78 1/8 x 56 1/8 inches
Daniel Boyd’s work WTEIA3 is part of a series of paintings that reference the stick charts used by indigenous communities on the Marshall Islands. These charts were made in order to navigate the Pacific ocean by canoe and thus crucially depict ocean swell patterns. These highly individualised maps were rarely intended for mass use but instead for memorising, and transmitting between the community, the maps were not taken to sea but instead memorised in advance. The artist’s dot-painting style echoes this veiling of information, alluding to lost and suppressed knowledge through colonialism, as well as strategies of opacity in the face of colonial violence
Daniel Boyd is an indigenous Australian Pacific artist, in his practice he combines references to both Aboriginal art and international contemporary art, displaying a strong political commitment. Boyd’s work often focuses upon the imagery of colonial history and the way that it shapes historical consciousness. He enacts a kind of détournement, adorning portraits of colonial “heroes” with the accoutrements of pirates and looters. Boyd’s painting style borrows techniques from the Central Australian Aboriginal dot painting tradition, creating tableaux that evoke stories of loss, fragmented narratives and lineage.
"A Land Imagined" and The Ghosts We Forget | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo courtesy of Akanga Film Asia & Philipp Aldrup Photography Photo courtesy of Akanga Film Asia & Philipp Aldrup Photography February 21, 2019 By Alfonse Chiu (1200 words, six-minute read) The three definitions of the word “ghost” from the Oxford dictionary are as follows: the first, “an apparition of a dead person which is believed to appear or become manifest to the living”; the second, “a slight trace or vestige of something”; and the third, “a faint secondary image caused by a fault in an optical system, duplicate signal transmission, etc.” In all three, presence is a suggestion of memory, amenable to corrections by means of a quick scrub of one’s spectacles...
"Off Stage" at M1 Contact 2018: Communicating Beyond The Stage | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Image courtesy of M1 Contact Contemporary Dance Festival August 8, 2018 By Bernice Lee (1100 words, six-minute read) M1 Contact Contemporary Dance Festival has become a staple of the contemporary dance scene in Singapore...
Haris Epaminonda’s work questions the manipulation and the flow of images as well as their power of fascination...
The top ArtsEquator articles of 2019 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo courtesy of Akanga Film Asia & Philipp Aldrup Photography December 31, 2019 Here’s a list of the top 10 ArtsEquator articles in 2019: Enter Stage Right: Tay Tong by Art sEquator “It is amazing how one’s identity is so associated with one’s job...
Proyecciones Espacio Odeón (Bogotá, Colombia) y Museo La Tertulia (Cali, Colombia) ¿Cómo enfrentamos la incertidumbre de estos tiempos? ¿Puede el juego, los sueños, o incluso las alucinaciones ayudarnos a imaginar otras posibles trayectorias? ¿Qué tipo de prácticas nos permiten relacionarnos con los territorios que habitamos? Tomando como punto de partida el potencial de lo inquietante en medio de una amenaza invisible, Sigo esperando es una serie de proyecciones en las fachadas del Espacio Odeón (Bogotá) y del Museo La Tertulia (Cali)...
A string of new exhibitions shows that textile art is finally being taken seriously Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Comment A string of new exhibitions shows that textile art is finally being taken seriously The historical association of textiles with gender, sexuality and identity norms make them ripe for subversion and reimagining Ben Luke 9 February 2024 Share Solange Pessoa’s Hammock (part of 4 Hammocks , 1999-2003) at the Barbican Courtesy of Rubell Museum, Miami and Washington, DC...
Metal: An Improbable Alchemy of Dance And Heavy Metal | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Gregory Lorenzutti February 28, 2020 The following review is made possible through a Critical Residency programme supported by By Carolyn Oei (762 words, 5-minute read) I am not a fan of heavy metal music – or heavy metal anything – so I took my seat in the Playhouse, Arts Centre Melbourne, with trepidation...
Designed as an installation timed spent is determined by the viewer, as with classical sculpture, Anthems is a piece that is in place, and in time, and an important genre of video within the collection...
Rediscovered panels by proto-Renaissance master Lorenzetti soar at auction Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art market news Rediscovered panels by proto-Renaissance master Lorenzetti soar at auction A painting depicting Pope Sylvester I made €3m, while a portrayal of Saint Helena more than doubled its high estimate, selling for €1.6m Kabir Jhala 14 December 2023 Share Pietro Lorenzetti's depiction of Pope Sylvester I (left) and Saint Helena (right) "Rare" is a word all too commonly employed by auction house marketing teams, but in the case of two panel paintings by the early 14th-century Sienese master Pietro Lorenzetti that sold at Paris auction house Tajan last evening, its use is justified...