Sydenham-based photographer Doc Ross and his camera have been investigating the Christchurch urban environment for the past 14 years.
Over this time, he has built up a significant body of work related to local architectural heritage and urban spaces. Doc has also produced exhibitions and superb limited edition books of his mainly black and white images – both before and after this city's recent seismic demise. The meaning and emotional impact of his work has been greatly adjusted through the Christchurch earthquakes.
With permission from CERA, he recently made his second visit beyond the cordon, just before the reopening of Cashel Mall, and just before the red zone bus tours commenced. It was a privilege to join him on this tour. With streets completely empty and an expanding proliferation of vacant lots, the city has been transformed into a place that is strange and new. There is much for his camera – and for me – to take in, including relics of familiar landmarks, and new (unexpectedly, almost disturbingly fine) distant views of surviving buildings, alongside the sombre fact that many are yet destined for demolition. It is difficult not to be anxious about the long-term future of the pieces that remain.
Doc Ross in Lichfield Street. Prior to the Christchurch earthquakes this been an almost completely intact colonial era streetscape.
Doc acknowledges that following the earthquakes, his Christchurch photography project has taken over many aspects of his work and life – mostly in a good way. I caught up with him again recently – he was about to leave his studio in order to document a heritage supporters' demonstration on the edge of the city barricades.
When asked about the response he expects people will have to his recent work, he reflected that
'when I finally make the book from this project, and the accompanying exhibition I'm also working on creating (...) I would like people to see it as a record of a period in the city's history that we all shared, the whole thing from pre quakes to now is in many a simply a record of my own personal emotions and feelings, but I would like people to perhaps get some comfort that they are ones we all shared.'
Doc Ross in Manchester Street. Compare this view to one painted in 1929 by Louise Henderson. Until the destruction wrought by 2010 and 2011 earthquakes, the street façade had little changed.
Phantom City: Doc Ross’s Christchurch 1998–2011
Back projected large onto a shop window in Colombo Street, Sydenham, Doc Ross's photographs create a haunting record of this city before its dramatic seismic demise.
Reconstruction: Conversations on a City
In acknowledging architectural heritage loss in this city's present and past, this visually rich outdoor exhibition unfolds the ways in which dreams and values have been given form in our built environment.
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
Everything is going to be alright
The cover of Bulletin 181 in September 2015 featured a miscellany of crates in storage, several marked fragile, one weighing 156kg, some with arrows indicating which way up they should be, others instructing the reopener to lay it flat first. Some bear an image of what’s inside. Ralph Hotere’s Malady Panels and Julia Morison’s Tootoo are there, one with a label, the other with an image of the installed piece. As I write this our collections remain in storage. A few new works and some which have been on loan are awaiting return from storage within other institutions.
Regional revitalization with art
Rei Maeda, coordinator of the Echigo-Tsumari Art Triennale, writes on art’s contribution to the regeneration of a remote rural area of Japan.
Curator Ken Hall writes about his experience of working with artists Chris Heaphy and Sara Hughes, as part of a small team with other city council staff and Ngāi Tahu arts advisors, on the Transitional Cathedral Square artist project.
The idea of peppering the vestigial city centre with portraits from the collection became part of the Gallery's tenth birthday POPULATE! programme, intended to remind all of us that the collection is, indeed, still here and in good shape.
Street urchins, blue moons and rare visions
Even in a city where surreal scenes have become somewhat routine, the sight of the Isaac Theatre Royal's eight-tonne dome, suspended like a great alien craft, had the power to turn heads and drop jaws. Preserved inside a strange white shroud while the theatre was slowly deconstructed around it was a jewel of Christchurch's decorative arts heritage – a 105 year-old Italianate plaster ceiling featuring a circular painted reverie on the theme of William Shakespeare's A Midsummer Night's Dream. The dome, along with the rest of the theatre, is currently being restored as part of an ambitious rebuild that is expected to be completed in 2015 at a cost of over $30 million.
