Library and Archives
Exhibition: 13 August - 20 September 1992
Catalogue of an exhibition which explored aspects of the still life in the work of the following contemporary New Zealand artists: L Budd, Fiona Pardington, Judy Darragh, Grant Lingard, Valerie Nielsen, Joanna Braithwaite, Grant Takle, Jude Rae, Bill Hammond, Tony de Lautour, Jason Greig, Luanne Bond and Fiona Pardington.
John Gibb room card
Andrew Drummond: for beating and breathing
Jan van Son room card
Doctor Jazz Stomp and the Webb Lane Sound
“Bill Hammond is long, lithe and tired, and was born several years ago. Is currently pursuing a Fine Arts course and trying hard to catch up. He is deeply interested in the aesthetic implications of sleep, sports the Rat-Chewed Look in coiffures for ’68, and dreams about blind mice in bikinis. He has never been known to sing outside the confines of his bedroom. Shows a marked but languid preference for the subtle textural nuances and dynamic shadings of washboard, cowbell, woodblocks, claves, cymbal, spoons, thimbles, tambourine, and the palms of the hands in percussive contact.”
Dr Laura Young discusses the work the Kea Conservation Trust are doing in Arthurs Pass and the South Island to help increase kea numbers, and the unique challenges and threats facing New Zealand’s 2018 bird of the year.
An exhibition of recent work by Tony de Lautour, Jason Greig and Bill Hammond opens at our NG space on Madras street tomorrow. These artists have had limited opportunities to show their work since the quakes so this exhibition is well worth a visit if you have the time.
Here's a taster of some of their work.
An exciting opportunity to see new work by leading Canterbury artists Tony de Lautour, Jason Greig and Bill Hammond
A miscellany of observable illustrations
Romantic notions of gothic leanings, the legacy of Tony Fomison, devotion to rock sub-genres and an eye to the past are familiar and sound reasons to group Tony de Lautour, Jason Greig and Bill Hammond together in one exhibition, but De Lautour / Greig / Hammond is to feature new and recent work. Could all this change? What nuances will be developed or abandoned? Will rich veins be further mined? We can only speculate and accept that even the artists concerned can't answer these questions. For the artist, every work is a new endeavour, a new beginning. What may appear to the public, the critic or the art historian as a smooth, seamless flow of images is for them an unpredictable process where the only boundaries are those that they choose to invent.
Pale, birdlike figures look into the distance from tall trees, like so many watchers on a ship’s mast. Behind and above the windswept waves, a Victorian gentleman-horse is seated with his whippet and double bass. Watched by an assembly of shadowy birds’ heads, he remains dignified and untroubled, appearing destined for a life of ambitious success. He seems oblivious to the impact of his presence.
The long-awaited exhibition is a spectacular survey of more than two decades of work by one of New Zealand's leading contemporary painters.
Fourteen artists with connections to the Mainland are represented in an exhibition that explores the dark underbelly of the region's genteel appearance.
A major exhibition celebrating the breadth and diversity of Canterbury painting between 1990 and 2000.
For the exhibition Wunderbox (28 November 2008 - 15 February 2009), this work was displayed with the following label.
Bill Hammond led one of the most influential tendencies in New Zealand painting of the late 1990s – Post-colonial Gothic. Shag Pile is one of his many paintings inspired by nineteenth-century campaigns to catalogue New Zealand’s dwindling native species, in particular the efforts of Walter Lowry Buller. The contradictions of Buller’s character – a recorder and chronicler of birds who killed and stuffed many – have made him a figure of fascination not only for Hammond but also for sculptor Warren Viscoe and playwright Nick Drake. In Shag Pile, Buller’s campaign plays out like a bad dream projected on the patterned walls of a claustrophobic Victorian parlour, where New Zealand spotted shags are heaped, laid out for processing, and sealed under bell jars.
Turning a traditional depiction of the New Zealand landscape upside down, this vertical triptych presents a zigzagging arrangement of curtains that fall from the sky and splice the terrain, of mountainous divides that appear upon tables and strange creatures that morph and writhe.
Early works by Bill Hammond are awash with visual sampling, splicing and mixing – from popular culture and art history. Comic book narration, the oblique angles and frames of 1950s film noir and, notably, the multiple vanishing points found in the proto-surrealist paintings of Giorgio De Chirico (1888–1978), give structure to Hammond’s alternative cityscapes of the late 1980s and early 1990s. Hammond was born in Christchurch and studied at the University of Canterbury School of Fine Arts. For a period after leaving art school he designed and manufactured wooden toys. He held his first solo exhibition in 1976 and since then has exhibited regularly. His work is represented in private and public collections throughout New Zealand. Bill Hammond: Jingle Jangle Morning (20 July – 22 October 2007) is the most recent survey of Hammond’s work to date, organised by Christchurch Art Gallery Te Puna o Waiwhetu.
Relief etching relating to the now extinct New Zealand eagle which has been a central theme in Hammond's work in recent years. Profile view of a human body with eagle head.
In Greek mythology, Icarus flew too close to the sun, melting the wax that bound his wings and causing him to plunge into the sea. Bill Hammond uses this legend to suggest the threat posed to the natural environment by humans. Hammond’s birds look on dispassionately, their own wings emphasising the absurdity of Icarus’s fatal desire. The Fall of Icarus takes a work by Dutch artist Pieter Bruegel the Elder (c.1558) as a pivotal reference. The same compositional format – elevated viewpoint, figures in the foreground and the tiny body of the fallen Icarus disappearing into the sea – are seen in the original painting. Hammond was born in Christchurch and studied at the University of Canterbury School of Fine Arts between 1966 and 1968. In 1989 he joined a number of other New Zealand artists on an expedition to Antarctica and the Auckland Islands.’Bill Hammond: Jingle Jangle Morning’ (2007) is the most recent survey of Hammond’s work to date, organised by Christchurch Art Gallery Te Puna o Waiwhetū.
Gertrude Demain Hammond was a prolific London illustrator who was also active in exhibiting her watercolours. A Reading from Plato was shown at the Royal Academy in London in 1903 before coming to Christchurch for the 1906–07 New Zealand International Exhibition. There it was purchased by the avid local art collector James Jamieson, who with his brother William, ran one of the city’s largest construction companies.
Following his death in 1927, James’s family presented many works of art from his collection to become part of the Robert McDougall Art Gallery’s founding collection, which at its opening in 1932 consisted of 160 paintings and sculptures.
(Treasury: A Generous Legacy 18 December 2015 – 27 November 2016)
Watching for Buller is part of a series of work by Bill Hammond that brings together his interests in the land, New Zealand bird-life and 19th century ornithologist Sir Walter Buller. Painted soon after a journey to the Auckland Islands, it references the extinction of native bird species – ironically, as Buller himself contributed to their demise, killing then mounting specimens in glass cases.
In this work, finely decorated birds stand in profile upon a sheer coastal landscape, anxiously awaiting Buller’s arrival. The scene hints at the ways the natural environment and its inhabitants have been exploited, destroyed and driven out.
Hammond was born in Christchurch and studied at the University of Canterbury School of Fine Arts between 1966 and 1968. For a period following his graduation he designed and manufactured wooden toys. He had his first solo exhibition in 1979 and has since exhibited widely in group and solo exhibitions. In 1989 he joined a number of other New Zealand artists on an expedition to Antarctica and the Auckland Islands. He won the James Wallace Award in 1993 and the Visa Gold Art Award in 1994.
This print appears as 'Edward Hammond Hargraves. The discoverer of gold in Australia.' on page 740 of the 'Picturesque Atlas of Australasia.'