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...
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
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)...
Weekly Southeast Asia Radar: Jakarta's controversial Performance Art Club; Bangkok Art Biennale | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar 69 Performance Club January 23, 2020 ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region...
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Los Angeles museum repatriates Asante artefacts to Ghana Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Repatriation news Los Angeles museum repatriates Asante artefacts to Ghana The Fowler Museum at UCLA has repatriated seven artefacts that were taken during the Sagrenti War of 1874 Scarlet Cheng 5 February 2024 Share Unidentified member(s) of gold workers' guild (Asante peoples, Kumasi, Ghana), Royal necklace (gorget) or stool ornament; Before 1874; gold Fowler Museum at UCLA, Gift of the Wellcome Trust Seven handcrafted Asante objects have just travelled halfway around the globe to be returned, 150 years later, to the family of their original owners in Kumasi, Ghana...
Haris Epaminonda’s work questions the manipulation and the flow of images as well as their power of fascination...
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...
Raphaël Zarka discovered the scientific manuscripts of Abraham Sharp while in Oxford...
"Chinatown Crossings": A Trail of Echoes | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Image courtesy of Drama Box July 12, 2018 By Akanksha Raja (890 words, 5 minute read) Along the bustling roads of Chinatown and the throngs of long-time residents, local visitors and tourists, there’s an invisible, theatrical time machine that comes to life a few evenings a week, running until mid-August...