Who knew

"The Govett-Brewster is a pathfinder, generating courageous exhibitions, innovative artists’ projects, cultural initiatives, significant publications and rigorous conversations with a wide national and international reach that stimulate ideas, challenge preconceptions and enrich the imagination." 

The Govett-Brewster spruiks itself in its advert for a senior curator. More amazingness here. 

The rumour mill

Here’s a good rumour for you. It comes complete with an A++ feels-right rating, but no publishable source, although some talk a few months ago make it ring true. 

A rich person (or persons) has signed a cheque that will pay for the construction of a new standalone National Art Gallery next to Te Papa if the Government agrees to pick up all operational and staffing costs. 

In most fields this possibility would start a storm of speculation, media blitzing of Te Papa execs and lobby pressure on ministers. In the arts we tend to have a more let-sleeping-possibilities-lie approach. You know this already from the Walters Prize debacle. The allegation that hardly any of the jurors saw any of the exhibitions they had proposed didn’t even cause a ripple, let alone a statement from the Auckland Art Gallery (which makes you think it is probably true). Hard to imagine the selection of four new All Blacks being based on games none of the selectors had seen not creating a nationwide debate of WTF proportions in the media, in the pubs and in the office. Face it, families would be at war. In the arts anyone under challenge simply says 'no comment' on the reasonable assumption that tough questions will go away. 

This passivity is probably part of the reason why the arts get so little media interest. When journalists can't get a comment from anyone and are overwhelmed by boosterism, who's surprised we are relegated to the entertainment pages. And all this at a time when there are so many opportunities to move up a notch with the Auckland Art Gallery facing a fundamental shift in direction, Te Papa requiring 30 senior managers to apply for only 15 available jobs in a restructure and now the whisper of chance to see a new National Art Gallery. That's a lot to talk about.

But wait, there’s more

It is the tradition of the great newspapers of the world to champion the rights of the oppressed, maintain a close vigil on the political and expound directions for the future. Blogs are somewhat different choosing instead to offer instant opinions, prod institutional power, advocate the importance of cuteness in cats and shamelessly promote those near and dear to them.

In this spirit we must tell you our son Pippin's book How to play a video game has just been published and is in bookshops now (or near as dammit). This means that the perfect Christmas gift has appeared right before your eyes. 

For everyone who was left behind when the PlayStation controller hit the scene as well as those who despair of their partners, parents or work mates ever understanding the joy of gaming, this is the book for them and this is the book for you. 

… don’t just take our word for it:

‘A fabulous insight into how video games work’

Simon Morton

‘Passionate, insightful and full of easy charm, this smart, informative, funny guide to the gaming world is a great read for ardent fans, the uninitiated and sceptics alike’

Derek Lockwood, Worldwide Director of Design, Saatchi & Saatchi

‘Pippin Barr is an emissary from the flourishing civilisation of video games. His book is the perfect introduction to a global movement becoming ever more influential and all-consuming’

Toby Laing, trumpeter, Fat Freddy’s Drop

Magnificent

On the Christchurch Art Gallery blog Bunker Notes Justin Paton joins the inspirational movement against boosting in art museum labels and promotional material. Paton also adds a kicker on the continual repetition of redundant statements. You can read Paton’s piece here and one of OTN’s sensational Best of the Boosters examples here.

The best of the boosters: final edition

 This is the final edition of Best of the Boosters (unless unqualified praise enters some new extreme realm)

So let's hear it one last time for art museum marketing departments putting it out for art:

Widely regarded as one of New Zealand’s most important artistic partnerships. - Dunedin Public Art Gallery 

A reputation for innovation and style, inspiring and challenging its audiences with a world-class programme of exhibitions. - City Gallery Wellington

One of the largest and most absorbing presentations of New Zealand art. - Te Papa

This exhibition fizzes with emotion. - Auckland Art Gallery

Offers an unprecedented glimpse into the soul of the region. - Te Papa 

Unique and exemplary experiences – Govett-Brewster

And one from the media

Jaw-dropping pieces in a long-anticipated exhibition. - Dominion Post on behalf of Pataka

Best of the boosters

As museums become more obsessed with popularity and bigger audiences, the desire to signal significance often comes at the price of boosterism. That's what we call the growing trend to pump up works of art and artists rather than give audiences information and opinion that helps them make up their own minds. Take this description of a major McCahon work in one of our leading art museums. The work is "... recognised by McCahon scholars as one of the artist’s most personal, profound, and deeply allusive masterpieces. As a pivotal work in his oeuvre, the painting will always be regarded as constituting one of the great moments in New Zealand art history.” Says who?

