000			03782cam a2200457 i 4500
005			20221109170603.0
008			130627s2013 nz a b 001 0ceng d
011			_aBIB MATCHES WORLDCAT
020			_a187737525X
020			_a9781877375255
035			_a(ATU)b13020481
035			_a(OCoLC)851074992
037			_cwww.christchurchartgallery.org.nz
040			_aNPPY _beng _erda _dDUHO _dATU
082	0	4	_a709.2 _223
100	1		_aCotton, Shane. _91032461
245	1	0	_aShane Cotton, The Hanging Sky / _c[curated by] Justin Paton ; with Eliot Weinberger, Geraldine Kirrihi Barlow and Robert Leonard.
264		1	_aChristchurch, N.Z. : _bChristchurch Art Gallery Te Puna o Waiwhetu, _c2013.
300			_a192 pages : _bcolour illustrations ; _c38 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_a"The exhibition Shane Cotton: The Hanging Sky, curated by Justin Paton, was organised by Christchurch Art Gallery Te Puna o Waiwhetu is association with the Institute of Modern Art (IMA), Brisbane and showed in Australia and New Zealand in 2012 and 2013." -- p. 192.
500			_aIncludes plates: (p. 52-183)
504			_aIncludes bibliographical references and index.
505	0	0	_tThe ghosts of birds / _rEliot Weinberger -- _tFinding space : six encounters with Shane Cotton / _rJustin Paton -- _tEver in between / _rGeraldine Kirrihi Barlow -- _tThe treachery of images / _rRobert Leonard -- _tPlates.
520	1		_a''For two decades Shane Cotton (ONZM, Ngāpuhi) has been one of New Zealand's most acclaimed painters. His works of the 1990s played a pivotal part in that decade's debates about place, belonging and bicultural identity. In the mid 2000s, however, Cotton headed in a spectacular and unexpected new direction: skywards. Employing a sombre new palette of blue and black, he painted the first in what would become a major series of skyscapes, vast, nocturnal spaces where birds speed and plummet. The Hanging Sky brings together highlights from this period with four distinctive new responses. New York essayist Eliot Weinberger offers a poetic meditation on what he calls 'the ghosts of birds' in Cotton's paintings. Christchurch Art Gallery senior curator Justin Paton plots his own encounters with Cotton across six years in which the artist was constantly 'finding space'. Melbourne-based curator Geraldine Kirrihi Barlow confronts the haunting role of Toi moko, tattooed Māori heads, in the paintings and in her own past. And Institute of Modern Art Director Robert Leonard argues the case for Cotton as a cultural surrealist exploring 'the treachery of images'. This beautifully presented, grandly scaled book on one of New Zealand's best-known artists features accessible, readable texts by internationally acclaimed writers. This book is an essential purchase for audiences with an interest in New Zealand art. The book will be a must for appreciators of beautiful books, as well as readers who have followed the authors and wish to read more of their writingz'--www.craigpotton.co.nz
588			_aMachine converted from AACR2 source record.
600	1	0	_aCotton, Shane _xArt collections _vExhibitions.
600	1	0	_aCotton, Shane _xCriticism and interpretation.
700	1		_aWeinberger, Eliot. _9262981
700	1		_aPaton, Justin, _ecurator. _91031957
700	1		_aBarlow, Geraldine. _9833070
700	1		_aLeonard, Robert _91031018
710	2		_aChristchurch Art Gallery _9245175
710	2		_aCity Gallery Wellington. _9241959
907			_a.b13020481 _b03-10-17 _c28-10-15
942			_cB
945			_a709.2 COT _g1 _iA511703B _j0 _lcmain _o- _p$94.98 _q- _r- _s- _t0 _u3 _v2 _w0 _x2 _y.i13338572 _z29-10-15
998			_ab _ac _b06-04-16 _cm _da _feng _gnz _h0
999			_c1253764 _d1253764