This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Sometimes Going Back Is A Way Of Going Forward
John Stezaker is an English conceptual artist, acknowledged as a significant influence on the YBA generation. He has been working since the mid-1970s, while achieving international acclaim for his work in the past fifteen years. His exhibition Lost World opens at Christchurch Art Gallery in March 2018. He spoke to senior curator Lara Strongman on a visit to Aotearoa New Zealand in August 2017.
Anna Worthington is a Small Business TOGETHER Partner of the Gallery Foundation. She is the creator, baker and maker of Cakes by Anna. After completing her BFA at Elam School of Fine Arts and spending time abroad, she returned to Christchurch and fell into the wonderful world of cake. Outside the kitchen, Anna enjoys gardening, drawing and eating.
The Gallery has an incredible team of forty Volunteer Guides – and we want more! We’re currently seeking expressions of interest for ten enthusiastic individuals to join us.
In early March we were lucky enough to have the incredibly talented Grayson Gilmour performing at the Gallery, supported by the equally talented Purple Pilgrims and New Dawn. I love these gigs, but there is a lot of work to be done behind the scenes to make sure that, by the time the public walk in the door, the foyer is gig ready. The process normally feels like a long, slow marathon with a sprint at the final corner. So here’s a guide to how you too can get the NZI Foyer gig-ready in five (or six) easy steps.
Pickaxes and Shovels
See the lives of the early settlers and Kāi Tahu tangata whenua in this selection of extraordinary works by frontier Pākehā artists.
Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)