This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Len Lye: Stopped Short by Wonder
An exhibition inspired by a flash of light and a thunderclap.
ANZ Private is really proud to sponsor Christchurch Art Gallery Foundaiton, and support Christchurch.
It’s wonderful to be able to bring quality art to Christchurch and have it accessible to everyone.
The Gallery has an incredible team of forty Volunteer Guides – and we want more! We’re currently seeking expressions of interest for ten enthusiastic individuals to join us.
In early March we were lucky enough to have the incredibly talented Grayson Gilmour performing at the Gallery, supported by the equally talented Purple Pilgrims and New Dawn. I love these gigs, but there is a lot of work to be done behind the scenes to make sure that, by the time the public walk in the door, the foyer is gig ready. The process normally feels like a long, slow marathon with a sprint at the final corner. So here’s a guide to how you too can get the NZI Foyer gig-ready in five (or six) easy steps.
Our Instinct Enhanced
What does Bridget Riley’s art mean? We might imagine that a wall painting titled Cosmos (2016–17) referred to life within a cosmos, an order than encompasses us, whether natural or divine. The designation connotes a degree of philosophical speculation, unlike the direct descriptions that Riley occasionally employs as titles, such as Composition with Circles. But whatever meaning we derive from viewing Cosmos will be no more intrinsic to it than its name. Attribution of meaning comes after the fact and requires our participation in a social discourse. Every object or event to which a culture attends acquires meaning; and Riley’s art will have the meanings we give it, which may change as our projection of history changes. Meaning, in this social and cultural sense, is hardly her concern.
Every June from 1878 onwards, once the clamour of the Paris Salon had subsided, Henri Fantin-Latour and his wife Victoria (née Dubourg) closed their Paris apartment and headed to the countryside, a small house with a garden at Buré, Lower Normandy, where they painted until the summer’s end. From Paris, Fantin-Latour shipped his most successful new fruit and flower paintings to art dealer friends in London, Edwin and Ruth Edwards, whose records show that they sold this work (likely to its donor’s parents). Edwin Edwards had supported Fantin-Latour when Paris was in turmoil in 1871 at the close of the Franco-Prussian war, clearing his studio of still-life paintings and drawings to find buyers in England. Subsequent demand from English collectors offered a regular income for Fantin-Latour, whose still-life paintings – now his most prized works – remained all but unknown to his countrymen. As the painter Jacques-Émile Blanche complained in 1919, ‘For too long, they were not found in France; Fantin was revealed to us only through rare portraits and fantasies.’
(The Weight of Sunlight, 16 September 2017 - 16 September 2018)