Bone Yard Dinner
In these dark days we need something to look forward to.
Join us for a feast like no other.
An exclusive 100 seat dinner by Vaughan Mabee, Cuisine’s 2019 Chef of the Year, in an art experience inspired by the dark caves of Bill Hammond.
For information or tickets, contact Jacq Mehrtens on 021 404 042 or email@example.com.
Related reading: Foundation, Bill Hammond
19 January 2020
A selection of work by Aotearoa New Zealand's favourite painter/drummer
22 October 2007
The long-awaited exhibition is a spectacular survey of more than two decades of work by one of New Zealand's leading contemporary painters.
“It’s bird land. You feel like a time-traveller, as if you have just stumbled upon it – primeval forests, rātās like Walt Disney would make. It’s a beautiful place, but it’s also full of ghosts, shipwrecks, death…” —Bill Hammond Bill Hammond sailed to the remote Auckland Islands, south of Aotearoa New Zealand towards Antarctica, in 1989. Its landscape made a profound impression on him. Lined up on cliffs, staring out at the ocean, the birds of the Auckland Islands were unafraid of people, and Hammond imagined that Aotearoa looked very similar before human habitation. Different stories and timeframes and images collide in his canvasses as if in a dream, or as if fragments of consciousness were projected on to a screen. “I don’t have a tight brief”, he says. “I fumble around history, picking up bits and pieces.”
(Te Wheke, 2020)
The Edge of the Sea
A vision of New Zealand’s past from 1995:
Europeans first imagined New Zealand as “a garden and a pasture in which the best elements of British society might grow into an ideal nation”... When the smoke of the colonists’ fires cleared at the end of the 19th century, New Zealand had become a different country. Māori had lost their most precious life-support system. Only in the hilliest places did the forest still come down to the sea. Huge slices of the ancient ecosystem were missing, evicted and extinguished. Our histories, however, have had neither the sense of place nor ecological consciousness to explain what has happened.
Extinction has claimed nearly fifty per cent of Aotearoa New Zealand’s bird species over the past 650 years. The persistent myth has it that European settlement in the nineteenth century swept away a pristine past. And most obviously, because we know their names and can catalogue (literally) their infamy, that story includes the professional bird collectors as the cause of those extinctions.
Doctor Jazz Stomp and the Webb Lane Sound
“Bill Hammond is long, lithe and tired, and was born several years ago. Is currently pursuing a Fine Arts course and trying hard to catch up. He is deeply interested in the aesthetic implications of sleep, sports the Rat-Chewed Look in coiffures for ’68, and dreams about blind mice in bikinis. He has never been known to sing outside the confines of his bedroom. Shows a marked but languid preference for the subtle textural nuances and dynamic shadings of washboard, cowbell, woodblocks, claves, cymbal, spoons, thimbles, tambourine, and the palms of the hands in percussive contact.”
The Christchurch Art Gallery Foundation is honoured to assist the Gallery in acquiring Bill Hammond's Bone Yard Open Home for its permanent collection. But, we need your help!
That’s right! Christchurch Art Gallery Te Puna o Waiwhetū will get
you and three others to Singapore with Singapore Airlines for FREE.
New Zealand art legends Gretchen Albrecht and Shane Cotton have collaborated with Greystone Wines to produce forty-eight magnums of their award-winning 2017 Pinot Noir. Each bottle comes in a handmade (and signed!) box so you can choose to save it or swill it.
Don't you love it when your two favourite things come together?
Under the leadership of new director Blair Jackson, Christchurch Art Gallery Gallery Te Puna o Waiwhetū has extended its focus to become a catalyst for ambitious creativity in the city, collaborating with artists to make new and adventurous works.
We have bold ambitions for our future collaborations and invite you to make them possible by investing in the creativity of New Zealand artists and our city.
Art Do 2018 is your opportunity to support the Gallery’s mission. Every dollar raised will go directly to the art – not a cent spared. Here’s how you can be part of it...
Te Puna o Waiwhetū Christchurch Art Gallery is launching its exclusive new art-wine and an art-beer at Art Do 2018 – the new gallery gala.
