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‘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...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Judy Millar

b. 1957, New Zealand

Working with the process of subtraction to create gestural oil and acrylic paintings, Judy Millar investigates the relationships between painting, the body, and the three-dimensional space.

At first glance, the expressive quality of Millar's work is reminiscent of mid-20th century action paintings; indeed, she engages with the canvas on the floor like Jackson Pollock, using her entire body in the process of vigorous mark-making. However, Millar's treatment of paint diverges from the additive gestures of action painters in that she employs rags or squeegees to erase, wipe, or scrape paint off the canvas. For example, the dynamic marks in Sky Drops (2017)—seemingly dancing or swimming against the background of sky blue and pink—are a result of such subtraction. Millar rejects gesture as a means of personal expression, stating in her 2016 conversation with Ocula Magazine that 'my work is much more about drawing; it is about looking and seeing, less about "expressing"'.

Equally interested in scale and a painting's impact on its environment, Millar often digitally enlarges her paintings and turns them into monumental structures. She first adopted this method with Giraffe-Bottle-Gun (2009), a large-scale installation presented at the 53rd Venice Biennale, for which she fitted the interiors of the Neoclassical La Maddalena church with sized-up prints of her paintings made from a billboard printer. Some of the original paintings were framed and hung on the columns alongside the collection of the church, while the reproductions were cut into irregular geometric shapes, attached to wooden constructions, and erected in a labyrinthine formation. The reproduced works had been painted with a colour palette of mainly black, white, and shocking orange and yellow—a stark contrast to the dominantly subdued, white theme of the house of prayer. Immersed in the swirls of imposing scale and forceful colours, the viewer was compelled to move their bodies around the geometric walls to experience Millar's work.

Miliar similarly introduced a sense of vitality to the otherwise static architecture of the South Atrium in Auckland Art Gallery Toi Tāmaki with Rock Drop (installed 2017–2019). The work comprises an enormous sculpture suspended from the ceiling which touches parts of the stairs, the floor and the wall. Made up of many plywood structures that cut into each other like puzzle pieces, the work's surfaces are covered with digital reproductions of Millar's paintings. First painted on small pieces of paper, the original images were twisted, photographed, and blown up on a computer. There are two patterns on the sculpture: it appears colourful and lively when viewed from the top of the stairs, the replicated paintings folding and unfolding in an invisible wind; from the bottom, there are no flowing ribbons but black-and-white halftone texture that references the artist's love for comic books. Both the physical sculpture and its two-dimensional imageries morph from different perspectives, entering the surrounding space into a shifting dialogue with the viewer's body.

Millar graduated with a BFA and MFA from Elam School of Fine Arts, Auckland, in 1980 and 1983, respectively. In 1991, she undertook a postgraduate program at the Accademia Albertina in Turin, Italy, to research the work of Italian artists from the 1960s and '70s. She has been living and working between Auckland and Berlin since moving to Germany in 2005.

Selected exhibitions include Unpainting—Contemporary Abstraction, an international group exhibition of abstract art at the Art Gallery of New South Wales, Sydney (2017); What: Turning the World Inside Out: 30 Years a Painter, a major retrospective of her oeuvre at Gow Langsford Gallery, Auckland (2016); and Time, Space, Existence, the Collateral Event of the 54th Venice Biennale (2011). Millar was the Wallace Art Award Paramount Winner in 2002 and a McCahon House Artist in Residence between 2006 and 2007.

Sherry Paik | Ocula | 2018
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Recent Exhibitions

Contemporary art exhibition, Judy Millar, The Bridegroom's Voice at Bartley + Company Art, Wellington
Closed
20 April–14 May 2016 Judy Millar The Bridegroom's Voice Bartley + Company Art, Wellington
Contemporary art exhibition, Elliot Collins, Chris Heaphy, Andre Hemer, Marie Le Lievre and Judy Millar, Five Painters at Bartley + Company Art, Wellington
Closed
3–20 December 2014 Elliot Collins, Chris Heaphy, Andre Hemer, Marie Le Lievre and Judy Millar Five Painters Bartley + Company Art, Wellington
Contemporary art exhibition, Judy Millar, Red Red Orange at Bartley + Company Art, Wellington
Closed
5 February–1 March 2014 Judy Millar Red Red Orange Bartley + Company Art, Wellington

Represented By

In Ocula Magazine

Auckland Art Fair 2019: Conversations Extended Ocula Report Auckland Art Fair 2019: Conversations Extended 24 May 2019 : Sherry Paik for Ocula

The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...

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Auckland Art Shows to See: The Lowdown Ocula Report Auckland Art Shows to See: The Lowdown 27 Apr 2019 : Sherry Paik for Ocula

This year, the month of May kicks off with the annual Auckland Art Fair (2–5 May 2019) at The Cloud on Queens Wharf, where over 40 leading galleries from the Pacific Rim will exhibit. A carefully curated selection of talks and exhibitions will accompany the fair, including the 2019 Projects Programme organised by Francis McWhannell titled...

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Judy Millar Ocula Conversation Judy Millar Artist, New Zealand

New Zealand artist Judy Millar has long been concerned with art’s relationship to the phenomenal and sensorial world. Her ambitious works test both the limitations and possibilities of traditional painting and sculpture. More than simply referencing art history, Millar’s captivating paintings and ‘space works’ invite the...

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In Related Press

View All (7)
STUDIO INVESTIGATIONS | A DAY IN THE LIFE OF PAINTER JUDY MILLAR Related Press STUDIO INVESTIGATIONS | A DAY IN THE LIFE OF PAINTER JUDY MILLAR Verve Magazine : 13 October 2018

Having just had the Guardian list her latest UK show at Fold Gallery as one of the top five in London, Judy Millar is undoubtedly one of New Zealand's most successful international painters. Her work is part of Australasia's compendium of contemporary painters and is scattered throughout museums, galleries and private collections worldwide.

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Three Judy Millar Paintings Related Press Three Judy Millar Paintings EyeContact : 19 April 2018

'Gesture' and 'gestural' are vastly overused words in talking about abstract painting but remain unavoidable in talking about Judy Millar's work. As Kundera intimates above, perhaps gestures perform us, rather than the other way around, memes proliferating like living things. Perhaps art is merely a long war to determine who is in charge.

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Judy Millar: The Sinew of Space Related Press Judy Millar: The Sinew of Space Contemporary HUM : 12 February 2018

It's frustrating to her, Judy Millar tells me from the West Coast of Auckland as we discuss her exhibition in Zurich, Swallowed in Space, that people are so rarely asking 'what does painting do to us?' [1] . An affective painting, after all, is something we want to go and see, and revisit, and make part of our wider experience. I wholeheartedly...

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Other Elsewheres: New Zealand at the Venice Biennale Related Press Other Elsewheres: New Zealand at the Venice Biennale The Pantograph Punch : 12 June 2015

New Zealand's official platform at the Venice Biennale began in 2001, and our formal representation was arguably already overdue at this point. There had been anomalous instances of New Zealanders exhibiting at the Biennale: Frances Hodgkins (she was meant to be in a group show representing Britain, though this was never realised because of World...

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