Director's Foreword

Director's Foreword

Welcome to the winter edition of Bulletin. In this issue of the magazine we hear from writer and rongoā practitioner Arihia Latham (Kāi Tahu), who looks at celebrated Kāi Tahu artist Lonnie Hutchinson’s new project for our gallery spaces and forecourt. Rongoā is the traditional form of plant-based medicine practiced by Māori, and Ahu Tīmataka / Trace Elements brings together rongoā plantings on the Gallery’s forecourt and cut-out works in an exhibition space upstairs. Foremost amongst the plants featured in the exhibition is kawakawa—the most important herb in Māori traditional healing. Latham finds a project that questions our construction of spaces, and the exterior versus the interior presentation of ourselves.

Director's Foreword

Director's Foreword

Welcome to the autumn edition of Bulletin. The Gallery is currently getting ready to install an exhibition project that we’ve been working on for a number of years now. Ralph Hotere: Ātete (to resist) is the first major survey of Hotere’s artistic career for over twenty years, and includes works from collections across Aotearoa. 

Director's Foreword

Director's Foreword

In mt last Bulletin foreword we looked backward, celebrating 200 issues and more than forty years of publishing. This time I want to use this space to look forward, and to think about what role this magazine will fill in the coming years. I want Bulletin to increasingly develop as a place for ideas, experiments and opinions. The writing in its pages will be guided by the Gallery’s programme, but we aim to expand upon the ideas and themes in an accessible manner. We want to aim high and continue to develop our readership as we believe Bulletin is one of the best and most readable art magazines in New Zealand.

Director's Foreword

Director's Foreword

Welcome to the winter edition of Bulletin. This issue is special for a range of reasons; some positive, some less so. It’s an anniversary for us, and a rather big celebration—our 200th issue. Since Bulletin’s humble beginnings in 1979, under the directorship of Rodney Wilson and driven by then education officer Ann Betts, this magazine has grown to become an award-winning and industry leading publication that is highly respected by our peers. It’s now one of our most important means of communicating with you, our audience, and a vital place for us to collate our thinking.

Director’s Foreword

Director’s Foreword

Welcome to the autumn issue of Bulletin. Here at the Gallery, we’re about to move into a major changeover as we rehang our upstairs collection galleries. When they reopen again on 10 April, the whole space will have been given over to a major new exhibition.

Director's Foreword

Director's Foreword

Spring is traditionally seen as a time of change, and these last few months have been no exception; since the last issue of the magazine was published in September we’ve made some significant changes at the Gallery.

Director’s Foreword

Director’s Foreword

Welcome to the spring edition of Bulletin. Our downstairs touring exhibition galleries are currently alive with video and moving image art, all of it produced by Māori practitioners in the last thirty years. This exhibition, which tours to us from the Dowse Art Museum in Lower Hutt, looks to capture and collate the contribution of Māori artists to time-based art practice in this country.

Director's Foreword

Director's Foreword

Welcome to the winter edition of Bulletin. It’s impossible to talk about the last few months in Christchurch now without acknowledging the terrible events of 15 March. The mosque shootings were a horrific act that changed this city, and indeed our country, forever. Such brutality and hate is something we could never have imagined. But what also eventuated was an outpouring of love, unity, compassion, courage and incredible leadership. That is something that our city needs to hold on to and never forget. Te Puna o Waiwhetū Christchurch Art Gallery has always been a place for people to gather, regardless of race, gender or religion—we welcome all, and our doors are open. But I know we all can, and must, do so much more.

William Wegman: Being Human

William Wegman: Being Human

It’s a busy time at the Gallery, as we prepare for the opening of William Wegman: Being Human. Wegman is a very significant American artist and this is his first and only show in New Zealand, so we are thrilled to have such a thorough representation of his work on show here at Christchurch Art Gallery Te Puna o Waiwhetū. Wegman, who is famous for working with his Weimaraner dogs, was part of the late 1960s and early 1970s American conceptualist movement, and has produced a huge body of work that examines the human condition through photography and video. Wegman was also one of the earliest artists to see popular culture as a platform for expanding artistic practice and gaining critical attention (he co-produced the hugely influential 1988 re-release music video for New Order’s ‘Blue Monday’ – at the time a record-breaking entry in New Zealand’s charts).

Director’s Foreword

Director’s Foreword

Welcome to the summer 2018/19 edition of Bulletin. There’s no doubt that artists are essential to a gallery, but artists are also an essential component of what makes a city an exciting and great place to live. Here in Christchurch we have a considerable history of great art making, and one of the joys of our jobs here at Te Puna o Waiwhetū is working with artists.

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