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
Notes
Green with envy
Here's a little collection of works in our collection with links to the Emerald Isle
Notes
We do this by Alexis Hunter
This article first appeared as 'I am woman see me paint' in The Press on 14 March 2014.
Collection
Rebecca Baumann Automated Colour Field (variation 4)
Automated Colour Field (Variation 4) is a kinetic sculpture made from a grid of battery powered alarm clocks. The artist has replaced the numbered panels that represent hours and minutes with coloured cards, which regularly flip over into new configurations. The work is in continuous motion, creating a constantly changing arrangement that tells its own time – and takes time to view. As you watch the cards whirr around, as they rise and fall, you become aware of the variety of colour combinations. You’re drawn to some, possibly repelled by others. Rebecca Baumann is interested in the emotional associations of colour. When she was making these works, she says, she was thinking about the wide range of emotions you feel in a day. “Everything is always about that perfect moment, but really life is just a series of many moments.”
(Now, Then, Next: Time and the Contemporary, 15 June 2019 – 8 March 2020)
Collection
Petrus van der Velden Nor'western Sky
“‘Colour is light’ and there is no darkness at all – there is light or less light. In each part, even the darkest, there is some light and the difficulty is to get the different kinds of light showing in even quite small parts. There are no hard lines in nature – the light shines in and round everything and breaks all the hardness by modifying and diffusing the apparently sharp edges.” —Petrus van der Velden
(McCahon / Van der Velden, 18 December 2015 – 7 August 2016)
Notes
Nor'western Sky
Yesterday descendents of an old Christchurch identity, John Bradley, presented a charcoal drawing by Petrus van der Velden to Christchurch Art Gallery.
Notes
Alexis Hunter
What is important is that artists lend their voice to expressions of freedom in their own unique way. Sometimes an artist's complex reading of a situation, which then can be put in a simple pure image, can help a movement become more popular. Art is an expressive medium, and if it is used to portray the values of a retrogressive regime, the art will be stilted and lifeless. That is why fascistic regimes always kill the poets and writers, and ban contemporary artists from showing. Just by the making of it, real art becomes the voice of freedom.