Kā Kaupapa o te Wā
What’s On
Edith Collier: Early New Zealand Modernist
A rare opportunity to view the work of one of Aotearoa New Zealand’s most adventurous and experimental modernist artists.
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
Collection
William Hogarth The Five Orders of Perriwigs
William Hogarth created this engraving several weeks after the coronation of George III and Queen Charlotte, entertained by the range of elaborate coiffure there on display. Satirising both contemporary fashion and the vogue for analysing ancient classical architecture, he categorised hairpieces into architectural orders and labelled them with faux expert terms.
(Out of Time, 23 September 2023 – 28 April 2024)
Collection
John Tole Winter's Morning, Auckland
John Tole started painting by taking lessons from Walter Wright and developed his cubist-inspired modern approach through contact with John Weeks, painting tutor at the Elam School of Art in Tāmaki Makaurau Auckland. He and his younger brother Charles developed a similar approach to painting and often showed their work together. Known for their well-constructed, decorative landscapes, often featuring factories and industrial subject-matter, they also joined with John Weeks, Louise Henderson and Helen Brown to form the Thornhill Group, exhibiting together in the 1940s and 1950s.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
Vivian Lynn Clouded Bay
By the early 1960s, Wellington-born Vivian Lynn was gaining attention for her abstracted landscapes, painted in a distinctive, modern style. Her compositions were often based on coastlands, clouds or her immediate environment in south Canterbury, sometimes aerial views generated from flights in her husband’s glider. By the late 1960s, Lynn was moving towards a more conceptual, mixed media practice. She is now remembered as a pioneer of feminist art practice in Aotearoa New Zealand.
(Te Wheke, 2020)
Director's Foreword
Director's Foreword
However cold or wet it is as I write this (and certainly it’s raining at present), our September Bulletin heralds the coming of spring, and with it, the promise of growth, renewal and hope.