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
Collection
Meg Porteous Self-portrait (The Master)
Meg Porteous offers a contemporary take on the artistic tradition of self-portraiture with this confronting and intimate photograph. In it, we see her performing two roles: artist and muse. The awkwardness of her position reflects the complexities that exist around representations of the female body as a muse throughout art history. Most often, it has been depicted by men and intended for a largely male audience. Here, Meg takes agency of her own image, forcing us to reconsider the acts of seeing and of being seen.
(Perilous: Unheard Stories from the Collection, 6 August 2022- )
Collection
![Theatre Beautiful [Regent Theatre]](/media/cache/c7/0d/c70d9a9eaf4066591f451035f214ac27.jpg)
Harry Vye Miller Theatre Beautiful [Regent Theatre]
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
Alexander Hare McLintock A Windy Day
Ōtepoti Dunedin artist Alexander McLintock attended the Dunedin School of Art during the mid-1920s where he was taught etching by William Allen. Fellow printmaker Stewart Maclennan, who also features in Ink on Paper, was a student there at the same time. Etching was a medium that Alexander loved, and he excelled at detailed line work – as seen in A Windy Day. He was a prolific printmaker and went on to produce more than ninety prints. Trees were a favoured subject.
Ink on Paper: Aotearoa New Zealand Printmakers of the Modern Era, 11 February – 28 May 2023