Director's Foreword
Gretchen Albrecht and Mary Kisler in front of Sunset After Turner at the Foundation’s gala dinner in August 2026
In this issue of Bulletin, lead curator Felicity Milburn looks back at our involvement in delivering the Aotearoa New Zealand pavilion at this year’s Venice Biennale, which was a huge undertaking from members of our team across many different areas. Fiona Pardington’s Taharaki Skyside opened to great excitement and acclaim in May. It was a real privilege to be there with such a strong group of New Zealand patrons and supporters, and a proud moment to see the exhibition beautifully presented by the Gallery team. Their care, professionalism and attention to detail brought the project to life. It was wonderful to witness people engaging with the exhibition and responding so positively.
Another exhibition that has been in development for a long time is Bird Land: Te Kāhui Manu, which opened here at the Gallery in August. Curator Ken Hall has pulled together an extraordinary selection of artworks that brings centuries of human engagement with birds to life. It is accompanied by an exquisite new publication produced by the Gallery and available in our Design Store now. For Bulletin we asked Antony Shadbolt, who is, among many other things, the ecologist who leads the council’s Parks Biodiversity team, to consider how the birds of Ōtautahi Christchurch are faring as we continue our attempts at indigenous ecosystem revival.
As Made in the Pacific: A Collection of Tāoga approaches the end of its run, we invited Stephanie Oberg and Karen Stevenson to respond to the exhibition and consider issues it highlights for them, particularly those relating to presenting customary and contemporary works together.
In 2024, the Gallery received a remarkable archive relating to Christchurch’s Gingko Print Workshop and Gallery from master printer Jule Einhorn. Established in 1980, Gingko was one of the earliest print workshops in Aotearoa and Jule’s gift includes lithographs, etchings, workbooks, papers, photographs, posters and much more. Curator Peter Vangioni recently interviewed Jule and, for Bulletin, he draws on that foundation to look at Gingko’s contribution to the arts.
Petrus van der Velden’s Burial in the Winter on the Island of Marken is a perennial favourite with Christchurch audiences. Here, curator Ken Hall shares recent discoveries aided by Dutch historian Jan Schild. As well as providing insights about the artist’s time on Marken and the reception of his work, they enable us to finally put names to a number of figures in the painting. Keeping things dark and heavy, we’re thrilled to be hosting Jason Greig: Blood is Thicker, which was developed in partnership by the Dowse Art Museum and City Gallery Wellington Te Whare Toi. Ōhinehou Lyttelton artist Jason has strong connections to this Gallery, and this landmark exhibition pairs his works with Gothic masterpieces by Goya, Redon and others. For Bulletin, friend and fellow harbour dweller Mike Moroney explores heavy metal, horror movies, and the works that track their friendship.
From gothic horror to the work that some might argue is arguably the most unsettling in our collection: city councillor Nathaniel Herz Jardine explores the family dynamics of Cynthia’s Birthday in ‘My Favourite’. And artist and curator Piupiu Maya Turei shares a new artwork and accompanying poem for our regular ‘Pagework’.
Finally, I am delighted to announce the latest addition to our collection. Sunset After Turner (2025) is a major new hemisphere painting by Gretchen Albrecht. Its acquisition has been made possible by Christchurch Art Gallery Foundation’s Together Endowment. It’s the second work acquired through the fund following the purchase of Lisa Reihana’s 2025 moving-image work Aratohu. The painting was unveiled at the Foundation’s recent gala dinner, which celebrated Gretchen with an evening of music, a wonderful conversation between the artist and Mary Kisler, and a menu prepared by renowned New Zealand chef Peter Gordon. A huge thank you to the Christchurch Art Gallery Foundation and its Together partners for making this significant addition to the Gallery’s collection possible.