Astounding in their realism and emotional power, Ron Mueck's works have made him one of the most renowned sculptors of our time. See them exclusively at Christchurch Art Gallery from 2 October.
This October, the Gallery is proud to present a major exhibition of work by internationally renowned sculptor Ron Mueck. Ranging from the startlingly huge Wild man to the miniscule Two women, this comprehensive exhibition of work by the Australian-born, London-based artist is the largest to have been presented in the southern hemisphere – and an opportunity not to be missed.
The show includes four striking new works alongside many of the artist's iconic sculptures, including the monumental and moving Pregnant woman, and Christchurch is the only place you can see it.
WE RECOMMEND YOU AVOID THE QUEUE BY PURCHASING TICKETS FROM: eventfinder.co.nz
Up to 2 children 15 years and under free with a paying adult
$38 season pass
Tickets also available at the Gallery or the iSite in Cathedral Square.
ABOUT RON MUECK
Ron Mueck has become internationally recognised for his unique sculptures, which replicate the human figure with unrivalled technical skill. His work has a powerful psychological range, focusing not only on universal experiences like birth, life and death but on emotional states such as isolation, fear and tenderness. His startling manipulations of scale are key to our experience of each work.
Born in Australia, Mueck moved to London in 1986, where he worked creating models for the film, television and advertising industries.
His sculpture first achieved public acclaim when Dead Dad was included in Sensation, Charles Saatchi's controversial exhibition featuring the Young British Artists at the Royal Academy, London in 1997.
In 1998 he made his first solo exhibition with Anthony d'Offay. Since then his work has been exhibited in museums and exhibitions worldwide including the 49th Venice Biennale (2001); Hirschorn Museum and Sculpture Garden, Washington D.C. (2002); The National Gallery, London (2003); and a major international travelling exhibition (2006-2008) which had more than 1 million visitors across seven venues, beginning at the Fondation Cartier in Paris and ending at the Twenty-first Century Museum of Contemporary Art, Kanazawa, Japan.
Today, his work is held in important public and private collections internationally.
Contact us to arrange your exclusive and unique Ron Mueck corporate event.
Please note: The human body – naked and clothed, and from birth through to death – has been a favoured subject in art for centuries. Ron Mueck's sculptures are part of this tradition. Some of his figures are clothed, others are not.
A National Gallery of Victoria touring exhibition.
The London Club
In September 2017, Gallery director Jenny Harper, curator Felicity Milburn and Jo Blair, of the Gallery Foundation’s contracted development services, Brown Bread, went to London, taking a group of supporters who received a very special tour of the city’s art highlights. While there, they further developed the Foundation’s new London Club. Recently they sat down together in Jenny’s office…
However cold or wet it is as I write this (and certainly it’s raining at present), our September Bulletin heralds the coming of spring, and with it, the promise of growth, renewal and hope.
When it comes to creative encounters, there can be few that match the first sighting of a Ron Mueck sculpture. As with other landmark events, I suggest you are unlikely to forget exactly where you were when that formative experience took place.
Shyness and sculpture
Reporters like to begin their stories about Ron Mueck by noting that he is famously media-shy. Since television and newspapers thrive on personality, celebrity and ‘direct access' to the stars, journalists clearly feel it necessary to explain to their audiences that they won't be hearing from the artist himself. Beyond this, however, not much more gets said about Mueck's reluctance to talk. It's treated as a minor difficulty, something to be mentioned in passing before moving on to the artworks. And for that reason, surely it's not the kind of thing I should be bringing up in an official essay...
But I have a suspicion there's more to it.
Inspiration and Consolation
In 2002, after two decades as one of the world’s most influential dealers of contemporary art, Anthony d’Offay closed the doors to his commercial gallery in Dering St., London. The years since, however, have been anything but quiet for him. In 2008, Tate and the National Galleries of Scotland acquired more than 700 works from d’Offay – a collection worth more than £125 million at the time, but acquired for the British public at its original cost price of around £27 million. Including works by Andy Warhol, Joseph Beuys, Gilbert and George, Damien Hirst, Jeff Koons, Agnes Martin and Anselm Kiefer, the line-up is remarkable. Just as remarkable is the way the works are now being presented, in the form of more than fifty ‘Artist Rooms’ which travel not just to high-profile metropolitan institutions like Tate but also to small and often underfunded regional galleries – so that viewers might encounter Diane Arbus in Nottingham, or Ed Ruscha in Inverness. In addition to his work curating the Artist Rooms, d’Offay has continued to work closely with just one artist from his Dering St. stable – Ron Mueck. Senior curator Justin Paton spoke with d’Offay about Artist Rooms, his own formative gallery-going experiences, and his thoughts on Ron Mueck and his sculptures.