To paraphrase Wikipedia (ok, not always standard bearers for accuracy but they really try): “This paragraph does not cite any references or sources. Please help improve this para by adding citations to reliable sources. Unsourced material may be challenged and removed.”

Thanks K

Best of the boosters

“Molly Samsell’s Interface has been removed from The Un-sited due to damage. The exhibition has been reshaped to accommodate this absence.”

A City Gallery label describes swapping one painting for another.

Best of the boosters

"Max Gimblett is one of our most beloved painters."
Rebecca Barry, New Zealand Herald 3 February 2011

Best of the boosters

"this vitally important government arts funding organization"

John Hurrell describes his funders CNZ on eyeContact

The best of the boosters

"Gallery director Kathlene Fogarty said it was hard to put a value on the collection. 'It's immeasurable, really. The portraits would never be sold, but their price on the international market would be millions of dollars', she said."

Dominion Post 17 March 2010

“The portraits would never be sold, but their price on the international market would be millions of dollars”

Dominion Post 4 December 2010

Marti Friedlander’s dealer and months later the Dominion Post argues that black and white Friedlander photographs of women wearing moko would sell for around $42,500 each overseas or $36,500 more than the Friedlander portrait of Ralph Hotere sold at auction this year.

Creamed

"The last major exhibition of European Masterpieces in New Zealand was the highly successful America & Europe: The Thyssen-Bornemisza collection shown here in 1980. Now 30 years on Te Papa...."

Catalogue introduction to the exhibition European Masters: 19th–20th century art from the Städel Museum by the Chief Executive and Kaihautū of Te Papa.

1985 Claude Monet: Painter of Light, Auckland Art Gallery

1988 Edvard Munch: Death and Desire, Auckland Art Gallery

1989 The Reader’s Digest Collection: Manet to Picasso, Auckland Art Gallery

1989 Picasso: Artist Before Nature, Auckland Art Gallery

1993 Rembrandt to Renoir: 300 Years of European Masterpieces from the Fine Arts Museum of San Francisco, Auckland Art Gallery

1996 Masterpieces of the Guggenheim, Dunedin Public Art Gallery

1998 Exhibition of the Century: Modern Masters from the Stedelijk Museum, City Gallery, Wellington

2006 Works from the Collection of Julian and Josie Robertson,  Auckland Art Gallery

Best of the boosters

“There's nothing better than seeing an art gallery, on its exterior, declaring visually what it's about. There are few modern examples of such practice but the Pompidou comes to mind among others.”

Peter Dornauf describing the Wallace Gallery in Morrinsville on EyeContact (Thanks L)

Booster Awards

Anyone in marketing knows that a fantastic way to seize the initiative is to start with extravagant claims for your product or service. That way you frame up expectations and neutralise any critics who always sound mealy mouthed in the face of your relentless optimism. To show how this mode has crashed into the marketing of art related products we are presenting the very best of art boosterisms on an irregular basis here on OTN.

So, here we go:

“Ambitious, phenomenal, groundbreaking. It looks at the power of contemporary art, conversations that reach beyond history, across cultures.”
Paula Savage talks up the City Gallery’s exhibition roundabout in the NZ Listener 25 September 2010

"This is something new for Wanganui and is the beginning of a renaissance era in contemporary public art for the city and the waterfront."
Mayor Michael Laws puts it out for public sculpture in a media release 16 September 2010

“Housed in one of the country's finest heritage buildings, the Museum's three floors tell the story of New Zealand.”
Auckland Museum website

“Catherine de Zegher believes Australia is on the verge of taking a central stage in outlining a new world view for the future.”
Co-curator 2012 Sydney Biennale in a Biennale press release

"Viewing these awe-inspiring art works on a guided walk in this environment is an experience to be treasured."
Promotion on their website for Connells Bay sculpture park on Waiheke Island

OTNPH badges for examples of top line art Boostering from OTN readers.