Six of our favourite artists (and our very own boss) will be playing you chilled beats this October at Art Do 208. Pull up a seat in the designer surroundings of the Warren and Mahoney vinyl lounge and soak up the dulcet tones.
Come hungry and do dinner – a collection of contemporary food stations cooked up by some of the best and brightest in the business will feed you at Art Do 2018.
Blair Jackson has been appointed the new director of Christchurch Art Gallery Te Puna o Waiwhetū.
The London Club
In September 2017, Gallery director Jenny Harper, curator Felicity Milburn and Jo Blair, of the Gallery Foundation’s contracted development services, Brown Bread, went to London, taking a group of supporters who received a very special tour of the city’s art highlights. While there, they further developed the Foundation’s new London Club. Recently they sat down together in Jenny’s office…
London's hottest chefs are coming to town – and you're invited to dinner!
Anticipation and Reflection
This is a time of considerable anticipation at the Gallery: Bridget Riley’s new work for Christchurch is due for completion in late May 2017. A wall painting, it’s the fourth of five significant works chosen to mark the long years of our closure for seismic strengthening following the Canterbury earthquakes of 2010–11. It has been paid for, sight unseen, by a group of wonderful women donors, with further support for costs associated with its installation secured by auction at our Foundation’s 2016 gala dinner.
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
On Saturday a gala dinner for Christchurch Art Gallery TOGETHER Foundation marked the illumination of Martin Creed's Work No. 2314, the latest artwork funded by the Foundation. Multi-coloured neon letters, over a metre tall, spell out EVERYTHING IS GOING TO BE ALRIGHT on the Gallery's south wall.
On Saturday night artist Bill Culbert and chefs Margot and Fergus Henderson helped raise the bar for another extraordinary fundraiser from the Gallery and its Foundation
When 'Chapman’s Homer' was exhibited at the edge of the devastated central city in 2012, it was positioned between ruin and rebuild just outside the cordon in an empty lot on Madras Street. Our bull stood beside his seated brother while a red carved Steinway piano was played upstairs in an adjacent building. Over thirty days, Parekowhai’s work caught the public imagination as a symbol of the resilience of local people. At once strong and refined, a brutal force of nature and a dynamic work of culture, Chapman’s Homer resonated with local audiences. Subsequently, a public fundraising campaign kept the bull in Christchurch.
Chapman’s Homer was first exhibited in Venice, where Parekowhai represented New Zealand at the 2011 Venice Biennale. It travelled to Christchurch after being shown at the Musée de quai Branly in Paris. Over the past year, we’ve shown it at a number of sites around the city as part of the Gallery's Outer Spaces programme, including Worcester Boulevard, Placemakers Riccarton, New Regent Street, and most recently at Christchurch International Airport. And now the bull is back – standing strong in its permanent home at Te Puna o Waiwhetū Christchurch Art Gallery, welcoming visitors to our reopening exhibitions.
An exhibition of recent work by Tony de Lautour, Jason Greig and Bill Hammond opens at our NG space on Madras street tomorrow. These artists have had limited opportunities to show their work since the quakes so this exhibition is well worth a visit if you have the time.
Here's a taster of some of their work.
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.
There’s no big break. It’s just a slow game. —Bill Hammond, 2002
Bill Hammond: Playing the Drums (3 August 2019 – 19 January 2020)
Fourteen artists with connections to the Mainland are represented in an exhibition that explores the dark underbelly of the region's genteel appearance.
A major exhibition celebrating the breadth and diversity of Canterbury painting between 1990 and 2000.
Rock drummers and guitarists, classical musicians, DJs and flamboyant lead singers have made regular appearances in Bill’s work over the years. They are often accompanied by song titles and lyrics – The Tattooed Bride, The Look of Love, Love Will Tear Us Apart, Radio On, All Shook Up, Not Fade Away, Lose This Skin and You Make My Heart Sing. One of Bill’s early exhibitions at the Brooke Gifford Gallery in central Christchurch was titled Lines from Songs, in which he showed paintings that specifically referenced his favourite songs alongside set designs for The South Island (A Rock Opera) in four acts. The title for this painting, Radio On, is a lyric taken from one of the most iconic, upbeat rockin’ anthems of the 1970s by Jonathan Richmond and the Modern Lovers. The chorus, simply “radio on”, is one that all can sing along to – and indeed in the painting the freakish characters doing a duet, with their volcano mouths and noses, are in full voice and raising the roof: And I say roadrunner once / Roadrunner twice / I’m in love with rock & roll and I’ll be out all night … I’m in love with the radio on. Bill Hammond: Playing the Drums (3 August 2019 – 19 January 2020)
For the exhibition Wunderbox (28 November 2008 - 15 February 2009), this work was displayed with the following label.
