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
Notes
The Pruitt-Igoe Myth
The Pruitt-Igoe social housing development in St Louis, Missouri is often held up – or beaten down – as the case of modernist social housing gone bad.
Notes
Care Package (Part 3)
And so now that you've heard the story of the mystery black box that turned up on our doorstep, and the big blow-up bunny inside it, and the fact Jim Barr and Mary Barr have given it to the Gallery to put some bounce in our eventual re-opening celebrations, it's time something else got mentioned.
Notes
Post-traumatic sustenance
'I think that art can add to the healing of a city in a post-catastrophe environment...'
Notes
Care Package (Part 2)
So yesterday I wrote how the Christchurch Art Gallery had just received a bodacious post-quake care package, which looks like this.
Notes
Care Package (Part 1)
The earthquakes have triggered a revival of the old-fashioned art of the 'care package'.
Notes
Subsidence
The whole of New Zealand gets that sinking feeling, in this recent addition to the collection (it's the sketchbook for this), by Tony de Lautour.
Notes
More crucial, not less
'I think in periods of crisis and directionlessness the arts are more crucial, not less.'
Notes
Sutton high-fives McCahon
Nothing made it into a W.A. Sutton painting by accident, and the white line that rises diagonally through the sky in Plantation Series II is no exception.
Article
Gazumped
One of the exhibitions brought to a halt by the 22 February earthquake was De-Building, which critic Warren Feeney had described only days earlier as 'Christchurch Art Gallery's finest group show since it opened in 2003'. Seven months on, the show's curator, Justin Paton, reflects on random destruction, strange echoes, critical distance, and the 'gazumping of art by life'.
