Exhibitions
Events
On display
Immerse: Through Kauri and the Cupboard Door: Cubism and New Zealand Art, 1930-1970
Event
Past event
Philip Carter Family Auditorium
$100 for the series or $20 per session; $80 or $15 for Friends and TOGETHER partners
A six-week lecture series on the world of New Zealand art. Enjoy stimulating lectures and lively discussions over a glass of wine. Presented by Chapman Tripp.
To purchase the whole series click here. Otherwise use the dropdown menu below to purchase this session only. All tickets include a free glass of wine per session.
First articulated in Paris in the early twentieth century, cubism's influence quickly spread globally beyond Europe and the United Stated to Asia and Australasia. In New Zealand, cubism gave artists licence to deconstruct their visual experiences, providing a framework for the transition to anti-naturalistic and non-representational styles. Auckland Art Gallery curator Julia Waite explores the impact of cubism on the work of John Weeks, Louise Henderson and Colin McCahon, and reveals their unique local response to an international style.
Julia Waite is an assistant curator at Auckland Art Gallery Toi o Tāmaki where she has worked on a number of important large-scale exhibitions, including the 5th Auckland Triennial (2013) and Space to Dream (2016). Her current research is on the development of modernism in New Zealand; and in 2014 she curated Freedom and Structure: Cubism and New Zealand Art 1930-1960.
Related reading: Talk, special event, Friends, Immerse, Chapman Tripp
Notes
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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
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
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.
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.
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.
