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Buried in 15-year-old documents, receipts and eccentric handwritten art proposals, I try and identify the junk from the historical documents at the Blue Oyster Art Project Space. I have been going through these archival documents for two months. At times it feels repetitive but, more often than not, piecing together an important part of Dunedin’s contemporary art scene is fascinating. There is so much significant New Zealand history in the boxes: handwritten notes by Steve Carr; a decorated exhibition invite by Kim Pieters; an artist agreement signed by Julian Dashper; the 2005 Graduate Exhibition plan that included the increasingly admired artist Kushana Bush.

As someone who comes from a family that constantly exposed me to art as I grew up, looking through these archival documents causes me to quietly nerd out in the Blue Oyster safe (it’s literally a safe, my key has a whistle in case I get locked inside) where I work. My nerding-out is only exemplified by the numerous clippings from Critic over the years that either feature reviews of Blue Oyster shows or interviews when there have been changes to the directorship. Not only is it great to see writing and art – two of my favourite things – merge together, but these various clippings also make me reflect on the importance of a continuing dialogue on Dunedin’s art scene by local publications. Whether people “get” the art or not (there are always going to be exhibitions that raise eyebrows for the wrong reasons), this relationship between publications and galleries is vital to maintaining awareness of art practices in Dunedin and throughout New Zealand. It’s also vital as a way of documenting art practices and artists in New Zealand’s history.

This relationship is especially important when other entities like the University of Otago have proven to have a contrasting and unhelpful disassociation with these spaces and emerging artists. The fact that various artworks put on display for the collaborative event Art on Campus in 2012 are still hanging around the University, with no payments yet made to purchase the artists’ works, means that this dissociation is undeniable. Sure, the University is a huge organisation and this may be an administrative mistake. But with its very own Art History department, a significant New Zealand art school right next door and the myriad spaces for emerging artists throughout Dunedin, the University should be excited and active in their relationship with the Dunedin art scene rather than let these works gather dust.

Like the handfuls of students involved in each issue of Critic – many of whom with aspirations of being some sort of writer or reporter – emerging artists and project spaces need environments where they feel that they can begin and develop their creative endeavours. Open minds and frequent exposure are essential. Artists, writers and admirers of either, all have to begin doing what they do somewhere. Like all beginnings, things aren’t going to always work out. There are mistakes. But it is my hope that students (and the University) do more for these support networks. It’s as simple as checking out an exhibition on Dowling Street on the way to the gym. Sure, anyone could dismiss art but how much more interesting (for literally everyone) is it to try and give a fuck?

Alongside the weekly art page, two of this week’s Critic features are art themed, in conjunction with OUSA’s Art Week. Furthermore, with the centenary of the First World War falling on the publication date of this issue, Dr Sandy Callister’s piece on photography in the War holds a two-fold relevance.

Loulou Callister-Baker
Critic Features Editor