Kennedy, A. (2018)
Structure Games Galerie Olivier Nouvellet, 19 rue de Seine, 75006 Paris. 30 January - 3 February 2018. www.cercleoliviernouvellet.com
Kennedy, A. (2017) Abstract Project #46: Asymmetries. Residency and solo show of new paintings at Abstract Projects, a gallery run by Salon des Réalités Nouvelles, Paris, France.
Kennedy, A. (2017) Random Systems. Solo Show, Factory 49, Sydney, NSW, 5-14 October 2017.
Kennedy, A. (2011) 'Untitled (entroy)', 'Black Mirror' & 'Void Painting'. Smith and Yallop Memorial Group Show at A Gallery, Dunedin, NZ. 30th October - 30 November 2011. A Gallery is an artist-run gallery which exhibits artists with a connection to Dunedin including Philip James Frost (represented at Melbourne Art Fair by Blank Space Gallery, Sydney in 2012.) Reviewed in the Otago Daily Times, 20th October 2011.
Kennedy, A. (2011) 'Far Out' and 'wayward'. Two works in Summer Group Show. Antoinette Godkin Gallery, Auckland, New Zealand. 25 November 2011 - 24 January 2012. Particpating artists: Andrew Drummond, Andy Tolhurst, Tjalling de Vries, Miranda Parkes, Matthew Dowman, Alexandra Kennedy, Helen Calder, Andre Hemer, Melinda Harper.
Kennedy, A. (2011) untitled (painting). Spatial Intervals: A Non-Objective Group Show at Factory 49, Sydney, held as part of Art Month Sydney 2011, 23rd March – 16th April 2011. Art Month Sydney is a not-for-profit festival of contemporary art produced for the Australian Art Events Foundation, a registered non-profit organisation. Approximately 100 commercial and public galleries and artist-run initiatives participate. It receives public funding support from the Australian govenment via City of Sydney. Factory 49 receives Australian regional & national government funding via The Visual Arts & Craft Stategy & Communities Arts NSW & is part of an international network of galleries which exhibit contemporary non-objective (reductive) art.
Kennedy, A. (2011) Red Pour. Factory 49 Annual Group Show 2011, Marrackville, Sydney, Australia. 27th July - 6th August 2011. Factory 49 receives Australian regional & national government funding via The Visual Arts & Craft Stategy & Communities Arts NSW & is part of an international network of galleries which exhibit contemporary non-objective (reductive) art. One work exhibited in group show with 59 others.
Kennedy, A. (2011) Meta-materials. Solo show at Factory 49, Sydney, Australia. 9-19th February, 2011. 20 new paintings. Factory 49 receives Australian regional & national government funding via The Visual Arts & Craft Stategy & Communities Arts NSW and is part of an international network of galleries which exhibit contemporary non-objective (reductive art) by artists such as Margaret Roberts (co-curator, 4th Art & Documentation Festival, Lodz, Poland, April - May 2012). Factory 49 was recently cited in the Sydney Morning Herald as a gallery where ‘some of the best abstract work in Australia is being showcased.’ Participates in Sydney Art Week. Other ARIs in this international network include Minus Space (New York), PS (Amsterdam), IS (Leiden), CCNOA (Brussels), Konsortium (GR), Hebel 121 (Basel), Kunstruimte 09 (Groningen), ParisCONCRET (Paris). Exhibited in group show at ParisCONCRET in 2011 (NRO 4). A related off-site project was also produced through this gallery (RO1). http://www.alxkennedy.co.nz
Kennedy, A. (2011) Repeating Trapeziods. An Off-Site Project with Factory 49, Sydney, AU., in conjunction with Aurora Biscuit Factory, exhibited during Sydney Art Week, 2011, 19th December 2010 - 2nd April 2011. Large-scale site-specific wall work (approx 5 metres x 5 metres) in a public place. 14 weeks duration. Factory 49 receives Australian regional & national government funding via Arts NSW. In this work a geometric system is deployed in a space to reveal the specificity of the particular site. Aligned with the contemporary discouse in non-objective, reductive art, the work links to later projects which develop the notion of the work as a documentation of a set of predetermined 'rules' - in this case a mathematical system - a project which was developed as 'triangle packing' for show at Antoinette Godkin Gallery, Auckland, & followed on from work produced for a group show at Duende (Rotterdam, 2010)(RO 2).
