Postcard From...
Jenny Harper, Riga, Latvia

Jenny Harper, Riga, Latvia

I’ve been conscious of Riga since the 1980s when I organised an exhibition of the work of Australian artist Imants Tillers for the former National Art Gallery in Wellington. Although born in Sydney, Latvian was spoken at Tillers’s home and the city’s name features from time-to-time in his work, including the large multiple-canvas board painting bought for the NAG collection – Diaspora (1992). But my awareness of Latvia’s politics and past history was minimal until my visit.

Artist interview
Power Play

Power Play

In November 2017, Simon Denny’s The Founder’s Paradox opened at Michael Lett Gallery in Auckland, the first solo exhibition Denny had made specifically for New Zealand audiences in several years. His starting point for the project was local: the news, broken by New Zealand Herald journalist Matt Nippert in early 2017, that the billionaire tech investor and Donald Trump supporter Peter Thiel was in fact a New Zealand citizen.

Commentary
As Stark and Grey as Stalin's Uniform

As Stark and Grey as Stalin's Uniform

Heading along to the stunning Rita Angus: Life & Vision survey exhibition at the Gallery in 2009 I always had this nagging feeling that one work was missing from the walls – Angus’s Gasworks from 1933. This painting was one that I knew only through the black and white image that appeared first in a volume of Art in New Zealand in 1933; the same reproduction that was later used in Jill Trevelyan’s excellent biography of Angus and also in the catalogue for the National Art Gallery’s 1982 retrospective, Rita Angus. For the New Zealand art historian, Gasworks was a kind of legend – painted by one of the country’s best artists yet seen in person by only a very few. In 1975, when Gordon H. Brown curated New Zealand Painting 1920–1940: Adaption and Nationalism, Gasworks was listed as ‘location unknown’ in the accompanying catalogue. Amazingly the painting was also not included in the retrospective exhibition of 1982. We had grown to know this painting purely through a grainy black and white illustration from 1933. But the painting was never lost – Gasworks is a painting that has been cherished, protected and loved by the same Christchurch family since the early 1940s. And now, having been placed on loan to Christchurch Art Gallery Te Puna o Waiwhetū, it is available for the public to view for the first time since 1933, when it was shown at the Canterbury Society of Arts.

Artist interview
Driving  Without a Licence

Driving Without a Licence

Peter Robinson: I may be wrong about this, but I believe that we were the last generation to experience the primacy of painting at art school. What I mean by this is that when we were at Ilam, students had to compete to get into departments. As crazy as it sounds now, there was a very clear hierarchy: painting was the most popular discipline and afforded the most esteem, sculpture second, then film, print, design and photography somewhere down the line. Can you remember why you ended up choosing sculpture? And furthermore why you ended up being a painter? Do you think your training as a sculptor affected the way you think about or approach painting that is different to someone who was trained formally as a painter?

Commentary
The World Tossed Continuously in a Riot of Colour, Form, Sound

The World Tossed Continuously in a Riot of Colour, Form, Sound

One hundred and twenty five years ago, after years of political struggle, Aotearoa New Zealand granted all adults the right to vote by extending suffrage to women. To mark this anniversary, for this issue of Bulletin our curators have written about some of the Gallery’s significant – yet lesser-known – nineteenth and mid-twentieth-century works by women. Our intention is to make these paintings, and the cultural contribution of the artists, more visible in 2018.

Postcard From...
Postcard From...

Postcard From...

My main base is in Vienna although I’ve lived a reasonably nomadic life for quite some time now. The last time that I lived in New Zealand was back in 2011, and I left just a few days after the earthquake to start a PhD in Sydney. After four years in Australia I did a couple of residencies in Paris and Italy before moving to Vienna.

Director's Foreword
Director's Foreword

Director's Foreword

As I write this, I’m still smiling with pleasure and pride at the huge success of the Gallery Foundation’s fundraising drive for our own work by Ron Mueck. Wonderful in its own right, it’s amazing to finish the 2017 calendar year knowing a sculpture by Mueck is now on its way to join the other four ‘great works’ for Christchurch.

Commentary
An Undeniable Promise

An Undeniable Promise

There is such a burden of expectation placed on Anne’s painting, and on the exhibition… itself. I feel, like many women painters that she is being asked to prove an undeniable promise. This is unfair.

Commentary
Representing Women: Ann Shelton’s Dark Matter

Representing Women: Ann Shelton’s Dark Matter

What is ‘dark matter’? For theoretical physicists it is matter that cannot be directly observed but whose existence is nevertheless scientifically calculable –  productively present yet simultaneously invisible. In a similar vein, the everyday phrase ‘dark matter’ describes objects, conditions and situations that harbour unease or trauma. Trauma that is often concealed, repressed, or buried. Both definitions are active in Ann Shelton’s mid-career review exhibition Dark Matter, and they provide a rich point of entry into this compelling collection of her photographic work. These are photographs that bristle with intensity and refuse to let their subjects die a quiet archival death.

Commentary
Our Instinct Enhanced

Our Instinct Enhanced

What does Bridget Riley’s art mean? We might imagine that a wall painting titled Cosmos (2016–17) referred to life within a cosmos, an order than encompasses us, whether natural or divine. The designation connotes a degree of philosophical speculation, unlike the direct descriptions that Riley occasionally employs as titles, such as Composition with Circles. But whatever meaning we derive from viewing Cosmos will be no more intrinsic to it than its name. Attribution of meaning comes after the fact and requires our participation in a social discourse. Every object or event to which a culture attends acquires meaning; and Riley’s art will have the meanings we give it, which may change as our projection of history changes. Meaning, in this social and cultural sense, is hardly her concern.

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