This show is about drawing, as an idea and as a means of connecting us to different kinds of places. In doing so, it brings together the work of six artists – Andrew Beck, Peter Trevelyan, Katie Thomas, Pip Culbert, Gabriella Mangano and Silvana Mangano – all of whom use line to investigate space and structure in unexpected ways. The claim that their work might help redefine how we view drawing here seems reasonable. From tracing and rubbing, cutting and subtracting, measuring and ruling; to video performance and construction with delicate pencil leads, drawing as an idea is allowed to take very different forms.
The grouping conveys a sense of spacious minimalism; for some, perhaps, the thought that there's not much in it. A slowed down reading, however, allows each work to be recognised as a distinctive balancing act of simplicity and contemplative complexity. Each disrupts physical space with line, and deftly deals with imagined or symbolic space. Visual connections and metaphorical associations unfold into broader ideas, ranging from the planetary, geological or geographical to the personal, bodily or psychological. The artists' varied tactics show them to be engaged, agile and skilfully adept.
In Planetary Space
Auckland-based Andrew Beck is a 2010 MFA graduate from Massey University School of Fine Arts, Wellington who is already building an impressive local and international exhibiting record. In his investigations into the nature of matter and light, he acknowledges the influence of artists such as Nancy Holt, Robert Smithson, Richard Serra, Robert Irwin, James Turrell and Lee Ufan. His theoretical underpinnings range from classical philosophy (he cites, for example, Parmenides' theories and understanding of change) to Isaac Newton's understanding of inertia, and 'the Māori proposition of Te Korekore', an esoteric realm of potential being.1
From this framework, Beck has created for this show a striking, rigorously minimal work. At the time noted in the title, Unison (11.45am, 5 November) existed as an angular, hard-edged shape marked out in black oil paint in a window corner, falling at an angle from the place it began, an architectural segment of sunlight. Continuing in a band around a projecting column, it angled down again on a different plane, ending at the shadow's edge, neatly joining two portions of light. With each global rotation and within a few days, the alignment became increasingly inaccurate – if given one year's wall space, it would briefly realign. Located somewhere between drawing, painting and installation, this temporary intervention existed most plainly within a recurring moment of passing light. In pinpointing a moment and location in the universe – and in matching our preference for bringing the unfathomable to a scale we can deal with – it also proves the artist's position that time and space are materials to work with.
Wellington-based Peter Trevelyan's survey #4 (2013) is a quietly mind-boggling three-dimensional drawing that more obviously claims the territory of sculpture. At around four metres long, an elongated, wall-based structure constructed of 0.5mm mechanical pencil leads, it is a feat of originality and exquisite engineering precision. While the whole construction retains the detailed sharpness of its chosen medium – and much of its fragility – the interconnecting trigonometric systems that form its internal workings make it relatively robust. The work is airy and light, but within its interlocking geometry, fine darker points are formed in concentration where multiple lines converge.
Viewed from a distance, its spread out form suggests topography, hills outlined from far away, as seen from shipboard by late-eighteenth or early-nineteenth-century European explorers. While alluding to mapping or surveying for future reference, Trevelyan's investigation is also evidently about testing and proving provisional structures, an aspect aligning it to drawing's traditionally understood role. Part of a growing body of work, survey #4 displays Trevelyan's pleasure in seeing drawing being made to exist in a literal, three-dimensional sense, and his interest in setting up layered propositions. Whether tiny or vast, his spatial drawings can seem impossibilities, and in existing at all neatly knock the stuffing out of complacency or boredom.
Graphite, topography and a sense of risk come together in different ways in Katie Thomas's 4.25 metre drawing Westenra Terrace (2011), a frottage rubbing from the surface of a road on the Cashmere hills. Thomas was at the Christchurch Arts Centre on 22 February 2011, hanging a solo exhibition just as everything shook, meaning that her MFA Painting (School of Fine Arts, University of Canterbury) show was a bit delayed. In the time that followed, her attention was drawn to the clusters and patterns of lines starting to appear on city roads: temporary repairs to cracks, intended to keep out water and to prevent further damage. Thomas's interest in the amorphous 'found drawings' resulted in several large-scale rubbings (with assistance during the process from thoughtful locals sailing in with protective orange cones).
