W.A. Sutton Colour sketch for 'Homage to Frances Hodgkins' 1951. Oil, gift of the artist, 1978 (78/81)
This exhibition is now closed
A selection of ephemera, books, sheet music and art brought together to mark the publication of Bloomsbury South: The Arts in Christchurch 1933-1953 by Peter Simpson.
Between 1933 and 1953 Christchurch was the cultural centre of New Zealand. Many of the country's most significant artists, writers, playwrights, composers and typographers of the time worked and socialised closely together. Between them they tackled the idea of a unique New Zealand national identity through their art. The list of men and women who made Christchurch the arts capital of New Zealand during this period is extraordinary and includes Rita Angus, Colin McCahon, Louise Henderson, Doris Lusk, Bill Sutton, Allen Curnow, James K. Baxter, Douglas Lilburn and Ngaio Marsh.
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Date:
22 August – 5 September 2016 -
Location:
Christchurch Art Gallery Te Puna o Waiwhetū -
Curator:
Peter Vangioni -
Exhibition number:
1023
Collection works in this exhibition
Related
Article
Tomorrow, Book, Caxton Press, Landfall
In the decades before and after the Second World War, Christchurch experienced a remarkable artistic efflorescence that encompassed the visual arts, literature, music, theatre and the publishing of books and journals. And the phenomenon was noticed beyond these islands. For instance, in his 1955 autobiography, English publisher and editor of Penguin New Writing and London Magazine, John Lehmann, wrote (with a measure of exaggeration, perhaps) that of all the world’s cities only Christchurch at that time acted ‘as a focus of creative literature of more than local significance’.
Commentary
The wisdom of crowds
In recent years, crowdfunding and crowdsourcing have become big news in the arts. By providing a funding model that enables would-be-investors to become involved in the production of new works, they have altered traditional models of patronage. Musicians, designers, dancers and visual artists are inviting the public to finance their projects via the internet. The public are also being asked to provide wealth in the form of cultural capital through crowdsourcing projects. The Gallery has been involved in two online crowdfunding ventures – a project with a public art focus around our 10th birthday celebrations, and the purchase of a major sculpture for the city. But, although these projects have been made possible by the internet, the concept behind the funding model is certainly not new. The rise of online crowdfunding platforms also raises important questions about the role of the state in the funding and generation of artwork, and the democratisation of tastemaking. How are models of supply and demand affected? Does the freedom from more traditional funding models allow greater innovation? Do 'serious' artists even ask for money? It's a big topic, and one that is undoubtedly shaping up in PhD theses around the world already. Bulletin asked a few commentators for their thoughts on the matter.
Interview
Talking Bensemann
Leo Bensemann was one of the most respected figures in the Christchurch arts scene, and played a pivotal role in influential arts collective The Group. Always something of an odd-man-out, he produced a large body of work across several different disciplines before his death in 1986. In an attempt to get a fuller picture of the man himself, Gallery director Jenny Harper spoke to two artists who knew him well, John Coley and Quentin MacFarlane.
Notes
Artists in Crime
That was the title the great Christchurch-born mystery writer Ngaio Marsh gave to a novel published in 1938, one of 32 whodunnits penned during her career.