Tony Fomison No! 1971. Oil on canvas. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 1973. Reproduced with permission
Tony Fomison No! 1971. Oil on canvas. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 1973. Reproduced with permission
This exhibition is now closed
Treasured portraits populate empty spaces in our changing city.
It's not exactly starting all over again with a blank canvas, but it is related to ideas about repopulating a place that's been emptied and dramatically changed. Across our altered cityscape, an eclectic selection of portraits from the collection will be gradually unveiled to fill empty spaces – vacant lots, broken buildings, newly exposed walls. Recently re-photographed in their frames, enlarged billboard versions of treasured portraits will provide interesting and unexpected company. Creating their own new stories and narratives, the portraits also remind us of a treasured collection.
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Date:
May 2013 – September 2015 -
Curator:
Ken Hall -
Exhibition number:
940 -
In association with
Collection works in this exhibition
Related reading: Outer Spaces
Exhibition
Populate!
From 10 May
Christchurch Art Gallery celebrates its tenth birthday with a burst of art in the city – including whopping new murals, night-time projections and sculptures where you least expect them.
My Favourite
Tony Fomison's No!
I’ve chosen this because it’s probably Tony’s best-known painting (it’s the one that the Gallery chose to upsize onto an inner-city wall) and because it’s emblematic of his art, which was confrontational and definitely not user-friendly. In a long profile I wrote of him in the 1970s he said of his middle-class patrons: ‘I’ve got a bee in my bonnet about them. They’re the swine I rely on to buy my paintings. I hope these paintings fester on their walls and they have to take them down and put them behind the piano. I hope the paintings get up and chase them round the house.’
Article
The East India Company man: Brigadier-General Alexander Walker
Getting to know people can take time. While preparing for a future exhibition of early portraits from the collection, I'm becoming acquainted with Alexander Walker, and finding him a rewarding subject. Painted in 1819 by the leading Scottish portraitist of his day, Sir Henry Raeburn, Walker's portrait is wrought with Raeburn's characteristic blend of painterly vigour and attentive care and conveys the impression of a well-captured likeness.
Notes
Victoria in residence
This portrait of H.M. The Queen by William Nicholson from our collection has recently popped up in two places on Victoria Street.
Notes
Populate! update #15 (wrapped)
You might look a little frowny too, if you'd just been covered in bubble wrap.
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.
My Favourite
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Article
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.