Supported by a Research Grant from Dunedin School of Art, Otago Polytechnic.
Kennedy, A., Kolaric, Mario, Schifano, Karen. (2011) Objectivity. Group curated exhibition, ParisCONCRET, Paris, FR., 2-30 July, 2011. 4 new works in group show. ParisCONCRET exhibits contemporary post-formalist work. Positioned my practice in this context at an international level in a curated show with an established NY artist & emerging Serbian artist (Karen Schifano - 1st Int'l Festival of Non-Objective Art, FR, 2011 & "Escape from New York," curator Matthew Deleget, The Engine Room, Massey Uni., Wellington & RMIT, Melbourne, 2008-09 & Mario Kolaric - 45th Zagreb salon 2010, 4th Croatian Drawing Triennial, 2008.) ParisCONCRET is part of established int'l network which includes American Abstract Artists, bus-dori, CCNOA, H29, Hebel_121, IS, Kunstruimte 09(GR), MINUS SPACE (NY), SNO & Factory 49 (AU). Artists represented include Clemens Hollerer (nominated for Future Generation Art Prize 2010, Kiev, Ukraine, Zurich Art Prize 2010, shortlisted STRABAG Award 2010).
Kennedy A. (2011) Black Pour. Galerie bij de Boeken International Group Show, Dru-Cultuurfabriek, Ulft, The Netherlands, in collaboration with Huntenkunst, NL and Factory 49, AU. 4 April-14 May 2011. One work in group show. Huntenkunst is an international visual arts festival with contemporary art as its focus. Receives public support via regional cultural funding from the province of Guelders & is a prominent annual international arts event in the east of the Netherlands. www.huntenkunst.org.
Kennedy, A. (2011) Anisotrophy. Blue Oyster Art Project Space, Dunedin, NZ. 25th Jan-5th Mar 2011. Blue Oyster Art Project Space (founded 1999) receives major funding from Creative New Zealand to provide a program of contemporary art practice. 'Anisotrophy' addresses, in a number of discrete yet related works, principles of non-isometric space & follows on from work I produced in 2010 for an exhibition at Foundation Duende, Rotterdam, the Netherlands (RO2). In this exhibition ideas are extended to include the principles of reverse, or inverse, perspective, with such ideas having a genealogy in 20th-century notions concerning anti-gravity as the project for artistic activity & tilted space as a way of overcoming Euclidean geometry. Malevich's '34 Drawings' (pub. 1920) and other instances of artists' engagement with hyperbolic and four-dimensional space in the context of concrete and non-objective art are also invoked. www.alxkennedy.com
Kennedy, A. (2010) Acts of Interruption. Dérives and Détournements in Painting. SCOPE Contemporary Research Topics: art & design 4. ISSN (hardcopy): 1177-5653, ISSN (online): 1177-5661. December 2009 (released 2010). Pages 14-18 (5 pages). SCOPE is a blind peer-reviewed academic journal with an international editorial board and is published on the EBSCO database. EBSCO is a leading international research database.
This paper contexualises Daniel Buren’s practice in relation to other instances of painting which demonstrate the ability to critically reflect on their own histories & traditions. There is alignment with a Post-Conceptual practice, a concept which can be used in distinction to the Neo-Romantic, and as such is of relevance as a position from which to begin discussing my own practice. Publication of full conference paper presented at Aotearoa New Zealand Association of Art Educators Conference, Dunedin, New Zealand (ANZAAE), 20 - 23 April, 2009.
Kennedy, A. (2010) Digital Junk (4) & Thinking of Bataille. Oculus: Postgraduate Journal for Visual Arts Research, Issue No. 2, May 2010. Published by Department of Art History & Theory and School of Fine Arts, University of Canterbury, Christchurch, New Zealand. ISSN 1173-8030 Issue No. 2, May 2010, pages 74-75. Two paintings.
Kennedy, A., & 4 other artists. (2010) Non-Isometric Space. Duende Foundation, Rotterdam, Netherlands. 19th - 21 March 2010. Group exhibition with four international artists: Roxane Borujerdi (FR)(shown at LISTE, Art Basel Int'l Art Fair, 2010, TENT & Witte de With, 2010) http://www.roxaneborujerdi.com/; Sonia Rijnhout (NL) www.soniarijnhout.nl/; Bass Scheevers (NL) http://www.basschevers.nl; Reviewed on Netherlands top art blog: http://trendbeheer.com/2010/03/20/gastpresentaties-duende/. Large-scale wall work deploying principles of inverse perspective, 'anti-geometry' & 'tilted space'. Represents a conceptual extension of 'Lost in Space' (RO 6) & engagement with histories of 'space' as described by Henri Lefebvre in "The Production of Space" (1992). Research interest - the 'spaces' of painting & the various concepts of space, eg. Cartesion, Baroque, Renaissance space & the 'expanded space' of painting.
Kennedy, A. (2010) Particles in Space. Argument Vertoningstruimte Art Project Space, Tilburg, The Netherlands. Exhibition dates: 7-14th Feb 2010. Solo show of a large-scale wall work. Dimensions: approx. 5.20m (end), 6.63m (front), length 11.17m (l), 11.22m (r), height 2.96m. ARGUMENT is an established (1993) Art Project Space which exhibits Dutch & international artists & receives Dutch government support via regional cultural funding. Selected artists are given financial support to realize a project experimental in nature in terms of the artist's practice. Six artist proposals a year are accepted for a period of work/residency in the gallery for realization of a project concluding with exhibition. ARGUMENT participates at SUPERMARKET: Stockholm Independent Art Fair - an international art fair. ARGUMENT: http://www.argument-tilburg.nl/ SUPERMARKET:http://supermarketartfair.com/
Kennedy, A. (2009) Painting as Performance: Dérive and Détournement in the work of Daniel Buren. Aotearoa New Zealand Association of Art Educators Conference, Dunedin, NZ.(ANZAAE), 20-23 April, 2009. Conference paper presentation. Contextualising Daniel Buren’s work as painting which critically reflects on its own history & traditions in alignment with the political dimensions of the Internationale Situationniste, charting Buren's collaboration in an exhibition which consisted of the absence of the artists’ work. Intended as a statement of institutional critique, & of painting’s role within this, this ‘action’ can be understood in terms of the ‘zero degree’ in painting or the so-called ‘death of painting.’ In Buren’s case this extended to the taking of art out of the gallery & into the space of the city in acts of dérive & détournement. Paper published in SCOPE Contemporary Research Topics: art & design 4. ISSN 1177-5653, ISSN (online:1177-5661), December 2009 (released 2010). Pages 14-18.
Kennedy, A. (2009) Pictures of Nothing. Master of Fine Arts dissertation, Dunedin School of Art at Otago Polytechnic, Dunedin, NZ. Robertson Library, Otago Polytechnic, Dunedin, New Zealand. March 2009. Supervised by Prof. Leoni Schmidt & Michele Beevors. Examined by John Hurrell (former curator, Govett Brewster Art Gallery & Waikato Museum of Art and History & author of catalogue essays on the work of Tom Kreisler & Julia Morison) & Simon Morris (painter & senior lecturer, College of Creative Arts, Massey University). Abstract: 'Pictures of Nothing' are 'paintings about painting'. As such, the project is located within a context which engages with the 'zero gesture' in painting, one which addresses the critical relevance of painting and its ability to reflect upon & engage with its own histories. Thesis published alongside "Pictures of Nothing", MFA graduation exhibition, 26 March - 3 April, 2009. 120-page text. 12 substantial works.
