Boyd Webb Sleep/Sheep 2010. Reproduced courtesy of the artist and Two Rooms Gallery, Auckland
This exhibition is now closed
Boyd Webb contributes a new work to the Gallery's Sterescope programme.
The title suggests the act of sleeping but these works are not all that soporific. Counting sheep is one common trick for achieving sleep but Webb's sheep has a rather startling, nightmarish quality that is at odds with the cute lambs usually pictured jumping gates. The other work in Sleep/Sheep depicts a gross 'eye bogey'. Commonly referred to as 'sleep', this piece of rheum is at once intriguing and disgusting—an insignificant by-product of sleeping that could contain memories of a dog's day in the manner of a zip file. Webb was born in Christchurch and trained at the Canterbury University School of Fine Arts between 1968 and 1971. Between 1972 and 1975 he studied at the Royal College of Art in London, where he continues to live and work.
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Date:
26 June – 20 September 2013 -
Curator:
Felicity Milburn -
Exhibition number:
959 -
Part of
Related reading: Outer Spaces
Exhibition
Stereoscope: Kristin Hollis
26 June – 23 July 2013
Drawings of two bottles - one of gin, one of water – grace the Montreal Street side of the Christchurch Art Gallery bunker in the latest offering in the Stereoscope series.
Exhibition
Helen Calder: Orange Up
June – August 2013
Helen Calder's new work, Orange Up, provides a refreshingly bold statement on the Gallery bunker using one of the powerhouses in the range of colours: orange.
Notes
Holloway Press 1994-2014
Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
Notes
Sian Torrington Call Out
Christchurch Art Gallery is excited to be working with Wellington-based artist Sian Torrington on a site-specific sculptural installation that will combine ideas, images and materials that relate to living in Christchurch now.
See below for a message from Sian to find out how you can get involved.
Notes
Outer Space programme sees Canterbury arts graduate exhibit work in Showhome
The Gallery's latest exhibition in the Outer Spaces programme, Showhome, has opened in Christchurch, featuring the disconcertingly 'perfect' works of recent University of Canterbury graduate Emily Hartley-Skudder.
Notes
Worcester Boulevard exhibition extended as publication developed
The popularity of Reconstruction: Conversations on a City has led to the exhibition being extended until 14 October, and the development of a publication.
Notes
The inner binding now on display at the library
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
Notes
(Way Out)er Spaces
We're pretty pleased with what we're achieving with our Outer Spaces programme, but it's always good to see what else is out there. And I do mean 'out there'...
Notes
The ghost of studios past
In preparation for the next issue of Bulletin, Gallery photographer John and I have been out photographing some of the local artists who will be taking part in Rolling Maul when we reopen.
Interview
Silent Patterns
When we asked Tony de Lautour to produce a new work for the Bunker—the name Gallery staff give to the small, square elevator building at the front of the forecourt on Montreal Street—he proposed a paint scheme inspired by Dazzle camouflage. Associated with the geometric near-abstraction of the vorticist movement, Dazzle was developed by British and American artists during the First World War to disguise shipping. It was a monumental form of camouflage that aimed not to hide the ship but to break up its mass visually and confuse enemies about its speed and direction. In a time before radar and sonar were developed, Dazzle was designed to disorientate German U-boat commanders looking through their periscopes, and protect the merchant fleets.
Senior curator Lara Strongman spoke with Tony de Lautour in late January 2016.
Article
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
My Favourite
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.