These are less about a historical moment or posterity, however, than they are aligned to the surrealist impulse of collecting imagery connected to an evolving and established painting practise. As Max Ernst used the frottage technique from 1925 as a starting point for more elaborate painted or collaged compositions, Thomas has viewed the large drawings as reference material; plus-sized notebook diagrams connecting to and feeding into her painting. With its smudged hand-marks, fine road texture and abraded directional lines, this drawing holds completion as an entity, and with its organic, macro/micro structure links strongly to her recent canvases. Despite being unorthodox, even extreme, it may in this sense be the most traditional type of drawing in this show.
Drawing is further redefined by Pip Culbert, a British artist based in France with whom (I hope it's alright to say) we feel something of a family connection.2 Culbert graduated from the Royal College of Art in London in the early 1960s, her specialities then being industrial design and engineering. She began exhibiting her fabric-based works in 1985 and first showed in New Zealand in 1993.3 Pup Tent (1999) belongs to a significant body of work that began in found objects constructed in cloth (her inventory also includes shirts, tarpaulins, flags, pockets, surf sails, trousers, quilts, ties, bags, ironing boards, upholstery, parachutes, aprons and handkerchiefs). Culbert's technique involves cutting away to remove everything but the bones – the essential, strengthened lines of stitching. Drawing in effect by subtraction, this is also drawing in the sense that it renders three-dimensional objects two-dimensional. Pinned to the wall, her diagrammatic tent projects like an isometric plan, denied perspective but retaining a spatial sense.
As with all of her reductive cutaways, Pup Tent holds divergent metaphors; the tent in its temporality is a very old metaphor for the body. Like one of Plato's ideal forms, it also speaks here of structure, shelter and support. In a city that has been shaken back to its pioneering roots, awaiting new structures again on almost every street, for me its A-frame form recalls the well-known 1864 photograph by early Canterbury Association settler A.C. Barker, as well as paintings in the Gallery and Canterbury Museum collections featuring tents by artists including William Holman Hunt, William Fox, James Edward Fitzgerald and Austen Deans. (That I mention these is possibly due to an odd fact: with the city's public art collection presently safely locked away, Culbert's 1999 work might now be one of the most historical works of art currently on public display.)
Through performance, video and sound, Melbourne-based Gabriella Mangano and Silvana Mangano bring a particular kind of symbiotic relationship and understanding to their art, having worked collaboratively since 2001 (they completed BFAs in drawing at the Victorian College of the Arts, University of Melbourne in 2001 and 2003 respectively). They have featured regularly in their videos – sometimes drawing, choreographically and simultaneously – and maintain strong links in their work to ideas around drawing.
The digital video Rewind (2012) feature shows a solo performer and her shadow, and is structured around the body's movement, rhythm (including through a quietly pulsing soundtrack) and changing compositional balance. With balletic poise, she manoeuvres a rectangular black shape, carefully held at each end, which moves and divides the screen, sometimes disappearing out of frame. With face concealed, the performer appears to respond to her shadow as well as her own ghosted image, which is simultaneously screened. The camera zooms slowly in and out; movement changes pace to the changing tempo of a digital heartbeat. The black shape is the dominant form and a kind of riddle: what is this thing that the artist carries and treasures? Is it changing identity and self-definition, a capital 'I'? A stand-in for the other? Or simply a formal graphic device? It is fine to stay guessing. As with each of the artists' works shown here together, it will nonetheless have me trying to figure it all out.
Shifting Lines is on display at 209 Tuam Street until 19 January 2014.
1. Te Korekore was defined as 'the realm between non-being and being: that is the realm of potential being' by Māori Marsden, quoted in Te Ara http://www.teara.govt.nz/en/te-ao-marama-the-natural-world/page-3
2. Pip Culbert is married to Bill Culbert, who recently represented New Zealand at the Venice Biennale, in Front Door Out Back, curated by Justin Paton.
3. She has also shown her unique brand of minimalism in solo and group shows in UK, France, Australia, Japan, Germany and the US.
I go into the Gallery. Haven’t been there in a while. Building closed. It was open to begin with. Civil Defence HQ in the weeks following the shock that laid the city low and who knew glass could be so strong, so resilient? Then the Gallery closed. It was cordoned off, behind wire netting. Something was going on in there. Someone said something had cracked in the basement. Someone said they needed to insert a layer of bouncy forgiving rubber beneath glass and concrete, ready for any future slapdown.
