Miranda Parkes Keep left, keep right (detail) 2012. Photograph. Reproduced courtesy of the artist
Miranda Parkes Keep left, keep right (detail) 2012. Photograph. Reproduced courtesy of the artist
This exhibition is now closed
Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, Miranda Parkes and Tjalling de Vries explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.
Miranda Parkes is well known for unruly, boldly coloured abstract paintings that threaten to break free of their stretchers, while Tjalling de Vries deploys a fragmenting arsenal of stolen and reinvented images. Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, these two artists explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.
Keep left, keep right is the latest instalment in the Rolling Maul project series, which has been generously supported by Creative New Zealand. Local artists have been hit hard by the recent earthquakes, losing studios, works and exhibition venues. Acknowledging this, Rolling Maul borrows its title from a classic rugby union manoeuvre and hopes to be similarly effective in gaining ground against tough opposition. A key part of the Gallery's Outer Spaces programme, Rolling Maul begins with a series of month-long exhibitions at our new favourite venue, the spruced-up gallery space above NG at 212 Madras Street.
Opening hours: Monday to Friday 10am to 5pm, Saturday and Sunday 10am to 4pm.
NG is at 212 Madras Street, Christchurch. Please note the exhibition space is upstairs with no lift access.
Group Tours of the exhibition are available
Book a free tour for your group of friends, work, school or community group. Please contact us to arrange a date and time and we'll have one of our volunteer guides meet you in the exhibition space to take you for an informative floortalk. Tours last 30-45 minutes; bookings essential.
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Date:
27 October – 18 November 2012 -
Curator:
Felicity Milburn -
Exhibition number:
919 -
Part of
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Presented with
Related reading: Outer Spaces
film
Miranda Parkes - Slumper
An introduction to Miranda Parkes's Slumper (2006), narrated by New Zealand actor Sam Neill.
Exhibition
James Oram: but it's worth it
24 November – 16 December 2012
Manipulating found footage of the infamous 'Black Friday' sales held by American chain stores, James Oram isolates and magnifies smaller physical gestures amidst the frenzied crush.
Exhibition
Tjalling is Innocent
21 August – 29 October 2012
An ambitious paste-up work by local artist Tjalling de Vries on CoCa's back wall (viewable from Worcester Boulevard), Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.
Interview
Rolling Maul
A lot of water, and Lord only knows what else, has flowed under the bridge since Justin Paton and I first hatched our plans for a fast-paced, post-quake showing of new work by local artists. Rolling Maul, so far, has been quite the antithesis of 'fast-paced', and despite our best efforts, it is yet to roll anywhere – rather it has been beset by the same delays, cancellations and frustrations as all of the Gallery's other in-house plans.
Our original concept, as outlined in B.165, was based around the use of one of Christchurch Art Gallery's ground-floor exhibition spaces, which we hoped to reoccupy as soon as they were no longer required as part of the City Council/CERA earthquake response. But as we are now only too aware, we won't be showing anything there any time soon.
Notes
Unruly, unexpected and oblique images
Combining unexpected detours, unruly surfaces and oblique viewpoints, the artists in Keep left, keep right invite viewers to slow down and take notice of the city that surrounds them.
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
Round up
Life has been very hectic here at Christchurch Art Gallery over the past few weeks so here's a quick round up of our latest Outer Spaces offerings.
Notes
Almost there...
The final paper sheet has been glued and the sealant is being applied on our newest Outer Spaces work, Tjalling is Innocent.
Notes
Earthquakes and Ducklings
Is it sheer, poetic coincidence that the number of the latest Landfall journal is 222?
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
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.