What makes an exhibition accessible? And how "normal" is a gallery space, really? For the first time in a long time Sophie McKinnon visits a New York gallery. Park McArthur Essex Street: Edition One and Two Fantasies July 15, 2020 – August 21, 2020 "During the months of July and August Essex Street will be open." An invitation, a call to action, and a call back to Park McArthur’s 2013 exhibition During the month of August ESSEX STREET will be closed, this statement is also the first line of the press release for McArthur’s solo presentation Edition One and Two Fantasies at Essex Street in downtown New York. This was the first gallery exhibition I had visited since March, when New York city and state went into lockdown in response to the spread of Covid-19. For me, it was important to visit the show in person, to stand physically in the space. The real life of the work in this show, though, is embodied elsewhere. The Essex Street gallery is split across two floors, a smaller one at street level, and another below, bright and high-ceilinged. McArthur’s work explores the fundamental tension between autonomy and dependency, through her experience as a wheelchair user of the interactions it necessitates. There are two bodies of work in this show: a set of filters from a mechanical breathing machine that McArthur uses when sleeping (titled Fantasies), and two editioned sets of framed print-outs that mirror the inside of an incentive spirometer – a device that measures the volume of breath against rising lines, like a measuring cup. Edition one consists of two pages. Edition two, displayed downstairs, consists of 14 sets of these two pages, framed, and spaced around the room. The document from which the sets are printed is available for free download, to be installed by anyone at any time, in any way they see fit. The exhibition can be seen online with images and alt text, heard with an audio guide, Zoom-toured with gallerist Maxwell Graham, or visited in a captioned video. The Essex Street iteration is in a sense the most inert entry point, calling into question galleries as normalising spaces through which we are conditioned to filter sets of objects or ideas; as a white-wall framework with limited forms of transmission. This work, with its text in reverse, as though looking out from inside of the device, turns your gaze elsewhere to think about what is not seen, felt, explained, or available at this time. For whom is this for, hung at this height, in this arrangement? Recently I overheard a woman say that ever since she started wearing a face covering, her other senses became dulled. She found it much harder to hear people, to remember things, and to focus. The rapid shift into mask-wearing against the spread of viral droplets has united many in complaint around the world. The global lament for lost mobility and social contact, and reliance on personal protection equipment, also triggered frustrated responses from the disability community. For many of them, this was a routine experience, particularly those who had spent much of their lives self-isolating due to compromised immunity and community infrastructures that did not provide for them. The disparity in care and empathy for those living with illness was thrown into relief when safety measures against infection were now experienced as an inconvenience. Artist and disability activist Sharona Franklin addressed this in March this year saying, “Your ableism is showing.” McArthur’s reality as a wheelchair-user is central to her work, whether made visible by the elevator lift access to the gallery, or charted by the disposable ventilator filters that cling to the wall like a Duchampian spine, used objects ready to be interpreted as found objects. Her practice seeks to destabilize accepted notions of experience and presentation. Her sculptures, installations, and drawings are not about the thing itself, they use the thing to communicate knowledge about a site or its conditions, and to implicate larger systems that define disability in terms of limitation rather than advocacy and access. In Park’s own terms, she explores dependencies, and what is needed in order for something else to happen. Her show Ramps (2014) was a room full of temporary access ramps the artist had used to enter institutions all over the city, representing their "as needed" functionality, her own dependence on them to gain access, and what their very existence says about economic structures that restrict accommodations to the bare minimum. The original locations of the ramps bore signs directing people back to the exhibition. The spirometer prints – titled Form found figuring it out, show – present the reality of McArthur’s dependency on medical apparatus to breathe, and are displayed by a gallery dependent on her production of work, as well as certain conventions of display. Her participation in MoMA’s “projects” series in 2019 used the dependence of MoMA on donor, board, and public expectation, with an audio guide that considered these issues directly, and promotional materials for 53W53, a luxury condominium that purchased air rights from the museum and partially funded its recent expansion. She also proposed a new model of dependency and responsibility through a modular steel structure that moved through different configurations of access, care, and facility, serving disabled and non-disabled residents. McArthur’s work questions rules and hierarchies by reconfiguring the ways we access understanding of those rules. It asks why we make the assumptions that we do, and on whose terms we hinge our expectations. It is subversive without being prescriptive, challenging without immediate target, and a radical revision of the term “site-specific.” First published ArtZone #84