Kamala, Astral and Charlotte, Lyttelton, March 1983
Laurence Aberhart's 1983 photograph of Lyttelton children is displayed on our Gloucester Street billboard.
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.
City of Shadows and Stories
If cities are the ground into which we plant stories, the soil of Ōtautahi – later Christchurch – is undergoing a protracted tilling season. Five years is a long unsettlement in human terms; on a geological (or indeed narratological) scale, time moves more gradually. Christchurch exists today as a rich aggregation of narratives, propping up physical edifices of crumbling stone and cardboard.
Peter Trevelyan’s choice of 0.5mm mechanical pencil leads as a sculptural medium, although unlikely, suggests three-dimensional drawing, thereby connecting his work to drawing’s traditionally defined role. The structure recalls topographical landforms as seen from a distance; the shipboard sketches of late-eighteenth-century European explorers. It also speaks of historical mapping systems; the recording of trigonometric points to describe geology and landforms.
(Above ground, 2015)
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Everything is Going to be Alright
Martin Creed's completely unequivocal, but also pretty darn ambiguous, work for Christchurch.
This article first appeared in The Press as 'An Ode to Yertle the Turtle' on 13 May 2015.
Michael Parekowhai: Chapman's Homer at PlaceMakers Riccarton
Christchurch's favourite bull can now be found at PlaceMakers Riccarton. That may sound a bit unusual, but these are strange times.
David Cook: Meet Me in the Square
Cathedral Square, Centennial Pool, Lancaster Park, schoolboys, punks, nuns – a photographic journey through 1980s Christchurch.
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.
For many years, the piercing whistle of the railway workshops off Blenheim Road was Addington's alarm clock.
Paul Johns: South Pacific Sanctuary / Peraki / Banks Peninsula
The consideration of Japanese whale-hunting activity and ensuing protest in nearby southern waters has led to a reflection on our local whaling past, highlighting changing and divergent attitudes to animal life.
Proceed and Be Bold: The Pear Tree Press
An exhibition of beautifully crafted, designed and hand-printed books from New Zealand's most renowned private press, The Pear Tree Press.
Max Hailstone: Book and Typographic Designer
A selection of typographic designs, including books, posters and ephemera, by renowned Christchurch graphic designer Max Hailstone (1942–1997).
Edwards+Johann: Rebels, Knights and Other Tomorrows
Combining vividly imagined photographs with sculptural elements, Christchurch-based collaborative duo Edwards+Johann present an enigmatic and playful installation laced with tension and possibility.
Shane Cotton: Baseland
Christchurch audiences at last have the opportunity to experience the complexity and ambition of Cotton's latest work in this two-venue exhibition by one of the biggest names in New Zealand art.
Daniel Crooks: Seek Stillness in Movement
Hectic city scenes transformed into contemplative meditations of extraordinary beauty.
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.
Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker
A family-focused exhibition powered by the excitement of seeing ordinary things transformed in unexpected ways.
Andrew Drummond is a Christchurch-based artist who works across different media, best known for his large-scale kinetic sculptures and installations. A major survey of his work was held at Christchurch Art Gallery in 2010.
Drummond takes a transformative approach to materials, and has sometimes incorporated meticulously hand-polished pieces of coal into his sculptural work. His photograph of this elemental material in its jewel-like, modified state utilises double exposure, and is from a series exploring the subtle, varying effects of rotation, reflection and light. (Above ground, 2015)
The tent, one of the most basic architectural structures, is also a symbol for temporary shelter and a metaphor for the body. Pip Culbert has investigated its essential form by removing everything but the reinforced stitching, laying out its structure like an isometric plan. The tent is denied perspective but retains a spatial sense.
Culbert was a British artist based in France who graduated from the Royal College of Art in London in the early 1960s. Culbert showed her work extensively in solo and group shows internationally, and first exhibited in this country in 1993.
Christchurch Art Gallery acknowledges with sadness the recent passing of Pip Culbert.
(Above ground, 2015)
Here's a little from behind the scenes. Shifting Lines opens tomorrow, 9 November, and runs until 19 January 2014. It's a show about drawing as an idea, which is permitted here to take very different forms. It includes work by six artists – Andrew Beck, Peter Trevelyan, Katie Thomas, Pip Culbert, Gabriella Mangano and Silvana Mangano – all of whom use line to investigate space and structure in unexpected ways.
