Trigger Points

Palitz Gallery, New York City

May 18- June 30, 2016

Trigger Points brings together contemporary and historical art work from New Zealand, the United States, Australia, Finland and the United Kingdom to explore the potent and slippery nature of memory through the visual arts. The exhibition is conceived in relation to Memory Works, a collaborative symposium between Massey University’s College of Creative Arts and Syracuse University’s College of Visual and Performing Arts. Trigger Points is co-curated by Heather Galbraith, Associate Professor at the Whiti o Rehua School of Art, Massey University, New Zealand; and Andrew J. Saluti, Assistant Director of the Syracuse University Art Galleries and Collection.

Featuring international artists

Richard Bell
Stuart Foster + Kura Puke
Karl Fritsch + Gavin Hipkins
Sasha Huber
Jeremy Millar
Dane Mitchell
Sally J. Morgan
Morgan + Richards
Anne Noble
Shannon Te Ao

and works from the
Syracuse University Art Collection including

Jacques Callot
Bolton Brown
Ivan Jestrovic
Leonard Baskin
Andy Warhol

The exhibition explores triggers of smell, touch, submersion, psychoanalysis, incantation, the act of drawing, and acts of repetition. Works by Anne Noble, Sasha Huber and Jacques Callot invite us to consider how we might ‘remember’, respectively, an ecological catastrophe set in the future, the assasination by gunshot of citizens in the 20th and 21st century, or the truama of war in 17th century France.

Te Mauri by Stuart Foster and Kura Puke tracks the passage of a treasured, ancient whakairo (carving) from the Māori tribe Te Ati Awa in Aotearoa New Zealand which made the physical journey to New York as part of the 1984 landmark Te Māori exhibition at the Metropolitan Museum of Art. Here the taonga (treasure) is present again in New York through a combination of illusory imaging technologies spanning six centuries.

Through the works of Richard Bell, Sasha Huber and Andy Warhol, the exhibition also explores how racial tensions and the subjugation of first nation and African American peoples are imaged, and how crucial the act of rememberance is to both acknowledgement of wrongdoing and the creation of a more empowered future.

Leonard Baskin’s woodcut The Cry and the sculpture of Ivan Mestrovic give potent, evocative form to states of physical and emotional distress, while artists Morgan + Richards explore how an act of purposed near drowning can be both a means to confront a childhood fear of submersion and an act of love.