Kennedy, A. (2009) Pictures of Nothing. Dunedin School of Art Gallery, Otago Polytechnic, Dunedin, 26 March - 3 April, 2009. 12 paintings, 2 weeks (duration of exhibition). An exhibition of abstract paintings which appear as random marks & erasures on a field which forms part of a larger, potentially limitless, field. Suggestive of digital junk, void and empy spaces, they can be 'read' as being in the middle of something, as process, as becoming. The practice therefore is positioned as self-reflexive - that is, it makes reference to a form of criticality of the medium being worked within, and as such stands outside of notions of progress and linear development in painting. It falls within the context of the conceptual and post-conceptual.
Kennedy, A., and Parkes, M. (2009) I Love You To Distraction (new takes on abstraction). Gallery 33, Wanaka, New Zealand. 23 October - 17 November 2009. 8 new works exhibited, 2 weeks duration. http://www.gallery33.co.nz/artists.php. Group Show with Miranda Parkes (William Hodges Fellowship, Southland, 2006). Gallery 33 is an established dealer gallery representing contemporary New Zealand artists including: Maryrose Crook (Wallace Art Award, Development Award 2006), Simon Kaan, Dick Frizzell, Peter Cleverley, Bing Dawe, Don Binney, Jason Greig, Michael Smither, Michel Tuffery. http://alxkennedy.co.nz/index.php?/i-love-you-to-distraction-/
Kennedy, A. (2009) Preview 2009: Contemporary South Island Artists. Centre of Contemporary Art, Christchurch, New Zealand (COCA). Curated by Warren Feeney. An exhibition of selected works by artists from the South Island whose work is considered to be deserving of wider exposure. National touring exhibition: Centre of Contemporary Art, Christchurch (3rd -17th September 2009), Temple Gallery, Dunedin (26th September - 15th October 2009), Webb's Gallery, Auckland (4th - 13th November 2009). Exhibition catalogue published by COCA Gallery, August, 2009.
Kennedy, A. (2008) Black Hole. The Pretty Show, curated by Hamish Palmer (shows with Physics Room, Christchurch, and Enjoy, Wellington) at The High Street Project (HSP), Christchurch, New Zealand. 2-23 December 2008. HSP is an Art Project Space which receives funding from Creative New Zealand, and has been operational for a number of years. Other artists in show: Kathy Barry (recipient of McCahon Residency), Julien Dyne, Marie Lelievre, Maurice Lye, Annie Mackenzie, Mirabel Oliver, Justine Walker.
Kennedy, A. (2008) Anachronic. LIMINA: A Journal of Historical and Cultural Studies. University of Western Australia, Perth, Australia. Volume 14, June 2008. Pages 12-18 (7 pages). LIMINA is a refereed academic journal of historical and cultural studies based in the Discipline of history at The University of Western Australia. LIMINA aims to provide an environment in which diverse work can be published. The journal promotes resistance to traditional disciplinary boundaries, and at the same time demands a rigorous approach to issues of research, context and theoretical debates. In 2005 Limina received the Matilda Award for Cultural Excellence in the field of new media publication.
Kennedy, A. (2008) Projects of Infinity. International Committee of the History of Art (CIHA), 13 - 18th January 2008. http://www.cihamelbourne2008.com.au/.
It is well understood that the rise of conceptual art in the late 1960s and early 1970s has been associated in critical discourse with a two-fold decline in painting. Painting not only lost favour as a method at this time, but also its position as a pre-eminent field of practice was challenged. This presentation considers the manner in which the practice of painting has responded to challenges to its ongoing validity as a site for critical practice through an engagement with the theme of the death, or endgame, of painting & is relevant for my practice as it identifies the theme of meta-painting.
