I am convinced that it is by mere coincidence …

Enamel house paint & newspaper with reference to Jacque Derida’s Dissemination (trans. Barabara Johnson 1991) . . . . Derrida’s central contention is that language is haunted by dispersal, absence, loss, the risk of unmeaning, a risk which is starkly embodied in all writing.        

blanche readymade -Cubewell House 1993

Wellington’s Cubewell House (c. 1993-5) initiated by a nominal collective of Wellington artist’s  and collectors, shared the common ethos of artist-run spaces that of inventing one’s own rules, and culture. Cubewell sought to circumvent the structures of public and private galleries, acting as an alternative exhibition-office space. It’s drab and unadulterated office space supported artists who purposefully sought more alternative public spaces to disseminate ideas and acts of negotiation.             Budd Archives#1998 Cubewell House  Blanche’s random assemblages strip the readymade bare, relieving the tradition of the found object of a century’s worth of theoretical baggage and reinvesting it with …

yates carrots

Estate of L Budd.  Yates Early Chanteney carrots (set of 6 drawings) chalk, paint, seed packet c.1998 This short rooted carrot is much favoured for its early maturity. The brilliant orange colouring and delicious taste make this a welcome source of carotene and Vitamin A. Position in full sun. Sow direct in a sunny, well drained position. Cover, firm down and moisten. Thin after 4 weeks. Sow successive crops at 4-5 weekly intervals. Work soil well before sowing as deep, well-drained soils give best results. Yates Thrive Granular Complete Plant food incorporated before sowing will ensure a good crop. Protect from snail and …

allegorical fragmentation

Estate of L Budd # 2566 1996-12-16 The will “to connect what cannot be connected” in archival art. Again, this is not a will to totalise so much as a will to relate-to probe a misplaced past, to collate its different signs (sometimes pragmatically, sometimes parodistically), to ascertain what might remain for the present.


If archival art differs from database art, it is also distinct from art focused on the museum. Certainly the figure of the artist-as-archivist follows that of the artist as-curator, and some archival artists continue to play on the category of the collection. Yet they are not as concerned with critiques of representational totality and institutional integrity: that the museum has been ruined as a coherent system in a public sphere is generally assumed, not triumphally proclaimed or melancholically pondered, and some of these artists suggest other kinds of ordering-within the museum and without.

a curatorial comment

As a curator, I would like to thank all those who have so generously supported L. Budd, both public and private benefactors. I would particularly like to acknowledge the spirit of the collective. In a time which is often, somewhat cynically, characterised by critics as ‘the era of the curator,’ it is not only relevant but absolutely necessary to thoroughly question the current state of curatorial practice, its professional values, and the assumptions implicit in them.