Whakaaturaka
Exhibitions
Taiopeka
Events
E Whakaaturia ana Ināianei
On display
Celebrating Philip and Lee Trusttum
Friends
Wednesday 15 April, 6pm
Philip Carter Family Auditorium
$5 Members / $10 Non-Members
Join us for a special screening of two short films celebrating the lives and artistic legacies of Philip Trusttum and Lee Trusttum.
Featuring two short documentaries: Horseplay (1990), directed by Simon Perkins, and I Know I’m Going to Paint (2025), directed by Oliver Dawe.
The films will be introduced by Oliver Dawe, and followed by a short discussion and Q&A with Oliver and Martin Trusttum, who will sharing stories and reflections on Philip and Lee.
Related reading: Friends
Exhibition
Trusttum: Just a Glimpse
24 October 2018 – 16 June 2019
Exuberant and boisterous, these large paintings by Philip Trusttum will lift the spirits
Exhibition
Done: Recent Drawing Books by Philip Trusttum
23 September – 28 October 2013
A selection of drawing books by one of Canterbury's best known artists featuring cute children's toys pulled together in bizarre and sometimes malevolent combinations through the process of drawing.
Exhibition
Philip Trusttum: Put On
20 September – 18 November 2013
Influenced by the paintings of Hieronymus Bosch, Philip Trusttum's drawings for Stereoscope are a personal tribute to the Russian activist collective and post-punk group, Pussy Riot.
Notes
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Notes
Underworld 2 by Tony de Lautour
This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Notes
Walk the Beat
Volunteer guide Rod McKay talks about his life, being an art tourist, and guiding Gallery tours.
Notes
The Art Whisperer
Christchurch Art Gallery volunteer guide Bella Boyd talks about her love of guiding, her favourite works in the Gallery collection and interpreting art with poetry.
Commentary
Mediating Reality
In the late 1980s, a significant shift for photography in Aotearoa New Zealand was identified in two art publications. The essays and images in these books showed how artists were utilising new strategies, breaking away from the prevailing documentary photography tradition that was, and still is, widespread in Aotearoa. Six Women Photographers (1986) was edited by artists Merylyn Tweedie and Rhondda Bosworth for Photoforum; and Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography (1989) was the catalogue for an exhibition curated by Gregory Burke for City Gallery Wellington. The artists included in both publications questioned in various ways the assumptions and rules of image making, manipulating the media and making a political move from the standpoint of taking a photograph, to making one. No longer was a photograph considered a truthful representation of reality. Instead, photography was seen as a product of, and a participant in, current social and cultural values.
Commentary
Do You See?
With the death of Julie King late in 2018, art and art history in Aotearoa New Zealand lost one of its great champions and major scholars. Julie was born in Yorkshire and grew up and was educated in Alnwick, Northumberland; she moved to Christchurch in 1975 to take up a role lecturing in the newly formed art history department at the University of Canterbury. She retired three decades later, having pioneered the teaching of New Zealand art in Canterbury.
Collection
Julia Morison Dulia
In the early 1990s, Julia Morison used gold and shit in many works, exploring the idealised and base elements of human experience. She drew on the Jewish Sefiroth as a model for thinking about the relationship between the physical and the metaphysical. “Personally, I need to put some kind of order on experience for sake of sanity and negotiation,” she said. “The Sefirothic structure, or Tree of Knowledge, is really a metaphorical file and folder system for all; a conceptual paradigm for understanding everything. Putting that at the core of my practice gives me the freedom to admit everything and anything, micro and macro, metaphysical and corporeal, as legitimate content. It also gives me an interface to compose works.”
The title of this work, Dulia, is a Catholic term for worship given to saints and angels. Here Morison has pressed gold and excrement on to handmade paper balls, which are threaded together like the beads of a catholic rosary—an invitation to meditate on the relationship of the sacred and the profane, on a monumental scale.
