Exhibitions
Events
On display
Blank–Silver–Red–Black–Green
Ruby Solly. Photo: Ebony Lamb
Marilynn Webb Rakiura 2002. Pastel on paper. Marilynn Webb Estate collection
Performance
Past event
Meet in the exhibition
Free
Ruby Solly (Kāi Tahu, Waitaha, Kāti Māmoe) responds to work in Marilynn Webb: Folded in the Hills with an ahurumowai of cello, poetry and taoka pūoro.
Ruby Solly is a Kāi Tahu musician, taonga pūoro practitioner, music therapist and writer living in Te Whanganui a Tara Wellington. She has played with artists such as Yo-Yo Ma, Whirimako Black, Trinity Roots and The New Zealand String Quartet as both a cellist, and a player of traditional Māori instruments (ngā taonga pūoro). She has also worked as a session musician and recording artist with groups such as So Laid Back Country China, Jhan Lindsay, Strowlini Orchestra, and many other artists around Wellington.
The exhibition Marilynn Webb: Folded in the Hills is on display until 13 October. Across five decades, Ngāpuhi, Te Roroa and Ngāti Kahu artist Marilynn Webb (NZOM) dedicated herself to making art concerned with the relationships between land, sky and water. Extending from Te Tai Tokerau Northland, to the home she made in Ōtepoti Dunedin, Webb spent her lifetime tracing the potential of the horizon and finding strength in the embrace of the hills. This is the legacy that she leaves to the next generation: the power of connection between tangata and whenua, people and land.
Related reading: special event, musical performance, Music
Exhibition
Marilynn Webb: Folded in the Hills
8 June – 13 October 2024
"It’s nothing to do with drawing landscape, it’s to do with connection…"
Marilynn Webb (1937–2021)
Notes
Countdown to Fifteen
Fifteen is our birthday party (guess how old we are…) and it’s less than two weeks away! It’s also the opening event for Tony de Lautour’s US V THEM, which is our big winter exhibition. We asked curator Peter Vangioni and visitor programmes coordinator Amy Marr what they’re most excited about in the incredible line-up for this grand birthday bash.
Notes
Been to some lame ‘youth’ events lately?
Now’s your chance to help create a cool event for you and your friends!
The Mix is Christchurch’s Art Gallery bi-monthly late-night event – an interactive mix of art, music, film and good people. We want to run a Mix designed, curated and for under 18s – ReMix.
Notes
Christchurch Art Gallery Foundation's Fifth Annual Gala Dinner
London's hottest chefs are coming to town – and you're invited to dinner!
Notes
Gallery Happenings: Grayson Gilmour
In early March we were lucky enough to have the incredibly talented Grayson Gilmour performing at the Gallery, supported by the equally talented Purple Pilgrims and New Dawn. I love these gigs, but there is a lot of work to be done behind the scenes to make sure that, by the time the public walk in the door, the foyer is gig ready. The process normally feels like a long, slow marathon with a sprint at the final corner. So here’s a guide to how you too can get the NZI Foyer gig-ready in five (or six) easy steps.
Notes
What's the difference between a piano and an onion?
Answer: No one cries when you chop up a piano.
Apparently that's only the third worst piano joke of all time...
Notes
Getting Older - Flying Nun
November sees the 30th anniversary of my favourite record label, Flying Nun Records.
Notes
Playing to the Faithful
The 2011 Christchurch Arts Festival has been full of highlights, from theatre to dance to the visual arts. However, it's been the music that has made the biggest impression on me.
Notes
Number 1 Evil, Number 2 Evil, Number 3 Evil…
Finally, the chance to listen to some loud rock music!
Notes
The Satara Player by Petrus van der Velden
Things are not always what they seem. What looks like the result of an artistic foray into exotic lands is, in fact, an 1894 portrait of a Christchurch busker who posed in the studio of Petrus van der Velden.
Commentary
Laurence Aberhart
New Zealand artist Laurence Aberhart is internationally regarded for his photographs of unpeopled landscapes and interiors. He photographs places redolent with the weight of time, which he captures with his century-old large-format camera and careful framing. But he’s always taken more spontaneous photographs of people too, particularly in the years he lived in Christchurch and Lyttelton (1975–83) when he photographed his young family, his friends and occasionally groups of strangers. ‘If I lived in a city again,’ he says, ‘I would photograph people. One of the issues is that I even find it difficult to ask people whether I can photograph a building, so to ask to photograph them – I’m very reticent. I also know that after a number of minutes of waiting for me to set cameras up and take exposure readings and so on, people can get rather annoyed. So it’s not a conscious thing, it’s more just an accident of the way I photograph.’