Kennedy, A. (2007) Lost in Space. Solo exhibition of 12 new paintings at Blue Oyster Art Project Space, Dunedin, NZ., 8-26 May 2007. Exhibition Catalogue: ISBN 978-0-908846-39-9. http://www.blueoyster.org.nz/. Blue Oyster Art Project Space founded in 1999 receives major funding from Creative New Zealand to provide a program of experimental & innovative contemporary art practice. Whilst the paintings presented in the show are positioned within the tradition of non-iconic abstraction, the work maintains a semantic element through reference to the virtual ‘holes in space’ of electronic & digital technologies. These technologies create conceptually infinite, limitless spaces which can be experienced as simultaneously empty & full with ‘matter.’ As such these ‘spaces’ are a mirror of the infinite void of the cosmos. Project was foundational for future work presented in ‘Pictures of Nothing’ (RO 8) & Particles in Space (NRO No.1). Both of these exhibitions extend the notion of the conceptual void.
Kennedy, A. (2007) Lost in Space. Exhibition catalogue (self-published), 'Lost in Space', at the Blue Oyster Art Project Space, Dunedin, New Zealand. Also included essay by Prof. Leoni Schmidt. ISBN 978-0-908846-39-9, 8-26 May 2007, 12 pages.
Kennedy, A. (2007) Techno to Trash: The Work of Jonathon Otley. Aotearoa New Zealand Association of Art Educators (ANZAAE) National Conference, Wellington School of Design, Wellington, New Zealand. 2-5 July 2007. Keynote speakers included Jonathan Mane-Wheoki (director, Art & Collection Services, Te Papa), Rhana Devenport (director, Govett-Brewster Art Gallery), Eduardo Carrillo (Coventry University) & paper presentations by Simon Kaan, Ian Wedde, Darryn George, Wayne Youle, Simon McIntyre, Monique Redmond, Anna Miles, Michel Tuffery. In this paper I presented Otley's work, a sculptural/ cross-media project consisting largely of an assemblage of 'space junk', as a neo-dada-inspired practice which engages with a sense of futility & despair simultaneously with playfullness & humour in the creation of objects which appear as 'beacons of waste'. Of relevance to my research platform in respect to the relationship of semantic & non-iconic abstract elements of the work.
Kennedy, A. (2007) terra_data. Hocken Library, Dunedin, New Zealand. Catalogue essay for the exhibiton terra_data, by Ana Terry at the Hocken Library, Dunedin, New Zealand, 24 November 2007 - 1 March 2008. 2 pages. The Hocken Library is a significant NZ research library, collects widely in relation to the history and culture of New Zealand, the Pacific and Antarctica, with a special emphasis on the Otago and Southland regions. http://www.library.otago.ac.nz/hocken/exhibitions/exhibarchive.html#2007 .
The catalogue essay, terra-data, draws on Deleuze & Guattari's ideas of deterritorialisation & reterritorialisation in relationship to representation and the 'framing' of meaning in images and to the spatial and temporal dislocaton of cultural objects and imposition of an alternative scopic regime. Of relevance to my practice & research for the conceptual frameworks which are developed and which can be used in respect to the semantic reading(s) of visual objects.
Kennedy, A. (2007) Lost in Space. Publication of exhibition catalogue essay in SCOPE: Contemporary Research Topics. art 2, November, 2007. pgs 116-118. ISSN (hardcopy) 1177-5653, ISSN (online) 1177-5661. www.thescopes.org. SCOPE is a blind peer-reviewed academic journal with an international editorial board and is published on the EBSCO database. EBSCO is a leading international research database. The essay 'Lost in Space' takes up the notion of the conceptual void in a discussion of aspects of non-iconic abstraction as an 'aesthetic of the void' and charts selected 'projects of infinity' from early modernity through to the 1960s in the identification of historical antecedents for the project. The work is also discussed in terms of Henri Lefebvre's ideas concerning 'representations of space' and 'representational space'.
