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.
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.
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.
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.
The role of Visitor Host at Christchurch Art Gallery Te Puna O Waiwhetu 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.
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.