At the Gallery
Harold and the Purple Crayon
Mix It Up!
The Court Theatre: The Early Early Late Show
Recent Notes
Te Puna o Waiwhetu remembers Cliff Whiting
Underworld 2 by Tony de Lautour
President's Letter, June 2017
Bridget Riley in her studio, 2017. Photo: Paul Moorhouse
In The Studio
Paul Moorhouse: We are standing in front of a full-size cartoon for Cosmos, the new wall painting that will be installed at Christchurch Art Gallery. How does the cartoon relate to the final wall painting?
Bridget Riley: The cartoon is painted in gouache on paper, but it gives me a good idea of the full-scale image that will be recreated on the wall in Christchurch. I have also made a smaller painting in acrylic directly onto the wall here in the studio. This is complete in itself, and provides the information I need to give me confidence in the appearance of the discs when the larger image is created on the gallery wall.
ContinuedNotes
Te Puna o Waiwhetu remembers Cliff Whiting
He whare whakairo ki te tohunga, he whare kōrero, he whare rangatira.
'The master carver’s house becomes one that is treasured and is revered.'
Interview
Sideslip
Sydow: Tomorrow Never Knows recently opened at Gallery and the exhibition’s curator, Peter Vangioni, took the opportunity to interview UK-based sculptor Stephen Furlonger. Furlonger was a contemporary of Carl Sydow and mutual friend and fellow sculptor John Panting, both at art school in Christchurch and in London during the heady days of the mid 1960s. His path as an artist during the late 1950s and 1960s in many ways mirrored that of Sydow and Panting.
Notes
Underworld 2 by Tony de Lautour
This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Supporter
Gabrielle Tasman
Christchurch Art Gallery Foundation
It is so hard to choose my top artworks in Christchurch, although The Physician by Gerrit Dou is a little gem. It’s an intriguing painting full of symbolism – there is always a new story to discover as you look at it. I’ve been on the board since 2008 but have always been an avid supporter of the arts. My love affair for art probably first started as a toddler creating sand castles at Brighton Beach, making images appear with magic water painting or sticking autumn leaves on to paper to make collages!
Notes
Want to join our team of Volunteer Guides?
The Gallery has an incredible team of forty Volunteer Guides – and we want more! We’re currently seeking expressions of interest for ten enthusiastic individuals to join us.
Commentary
Bringing the Soul
As an eleven-year-old boy from Whāngarei, sent to live in Yaldhurst with my aunt in the late seventies, Christchurch was a culture shock. Arriving in New Zealand’s quintessential ‘English city’, I remember well the wide landscapes and manicured colonial built environment. It was very pretty but also very monocultural, with no physical evidence of current or former Māori occupation or cultural presence, or at least none that I could appreciate at that time.
Notes
Gallery Happenings: Grayson Gilmour
In early March we were lucky enough to have the incredibly talented Grayson Gilmour performing at the Gallery, supported by the equally talented Purple Pilgrims and New Dawn. I love these gigs, but there is a lot of work to be done behind the scenes to make sure that, by the time the public walk in the door, the foyer is gig ready. The process normally feels like a long, slow marathon with a sprint at the final corner. So here’s a guide to how you too can get the NZI Foyer gig-ready in five (or six) easy steps.
In Pictures: Quasi
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Construction of Ronnie van Hout’s Quasi (2016). Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist
Ronnie van Hout Quasi 2016. Steel, polystyrene and resin. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetu. Courtesy of the artist.