Art writer and longtime Art Zone contributor Catharina Van Bohemen has published a book documenting her walking of the Camino de Santiago. Titled Towards Compostela, the book is part memoir, part travel writing and features drawings by artist Gregory O'Brien. Catharina says, "In 1998, I walked the Camino de Santiago, a medieval pilgrimage route across the north of Spain, to Compostela where it was believed that the remains of St James the Apostle were contained in the Cathedral. A friend gave me a journal and told me to write as I walked. The journal became the most important thing I carried. As I slouched slowly towards Compostela – the pack always heavy, my feet always sore – I wrote. I wrote leaning against crumbling church walls, under trees in town squares, and on hillsides where I looked west towards Compostela and wondered if I’d ever get there. Walking is a textured experience – you’re always aware of your body in new, yet ancient and strange places; you’re always remembering – forever making connections and contrasts with where you’ve come from and where you’re going to. You remember and reflect; you want to write down your thoughts. Arriving at Compostela doesn’t really mean you’ve arrived. Pilgrimage is circular – you come to a sacred space to touch and to go, and what you take away may not be clear for years: perhaps a greater awareness of why you set out in the beginning, or that every road is the Camino." Catharina also teaches, writes features for Art Zone and reviews art books. Towards Compostela, published by Cuba Press, is her first fully fledged book.

Turumeke Harrington is an artist and art student from Wellington. She talks to us about critiques from her daughter, time management, and why she'll never be an astrophysicist. Describe your aesthetic in five words. Bright. Playful. Serious. Irritating. Responsive. What course are you doing? I am currently halfway through a Master of Fine Arts at Massey University, Wellington. I needed a little more… oomph in my practice and space to think through ideas and get feedback without presenting exhibitions publicly. It didn’t quite go as planned this year, with an intense (and awesome) exhibition schedule of six exhibitions in six months across Aotearoa, but I’m excited to get into some research for next year. What’s your biggest challenge as an art student? This is my fourth stint at university (technically my fifth, but the third one didn’t really work out…) and I wish I could go back and tell 16-year-old me how good she had it – all the time in the world! The challenge at the moment is just not having enough time to wander, think, visit the library as well as do everything else “adults” have to do. Where do you work? I am Exhibitions Officer at Pātaka Art + Museum in Porirua. There’s a lot I like about it, not least of which is the sunshine that comes into our main atrium, working with artists and curators to solve their problems, building crates, and visits from my great aunt and uncle. Describe your creative process. A combination of organisation, procrastination and always a bit of panic. I like deadlines and I really enjoy working against constraints. I would describe myself as a "90%er" as opposed to a perfectionist, whilst I really like details and solving trivial problems I’m also okay with calling time on a project and try to always be finished before the deadline (even if not by much). How do you measure success? If my daughter likes it, I reckon I’ve done well. Aside from that I think success is having learnt something and knowing that I put in genuine effort. What materials are integral in your work? At the moment I am working a lot with mild sheet steel that I have laser cut and powder-coated, nylon cord that I have custom manufactured in Levin and domestic electrical components – white extension leads, LED bulbs and lamp holders. When I have more time I also like to work in silver and gold, ceramics and textiles. Jack of all trades, master of... What role does the artist have in society? My partner and I talk about this a lot, mainly I’m trying to justify to myself what value there is in making art… I think that the artist has a unique opportunity to poke fun at the games and structures our societies have devised and to connect people through their work. What do you want to be when you grow up? When I was at primary school I wanted to be an astrophysicist but in reality I am scared of the dark and I can’t comprehend the infinite expansion of the universe. When I grow up I want to be happy and to have enough time to hang out with my whānau and make cool things. Money is no object. Which priceless artwork do you buy? Can I buy Michael Parekowhai’s The Lighthouse? Be good to own a house, eh.

