What’s On
Edith Amituanai and Sione Tuívailala Monū: Toloa Tales
New video works trace migratory threads across Te Moana-nui-a-Kiwa as the artists return to their ancestral homeland.
Marilynn Webb: Folded in the Hills
A major survey exhibition of Ngāpuhi, Te Roroa and Ngāti Kahu artist Marilynn Webb.
From Here on the Ground
Populated places and cityscapes converge with backyards, factories and remote railway stops. Open now!
Open 7 days, 10am - 5pm
Late night Wednesday until 9pm
Free entry, free wifi
Ken Hall
Commentary
He Kapuka Oneone – A Handful of Soil
Our expansive new collection exhibition explores the fundamental role whenua plays in the visual language and identity of Aotearoa New Zealand. Acknowledging Māori as takata whenua, the first peoples to call this land home, themes of kaitiakitaka, colonisation, environmentalism, land use, migration, identity and belonging are considered through collection works, new acquisitions and exciting commissions. Painting, sculpture, ceramics, photography, moving image, printmaking and weaving by historical and contemporary artists are brought together to reveal how land has been a material and subject for art in Aotearoa for hundreds of years. Here, the Gallery’s curators each take a closer look at a key work from the exhibition that tells us something about our complex relationship with the whenua.
Commentary
Down and Gritty
The art history of Aotearoa New Zealand includes a subgenre of landscape painting that is often under recognised, but enlivens the story of this country in gritty, illuminating ways. Investigating the twentieth-century painters who focused on the urban and industrial exposes a rich seam of material, with subject-matter ranging from gasworks, hydroelectric plants and foundries to factories, warehouses and cityscapes, workshops, wharves and railway yards. The artists are a combination of well known and less familiar names, but it is notable that this direction developed most strongly among the Ōtautahi Christchurch-trained: two-thirds of the artists in From Here on the Ground attended the Canterbury College School of Art, where many also taught. It was a training ground regarded as among the most progressive in the Southern Hemisphere for several decades in the first half of the century.
Commentary
Abandoned Ancestors
Between 1971 and 1978, a selection of twelve early oil portraits came into the collection – a finely painted lineup of mostly British sitters, some named and some unidentified, whose arrival can be seen in a number of different ways.
Exhibition
From Here on the Ground
Populated places and cityscapes converge with backyards, factories and remote railway stops in this fascinating survey of twentieth-century Aotearoa New Zealand artists exploring urban, suburban and industrial landscapes.
Exhibition
He Kapuka Oneone – A Handful of Soil
Exploring the relationship between tākata and whenua – people and land – through Aotearoa New Zealand’s art history.
Artist Profile
Flitting, Gliding, Strutting, Cavorting
Ranking highly among the privately-owned works of art that have fallen across this curator’s path is an exquisite late-Georgian era album of Indian bird watercolours. This significant, previously unpublished folio contains twenty-five delicate watercolours and three small lithographs. Most paintings were produced collaboratively in 1826 by an interesting couple, Elizabeth (Eliza) Jane D’Oyly and her husband Charles Walter D’Oyly, the latter recognised in India as “perhaps the most famous of the amateur British artists who depicted the Indian scene.” A treasured gift from Elizabeth to her sister Isabella Gilbert in 1866, the album has stayed in the same family since then. It also carries sombre themes alongside its splendours.
Exhibition
Ship Nails and Tail Feathers: Historic Treasures from the Collections of Christchurch Art Gallery Te Puna o Waiwhetū and Canterbury Museum
The stories told by rare, extravagant – and even curiously ordinary – objects.
Commentary
A Fireside Whodunnit
Father’s Tea entered the collection as an unexpected and welcome gift in 2020, together with a small portrait sketch and a larger interior scene by the same artist, both signed ‘EC’. Given by the granddaughter of artist Elizabeth Graham Chalmers (1870–1951), the paintings were old and well-travelled, needing the kind of care that galleries can provide. Father’s Tea also presented an intriguing puzzle around authorship, which has only recently been firmly re-established. As our research continued into 2021, local conservator Olivia Pitts undertook cleaning and repairs in preparation for its inclusion in the 2021–22 exhibition Leaving for Work. This included the removal of old varnish, infilling, and repainting areas of loss, and saw its strength vibrantly reinstated. Completing the restoration was the expert repair and re-gilding of the original ‘Watts profile’ frame by framing conservator Anne-Sophie Ninino.
Exhibition
Die Cuts and Derivations
An expansive installation by Peter Robinson sparks a collection-based look at how artists investigate and respond to space, through line, materials and improvisation.
Commentary
Ka Mua Ka Muri
Our histories are always with us, but who is telling the story? The Gallery’s new collection hang, Perilous: Unheard Stories from the Collection offers up a range of different perspectives on how the past and future might intersect, and invites us to rethink how we commonly see our heritage. Here, the exhibition’s curators have each selected a work from the exhibition for a closer look.