Kennedy, A. (2007) Black Hole (2). 16th Wallace Art Award, 2007. National Art Award with work in Exhibition of Winners & Finalists, 3 Sept - 1 Oct 2007, Aotea Centre Gallery, Aotea Centre, Auckland. The Wallace Art Award, administered by the James Wallace Arts Trust, Auckland, are the longest surviving & richest annual art awards of their kind in Australasia (total prize pool $165,000). Paramount winner awarded 6 month residency in New York at International Studio & Curatorial Program; the Wallace Arts Trust Development Award winner receives a residency at Vermont Studio Centre, Kaipara; the Foundation Wallace Award winner receives a residency at Altes Spital in Solothurn, Switzerland. Winner of Fulbright Wallace Arts Trust Award receives a three-month residency at the Headlands Center for the Arts in San Francisco. Beyond this, the Trust financially supports many other arts organizations.
Kennedy, A. (2006) Painting Methodologies. Published in SCOPE: Contemporary Research Topics. art: 1 2006. ISSN (hardcopy): 1177-5653; ISSN (online): 1177-5661 November, 2006. pgs 100-109. SCOPE is a blind peer-reviewed academic journal with an international editorial board and is published on the EBSCO database. EBSCO is a leading international research database.
The article charts the territory of the 'death of painting' historically and represents my early thinking on the manner in which much contemporary painting, arguably a reinvigoration of the medium, cannot be accounted for within established critical frameworks. The ideas presented here were the theoretical foundation for further writing which was published as 'Anachronic' in LIMINA (University of Western Australia) (NRO No. 4) which subsequently received an award.
Kennedy, A. (2006) Painting Methodologies. Lecture and research seminar presented at Victoria University of Wellington, NZ., 24 July 2006. A day-long research seminar including lecture presentation which proposed a theoretical framework for contemporary painting practice. This paper addressed the manner in which much contemporary painting can be identified as fulfilling the conditions of the ‘post conceptual’ and, in doing so, how a position is created for painting as a site for critical practice. It proposed that the work of these artists is representative of a mode of contemporary painting which engages with the theme of the death, or endgame, of painting in particular ways, seeking to create a position outside of both modernist & postmodernist theoretical positions for this work. It proposes that contemporary painting which can be identified as ‘post-conceptual’ lies outside of these frameworks, and can more usefully be defined as 'amodernist.'
Kennedy, A. (2006) Anachronic. Full conference paper: Art Assn of Australia & NZ (AAANZ) International Conference: Reinventing the Medium, Faculty of Art & Design, Monash Uni., Melbourne, AU., 7-9 Dec, 2006. Paper addressed the position of painting in a post-media age, locating it within the framework of the ‘amodern’ as posited by M. Serres & B. LaTour, identifying the manner in which much contemporary painting is engaged with methodologies which cannot be accounted for within established critical frameworks. The ‘amodern’ method is heterogeneous and metonymical & neither diachronic nor synchronic, but rather ‘anachronic’ & thereby engages with the discourse of the death of painting. A philosophical position offering an alternative to the endgame of painting, addressing the teleological demise of painting & arguing for its continuing relevance. A critical framework for my practice. http://www.artdes.monash.edu.au/aaanzconference/AAANZ-abstracts.pdf
Kennedy, A. (2004) Finalist, Wallace Art Award.
Kennedy, A. (2004) Group Show. McPherson Gallery, Auckland. six works exhibited
Kennedy, A. (2003) Group Show, McPherson Gallery, Auckland. Six works exhibited.
Kennedy, Alexandra (2002) Look this Way: 125th Anniversary Show, Centre of Contemporary Art, Christchurch, New Zealand. Centre of Contemporary Art, Christchurch, New Zealand.
Kennedy, A. (2001) Making Pictures Conference paper presented at ANZAAE national conference, Hamilton, New Zealand.