Fly Shit on the Windscreen
In February 2016, Bulletin sent graphic designer and motorbike enthusiast Luke Wood to sit down with artist Billy Apple to discuss bikes, and in particular the Britten V1000. Designed and built in Christchurch by John Britten, the V1000 is the star of Apple’s new exhibition, Great Britten! A Work by Billy Apple. The following extracts were taken from the conversation.
I go into the Gallery. Haven’t been there in a while. Building closed. It was open to begin with. Civil Defence HQ in the weeks following the shock that laid the city low and who knew glass could be so strong, so resilient? Then the Gallery closed. It was cordoned off, behind wire netting. Something was going on in there. Someone said something had cracked in the basement. Someone said they needed to insert a layer of bouncy forgiving rubber beneath glass and concrete, ready for any future slapdown.
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
Doris Lusk: An Inventive Eye
In the strange, stunned afterlife that ticked slowly by in the first few years following Christchurch’s February 2011 earthquake, a curious note of recognition sounded through the shock and loss. As a massive programme of demolitions relentlessly hollowed out the city, many buildings were incompletely removed and lingered on for months as melancholy remains – stumps abandoned in a forlorn urban forest. Hideous, sculptural, beautiful; they bore compelling resemblance to a body of paintings created in the city more than three decades earlier.
Each quarter the Gallery commissions an artist to create a new work of art especially for Bulletin. It’s about actively supporting the generation of new work.
To Colin McCahon
James K. Baxter’s 1952 poem ‘To Colin McCahon’ is an important marker in the long and sometimes tempestuous artistic relationship the two men shared. On an immediate level, the poem is a response to McCahon’s painting There is only one direction (1952), which he presented to Jim and Jacquie Baxter to mark the birth of their daughter Hilary after they had named McCahon her godfather.
When I arrived in New York in late 2014 I was told it’d be ten years before I’d qualify as a New Yorker and two years before I’d feel comfortable and start to enjoy the city. That sounds far-fetched but as my two-year anniversary approaches I’m tending to agree. It is a very special city, a lot of fun, but it can be difficult to pace oneself for the long game.
I’ve been continually fascinated by the plethora of creative interventions inserted into the wasted post-quake city. A number of works have offered sharp reminders that what we have been witnessing in the past five years is not normal.