Kā Kaupapa o te Wā
What’s On
Celebrate Matariki at the Gallery
Tatai Whetū Tatai Tangata.
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.
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
Making the ordinary extra ordinary
Take yourself on a flight of fancy with Jess Johnson and Simon Ward’s latest artist project. Be in to win flights and accommodation for you and three mates to Singapore, thanks to Singapore Airlines. To be in to win, just visit the Gallery and take a photo in our custom Jess Johnson designed selfie booth (located in the Bayleys Knight Frank Foyer).
Collection
Helen Calder Yellow Blue Red Black
Taking an approach shaped to an extent by architectural theory, Helen Calder has parted company with traditional frame and canvas support, and also representational intent. She considers these hanging paint skins to be “very bodily”, being approximately human height and reminiscent of coverings of cloth. In 2013, while in the early stages of making this work, Calder said she was interested in the physical “undoing of painting” and in making works with “parts that are interchangeable rather than fixed … open-ended paintings that can continue to evolve through different locations and time.”
(As Time Unfolds, 5 December 2020 – 7 March 2021)
Collection
Cheryl Lucas Milkstock
“Assorted potion pots foam and pool, crust and curdle in veined swells and creamy glazes, a lavish yet uncomfortable excess which highlights the ill-effects of unsustainable dairying.” —Tessa McPhee, 2023 Ōhinehou Lyttelton-based ceramic artist Cheryl Lucas grew up on a farm in Central Otago, she remembers her father borrowing jugs from the kitchen to mix farm-related concoctions, invariably rendering the jug incompatible with further kitchen use. The bubbling surfaces of Milkstock combine this memory with the swollen and chapped udders of over-milked cows. Here Lucas comments on the uneasy relationship between our ‘clean, green’ national image and the reality of intensive dairy farming practices and their impact on our land, waterways and native flora and fauna.
He Kapuka Oneone – A Handful of Soil (from August 2024)