In a bold move, amidst public and council criticism, the Dowse Art Museum is to open its museum wing and allow its outside walls to be "bombed" by graffiti artists.

STYLE CRIMES, WHAIA TE NGAKAU and COLOUR AND LIGHT take an intrepid look inside three separate artistic cultures outside the mainstream of "accepted" art. Graph writers (street graffiti artists), prisoners and mental health consumers all represent "marginalised" artists who would not normally be provided with public gallery space in which to exhibit. They have each been given a separate show.

Curator Damien Skinner, currently tutoring art history at Victoria University, says he was inspired by community and council reaction to graffiti and tagging, including a specially commissioned mural in the Hutt Valley, which was seen as threatening rather than expressive. He wanted to provide a forum for thought and discussion on why such art forms do not constitute "real" art within bounds of art history and tradition. He sees these exhibitions as both a celebration and examination of art from a social and justice point of view.

Several issues are explored in these exhibitions. The Dowse's reputation of exhibiting on the cutting edge of social change allows it to provide a safe place for people whose creativity is largely excluded or ignored by society. In this instance it aims to show the positive side of often ostracised or misunderstood elements of society. This forum allows artists to recognise and interpret their own identity and culture in a setting where differences are welcomed and valued, and not reduced to a commonality.

Some graph artists have had formal training, many have not. Adept at controlling paint can nozzles, they are highly skilled at translating a small freehand sketch into a giant multicoloured mural in a very short space of time. Many of the works for these exhibitions have been chosen by liasing with key facilitators in the health and justice systems nation-wide, and Arts Access Aotearoa, an organisation responsible for arts and social problems.

There is an issue of respect for this type of art. Will it be taken seriously? Will there be inter-reaction with mainstream artists and visitors? How ill they relate and measure perceived quality and standards? The museum is not neutral ground, and people have certain pre-conceived expectations from the institution.

There is the question of benefits for the community and the environment. Successful programmes are currently running in Waitakere and Gisborne by the Safer Communities and Councils and Community Arts Councils to harness aggressive creative talent into positive and healing activities which provide pleasure and fun. Such creative intervention has enhanced self-esteem, satisfaction and engendered positive relationships. Both councils agree it has been a successful way of combating graffiti and adding to the cities' cultural heritage.

There are social implications, as the health and justice systems slowly recognise that healig is helped by colour, warmth and art. Previously oppressive spaces now have a brighter feeling of hope and vigour. Artwork has a personal and social meaning that affirms the individual in themselves, in their culture and in the eyes of those around them, according to Arts Access Aotearoa. Boredom, anger, depression and addiction are commonly associated with disadvantaged youth, and the AAA programmes are designed with a holistic approach to healing the emotions as well as the body.

There will be an important educational component in these exhibitions. The Dowse Art Museum will host workshops involving both the Hutt Valley Community Arts Council and Arts Access Aotearoa.

Nine six metre long canvasses have been commissioned through Sonny Broughton from Gisborne and Kane Smith from Wellington. These, along with photographs of other large existing works, and the "bombed" outer walls of the Dowse Art Museum, will constitute STYLE CRIMES. From prisons, there will be the prominent art form of intricate glass painting. Works on canvas and paper alongside wood carving and sculpture in bone and stone will form the basis of both WHAIA TE NGAKAU and COLOUR AND LIGHT.

Images of work in the exhibition
Please click on the thumbnail images for further information about that work and the artist.

Stuart Namana
Matchstick Marae
Matchsticks, wood, buttons, found objects
1998
King Street Artworks

Bruce
Crayfishing at Makara
Acrylic on Board
700 x 820mm

Frances
Still Life in Striped Vase
Acrylic on Board
750 x 820mm

David Stuart
Smudge
Acrylic on Board
1998
Take 5 Te Whare Marama