To see what's on in galleries and museums nationwide this Summer, visit our . pick of exhibitions Galleries Exhibitions 5 hours ago 4 min Ramped up Dec 23, 2020 1 min Art writer's trail Dec 15, 2020 3 min Always a bit of panic Dec 13, 2020 2 min Monumental legacies Dec 8, 2020 2 min Straight forward information Nov 24, 2020 1 min Money, heart and soul Nov 23, 2020 1 min Best of the buzz Nov 23, 2020 1 min WIN: Shining Land Nov 20, 2020 1 min Grow forward Nov 19, 2020 3 min A friend of a friend Nov 9, 2020 4 min Jumping colours Nov 3, 2020 1 min City dreaming Oct 27, 2020 3 min Old feelings Oct 27, 2020 2 min Connection through whenua Oct 21, 2020 2 min A sense of mounting riches Oct 12, 2020 4 min Botanical forms Oct 12, 2020 2 min Little boy pink Oct 12, 2020 1 min What the buck Oct 8, 2020 1 min The kids are ok Oct 6, 2020 1 min Fair to foundry Read more

1st 2nd 3rd 4th ect arrow&v 2018 2019 2020 arrow&v Region HYDRA Website Address Phone number Email Hours Further detail Feat artist 1 Exhibition name 1 January 10th 2018 How to ask your visitors for Start/end Dates Obviously you can redesign the user input elements to make them look nicer then the below example. Connect to start Month column Connect to start Day column Connect to start Year column Connect to end Year column Connect to end Day column Connect to end Month column January Febuary March April May June July August September October November December arrow&v January Febuary March April May June July August September October November December arrow&v 1st 2nd 3rd 4th ect arrow&v 2018 2019 2020 arrow&v Custom design display This is how you would set it out on the repeater. 3 different text boxes (designed a lot nicer then my example) and on each text connect element to correct database column. [January - Month column] [ 10th - Day column] [ 2018 - Year column] ​ Then we can filter the search bar on the Galleries page to search the database Month field, and show all correct and relevant data. ​ Currently the date search field cannot search for months as your dat/time setout in the database also includes time which cannot be added into the search bars "Value" which is what is searched in the database. Example; Search month [Label - January] [Value 01/10/2018 22:00] As you can see it is too specific and will not bring up any relevant data for that search. Date & Time format for repeater ​ Tried using this code below but received constant errors. As explained above though once you seperate the asking values of date/time it will look exactly how you want. $w.onReady(function () { $w("#repeater1").onItemReady( ($w, itemData, index) => { const monthNames = ["January", "February", "March", "April", "May", "June", "July", "August", "September", "October", "November", "December"]; console.log(itemData.trail_at); console.log(itemData.trail_at.getDate().toString()); console.log(monthNames[itemData.trail_at.getMonth()]); console.log(itemData.trail_at.getFullYear().toString()); console.log(itemData.trail_at.getHours().toString()); console.log(itemData.trail_at.getMinutes().toString()); const strDate = itemData.trail_at.getDate().toString(); const strMonth = monthNames[itemData.trail_at.getMonth()]; const strYear = itemData.trail_at.getFullYear().toString(); const strHour = ("0" + itemData.trail_at.getHours().toString()).slice(-2); const strMinute = ("0" + itemData.trail_at.getMinutes().toString()).slice(-2); $w("#text72").text = strDate + " " + strMonth + " " + strYear + " | " + strHour + ":" + strMinute; }); }); We did find a code that worked to reformat the date/time but it kept the same date/time on all repeaters. Unfortunately a lot of forums have been saying it doesn't work with Wix, however i did also find some people that tried it and said it works to some degree. SEARCH BAR ​ I think having the search by Month and Location is the best way to show people what's on and where it's located at that month and they can then see all the options. ​ Sometimes having a search that is too refined such as filtering by [Month | Gallery Name | Location] will actually work negatively and show less results if any, especially if they don't know exactly what they are looking for or the gallery names. ​ We can provide an additional 2 search options for gallery name and Artist but not connect them together so it isn't a filters search, but more of an overall search. Submission Form - Images in repeater After having a look at some issues you were having that needed troubleshooting, i noticed a few minor erroes that have been fixed. ​ Images not feeding into repeater - If you look into your database you will see some images are missing and others are blank, this is where you need to upload some images or fill in the blank spots. ​ Submission form not