Kā Kaupapa o te Wā
What’s On
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.
Kā Whakatauraki: The Promises
A landmark exhibition bringing together the ten Ngāi Tahu land sale purchase deeds.
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
Max Gimblett Disasters of War - 2 - The Sting of the Real. The Lives of All Children Our Shame.
Collection
Max Gimblett Certainty
For the exhibition Yellow Moon: He Marama Kōwhai (28 October 2017 – 28 October 2018) this work was displayed with the following label:
Max Gimblett is a New Zealand artist living in New York who makes art for contemplation and healing. For him, the art-making process embraces awareness of the unknown and the idea of being part of something bigger. He says: “Human is a tiny part of things. The ocean, the unconscious – these are things that are not knowable. Sometimes you can participate in a work from and in that source.” Gimblett also values “the curiosity that’s endless in beginning a drawing or a painting”, and attempts “to find a voice that will deliver the maximum content in the cleanest, clearest aesthetics”.
Collection
Jeffrey Harris Grandparents at Okains
Between 1974 and 1977 Jeffrey created twenty-four extraordinary, jewel like paintings based on photographs of his relatives, marshalled together for the obligatory snapshots to mark important family occasions. In this case it’s the artist’s grandparents who are lined up before a car and buildings at Okains Bay in their Sunday best. In this series, known as Harris’s ‘Icons’, Jeffrey drew on the fifteenth-century religious paintings of Sienese artist Stefano di Giovanni di Consolo (il Sassetta). His admiration of Sassetta’s paintings can be seen in the luminous colours and spatial clarity of Grandparents at Okains.
(Jeffrey Harris: The Gift, 1 October 2022 – 12 March 2023)
Notes
Hiding in plain sight
We've all heard the stories about confusions occurring on the edge where art meets life.
Notes
Max's Gift
Having the opportunity to spend over a week in New York recently to work closely with the artist Max Gimblett and his studio assistants in making a selection from Max's extensive collection of works on paper for a gift to Christchurch Art Gallery rates as one of the highlights of my job as a curator.
Notes
New York
Curator Peter Vangioni and I have been in New York City since last Wednesday, selecting a gift of works on paper from New Zealand artist Max Gimblett, who has been resident in New York for some 35 years.
Article
Brought to Light
Finally, it's finished! It is now four months since we closed the doors on the previous incarnation of Christchurch Art Gallery's collection exhibition, and the intervening period has been a very busy time for all our staff. When Christchurch Art Gallery opened in 2003, the plan, reiterated in the Paradigm Shift document of 2006, was to refresh the hang of the collection galleries after five years. Since then the display has of course not remained entirely static, and visitors will have noticed regular changes as new works entered the collection, light-sensitive works were changed and small focus exhibitions created. But Brought to Light: A New View of the Collection is something altogether more-a refreshment of our entire collection display (not just what, but why) and a re-evaluation of the physical space of the galleries themselves.