Kā Kaupapa o te Wā
What’s On
Made in the Pacific: A Collection of Tāoga
A selection of Pacific tāoga from the Canterbury Museum in conversation with contemporary artworks that highlight the continued strength in culture and traditional art forms.
Mark Adams: A Survey | He Kohinga Whakaahua
A comprehensive survey spanning the artist's career.
Ana Iti: Ngahere Behind a Pile of Metal
An immersive installation considering the legacies of deforestation and significance of kauri trees.
E tuwhera ana te wharetoi i kā rā e 7 o te wiki, 10am - 5pm
Ka tuwhera ki te 9pm i kā pō Wenerei
Open 7 days, 10am - 5pm
Late night Wednesday until 9pm
Uruka utukore, ahokore utukore
Free entry, free wifi
Notes
Merilynne Evans
Today brought the very sad news of the death of Merilynne Evans, a long-serving and much-loved former member of the Gallery whānau.
Notes
Jim Allen 1922–2023
Christchurch Art Gallery Te Puna o Waiwhetū is saddened to learn of the recent passing of Jim Allen MNZM and would like to recognise the extraordinary contribution that he made to the arts in Aotearoa New Zealand as an artist and educator.
Collection
Harry Vye Miller The Sunlit Road
While attending the Dunedin School of Art in the 1920s, Harry Vye Miller fell under the spell of his teachers William Allen and Robert Field. He thrived under their progressive attitudes to art, and William in particular encouraged his work as a printmaker. Based in Ōtepoti Dunedin throughout his career, Harry became an artist-educator himself and advocated for the linocut medium throughout the 1930s and 1940s. In 1942 he wrote an article for Art in New Zealand titled ‘Teaching Lino-cutting’, in which he championed the democratic nature of the medium and its suitability for use by artists and art students alike, as the materials were all within anyone’s reach.
Ink on Paper: Aotearoa New Zealand Printmakers of the Modern Era, 11 February – 28 May 2023
Collection
Colleen Waata Urlich Paikea Pot
Colleen Waata Urlich was one of the founding members of Ngā Kaihanga Uku, the Māori Clay Artists collective and was affectionately known as the “matriarch of the muddies”. Her work often celebrated mana wāhine and the female form, and as well as objects for exhibition she also produced unfired vessels in which to bury the placenta after a birth. Urlich worked with blended clays from Te Waipounamu South Island and her papa kāika in Te Tai Tokerau Northland. She said that using earth gathered from her tūrakawaewae was an essential element of her work, “connecting me and the ultimate creation I have made, back to where I come from, back to the whenua”. The surface patterns on Paikea Pot show the influence of her research into Lapita pottery, and the visual relationships across the Pacific that are evident in weaving, carving, painting and now ceramic arts in Aotearoa New Zealand.
mana wāhine ~ the inherent strength, power, and authority possessed and exercised by Māori women
papa kāika ~ original home, home base
tūrakawaewae ~ place where one has rights of residence and belonging through kinship and ancestry
He Kapuka Oneone – A Handful of Soil (from August 2024)