A Girl, In Transit
If you have ever travelled with a baby you will know that, in order to ensure a safe and pleasant trip, it's essential to plan and prepare in advance. But even then there are often hiccups to contend with on the way. It's really no different when travelling with the National Galleries of Scotland's baby, Ron Mueck's A girl – she just happens to be a little bigger...
The Edge of Life
When we first saw Ron Mueck’s sculpture of A girl, my companion bent down. She stood back startled. ‘I thought I heard her cry,’ she said. Later she wept over what she had seen. Being moved so deeply was not a response to the shock of the artisanship which created such uncannily life-like figures. Rather it was to do with a different kind of shock – that of recognition of the depiction of an interior emotional world. She felt she might just have had an encounter with the human soul.
London's hottest chefs are coming to town – and you're invited to dinner!
While we remain closed, sometimes it's hard to remember how it was when the Gallery was open. However, this time one year ago, we were showing Ron Mueck – and we had thousands, literally thousands, of visitors.
As many of you know, Christchurch Art Gallery has been closed to visitors since 22 February 2011 when an earthquake measuring 6.3 on the Richter scale struck New Zealand's second largest city. It's the second major earthquake to strike Christchurch and came just over six months after the first on 4 September 2010.
Artist Ron Mueck, whose astounding exhibition closed at the Gallery on Sunday, has written to thank Gallery staff and the people of Christchurch for having the show.
The role of Visitor Host at Christchurch Art Gallery Te Puna O Waiwhetū is full of contrasts; never more so than now, during the Ron Mueck exhibition.
The balcony has become the favourite spot for Gallery managers to marvel at the queue for admission to the Ron Mueck show.
A record 100,000 visitors have now seen Ron Mueck's lifelike sculptures at the Gallery.
With over 100,000 visitors, Ron Mueck is now the most popular paid-entry exhibition by a living artist ever held in New Zealand. The show draws to a close on Sunday 23 January, and to ensure that you don't miss out we are holding a number of special late-night viewings.
We're celebrating the new year and the runaway success of Ron Mueck by giving families the opportunity to take two children to see the exhibition for free during January.
It's official – Ron Mueck has become the most popular paid-entry exhibition ever to be shown at Christchurch Art Gallery!
That was the question posed by Emilie Sitzia and Louise Palmer to a large group of forty who had come along to listen to the ArtBite on Wild man last Wednesday.
We've put a comments book in the Ron Mueck show where visitors have expressed their pleasure, and in a few cases their disquiet. My favourite comment is "It looked scary but wasn't" which is in fact rather a profound thought.
While we're looking at sculptures at the larger end of the scale bracket, here's Ron Mueck's A girl.
Downstairs in the galleries the exhibitions team have been working flat out for the last couple of weeks to prepare for Ron Mueck.
In 2008 I was employed as an Art and Object Handler at the National Maritime Museum and Royal Observatory, in Greenwich, London. About halfway through my year working there I was sent on a course which focussed on the safe handling and movement of oversized, heavy sculptures. The course involved workshops, lectures, and a very interesting array of people from galleries and museums throughout the UK, and was held at West Dean College, which stretches over 10kms along the Sussex South Downs and Lavant Valley in Chichester, South East England.
While the show itself is still about 8 weeks away from opening, the Ron Mueck exhibition catalogues have just gone on sale in our shop.
A major exhibition by internationally renowned sculptor Ron Mueck will open at Christchurch Art Gallery this October.
As I write this, I’m still smiling with pleasure and pride at the huge success of the Gallery Foundation’s fundraising drive for our own work by Ron Mueck. Wonderful in its own right, it’s amazing to finish the 2017 calendar year knowing a sculpture by Mueck is now on its way to join the other four ‘great works’ for Christchurch.