Marie Shannon New Zealand’s Funniest Art Video 1994. Silver gelatin print. Collection of the artist
Marie Shannon Phone Friends 1990. Silver gelatin print (diptych). Collection of the artist
This exhibition is now closed
Marie Shannon’s intimate and witty photographic and video works.
Marie Shannon is part of a generation of women artists who set aside the dominant tradition of the decisive moment. They resolved to operate as ‘artists first and photographers second’ thereby opening a space for further explorations in photography.
Conceptually framing the home as a space for making art, Shannon makes or arranges objects as part of a creative process where ideas are fixed in photography. Her daily routine and experience as an artist, partner, friend and mother results in an art that is intellectually conceived while remaining intimate, and witty. When text appears in her work, it is often like diary notes or messages left resting on a table. Her texts function similarly to the intertitles of silent films, communicating directly to the viewer.
Exhibition developed and toured by Dunedin Public Art Gallery.
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Date:
2 August – 2 December 2018 -
Location:
Ravenscar Gallery W A Sutton Gallery -
Exhibition number:
1055
Related
Exhibition
Marie Shannon: The Aachen Faxes, Christchurch remix
Ongoing
Marie Shannon's sound work contemplates love, loss, and the longing for emotional connection across distance.
Interview
Marie Shannon talks to Lara Strongman
Lara Strongman: This show brings together thirty years or more of your work, put together with the curators from Dunedin Public Art Gallery. I wondered what you’d discovered through the process?
Marie Shannon: I discovered that I hadn’t moved very far. That’s not to say that I didn’t feel my work had developed, but I’d just run around in such confined territory. Of course that’s not necessarily a bad thing, but I found it confronting to look at that short reach in my output. I had to convince myself that it didn’t all look like shit. (You probably can’t say that here because you want people to come and see the exhibition, but I’m being perfectly honest.) Each time the show was hung, I’d walk away feeling despondent and then I’d sort of think, “No, it’s actually okay”.