B.
Subtly engaging security
Behind the scenes
We've all heard the stories about confusions occurring on the edge where art meets life. The London cleaning lady, for instance, who threw out hundreds of cigarette butts that turned out to be a Damien Hirst. Naturally, no self-respecting gallery professional wants to see their favourite artworks confused with mere stuff.
But then again, when it comes to Glen Hayward's recent gift to the Gallery, there's a part of me that does. Amongst the three sculptures that Glen recently gifted to the Gallery, my favourite is the security camera—or rather, the piece of carved and painted wood that looks eye-foolingly like a security camera. When we reopen the Gallery I'd love to see this boxy object installed high on a wall, looking down on all the undisguised artworks in its line of view like a spy hiding in plain sight. I don't mean to diminish Glen's great gift in any way when I say there's a strong hint of mischief in it—a sense that, by smuggling this object into the collection, he's keeping an eye on us.
Glen Hayward Closed circuit 2010. Rimu and acrylic paint. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, gifted 2011
Related reading: Unseen: the changing collection
Collection
Glen Hayward Closed circuit
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)
Notes
Kauri tree landscape by Colin McCahon
This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015.
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NUD CYCLADIC I by Sarah Lucas
This article first appeared as 'A visible means of support' in The Press on 26 September 2014.
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How Did You Do That?
How often have you stood in front of an art work and wondered how the artist did that?
Notes
Lift of a gift
Staff here at the Gallery have enjoyed finally getting the opportunity to see Dust, Smoke and Rainbows (2013), a major new painting gifted by Shane Cotton, which was brought out of storage to be photographed recently.
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There is only one direction by Colin McCahon
This article appeared as 'Divine Innovation' in the The Press on 31 August 2012.
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Populate! update #8 (face up)
The waning sun and lowering weather have one nice side-effect, which is to create the perfect conditions for viewing Peter Stichbury's backlit billboard NDE, newly installed on Worcester Boulevard.
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A major boon to the Gallery in the direct aftermath of the earthquake
English artist Sarah Lucas was installing her show in Two Rooms, Auckland, when the 22 February earthquake struck.
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Max's gift
In early 2010 Max Gimblett announced his intention to give the Gallery a substantial gift of works on paper. The only complication was that someone had to go and select them...