The Specious Present

Andrew Beck

David Claerbout

Colin McCahon

Keith Tyson

curated by Christina Barton

10 July – 20 September 2015

Colin McCahon, Walk (Series C) 1973, synthetic polymer paint on unstretched jute canvas, 11 panels. Collection of Museum of New Zealand Te Papa Tongarewa (photo: Shaun Waugh)

Colin McCahon, Walk (Series C) 1973, synthetic polymer paint on unstretched jute canvas, 11 panels. Collection of Museum of New Zealand Te Papa Tongarewa. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Colin McCahon, Walk (Series C) 1973, synthetic polymer paint on unstretched jute canvas, 11 panels. Collection of Museum of New Zealand Te Papa Tongarewa (photo: Shaun Waugh)

Colin McCahon, Walk (Series C) 1973, synthetic polymer paint on unstretched jute canvas, 11 panels. Collection of Museum of New Zealand Te Papa Tongarewa. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Colin McCahon, The Days and Nights in the Wilderness Showing the Constant Flow of Light Passing into a Dark Landscape 1971, synthetic polymer paint on unstretched canvas. Collection of Govett-Brewster Art Gallery, New Plymouth (photo: Shaun Waugh)

Colin McCahon, The Days and Nights in the Wilderness Showing the Constant Flow of Light Passing into a Dark Landscape 1971, synthetic polymer paint on unstretched canvas. Collection of Govett-Brewster Art Gallery, New Plymouth. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Colin McCahon, The Days and Nights in the Wilderness Showing the Constant Flow of Light Passing into a Dark Landscape 1971, synthetic polymer paint on unstretched canvas. Collection of Govett-Brewster Art Gallery, New Plymouth (photo: Shaun Waugh)

Colin McCahon, The Days and Nights in the Wilderness Showing the Constant Flow of Light Passing into a Dark Landscape 1971, synthetic polymer paint on unstretched canvas. Collection of Govett-Brewster Art Gallery, New Plymouth. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views 1996–8, video, 25 mins looped. Zabludowicz Collection, London (photo: Shaun Waugh)

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views 1996–8, video, 25 mins looped. Zabludowicz Collection, London. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views 1996–8, video, 25 mins looped. Zabludowicz Collection, London (photo: Shaun Waugh)

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views 1996–8, video, 25 mins looped. Zabludowicz Collection, London. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views (still) 1996–8, video, 25 mins looped. Zabludowicz Collection, London

Keith Tyson, Art-Machine Iteration: Angelmaker Part 1, 15 Seconds Prior to Apocalypse, 100 Views (still) 1996–8, video, 25 mins looped. Zabludowicz Collection, London

David Claerbout, The Quiet Shore 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist (photo: Shaun Waugh)

David Claerbout, The Quiet Shore 2011, single-channel video projection, silent, 32 mins 32 secs looped. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

David Claerbout, The Quiet Shore 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist (photo: Shaun Waugh) (photo: Shaun Waugh)

David Claerbout, The Quiet Shore 2011, single-channel video projection, silent, 32 mins 32 secs looped. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

David Claerbout, The Quiet Shore (still) 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist

David Claerbout, The Quiet Shore (still) 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist

David Claerbout, The Quiet Shore (still) 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist

David Claerbout, The Quiet Shore (still) 2011, single-channel video projection, silent, 32 mins 32 secs looped. Courtesy of the artist

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Linear Split (8 Phases) 2015, acrylic on eight sheets of non-reflective glass with wall painting, each sheet 1350 x 900mm. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Shadow Strips Cascades 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Shadow Strips Cascades 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Shadow Strips Cascades (detail) 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Shadow Strips Cascades (detail) 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Shadow Strips Cascades (detail) 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Shadow Strips Cascades (detail) 2015, 29 silver gelatin prints, 210 x 530mm each, 5.5 x 4.0m overall. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Installation view of Andrew Beck, After Image 2015 (installation view), silver gelatin prints, acrylic, glass. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Installation view of Andrew Beck, After Image 2015 (installation view), silver gelatin prints, acrylic, glass. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Lean 2015, two silver gelatin prints, 800 x 1200mm. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Lean 2015, two silver gelatin prints, 800 x 1200mm. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Two Glass Strata 2015, two silver gelatin prints, 400 x 500mm each. Courtesy of the artist and Hamish McKay Gallery, Wellington (photo: Shaun Waugh)

Andrew Beck, Two Glass Strata 2015, two silver gelatin prints, 400 x 500mm each. Courtesy of the artist and Hamish McKay Gallery, Wellington. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Andrew Beck, Hélio Oiticica, Metaesquema 1957 (Remake with Transparency) 2015, acrylic on silver gelatin print with transparency, two framed works, 490 x 390mm each. Courtesy of the artist and Hamish McKay Gallery (photo: Shaun Waugh)

Andrew Beck, Hélio Oiticica, Metaesquema 1957 (Remake with Transparency) 2015, acrylic on silver gelatin print with transparency, two framed works, 490 x 390mm each. Courtesy of the artist and Hamish McKay Gallery. Installation view, The Specious Present, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh