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Ocula ReportFrieze Week 2018: London, Masters and 1-5412 Oct 2018 : Amah-Rose McKnight-Abrams for Ocula{{document.location.href}}
A rush of politics kicked off Frieze Week this year, with a talk between Chelsea Manning and James Bridle organised by the Institute of Contemporary Arts at the Royal Institution, three days ahead of the opening of Frieze London, Frieze Masters and 1-54 (4–7 October 2018). The event felt more like a press conference, with attendees seemingly...
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Ocula ConversationCristina Ricupero and Jörg HeiserCurators, Busan Biennale{{document.location.href}}
Divided We Stand, the tongue-in-cheek title of the 9th Busan Biennale (8 September–1 November 2018), speaks to the psychological effects of borders on individual and collective social consciousness. Co-curated by artistic directors Cristina Ricupero and Jörg Heiser, with guest curator Gahee Park, the exhibition explores the divisions haunting...
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Ocula ReportAnni Albers: In Focus6 Oct 2018 : Inga Lace for Ocula{{document.location.href}}
Walking through the Anni Albers exhibition at the K20, Kunstsammlung Nordrhein-Westfalen, in Düsseldorf this summer (9 June–9 September 2018), I couldn't help thinking about the 1944 poem by American dancer and artist Raymond Duncan, 'I Sing the Weaver'. The poem talks about weaving as a practice linking a weaver's body to the world; a view that...
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Marilynn Webb (ONZM) has an international stature as a printmaker, an extensive teaching career and has been involved in over 180 exhibitions and over 35 curated exhibitions/symposiums.

Marilynn has maintained an art career in tandem with mostly full-time teaching and has taught nearly all the emerging print artists in Otago. She currently holds the position of Emeritus Principal Lecturerer, Otago Polytechnic School of Art, Dunedin, New Zealand. 

Her pastels and prints have focused on New Zealand’s most remote and fragile environments, including Fiordland, the Maniototo hinterland, Stewart Island and the Antarctic Islands. She has received Department of Conservation commissions which take fine artists to wild and seldom accessible places to communicate a view of fragile environments.

Her printmaking explores not only sense of place but also human connections – bloodlines and family, her own ancestry both Maori and of European, and the way we are linked to special places.

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