Six artists use line to investigate space and structure in unexpected ways.
New Zealand Illustrated: Pictorial Books from the Victorian Age
A selection of lavishly illustrated books from the Victorian era relating to New Zealand landscape, Māori culture, colonial enterprise and our unique flora, fauna and birdlife.
As a supplement to the article in today's Press GO section, highlighting the recent purchase of Ivy Fife's Untitled (Towards Worcester Street from St. Elmo Courts), here's a modest selection of paintings of rooftops, backyards and urban scapes from the collection...
The endless newscape: Barry Cleavin’s inkjet prints
Barry Cleavin is often, rightfully, referred to as a 'master printer' – a maestro of intaglio printing techniques including the complex tonal subtleties of aquatint, soft- and hard-ground etching and the creation of 'linear tension'. Mastering these complex techniques to achieve a command over the etching processes has required patience and fortitude over a career spanning some forty-seven years.
Yvonne Todd: The Wall of Man
A succinct ad placed in the classifieds of the North Shore Times in March 2009 attracted some forty applicants. Respondents were shown a photographic portrait of an unnamed executive, and directed towards ervon.com – artist Yvonne Todd's website – to decide whether or not they wanted to be photographed. Some still did. The unfolding story might not have been exactly what they'd expected, but all who agreed understood it would be something different. Next came the eliminations: sixteen men were chosen to be photographed; twelve made it to the final cut. The resulting images were printed at varying sizes and titled: International Sales Director, Retired Urologist, Family Doctor, Senior Executive, Hospital Director, Company Founder, Sales Executive, Chief Financial Officer, Image Consultant, Independent Manufacturing Director, Publisher, Agrichemical Spokesman. This is The Wall of Man.
Bodytok Quintet: The Human Instrument Archive
An interactive installation that reveals the astonishing sounds people can make using their bodies – from lip plopping to bone clicking.
Glen Hayward: I don't want you to worry about me, I have met some Beautiful People
Real or illusory? Virtual or physical? Sculptor Glen Hayward teases out these questions in this mind-bending new sculpture, a hand-carved and painted recreation of the famous office cubicle from The Matrix.
Fernbank Studio: away past elsewhere
A selection of hand-printed books from Wellington's Fernbank Studio.
Boyd Webb: Sleep/Sheep
Boyd Webb contributes a new work to the Gallery's Sterescope programme.
This article first appeared as 'Hello and goodbye' in The Press on 5 October 2012.
Tony Oursler: Head Knocking
Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.
Tony Oursler: Fist
Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.
Faces from the Collection
Treasured portraits populate empty spaces in our changing city.
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.
Fall tension tension wonder bright burn want
Curator Felicity Milburn on Tony Oursler and the grotesque.
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.
Roger Boyce: Painter Speaks
Grinning ventriloquist dummies are the stars of the show in Roger Boyce's Painter Speaks.
Tony Oursler: Bright Burn Want
The fantastically strange, inescapably human works of renowned video artist Tony Oursler.
Jess Johnson: Wurm Whorl Narthex
New Zealand-born, Melbourne-based artist Jess Johnson makes intricate drawings and painted environments that evoke other worlds and parallel realities.
Gregor Kregar: Reflective Lullaby
Gnomes are figures in historic folklore as well as garden ornaments. But Gregor Kregar has brought gnomes like you've never seen to 'the garden city' – staunch, shiny and more than three metres tall.
Camp Blood: Hand-Painted Film Posters
Drawn from the collection of Christchurch painter Roger Boyce, these promotional posters from Ghana, Africa, are movie marketing like you've never seen: lurid, vivid and emphatically hand-made.
Francis Upritchard: Believer
A New Age awakening? Or just a 1960s pipe dream? Francis Upritchard's Believer is a recent addition to her expanding gallery of hippies, dreamers and gurus.
Sian Torrington: How you have held things
Wellington-based artist Sian Torrington's site-specific sculptural installation combined ideas, images and materials that related to life in post-quake Christchurch
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.
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.
Steve Carr: Majo
Steve Carr's strangely mesmerising sound and video projection is shown after dark in an upstairs window of the old house opposite the Gallery on Worcester Boulevard.
Seung Yul Oh: Huggong
Christchurch Art Gallery has a new offsite space, and Seung Yul Oh has filled it to bursting with his comically vast balloon sculptures.
Reuben Paterson: Te Pūtahitangi ō Rehua
Op-art patterns, expanses of glitter and Māori stories of water. They're all set in motion in this dazzling video installation by New Zealand artist Reuben Paterson.
Christchurch Art Gallery celebrates its tenth birthday with a burst of art in the city – including whopping new murals, night-time projections and sculptures where you least expect them.
Toshi Endo: Wolf-Cub
The kaleidoscopic moving imagery of Christchurch artist Toshi Endo has been stripped of colour and brought to a standstill in Wolf-Cub, his contribution to Christchurch Art Gallery's Stereoscope programme.
A Caxton Miscellany: The Caxton Press 1933–58
Established in Christchurch in 1933 the Caxton Press became one of the most progressive publishers of contemporary New Zealand writing and dynamic modern typographical design.
Brenda Nightingale: Christchurch Hills 2010–2012
Local artist Brenda Nightingale's beautifully produced, hand-stitched publication features a selection of recent watercolours based on one of Christchurch's defining features, the Port Hills
Stereoscope #2: Robert Hood
Two Year of the Cyclops works by Christchurch artist Rob Hood kick off the second itteration of Stereoscope at 26E Lichfield Street.
Stereoscope: Robin Neate
Christchurch artist Robin Neate's contribution to the Gallery's Stereoscope programme is drawn from his recent series of energised abstract paintings.
Expect the rug to be pulled out from under your feet with the last exhibition in the Rolling Maul series.
De Lautour / Greig / Hammond
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.
Back on 20 September 2011, when our public programmes team began setting up the Hagley Park Geo Dome for a talk with Shane Cotton, they put out about sixty chairs and would have been glad to fill them. After all, it was a cold night in Christchurch, the roads were rough, the Geo Dome was off the beaten track and the quake had long since broken the rhythm of the Gallery's old Wednesday night programme of public talks.
James Oram: but it’s worth it
Manipulating found footage of the infamous 'Black Friday' sales held by American chain stores, James Oram isolates and magnifies smaller physical gestures amidst the frenzied crush.
Stereoscope: Kristin Hollis
Drawings of two bottles - one of gin, one of water – grace the Montreal Street side of the Christchurch Art Gallery bunker in the latest offering in the Stereoscope series.
Miranda Parkes / Tjalling de Vries: Keep left, keep right
Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, Miranda Parkes and Tjalling de Vries explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.
The popularity of Reconstruction: Conversations on a City has led to the exhibition being extended until 14 October, and the development of a publication.
André Hemer: <del>CASS</del>
André Hemer's many-dimensioned installation for the Rolling Maul series combines painting with a range of secondary outputs to play with ideas of distance and deletion – with particular reference to a well known work from the Gallery's collection.
Helen Calder: Orange Up
Helen Calder's new work, Orange Up, provides a refreshingly bold statement on the Gallery bunker using one of the powerhouses in the range of colours: orange.
Justene Williams: She Came Over Singing Like a Drainpipe Shaking Spoon Infused Mixers
Australian artist Justene Williams uses performance and ephemeral materials to produce a sensory overload of shapes, patterns and colours in the vibrantly theatrical video work.
Ruth Watson: from white darkness
Offering a poetic commentary on the intriguing resemblances between art and science, Ruth Watson's container-based video installation combines historical footage, text and her own Antarctic imagery.
Tjalling is Innocent
An ambitious paste-up work by local artist Tjalling de Vries on CoCa's back wall (viewable from Worcester Boulevard), Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.
Tony de Lautour: Unreal Estate
Painted on found pages from real estate publications, Unreal Estate, is an artist's book published by local artist Tony de Lautour and Christchurch Art Gallery.
Out of Place
Katharina Jaeger, Chris Pole, Tim J. Veling and Charlotte Watson start with structure and consider what is possible when the normal rules no longer apply.
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
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'...
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.
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.
Stereoscope #1: Robert Hood
Two Year of the Cyclops works by Christchurch artist Rob Hood kick off Stereoscope, a new Outer Spaces series housed within two black frames positioned on the street-side of the Gallery's Montreal Street bunker.
Here are the people and there is the steeple
A big bright mural inspired by the challenges of rebuilding a city. Kay Rosen turns the word 'people' into the foundation for an unexpected 'steeple'.
Michael Parekowhai: On First Looking into Chapman’s Homer
Michael Parekowhai's spectacular Venice Biennale installation returns home for its first post-Biennale showing in New Zealand.
Hannah and Aaron Beehre: Waters Above Waters Below
Hannah and Aaron Beehre's immersive new installation connects us with the transformative moments beneath the surface of the everyday.
Georgie Hill and Zina Swanson: Breathing space
Strength, fragility and connection are at the heart of the second Rolling Maul exhibition, which features works by Georgie Hill and Zina Swanson.
Sam Harrison: Render
Presenting new art from Christchurch, our Rolling Maul project series begins with a remarkable exhibition of sculptures by Sam Harrison.
A lot of water, and Lord only knows what else, has flowed under the bridge since Justin Paton and I first hatched our plans for a fast-paced, post-quake showing of new work by local artists. Rolling Maul, so far, has been quite the antithesis of 'fast-paced', and despite our best efforts, it is yet to roll anywhere – rather it has been beset by the same delays, cancellations and frustrations as all of the Gallery's other in-house plans.
Our original concept, as outlined in B.165, was based around the use of one of Christchurch Art Gallery's ground-floor exhibition spaces, which we hoped to reoccupy as soon as they were no longer required as part of the City Council/CERA earthquake response. But as we are now only too aware, we won't be showing anything there any time soon.
Capturing a time and place that remains familiar for many, William Dunning’s photorealistic painting of Christchurch’s Cathedral Square pictures the window-reflected Regent Theatre and southeast corner of the 1960s modernist Government Life Building. Both were demolished after the 2010–11 earthquakes, as was the building in which they were mirrored.
Dunning is a Christchurch artist for whom local history is an ongoing concern. Reflection is a significant early work, and was presented by the artist in 2011. (Above ground, 2015)
Elliot Collins: For those who stay behind
Keep an eye out for the Gallery's latest Outer Spaces project around town over the next couple of weeks as poster reproductions of three paintings by Auckland artist Elliot Collins appear pasted to bollards and walls throughout the city.
Julia Morison’s 'Some thing, for example' is like a broken life-support system for the waiting, blob-like entity which, although securely caged, seems more traumatised than dangerous, and without anybody to administer aid.
Like all who experienced the 2010–11 earthquakes in Canterbury, Morison, living near the edge of Christchurch’s cordoned ‘red zone’, was delivered a frequent heightened dose of adrenaline. With this, she encountered new aesthetic possibilities in found, discarded objects; sculptural media of a kind that the physical environment had never previously supplied. From a situation of dislocation and abandonment, she has created work of an unexpected material and formal beauty. (Above ground, 2015)
Ronnie van Hout: The creation of the world
A haunting video projection by Ronnie van Hout in the window of the old house opposite the Gallery on Worcester Boulevard.
Julia Morison: Meet me on the other side
Julia Morison's evocative post-quake sculptures and 'liqueurfaction' paintings return to Christchurch for a special showing in a gallery space overlooking the inner-city 'red zone'.
I seem to have temporarily misplaced my sense of humour
Stretching across a vast wall at the gateway to Sydenham, Wayne Youle's new public artwork is a shadowboard, where tools for rebuilding hang alongside many familiar but precious objects.
Glen Hayward’s towering Yertle had its origins in a collection of twenty-eight abandoned paint tins he spied in a back-of-house Christchurch Art Gallery storeroom, containing the residue of wall colours from past exhibitions. Meticulously recreating these tins out of wood, Hayward then painted his carved replicas, faithfully reproducing every smear and drip of forgotten paint.
Stacked up like its namesake, Dr Seuss’s vainglorious turtle king, Hayward's Yertle is a feat of painstaking fearlessness. (Above ground, 2015)
Matt Akehurst: You Are Here
Pablo Picasso, Marcel Duchamp, Damien Hirst, Robert Smithson, Michelangelo... Yes, all the big names have just arrived on the Christchurch Art Gallery forecourt.
R. P. Moore ascends the cathedral’s spire to put his swivelling Cirkut camera to its familiar task. Up the narrow spiral stone staircase, a breezy ladder, past the bells, he reaches the balcony with its clear view facing west. A heavy morning frost means it is cold; the coal smoke of home and office fires lend partial soft-focus to the view.
The Square below has a single horse carriage and thirteen motorcars neatly parked. A tram beside the Clarendon Hotel curves right towards the Square. Tram tracks cut sweeping lines in the frost. None below have noticed the elevated cameraman, who turns the switch. it's five past nine as the camera begins its mechanical roll.
(Above ground, 2015)
Julia Morison: Aibohphobia
Julia Morison has turned the Gallery's squat grey bunker into a dizzying vision in dayglo green.
André Hemer: Things to do with paint that won't dry
New Zealand artist André Hemer's colourful Worcester Boulevard intervention Things to do with paint that won't dry, appears to flow and spill down the side of the building.
Jae Hoon Lee: Annapurna
An immense and oddly surreal landscape glowing out from the Springboard over Worcester Boulevard is the latest addition to the Outer Spaces programme.
Scott Flanagan: Do You Remember Me Like I Do?
Including a wishing well and mirror painstakingly woven from reflective black VHS tape, Scott Flanagan's latest installation considers the surprisingly elusive nature of civic memory.
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.
In 2010, the ex-Auckland, Los Angeles-based Fiona Connor produced nine precise replicas of the bedroom windows of a group of art gallery attendants. Connor’s flexible installation plan sees these replica windows fitted into cavities in a building’s walls, allowing views into the fabric of its hidden structure.
'What you bring with you to work' tests out various ideas, implicit in its title, including the imprint of a person's home environment, and the meeting of private and public space. In a local, post-earthquake context, Connor's window structures may gather a different set of associations. (Above ground, 2015)
For many passers-by, Christchurch art Gallery is identified by its dramatic glass façade—the public face it presents to the world. but De-Building is an exhibition that offers a very different view. bringing together the work of fourteen artists from new Zealand and farther afield, this group exhibition draws inspiration from the working spaces gallery-goers seldom see: the workshops, loading bays and back corridors; the scruffy, half-defined zones.
The Paris-born Louise Henderson (née Sauze) arrived in Christchurch in 1925 after marrying a New Zealander, and began her career here teaching design and embroidery at the Canterbury College School of Art. Henderson’s highly skilful, elevated view of Manchester Street, east of Cathedral Square, shows a streetscape that until the 2010–11 Canterbury earthquakes had remained largely intact.
(Above ground, 2015)
Ronnie van Hout’s installation recreates his childhood home in Aranui, a suburb of eastern Christchurch, and his primary school in nearby Wainoni. A looped video replays his daily bike ride between the two locations. Together, these elements present the story of van Hout’s beginnings.
Familiar architectural structures, however, are taken beyond the ordinary by the presence of a hovering, makeshift UFO, whose surveillance results appear on a nearby monitor. Can we read this as a picture of suburban childhood experience as an alien might see it, or as the artist’s memorial to the need for imaginative survival and escape? (Above ground, 2015)
Prominent Christchurch painter Bill Sutton was an influential teacher from 1949 to 1979 at the University of Canterbury School of Fine Arts. Sutton has chosen here a restricted palette – ochre, brown and black – to portray this aged wooden façade under streetlight glare, with a reflected neon glow of red.
The Manchester Private Hotel, already rundown when Sutton painted it in 1954, was a somewhat disreputable boarding house on the corner of Manchester and Southwark Streets on the outskirts of central Christchurch. Belonging to a series of paintings that Sutton made depicting old, inner city buildings, it conveys the imprint of memory and the local past.
(Above ground, 2015)
Christ Church Cathedral, a defining symbol of this city since its consecration in 1881, was designed by the English architect George Gilbert Scott, with input from the local supervising architect Benjamin Mountfort. In its present earthquake-damaged state it represents a significant challenge for this city’s church, civic and cultural leaders.
James Fitzgerald and the younger John Mills Thomasson were both British-born commercial artists who settled in Christchurch: Fitzgerald in 1923, after twenty years in Auckland, and Thomasson after serving in Mesopotamia (Iraq) during World War I. Both produced etchings of local Christchurch views and exhibited with the Canterbury Society of Arts.
(Above ground, 2015)
Giovanni Battista Piranesi The Drawbridge, Plate VII (second state) from the series Invenzioni Capric di Carceri
Giovanni Battista Piranesi’s The Drawbridge is one of sixteen plates from a folio of prints depicting imaginary prisons that has repeatedly haunted and inspired writers, artists and architects for over two and a half centuries. Three of Piranesi’s Carceri engravings, for example, were included in Alfred H. Barr’s exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York in 1936.
First issued in 1749–50, but attracting little attention to begin with, the series was republished with heavily reworked plates in 1761, yielding darker, more detailed and more resolved prints that brought an attendant increase to their public reception and acclaim. (Above ground, 2015)
Many artists have depicted this city’s urban spaces, including Ivy Fife, who studied at the Canterbury College School of Art from 1920 to 1931 and taught there from 1936 until 1959. Fife’s studio apartment was in the nearby St. Elmo Courts, from where the bird’s-eye view was painted.
Fife also captured the clamour of Christchurch’s railway station on Moorhouse Avenue during the new Queen’s royal visit. Opened in 1877, the station had been a handsome structure, but by 1954 its Venetian gothic arches were under lean-to additions and its brick warmth covered in paint. Demolition came five years later; its replacement, a landmark modernist building, was itself demolished after the Christchurch earthquakes.
(Above ground, 2015)
Based on a view of Tuam Street on the outskirts of central Christchurch, some 500 metres from his studio in Cambridge Terrace, Archibald Nicoll’s Industrial Area was first exhibited in Wellington in 1941. While existing as a record of local urban landscape, it also effectively illustrates a comment made by Nicoll in 1923 that “a man became an artist because he suffered from the incurable complaint of making shapes and recording visual impressions”.
(Above ground, 2015)
Giovanni Battista Piranesi, son of a Venetian stone- mason and master builder, trained in architecture and stage design before moving to Rome and training there as an engraver. Producing many picturesque Grand Tour views of Rome, he was hugely influential on the classical revival in European architecture. In Rome in 1755 he befriended the visiting architect Robert Adam, who praised Piranesi in a letter to his brother in London:
'[S]o amazing and ingenious fancies as he has produced in the different plans of the Temples, Baths and Palaces and other buildings I never saw and are the greatest fund for inspiring and instilling invention in any lover of architecture that can be imagined.'
(Above ground, 2015)
L. S. Lowry’s vision of manufacturing England saw his canvases filled with factories, tenements, steeples and smokestacks, and typically rhythmic, spilling crowds. Factory at Widnes is one of Lowry’s least populated industrial landscapes, and one of his tightest, most minimal constructions; an unexpectedly deserted space within his brimming tribute to the waning industrial north.
Factory at Widnes was seen in London in 1956 by the prominent Christchurch architect and arts supporter Heathcote Helmore, who arranged for it to be shown at the 1957 Canterbury Society of Arts exhibition, from where it was purchased. Lowry was at that time Britain’s most famous living artist. (Above ground, 2015)
James Fitzgerald moved from England to Auckland in 1903, and then twenty years later to Christchurch, where he established his own commercial art studio. His watercolour view captures Christchurch’s Cathedral Square at its most architecturally cohesive and complete. Many will remember the United Service Hotel at left, built in 1884–85, demolished 1990; fewer will recall the neoclassical Bank of New Zealand building at right, designed in 1866, demolished 1963. While it is possible to lament our general cultural attitude to architectural heritage, it is also difficult to imagine anything here, even if it had been protected, as capable of surviving the 2010-11 earthquakes that hit the city.
(Above ground, 2015)
Arriving in Christchurch from Paris in 1925, having recently married a New Zealander, the young Louise Henderson (née Sauze) began teaching embroidery design at the Canterbury College School of Art in the following year. Painting was one way in which she began familiarising herself with a new environment. Befriending local artists, she also began to exhibit her work.
This painting proves Henderson’s innate ability with colour and ongoing interest in structural form. Picturing the vast railway carriage construction workshops in the suburb of Addington in Christchurch, this is one of very few New Zealand modernist paintings dealing with urban industry in this period.
(Above ground, 2015)
This article first appeared in The Press on 13 October 2004
Laurence Stephen Lowry painted Factory at Widnes in 1956, at which time he was Britain's most famous living painter. Lowry's fame increased in that year as he became the subject of a BBC television documentary, though his work had already been popular in British homes and schools as reproductions since the end of the war. If appreciation for his individualistic painting style was widespread, there was also fascination with L.S. Lowry the artist, who had projected in the press the image of a lonely recluse.