With Auckland moving to Alert Level 3 on Wednesday, 12 August, this exhibition will be closed until further notice.
Printed matter played a decisive role in Julian Dashper’s practice from the very beginning. Some of his earliest exhibitions were accompanied by slim catalogues, elegantly designed and printed on expensive stock. The catalogue, the accompanying essay, or the attached interview acted as material signifiers—some of the pieces Dashper placed in careful position to produce an image of the successful contemporary artist, a figure he simultaneously lampooned and aspired towards.
Dashper had a keen understanding of the way print mediated the experience of New Zealand audiences in the 1980s and 1990s as a portal to the international art world. His ‘exhibitions’ in the pages of Artforum International in 1992 and 1993 show a desire to intervene in this traditionally one-way exchange of information and culture, turning an interior gaze back outwards, and vice versa. But these are only one example of a consistent engagement with published writing as an extension of Dashper’s artistic practice, producing a body of printed material that both consciously acceded to the expectations of the contemporary art world and distorted them into knowing reflections.
Alongside 1984–1987, Michael Lett has compiled a collection of printed matter produced by, for, and about Julian Dashper. This selection ranges from self-published essays, to page works, and posthumous exhibition catalogues, and includes rare and unique publications.
Julian Dashper: Printed Matter is available to view online and in the gallery until 15 August.
Opening Hours
- Online and in person until August 15
- Gallery Hours:
- Wednesday–Friday 11am–5pm
- Saturday 11am–3pm
Online and at Michael Lett
- 312 Karangahape Road
- Corner East Street and Karangahape Road
- Auckland 1010
With Auckland moving to Alert Level 3 on Wednesday, 12 August, this exhibition will be closed until further notice.
Printed matter played a decisive role in Julian Dashper’s practice from the very beginning. Some of his earliest exhibitions were accompanied by slim catalogues, elegantly designed and printed on expensive stock. The catalogue, the accompanying essay, or the attached interview acted as material signifiers—some of the pieces Dashper placed in careful position to produce an image of the successful contemporary artist, a figure he simultaneously lampooned and aspired towards.
Dashper had a keen understanding of the way print mediated the experience of New Zealand audiences in the 1980s and 1990s as a portal to the international art world. His ‘exhibitions’ in the pages of Artforum International in 1992 and 1993 show a desire to intervene in this traditionally one-way exchange of information and culture, turning an interior gaze back outwards, and vice versa. But these are only one example of a consistent engagement with published writing as an extension of Dashper’s artistic practice, producing a body of printed material that both consciously acceded to the expectations of the contemporary art world and distorted them into knowing reflections.
Alongside 1984–1987, Michael Lett has compiled a collection of printed matter produced by, for, and about Julian Dashper. This selection ranges from self-published essays, to page works, and posthumous exhibition catalogues, and includes rare and unique publications.
Julian Dashper: Printed Matter is available to view online and in the gallery until 15 August.