connecting - Some of your input field did not connect the value to the database. Always ensure when using data input fields to not only connect it to the dataset, but also connect the Value. Billing and payment info I'm more then happy to continue work on Monday for you and fixing things up :) As explained via email the coding project and some other minor things would be $150. You will not need to pay this now, but we can sort it out some time next week. ​ All of your smaller troubleshooting errors were free of charge. We can also set up the email notification and allow visitors to get a email after their submission for $69.95 if you're keen to proceed with that. User select Day/month/year, each dropdown saving in it's own column via the database. 1st 2nd 3rd 4th ect arrow&v January Febuary March April May June July August September October November December arrow&v 2018 2019 2020 arrow&v Submit Data Your content has been submitted Dropdown values are combined, and placed in the above user input element. This element is then saved in the database on it's own column as the full date (1st January 2018) Allowing you to easily reformat the date to how ever you want, without have to individually add each text on the repeater. How to send full HTML Formatted emails with SendGrid API, we will need to place "TEXT" with "HTML" like so: `from=${Sender}&to=${Recipient}&subject=${Subject}&html=${Body}`; Code to add multiple recipients in the email submission.​ In the sendGrid.jsw file, change the line that begins with const data to the following two lines: ​ const recipients = recipient.split(";").map( (x) => "to[]=" + x + "&" ).join(""); const data = `from=${sender}&${recipients}&subject=${subject}&text=${body}`;

Contributors Catharina Van Bohemen Catharina lives in Auckland where she reads, writes, walks and sometimes teaches. Janet Hughes Janet is a writer, editor and printmaker. Sam Trubridge Sam is an artist, performance designer, and director of transdisciplinary performance company , The PlayGround NZ and of : The Performance Arcade an annual festival of performance art on Wellington Waterfront. He creates solo performance art works, installations, and theatrical productions. Lily Hacking Lily is a freelance writer and occasional designer who ceaselessly battles gale force winds and salty sea spray on Wellington’s south coast. Sarah Lang Sarah is an award-winning feature writer who began her career at North & South magazine. She currently works from Toi Poneke Arts Centre and runs the Wellington Classic Literature Meetup group. Isabella Howard Isabella completed a Master’s of Arts in Art Business from Sotheby’s Institute of Art in New York where she continues to live and work as a writer and curator. Previously, she has worked in private art advisory and for Howard Greenberg Gallery. Cherie Jacobson Cherie is constantly curious and loves a good story. She's currently completing a Masters of Museum and Heritage Practice from Victoria University and was recently appointed Director of Katherine Mansfield House & Garden. Leilani Baker Leilani is a journalism graduate from Massey University. Her writing skills consist of predominantly non-fiction however, she has developed a strong appreciation for poetry and lyrical writing. Francesca Emms Francesca is a freelance writer based in Wellington. Most of her writing is non-fiction work for magazines and websites, but she also writes plays and stories for film, stage and radio. Craig Beardsworth Craig spends much of his day on gallery websites and can justify it by saying it’s work related. Diana Simumpande Diana is a freelance photographer living in Auckland. She graduated from AUT University with a Bachelor of Communications Studies and has exhibited in the Auckland Festival of Photography. Ashley Church Originally from Arizona, Ashley is a New Zealand photographer specialising in portraiture. Ashley also works as a visual artist under the label dinosaurtoast. Sophie McKinnon Sophie works with museums in New York and Beijing as a program evaluator and strategic advisor. She is originally from Wellington. Emilie Hope Emilie recently completed a Masters in script writing at the International Institute of Modern Letters. She is a writer and performer based in Wellington. Alex Scott Alex does a little bit of everything. When she’s not painting, cartooning or making tiny objects, she’s writing and sub-editing. Maeve Hughes Maeve lives in a tall house in Wellington. She has studied Fine Arts and Creative Writing. Her first publication Horsepower won the 2018 Story Inc Prize for poetry and is set to be launched later this year. Benn Jeffries Benn is a writer, photographer and our newest editorial assistant. With a background in design and literature, he