Ocula MagazineContentsView All
Featured ContentView All
‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

Fade out copy.
Read More
Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

Fade out copy.
Read More
Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

Fade out copy.
Read More

Dan Arps

b. 1976, New Zealand

Dan Arps is a New Zealand sculptor, painter and installation artist, known for his exemplary skill in polyurethane casting, his voracious interest in different manifestations of printed and digital culture—pushing the boundaries over what kinds of (normally inappropriate) materials or processes constitute interesting supports or marks for art—and his unpredictable use of cast framed relief sculpture to comment on painting. As someone who is constantly investigating new technologies for two-dimensional or three-dimensional works and who delights in blending order with chaos, Arps often likes the (normally discarded) detritus that comes from art processes so much so that it can become part of the art itself

A lot of Arps' cast sculptures are quite small, pre-planned, figurative and domestic while his assemblages, in contrast, are usually improvised, such as his raw paint-encrusted wall images that seem spontaneously—and very quickly—constructed. His artworks tend to have a provocatively strange battered or 'throw-away' quality, a casualness that is hard to deliberately devise, even though many of them are found objects encountered abandoned out on the street or in op shops, objects that have gone through extremely tortuous physical processes or objects that use very unusual combinations of materials.

Arps also likes to layer various parallel domestic, recreational and intellectual activities into his practice: from the daily details of being a father or reading about capitalism, to participating in online chat rooms, playing Dungeons and Dragons or investigating flow diagrams analysing social networks. His projects tend to be dense in their stacking up of interconnected cultural, technological and political references.

Between 2007 and 2010 Arps was part of the influential Auckland artist collective Gambia Castle (other members included Simon Denny, Kate Newby, Daniel Malone and Fiona Connor) and in 2010 he won the Walters Prize for his exhibition Explaining Things, a Gambia Castle exhibition reinstalled in Auckland Art Gallery Toi o Tāmaki in July 2010. In discussing Arp's winning presentation, Vicente Todoli—former director of Tate Modern who awarded Arps the Walters Prize—was impressed by what he described as presenting an 'epiphany of everyday life ... the epiphany of the humble and the rejected.' He saw the entry as an all-embracing art form and said that Arps had '... transformed these found materials through his own editing and his process of amelioration and ... taken them into another, higher realm ... [creating] a conglomerate where the whole is bigger than the sum of its parts.'

In his key text on Arps' practice, 'Work-Life Balance: Recent Exhibitions by Dan Arps'—published in the Arps anthology Affirmative Dungeon (2011)—the critic Jonathan Bywater states that he sees Arps' practice, with its strange sensibility, as parodying capitalism's modus operandi of marketing newness, while also perpetuating his own individualistic self-expression. Bywater presents Arps as working within what Giorgio Agamben calls a 'sphere of gestures', an ethos of casualness that startles Arps' audience by undermining the commercially made, found objects the artist indifferently defaces: 'The essence of Arps' gesture lies in the continuity between the deployment of readymade materials and the conventionally expressive gestures ... in which a consistent tone is one that frees effort from the effortful...'[1]

[1] Dan Arps, Affirmation Dungeon (Clouds; Michael Lett: Auckland, 2011) p.300.

John Hurrell | Ocula | 2019
Fade out copy.
Read More

Featured Artworks

View All (40)
Composition with blind (brown bronze) by Dan Arps contemporary artwork
Dan ArpsComposition with blind (brown bronze), 2019 Bronze, brown patina
24.5 x 34.5 cm
Michael Lett
Untitled (Contained/Free) by Dan Arps contemporary artwork
Dan ArpsUntitled (Contained/Free), 2019 Acrylic on printed fabric diptych
200 x 300 cm
Michael Lett
Seated Figure by Dan Arps contemporary artwork
Dan ArpsSeated Figure, 2018 Bronze, patina
14 x 14 x 15.5 cm
Michael Lett
Schreber Monument by Dan Arps contemporary artwork
Dan ArpsSchreber Monument, 2018 Bronze, patina
33 x 42 x 5 cm
Michael Lett
Motherhood Redux by Dan Arps contemporary artwork
Dan ArpsMotherhood Redux, 2019 Polyurethane, paint
19 x 27 x 28 cm
Michael Lett
Figure Study (Larger) by Dan Arps contemporary artwork
Dan ArpsFigure Study (Larger), 2019 Epoxy putty, 3D printed PLA, acrylic paint
26 x 18 x 30 cm
Michael Lett
Tree Study (Evil Olive) by Dan Arps contemporary artwork
Dan ArpsTree Study (Evil Olive), 2016 polyurethane, paint
89 x 92 cm
Michael Lett
Houseplant (Shock) by Dan Arps contemporary artwork
Dan ArpsHouseplant (Shock), 2016 polyurethane, paint
95 x 96 cm
Michael Lett

