An exhibition of Max Hailstone's most controversial and important series, using the signatures of the rangatira (Māori chiefs) who signed New Zealand's Treaty of Waitangi in 1840
The work and influence of Max Hailstone (1942–1997) is critical to an understanding of graphic design and typography in New Zealand. Born and trained in England, and recognised internationally for his work, Hailstone led the graphic design department at the University of Canterbury School of Fine Arts throughout the 1970s, 80s and 90s, where he inspired a generation of designers.
This exhibition presents one of Hailstone's most controversial and important bodies of work, featuring the signature marks of the rangatira (Māori chiefs) who signed New Zealand's Treaty of Waitangi in 1840 and Declaration of Independence in 1835.
Hailstone's interest in the Treaty signatures was sparked in 1990 when he noted the cool, impersonal language surrounding judgements on land claims and Treaty grievances. He was inspired to create these works as a reminder that the Treaty is a 'document of the people'. Hailstone acknowledged the deep significance for Māori of the signatures as having mana, or a spiritual presence, however his use of the signatures was, for Māori, an issue of tikanga or protocol.
Exhibition number 1009
Aberhart Starts Here
Iconic and unseen early photographs of Christchurch by Laurence Aberhart
Olivia Spencer Bower: Views from the Mainland
A selection of watercolours by one of Canterbury’s most treasured artists.
He Rau Maharataka Whenua: A Memory of Land
Canterbury modernist landscape painting from the collections of Te Puna o Waiwhetu Christchurch Art Gallery, poignantly revised from within a Kāi Tahu perspective
Doris Lusk: An Inventive Eye
In the strange, stunned afterlife that ticked slowly by in the first few years following Christchurch’s February 2011 earthquake, a curious note of recognition sounded through the shock and loss. As a massive programme of demolitions relentlessly hollowed out the city, many buildings were incompletely removed and lingered on for months as melancholy remains – stumps abandoned in a forlorn urban forest. Hideous, sculptural, beautiful; they bore compelling resemblance to a body of paintings created in the city more than three decades earlier.
Te Rua o te Moko
Each of the eighteen rūnanga within Ngāi Tahu are represented here by a work of art depicting a significant land site.