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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My Favourite
Selwyn Toogood, Levin
I spent much of my adolescence in hospital, confined to bed due to a chronic illness. With a 14" TV beside me, I’d travel to imaginary places via the controller of my Nintendo games console. At the time, I couldn’t imagine walking to the letterbox, let alone experiencing the more exotic places of the world.
Commentary
A Perspective on Pacific Art in Christchurch
Pacific art is one of the more internationally successful and innovative sectors of New Zealand’s art industry, but Pacific artists in Ōtautahi have struggled to be a visible part of the city’s cultural landscape. Due to our small population and distance from the Pacific art capital that is Auckland, our artists have often developed in relative isolation, relying on our Pasifika arts community to maintain a sense of cultural vitality, belonging and place within the city.
Article
Hidden in Plain Sight
In 1997, I went to see an exhibition called White Out, curated by William McAloon for Auckland Art Gallery’s contemporary space. The show’s subtitle unambiguously promised ‘Recent Works by Seven Artists’, but as I completed my circuit I realised I’d come up one maker short.
Interview
Unsung
Curator Peter Vangioni talks with Malcolm Riddoch, founder of the Auricle Sonic Arts Gallery in New Regent Street, and artist Bruce Russell.
Article
Trove
Recounting the untold stories behind some of the works in the exhibition Treasury: A Generous Legacy, curator Ken Hall also underlines the value of art philanthropy.
Article
Exquisite Treasure Revealed
Canterbury Museum holds two albums compiled by Diamond Harbour artist Margaret Stoddart. The older of the two, containing images featured in this Bulletin, and itself currently exhibited in the Gallery, covers the period 1886–96. The album is handsomely bound in maroon, and stamped M.O.S. in gold. It contains a sort of travelogue by way of black and white photographs set amongst decorative painting, mostly of native flora, with some locality and date information.
Commentary
City of Shadows and Stories
If cities are the ground into which we plant stories, the soil of Ōtautahi – later Christchurch – is undergoing a protracted tilling season. Five years is a long unsettlement in human terms; on a geological (or indeed narratological) scale, time moves more gradually. Christchurch exists today as a rich aggregation of narratives, propping up physical edifices of crumbling stone and cardboard.
