Kā Kaupapa o te Wā
What’s On
Raymond McIntyre: A Modernist View
Dynamic and progressive paintings and woodcuts from one of Aotearoa’s New Zealand foremost modernist artists.
Living Archives
Archives that tell stories about artists and history in Aotearoa
Whāia te Taniwha
Māori artists consider the enduring relevance of taniwha in Aotearoa.
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Collection
Harry Vye Miller Untitled
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
Juliet Peter Sheep Sale
Juliet Peter was born into a farming family in mid Waitaha Canterbury and spent her childhood at Anama station near Te Kiekie Mount Somers. She completed her studies at Canterbury College School of Art in 1939, and then in 1942 she began work as a ‘land girl’, replacing male farmworkers serving overseas. While employed at Rydal Downs in Ōkūkū, she and her co-workers took up tractor driving, ploughing, harvesting, mustering, shearing and wool sorting. Her years on the farm returned her to early and happy memories of rural life, and she documented her time at Rydal Downs through a series of paintings and sketches, such as this lively saleyard scene.
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
William James Reed Taylor's Mistake
The beaches and shores of Te Pātaka o Rākaihautū / Banks Peninsula have long played a significant role in local people’s affection for the area. Te Onepoto / Taylors Mistake became a magnet to many artists from the 1920s on. Increasingly attuned to the distinctive ambience and character of the nearby environment, they seemed to express a growing sense of psychological or spiritual belonging. William Reed was a student at Canterbury College School of Art. He and fellow student Russell Clark, whose work also features in this exhibition, often spent weekends together roaming or cycling in pursuit of subject matter.
(Te Wheke, 2020)