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Shards of the Jealous Potter
This book was the artist statement for Tessa Laird's masters exhibition in 2006. Tessa set out to deliberately mimic the binding of school textbooks from the 1960s and 1970s, and she was particularly interested in Anthropology and Archaeology as disciplines for measuring elusive notions of culture. The book poses as a faux archaeological collection with 'original facsimiles' of artefacts from various sources. Tim Mackrell, the official photographer for the University of Auckland's Anthropology Department, took the photos. The book was designed by Warren Olds, and hand bound by John Denny of Puriri Press. The title conflates 'The Jealous Potter' by Claude Levi-Strauss about South American pottery myths, and 'Shards' by Garth Clarke, about contemporary ceramics. The text is interspersed with images and random quotes from Levi-Strauss.
Bat
Bats have been maligned in the West for centuries. Unfair associations with demons have seen their leathery wings adorn numerous evil characters, from the Devil to Bram Stoker’s Dracula. But these amazing animals are ecological superheroes. Nectar-feeding bats pollinate important crops like agave; fruit-eating bats disperse seeds and encourage reforestation; and insect-eating bats keep down mosquito populations and other pests, saving agricultural industries billions of dollars. Ranging in size from a bumblebee to creatures with a wingspan the length of an adult human, found on all continents except Antarctica, and displaying extraordinary abilities like echolocation—a built-in sonar sys...
Artist File
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A Rainbow Reader
A RAINBOW READER is a work of creative non-fiction which looks at colour from the personal perspective of Tessa Laird, an artist and writer based in New Zealand. In 2009, Tessa Laird started a Doctorate of Fine Arts investigating the (r)evolutionary power of colour, from a personal, and political, transformative angle. A RAINBOW READER is the result of that study, but it is no ordinary academic treatise. Consisting of six chapters, one on each spectral hue, colour becomes a catalyst for speculative writing encompassing art history, literary criticism, personal anecdote, philosophy and anthropology. Each chapter of A RAINBOW READER is bound in the appropriately coloured card; together, the si...
Fieldwork in the Spectrum
This set of books represents the culmination of Tessa Laird's Doctorate of Fine Arts, responding to each colour of the spectrum, one at a time. The writing can be called "Fictocriticism", which is a mix of personal anecdote, theoretical musings, art history and literary criticisms. Colour is the "umbrella" under which these disparate threads are woven together. The books are indebted to previous examples of subjective colour texts, including Derek Jarman's Chroma, Alexander Theroux's Primary Colours and Secondary Colours and in particular, Michael Taussig's What colour is the Sacred? The "Fieldwork in the spectrum series" are designed to be read either individually or as a set, and were designed by Warren Olds.
Reading Room
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Ventriloquism, Performance, and Contemporary Art
Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Cinemal
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