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
Commentary
As Stark and Grey as Stalin's Uniform
Heading along to the stunning Rita Angus: Life & Vision survey exhibition at the Gallery in 2009 I always had this nagging feeling that one work was missing from the walls – Angus’s Gasworks from 1933. This painting was one that I knew only through the black and white image that appeared first in a volume of Art in New Zealand in 1933; the same reproduction that was later used in Jill Trevelyan’s excellent biography of Angus and also in the catalogue for the National Art Gallery’s 1982 retrospective, Rita Angus. For the New Zealand art historian, Gasworks was a kind of legend – painted by one of the country’s best artists yet seen in person by only a very few. In 1975, when Gordon H. Brown curated New Zealand Painting 1920–1940: Adaption and Nationalism, Gasworks was listed as ‘location unknown’ in the accompanying catalogue. Amazingly the painting was also not included in the retrospective exhibition of 1982. We had grown to know this painting purely through a grainy black and white illustration from 1933. But the painting was never lost – Gasworks is a painting that has been cherished, protected and loved by the same Christchurch family since the early 1940s. And now, having been placed on loan to Christchurch Art Gallery Te Puna o Waiwhetū, it is available for the public to view for the first time since 1933, when it was shown at the Canterbury Society of Arts.
Exhibition
Eileen Mayo: Nature, Art and Poetry
An artist’s intense love of nature echoes throughout her work.
Exhibition
Trusttum: Just a Glimpse
Exuberant and boisterous, these large paintings by Philip Trusttum will lift the spirits
Notes
Pigeon Bay Creek, Banks Peninsula, N.Z. by Nicholas Chevalier
This article first appeared as 'A poignant look at Pigeon Bay's past' in The Press, 14 November 2017.
Exhibition
Closer: Old Favourites, New Stories
New perspectives on ten of the Gallery’s best-loved paintings.
Exhibition
Pickaxes and Shovels
See the lives of the early settlers and Kāi Tahu tangata whenua in this selection of extraordinary works by frontier Pākehā artists.
Exhibition
US V THEM: Tony de Lautour
Welcome to the low brow, high art world of Tony de Lautour’s paintings, sculptures and ceramics.
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.