The fault is ours: Joseph Becker on Lebbeus Woods
There was a packed auditorium at CPIT in Christchurch this August when visiting San Francisco Museum of Modern Art curator Joseph Becker delivered a lecture on architect Lebbeus Woods. And it wasn't hard to guess why. In addition to many other achievements, Woods is renowned for his highly speculative project, Inhabiting the Quake. Senior curator Justin Paton spoke to Becker about Lebbeus Woods, and what Christchurch might learn from him.
Christchurch Art Gallery is ten: highs and lows
In recognition of the anniversary of the move of Christchurch's public art gallery from its former existence as the Robert McDougall in the Botanic Gardens to its new more central city location (now eerily empty), I've been asked by Bulletin's editor to recall some highs and lows of the last ten years. So here goes — and stay with me during this reflection, which takes the place of my usual foreword.
Gregor Kregar: Reflective Lullaby
Justin Paton: As everyone who has seen your works at Christchurch Airport will know, you often make big sculptures with a geometric quality. Gnomes, however large, aren't the first things viewers might expect you to be interested in. What's the appeal of these figures for you?
Gregor Kregar: I'm interested reinterpreting mundane objects, shapes, situations or materials. In my large geometric works I do this by creating complex structures out of basic shapes—triangles, squares, pentagons and hexagons. And with the gnomes I am interested in how something that is usually made out of plastic or concrete and is associated with a low, kitsch aesthetic can be transformed into an arresting monumental sculpture.
It’s our party and we’ll cry if we want to
On 10 May 2013, Christchurch Art Gallery Te Puna o Waiwhetu turns ten. Which is fantastic. But it's probably fair to say that there's a bittersweet quality to the celebrations around this particular anniversary, as it also marks two years and eleven weeks of closure for the Gallery, and catches us staring down the barrel of another two years without our home.
It's frustrating. And then some.
However, we're not going to let these little, ahem, inconveniences get in the way of our party. Populate! is our birthday programme, and it's our attempt to bring some unexpected faces and figures back to the depleted central city. Bulletin spoke to the Gallery's senior curator Justin Paton about what he really wants for the tenth birthday, what he finds funny, and what he really doesn't.
A Dark and Empty Interior
In B.167 senior curator Justin Paton documented his walk around the perimeter of Christchurch's red zone, and we featured the empty Rolleston plinth outside Canterbury Museum at the end of Worcester Boulevard. In this edition, director Jenny Harper interviews English sculptor Antony Gormley, who successfully animated another vacant central-city plinth—the so-called Fourth Plinth in Trafalgar Square, London. Gormley filled the plinth with 2,400 people, who occupied it for one hour each, night and day, for 100 days. Here, Jenny asks him about his practice, the value of the figurative tradition and whether he has any advice for Christchurch.
Laying out Foundations
Looking broadly at the topic of local architectural heritage, Reconstruction: conversations on a city had been scheduled to open at the Gallery but will now instead show on outdoor exhibition panels along Worcester Boulevard from 23 June. Supplementing works from the collection with digital images from other collections, curator Ken Hall brings together an arresting art historical tour of the city and its environs.
Cities of Remembrance
Nothing was more fascinating than ruins to me when I was growing up in one of the newest parts of the New World—new, anyway, to extensive buildings and their various forms of lingering collapse and remnant. The native people of California had mostly built ephemeral structures that were readily and regularly replaced and left few traces. Anything old, anything that promised to reach into the past, was magical for me; ruins doubly so for the usual aura of romance and loss that, like death, is most alluring to the young who have not seen much of it yet.
Here and Gone
In the last issue of Bulletin, senior curator Justin Paton wrote about the way the Christchurch earthquakes 'gazumped' the exhibitions on display at the Gallery – overshadowing them and shifting their meanings. In this issue, with the Gallery still closed to the public, he considers the place of art in the wider post-quake city – and discovers a monument in an unlikely place.