Current & Recent Exhibitions

View All (7)
Contemporary art exhibition, Dan Arps, Fiona Clark, Dan Arps & Fiona Clark at Michael Lett, Auckland
Open Now
31 July–31 August 2019 Dan Arps, Fiona Clark Dan Arps & Fiona Clark Michael Lett, Auckland
Contemporary art exhibition, Dan Arps, Nested Cells at Michael Lett, Auckland
Closed
26 July–26 August 2017 Dan Arps Nested Cells Michael Lett, Auckland
Contemporary art exhibition, Jim Allen, Dan Arps, Stella Corkery, Group Show at Michael Lett, Auckland
Closed
17 August–17 September 2016 Jim Allen, Dan Arps, Stella Corkery Group Show Michael Lett, Auckland

Represented By

In Ocula Magazine

'Freedom Farmers' At The Auckland Art Gallery Ocula Report 'Freedom Farmers' At The Auckland Art Gallery 4 Dec 2013 : Kate Brettkelly-Chalmers for Ocula

Occupying the lion’s share of exhibition space at the Auckland Art Gallery, Freedom Farmers is said to be the museum’s largest survey of contemporary art in the last twenty-five years. Curated by the gallery’s own Natasha Conland, the exhibition looks at how the utopian energy of the 1970s is being artistically deployed in...

Fade out copy.
Read More
Natasha Conland Ocula Conversation Natasha Conland Curator, Contemporary Art, Auckland Art Gallery

Natasha Conland is Curator, Contemporary Art at the Auckland Art Gallery, Auckland, New Zealand. She has curated numerous exhibitions including A Puppet A Pauper A Pirate A Poet A Pawn & A King: From the Naomi Milgrom Art Collection (2013); Made Active: The Chartwell Show (2012); the 4th Auckland Triennial, Last Ride in a Hot Air...

Fade out copy.
Read More

In Related Press

The resistance is alive and well on K’Road Related Press The resistance is alive and well on K’Road newsroom. : 14 August 2017

One of the most tiresome criticisms levelled at the contemporary art scene is that it is not 'the real world'.The implication being of course that the art world is a playpen for snowflakes like me, a fantasy land where unicorn chasers have time out from the 'big issues' that those at the coal face have to confront 24/7. There may well be some...

Fade out copy.
Read More
Review: Dan Arp's "Plastic Mouthfeel II" at Michael Lett Related Press Review: Dan Arp's "Plastic Mouthfeel II" at Michael Lett Art Agenda : 4 April 2015

As its title suggests, “Plastic Mouthfeel II,” the latest exhibition from New Zealand artist Dan Arps, is a space full of viscous forms, loaded with colors and textures, that causes a constant sense of elastic deformation. Spread out on the tables and the surrounding floor—as the landscape of a work in progress, such as...

Fade out copy.
Read More
Arps Floor and Wall Pieces Related Press Arps Floor and Wall Pieces Eye Contact : 26 March 2015

A series of nine wall hangings by Dan Arps, garishly coloured drawings printed from a computer on to satin, line the walls of Michael Lett's main Auckland gallery - along with three wall reliefs (mutated garden decorations in theme) cast from moulds.

Fade out copy.
Read More

In Video & Audio

Dan Arps - Walters Prize 2010 Related Video & Audio Dan Arps - Walters Prize 2010 Auckland Art Gallery Toi o Tamaki : 20 July 2010

Dan Arps, nominated for the Walters Prize 2010, discusses his work.

Fade out copy.
More

Sign up to be notified when new artworks and exhibitions by Dan Arps are added to Ocula.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook