The significance of everyday things
During the winter of 1984 my mother, father and I packed an overnight bag and climbed into Dad’s Hillman Hunter. I was five years old and, as far as I could remember, it was the first time we’d ever ventured outside of Blenheim.
Jonathan Mane-Wheoki: teacher
There are some teachers you remember all your life: extraordinary individuals who view learning as a boundless source of energy, both for themselves and their students. This sort of teacher has not only total command of their subject, but an infectious enthusiasm for it that transmits itself to the minds of others. Teachers like this create advocates for their subject. They impart knowledge, but more importantly they show you a way of being in the world. It's a rare teacher who teaches you how to learn, but Jonathan Mane-Wheoki was one such individual.
Bringing threads together
Dr Lara Strongman is the Gallery's new senior curator. She speaks to Bulletin about her passion for writing and art history, the importance of culture in a post-earthquake community and the contemporary curator.
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.
Otira: it's a state of mind
A short road trip to the Otira Gorge was the scene for a conversation between Gallery curator Peter Vangioni and two of the artists included in Van der Velden: Otira, Jason Greig and the Torlesse Supergroup's Roy Montgomery.
Appalling Moments and Abstract Elegies
Brent Harris is an Australian artist, well known for a practice that explores the productive tension between abstraction and figuration. By locating emotional content in figures that he develops from automatic drawing, his works frequently express an uneasy human subjectivity. But while his imagery deals with intense psychological states, it is often also darkly funny: monsters of the subconscious, both grotesque and ridiculous, rise to the surface in a process of emotional identification and gradual refinement.
Looking at Forty Years of Māori Moving Image Practice
Māori Moving Image: An Open Archive is co-curated by Bridget Reweti and Melanie Oliver. The following text is a conversation between the two curators around co-curating, archives and Māori moving image practice.
Early in 2017, Professor John Simpson, the former head of the School of Fine Arts at the University of Canterbury, approached the Gallery’s then director, Jenny Harper, with a proposition: he had been considering the future of the art collection he had accumulated over the past six decades, and wished to know whether the Gallery would be interested in selecting a group of works for a gift. My colleague Ken Hall and I visited John one afternoon in March. It quickly became apparent to us that the collection was signiﬁcant and that the oﬀer was particularly generous. Interestingly, we discovered that the works variously represented John’s own artistic interests and his national and international artworld connections. As such, they told a story of art and art history that usefully expanded the local account.
Accidents and Variations
Lara Strongman: Let’s talk about the process of making the works for this exhibition. Can you describe how you produced them?
Julia Morison: I’ve never actually made ceramics before. I read Edmund de Waal’s The Hare with Amber Eyes, which is about a netsuke set that is passed through several generations. De Waal is a ceramicist and he talks in this book about objects and porcelain in such a visceral way—basically he seduced me into picking up a ball of clay and playing with it. For a long time I haven’t had the use of my hands [because of arthritis], so I thought that playing with clay might actually help strengthen them.
In November 2017, Simon Denny’s The Founder’s Paradox opened at Michael Lett Gallery in Auckland, the first solo exhibition Denny had made specifically for New Zealand audiences in several years. His starting point for the project was local: the news, broken by New Zealand Herald journalist Matt Nippert in early 2017, that the billionaire tech investor and Donald Trump supporter Peter Thiel was in fact a New Zealand citizen.