Bill Hammond led one of the most influential tendencies in New Zealand painting of the late 1990s – Post-colonial Gothic. Shag Pile is one of his many paintings inspired by nineteenth-century campaigns to catalogue New Zealand’s dwindling native species, in particular the efforts of Walter Lowry Buller. The contradictions of Buller’s character – a recorder and chronicler of birds who killed and stuffed many – have made him a figure of fascination not only for Hammond but also for sculptor Warren Viscoe and playwright Nick Drake. In Shag Pile, Buller’s campaign plays out like a bad dream projected on the patterned walls of a claustrophobic Victorian parlour, where New Zealand spotted shags are heaped, laid out for processing, and sealed under bell jars.
Turning a traditional depiction of the New Zealand landscape upside down, this vertical triptych presents a zigzagging arrangement of curtains that fall from the sky and splice the terrain, of mountainous divides that appear upon tables and strange creatures that morph and writhe.
Early works by Bill Hammond are awash with visual sampling, splicing and mixing – from popular culture and art history. Comic book narration, the oblique angles and frames of 1950s film noir and, notably, the multiple vanishing points found in the proto-surrealist paintings of Giorgio De Chirico (1888–1978), give structure to Hammond’s alternative cityscapes of the late 1980s and early 1990s. Hammond was born in Christchurch and studied at the University of Canterbury School of Fine Arts. For a period after leaving art school he designed and manufactured wooden toys. He held his first solo exhibition in 1976 and since then has exhibited regularly. His work is represented in private and public collections throughout New Zealand. Bill Hammond: Jingle Jangle Morning (20 July – 22 October 2007) is the most recent survey of Hammond’s work to date, organised by Christchurch Art Gallery Te Puna o Waiwhetū.
Relief etching relating to the now extinct New Zealand eagle which has been a central theme in Hammond's work in recent years. Profile view of a human body with eagle head.
Gertrude Demain Hammond was a prolific London illustrator who was also active in exhibiting her watercolours. A Reading from Plato was shown at the Royal Academy in London in 1903 before coming to Christchurch for the 1906–07 New Zealand International Exhibition. There it was purchased by the avid local art collector James Jamieson, who with his brother William, ran one of the city’s largest construction companies.
Following his death in 1927, James’s family presented many works of art from his collection to become part of the Robert McDougall Art Gallery’s founding collection, which at its opening in 1932 consisted of 160 paintings and sculptures.
(Treasury: A Generous Legacy 18 December 2015 – 27 November 2016)
In 1989 Bill and several other New Zealand artists travelled to the remote sub-Antarctic Auckland Islands, a trip that was to have a profound effect on his art. Here, he encountered what he called “paradise for birds”, a place he imagined Aotearoa was like before humans arrived. In his words: [In the Auckland Islands] I saw a New Zealand before there were men and women and dogs and possums. You could see what New Zealand was like, a land of birds. In the Auckland Islands you can stand by 20,000 birds and they don’t take fright, they think they are hallucinating … you can pass by hundreds of yellow-eyed penguins staring out at the horizon in a Zen-like trance. We’d become freakish apparitions. …You feel like a time traveller … as if you have just stumbled upon it – primeval forests, rātās like Walt Disney would make. It’s a beautiful place, but it’s also full of ghosts, shipwrecks, death.
Bill Hammond: Playing the Drums (3 August 2019 – 19 January 2020)
This print appears as 'Edward Hammond Hargraves. The discoverer of gold in Australia.' on page 740 of the 'Picturesque Atlas of Australasia.'