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
Goodies
A few weeks ago the staff here dealt with the biggest art crate they'd ever handled, for Ron Mueck's huge sculpture A girl.
Notes
Inside job
The view from inside the walls in the De-Building spaces, with holes cut and waiting for the arrival of Fiona Connor's installation of facsimile domestic windows, What you bring with you to work.
Notes
The De-Build begins
Our internal De-Building billboard goes up, with some finishing touches from the Stanley knife.
Exhibition
De-Building
Sculptural surprises and architectural double-takes by renowned contemporary artists. De-Building is inspired by a moment usually hidden from viewers – when an exhibition ends and the 'de-build' begins. View it online
Article
Shyness and sculpture
Reporters like to begin their stories about Ron Mueck by noting that he is famously media-shy. Since television and newspapers thrive on personality, celebrity and ‘direct access' to the stars, journalists clearly feel it necessary to explain to their audiences that they won't be hearing from the artist himself. Beyond this, however, not much more gets said about Mueck's reluctance to talk. It's treated as a minor difficulty, something to be mentioned in passing before moving on to the artworks. And for that reason, surely it's not the kind of thing I should be bringing up in an official essay...
But I have a suspicion there's more to it.
Interview
Inspiration and Consolation
In 2002, after two decades as one of the world’s most influential dealers of contemporary art, Anthony d’Offay closed the doors to his commercial gallery in Dering St., London. The years since, however, have been anything but quiet for him. In 2008, Tate and the National Galleries of Scotland acquired more than 700 works from d’Offay – a collection worth more than £125 million at the time, but acquired for the British public at its original cost price of around £27 million. Including works by Andy Warhol, Joseph Beuys, Gilbert and George, Damien Hirst, Jeff Koons, Agnes Martin and Anselm Kiefer, the line-up is remarkable. Just as remarkable is the way the works are now being presented, in the form of more than fifty ‘Artist Rooms’ which travel not just to high-profile metropolitan institutions like Tate but also to small and often underfunded regional galleries – so that viewers might encounter Diane Arbus in Nottingham, or Ed Ruscha in Inverness. In addition to his work curating the Artist Rooms, d’Offay has continued to work closely with just one artist from his Dering St. stable – Ron Mueck. Senior curator Justin Paton spoke with d’Offay about Artist Rooms, his own formative gallery-going experiences, and his thoughts on Ron Mueck and his sculptures.
Notes
Getting some on you
From a talk given by senior curator Justin Paton at the opening of Roger Boyce's The Illustrated history of painting at Christchurch Art Gallery on 12 August.
Notes
Burntime
Speaking of the light in Australia, here's a memo to all creators of public art in New Zealand: think solar.
Notes
Light readings
Since it's winter, and my U.V. levels are bottoming out, I'm not even going to talk about how inconsiderate it was of the people who built this Gallery to create offices with no windows.