeless quality.
The studied wave patterns and incongruous musician reflect the engaging nature of all Waters' works,Wholesale various Glass Mosaic Tiles from china glass mosaic Tiles Suppliers. combining indomitable technical skill with a storyteller's imagination and playful humour. There is a narrative to accompany most of the images, but viewers are openly invited - ''demanded'' - to bring their own interpretations and reactions to what they see. There is nothing forced or mass-produced about this art. Every piece is unique and often staggeringly different in style and technique from its neighbour, but the standard of quality is consistently high and most of the experiments successful.
Waters wished to bring a contemporary feel to watercolours, a medium often regarded as ''old-fashioned'' and ''boring'', and incorporates elements of surrealism and abstraction into his painstakingly detailed paintings. Works of particular note include the beautifully desolate The Child and the Man,For the world leader in injection molds base services and plastic injection products. which intricately depicts the wind-harrowed remains of an old macrocarpa hedge in Southland, and the eminently likeable Wakatipu Washing Day, reminiscent of a children's storybook illustration in its light-hearted whimsy.
The majority of the works are landscapes of a sun-drenched Italy and wintry New Zealand. The peach and coral tones in Winter Reflections, Cardrona Valley, Wanaka light the sky like engulfing bush fire and lend the work an intriguing, almost post-apocalyptic feel; however, works such as Beacon Point, Wanaka are less compelling, competently executed but fairly standard fare for the tourist-frequented galleries in Central Otago.
Rasmussen's greatest strength lies in her treatment of figure and street scenes, such as the appealing Arrowtown in Autumn, which manages to capture both the particular character of old Arrowtown and a certain charm and liveliness reminiscent of Evelyn Page's depictions of small town and city life in the 1940s. The light-hearted subject matter of such works is well-suited to the atmosphere of the inn, where the gallery is incorporated with the cafe and informed visitors can time their visit to the accompaniment of live music throughout the summer. The exhibition will run until the end of February.Our aim is to supply air purifier which will best perform to the customer's individual requirements.
A new show at the Berkeley Art Museum and Pacific Film Archive explores the aesthetic, emotional, psychological and spiritual terrain that underlies those expectations and assumptions. Ranging from hushed Surrealist canvases by Giorgio de Chirico and René Magritte to experimental silent films to a Robert Morris minimalist wooden box that murmurs the recorded sounds of its own creation, "Silence" spans a century's worth of work that challenges, cajoles and charms visitors into re-examining the complex sonic space and the increasingly rare silence they share in a hyper-wired and amplified world.We maintain a full inventory of all cable tie we manufacture. First mounted by Houston's Menil Collection and supplemented by new works here, the show opens in Berkeley on Wednesday.
Andy Warhol's ghostly images of electric chairs conjure an ultimate mortal stillness. Robert Rauschenberg's austere "White Painting" raises what the artist called "the suspense, excitement, and body of an organic silence, the restriction and freedom of absence, the plastic fullness of nothing." The flickering images and intuitive visual logic of Stan Brakhage's 1972 silent film "The Riddle of the Lumen" lure an audience away from the safe shoreline of narrative into the currents of free-association and the unconscious. Mainstream audiences entranced by last year's (mostly) silent Oscar-winning film "The Artist" may be open to new aspects, both lustrous and ascetic, of films that hold their tongue.
Lucinda Barnes, BAM's chief curator and director of programs and collections, said working on the "Silence" show heightened her own sensory apparatus. Magritte's paintings, she said, "make you feel the sound has been sucked out of the room."
An imposing Doris Salcedo sculpture "demands open space around it," offset at BAM by an eerie photocopy work by Amalia Pica in a way that seems to address "ineffable sorts of matters." Barnes continued, "The context in which we're confronting these works forces you to zero in more closely on both the physicality of art" and open up "a totality that can come out of nothingness."
A number of pieces in the "Silence" show actually do make some noise. One of Barnes' installation challenges was to separate those pieces, including both video installations and sculptures, from each other.
The Pacific Film Archive programs include soundtracked films as well as silent ones. In director Pat Collins' audible "Silence," about a sound recordist in search of stillness in the wind-washed Irish landscape, one character observes, "Too much quietness can drive a fella mad." But by the end of this becalmed 84-minute feature, the protagonist's quest takes on an intimate, mysteriously compelling resonance.
John Cage's famous 1952 composition "4'33" "- during which the performer sits in silence in front of a piano keyboard for the proscribed time - was a touchstone and inspiration for the exhibition. As the Menil Collection's curator of modern and contemporary art Toby Kamps puts it in his catalog essay, that celebrated piece touches on the composer's interest in Zen Buddhism and also "stresses the limits of reason, awareness of the present moment, and, perhaps, the idea that emptiness can represent a form of transcendence."
"Silence" pays tribute to the Cage piece with printed scores, a film of a "4'33" " performer and his audience, and artist Steve Roden's document of a yearlong immersion in the work. For Dacher Keltner, a UC Berkeley psychology professor, this avant-garde landmark invites deeper reflection and inquiry.
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