Billy Apple® by Christina Barton

Author:Christina Barton
Language: eng
Format: epub
Publisher: Auckland University Press
Published: 2020-02-15T00:00:00+00:00

9 × 9: A Floor Waxing Piece for 81 Minutes, 1976, Fine Arts Building, 105 Hudson Street, New York, 35 mm colour slide, Billy Apple® Archive

Equally, for the local art community, Apple’s visit was a call to arms, a new focal point around which a defence of contemporary art could be mounted. Even before Apple’s tour of New Zealand was over, John Maynard scheduled an important series of ‘Project Programmes’ at the Auckland City Art Gallery that further confirmed Auckland’s status as the country’s contemporary art capital and provided a platform for the local avant-garde. This series showcased a raft of temporary installations by new artists largely associated with Jim Allen and the sculpture department at Elam, who understood the moves Apple was making and took the idea of site-specific installation in different but related directions.32 Jim Allen’s O-AR Part II (11–19 November 1975), for example, the fourth in Maynard’s series, consisted of two very simple interventions in the same Centre and West galleries where Apple’s subtractions had taken place. Here Allen suspended two long runs of plastic, one clear, the other black, that were almost as high and long as each gallery, to create a ‘third space’ of equal dimensions between the temporary curtains that could be grasped only as the viewer moved in and around the spaces. In Allen’s installation, Apple’s exercises not only had found their mark but were also taken up and extended, perhaps as a self-conscious rejoinder to the no-win situation in which Smith would have the provincial artist caught.

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