B.
Holloway Press 1994-2014
Behind the scenes
Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
Michele Leggott and Gretchen Albrecht, Journey to Portugal, Holloway Press, 2006. Collection Robert and Barbara Stewart Library and Archives, Christchurch Art Gallery Te Puna o Waiwhetū.
David Howard and Peter Ransom, you're so pretty when you're unfaithful to me, Holloway Press, Auckland, 2012. Collection Robert and Barbara Stewart Library and Archives, Christchurch Art Gallery Te Puna o Waiwhetū.
Dark Arts: Twenty Years of the Holloway Press features a selection of some key books from the forty titles published by the press which unfortunately has been forced to close after operating from University of Auckland for the past twenty years. This is also the final instalment of a series of ten 'book' exhibitions held at Peterborough Central Library as part of the Christchurch Art Gallery's Outer Spaces programme post the 2011 earthquakes. It's been fantastic collaborating with the Christchurch Libraries on this series and highting the strengths in both their collection and the Christchurch Art Gallery Library's rare book collection.
Dinah Hawken and John Edgar, page: stone: leaf Holloway Press, Auckland, 2013. Collection Robert and Barbara Stewart Library and Archives, Christchurch Art Gallery Te Puna o Waiwhetū.
Alan Loney and Max Gimblett Fishwork, Holloway Press, Auckland 2005, Collection Robert and Barbara Stewart Library and Archives, Christchurch Art Gallery Te Puna o Waiwhetū, The Max Gimblett and Barbara Kirshenblatt-Gimblett Gift, 2010.
Related reading: Outer Spaces
Notes
Sian Torrington Call Out
Christchurch Art Gallery is excited to be working with Wellington-based artist Sian Torrington on a site-specific sculptural installation that will combine ideas, images and materials that relate to living in Christchurch now.
See below for a message from Sian to find out how you can get involved.
Notes
Outer Space programme sees Canterbury arts graduate exhibit work in Showhome
The Gallery's latest exhibition in the Outer Spaces programme, Showhome, has opened in Christchurch, featuring the disconcertingly 'perfect' works of recent University of Canterbury graduate Emily Hartley-Skudder.
Notes
Worcester Boulevard exhibition extended as publication developed
The popularity of Reconstruction: Conversations on a City has led to the exhibition being extended until 14 October, and the development of a publication.
Notes
The inner binding now on display at the library
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
Notes
(Way Out)er Spaces
We're pretty pleased with what we're achieving with our Outer Spaces programme, but it's always good to see what else is out there. And I do mean 'out there'...
Notes
The ghost of studios past
In preparation for the next issue of Bulletin, Gallery photographer John and I have been out photographing some of the local artists who will be taking part in Rolling Maul when we reopen.
Interview
Silent Patterns
When we asked Tony de Lautour to produce a new work for the Bunker—the name Gallery staff give to the small, square elevator building at the front of the forecourt on Montreal Street—he proposed a paint scheme inspired by Dazzle camouflage. Associated with the geometric near-abstraction of the vorticist movement, Dazzle was developed by British and American artists during the First World War to disguise shipping. It was a monumental form of camouflage that aimed not to hide the ship but to break up its mass visually and confuse enemies about its speed and direction. In a time before radar and sonar were developed, Dazzle was designed to disorientate German U-boat commanders looking through their periscopes, and protect the merchant fleets.
Senior curator Lara Strongman spoke with Tony de Lautour in late January 2016.
My Favourite
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Article
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Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.