Senior lecturer, Whiti o Rehua School of Art
- +64 (0)4 801 5799 ext 63627
Dr. Marcus Moore has overarching interests in practice based creative inquiry, theory of art and design, visual and material culture and histories. His expertise is on the French/American artist Marcel Duchamp and ready-made traditions; studies on the post-human; and writing and creative research inquiry. Dr. Moore supervises PhD and MFA and teaches interdisciplinary critical and contextual studies.
Typologies of the everyday; the French/American twentieth-century artist Marcel Duchamp; the readymade and its legacies; conceptual art and design; visual culture and consequences of ‘the visual turn’; writing and methods for creative inquiry.
Cultural negotiations of the readymade (2013)
Cultural negotiations of the readymade was a paper presented in proceedings of the College Art Association’s annual conference, New York, February 13-16, 2013. Marcus Moore’s paper enlisted case studies from Aotearoa New Zealand to highlight an agency of the ready-made when made-by-hand relative to the post-Duchampian conceptual tradition.
Peripheral Relations: Marcel Duchamp and New Zealand Art 1960-2011 (2012)
Guest curator, Adam Art Gallery, Wellington, New Zealand. This major exhibition received support from the Massey University Research Fund, Victoria University of Wellington, Museum of New Zealand Te Papa Tongarewa and Christchurch Art Gallery. Dr. Moore was guest curator of the exhibition that showcased seldom-seen works by Duchamp held at the Museum of New Zealand Te Papa Tongarewa, to document the little-known gift of his works as part of the Isaacs Bequest (1982), as well as referenced the ground-breaking exhibition of the Sisler Collection of Duchamp’s works that toured New Zealand in 1967. These actual instances of Duchamp ‘in’ New Zealand were set alongside three generations of New Zealand artists who register a debt to his example. Organised by the Adam Art Gallery, the show brought together works by 29 artists. Marcus Moore’s approach, which was evident in the selection and layout of the exhibition, was to explore how Duchamp’s legacy can be read from a New Zealand perspective. http://www.adamartgallery.org.nz/past-exhibitions/peripheral-relations-marcel-duchamp-and-new-zealand-art-1960-2011
‘Admit One: Adrian Reginald Hall Auckland 1971.’ Reading Room, Vol. I, Autobiography in the Wake of Conceptualism. Auckland, (2007).
Marcus Moore's journal article contextualises Adrian Hall’s work in Auckland in 1971 as the product of a transnational figure during the global conceptual movement, a time when the freighted histories of the object in art were dispelled in favour of increasing transitory practices.
The Radii Machine (1999/2000)
Commissioned at the turn of the millennium by the Carter Group for the inaugural Art and Industry Scape Biennale, Marcus Moore’s custom design and site specific project was installed in the atrium of ‘The Crossing’, a new Christchurch inner-city retail and bus exchange complex. The public sculpture alludes to sci-fi, the legacy of the New Zealand kinetic artist, Len Lye, and the appearance of Marcel Duchamp’s rotor-reliefs.
BFA (First Class Hons) (University of Canterbury)
PhD (Victoria University of Wellington)
Olivia Spencer Bower Fellow (NZ)
A Study of ‘the Unqualified’ in the Practice of Painting in a Contemporary Context
Primary supervisor: Prof. Kingsely Baird
Co-supervisor: Dr. Marcus Moore