enjoys writing about all things arts and culture. Hanahiva Rose Hanahiva is an art historian and writer from the islands of Ra’iātea and Huahine and the people of Te Atiawa and Ngāi Tahu. She has been widely published for her work on Māori and Pacific art practices in Aotearoa. Sam Hollis Sam is a Wellington journalist who studied at Massey University's School of Communication and Marketing. Sam's writing has been published by Art Zone, Capital Magazine, Stuff and Te Karearea. Dan Poynton An art writer and journalist, Dan is also a widely respected pianist and composer. Mary-Jane Duffy Mary-Jane is a poet and essayist. She manages the Creative Writing programme at Whitireia Polytech. She lives in Newlands where she wants to establish an artists’ colony. Annie Keig Annie is a traveller and writer. She’s dabbled in jewellery making, pottery, and painting, but has decided that words and walking are her mediums of choice. Victoria Whisker Victoria is a freelance non-fiction writer. She holds a BA in English Literature and Classical Studies from Victoria University. Fairooz Samy Fairooz is a writer, researcher, and pop-culture fiend. When she isn't writing, she analyses the internet as part of a media studies doctorate. She enjoys social commentary, buffets, intellectualising reality television, and Oxford commas. Courtenay Scott-Hill Courtenay has recently completed a Bachelor of Communications at Massey University. Journalistic writing is Courtenay’s self-professed specialty which she is putting into practice contributing to ArtZone and Capital magazines. In her free time, Courtenay enjoys afternoon naps, taking amateur scenic photography pics on her Nikon DSLR and long sunset walks around Island Bay. Mia Gaudin Mia is a writer, lawyer and arts advocate. Her work has been published by RNZ, Turbine, Hue & Cry, Mimicry, and The Pantograph Punch. She’s currently working on a novel and a travel memoir. Find her on Instagram @am_i_mia Peter Adds Peter is an Associate Professor in Maori Studies at Victoria University of Wellington. His primary tribal affiliation is to the Otaraua hapū of Te Atiawa in Taranaki. He is the Chair of the Māori Association of Social Science, the Chair of the Archaeology Committee of Heritage New Zealand, a member of the management board of the He Tohu exhibition and the Chair of Te Pae Whakawairua, the Māori advisory group to the National Archivist. Matariki Williams Matariki (Ngāi Tūhoe, Ngāti Whakaue, Ngāti Hauiti, Taranaki) is a Curator Mātauranga Māori at Te Papa. She is also a writer and editor for Pantograph Punch and other arts platforms. Michelle Duff Michelle's writing has appeared in newspapers, magazines and news websites in New Zealand, Australia and the UK, including The Dominion Post, Sydney Morning Herald, The Melbourne Age and the Irish Independent. She is a three-time finalist in the New Zealand’s premier journalism awards, the Canon Media Awards. Madeleine Boles de Boer Madeleine fuels her days with black coffee and hot tea, topping up each alternatively in between paragraphs. When she isn’t writing, you can find her looking for dogs. Sarah Catherall Sarah is an award-winning Wellington journalist who loves writing stories about interesting people and places, and important issues. When she isn't writing or hanging out with her three daughters, Sarah loves running around the city's green belt, or dining at one of her favourite eateries. Helen Kedgley Helen is a freelance curator. She is a graduate of Victoria University, Massey University, the Ecole National Superieure des Beaux Arts and the Ecole du Louvre. Her international museum work includes the Science Museum in Oxford and The National Gallery of Zimbabwe. She has served on many arts governance and advisory boards and has been invited to judge numerous art awards both in New Zealand and overseas. Jess Scott Jess is currently completing her Masters of Journalism at Massey University. She is a Wellington-dwelling writer and vintage clothing enthusiast. She enjoys experimental cinema, pop surrealism and discovering the work of emerging artists. Sometimes she wishes she went to art school. Anna Briggs Anna is a portrait, food and lifestyle photographer. She specialises in using natural light in her work, and insists on taste-testing all desserts she photographs. Claire O'Loughlin Claire is a Wellington writer and creative. She has an MA in Creative Non-fiction from the International Institute of Modern Letters. Laura Pitcher Laura is a New Zealand writer, editor, and designer living in New York. Contributing to the Guardian, Teen Vogue, i-d, Dazed, Paper, Highsnobiety, Marie Claire, and more, Laura has created content spanning fashion, culture and beauty, to social and environmental justice issues.