Recent photography by an emerging generation of New Zealand artists.
Christchurch Art Gallery has a long tradition of curating exhibitions by emerging and early-career artists. The Devil’s Blind Spot concentrates on recent photography by New Zealand artists born in the 1980s and 1990s, who have grown up in the digital realm. Today we’re immersed in a constant stream of digital images; with a smartphone in your pocket, taking a photograph and sharing it with friends and strangers across the world is only a click away. This exhibition asks how a younger generation of artists is responding to the new cultural conditions of photography.
Includes work by Andrew Beck, Holly Best, Jordana Bragg, Conor Clarke, Chris Corson-Scott, Solomon Mortimer, Ane Tonga, Shaun Waugh, and Rainer Weston.
Senior curator Lara Strongman and some of the young photographers featured in The Devil’s Blind Spot discuss their respective work and the future of photography in New Zealand.
Join volunteer guide John O'Brien as he discusses Ane Tonga's Grills and Fakaētangata series in The Devil's Blind Spot on the ground floor.
Legendary American photographer Ansel Adams' images of the natural world reveal a lifetime devoted to capturing its changing beauty. This exhibition presents a selection of photographs the artist considered his best.
The Devil’s Blind Spot
Te Puna o Waiwhetu Christchurch Art Gallery has a long-standing tradition of curating exhibitions of emerging and early-career artists. We do this in order to contribute to the ecology of the local art world, as well as because – quite straightforwardly – we’re interested in the practices of artists at all stages of their careers, and would like to bring the work of outstanding younger artists to wider public attention. The Devil’s Blind Spot is the latest in this ongoing series, but unlike earlier exhibitions, it’s concerned with a single medium – photography.
Tenderness and human longing are revealed in Shannon Te Ao’s award-winning video installations.
Exquisitely imagined, startlingly strange works by an internationally acclaimed New Zealand artist.
See, hear, smell and feel the invisible energies that surround us as Australian artists David Haines and Joyce Hinterding summon unseen forces.
The Camera as a Place of Potential
To Māori, the colour black represents Te Korekore – the realm of potential being, energy, the void, and nothingness. The notion of potential and the presence of women are what I see when I peek at Fiona Pardington’s 1997 work Moko. And I say peek deliberately, because I am quite mindful of this work – it is downright spooky. Moko is a photographic rendering of a seeping water stain upon the blackboard in Pardington’s studio, taken while she was the recipient of the Frances Hodgkins Fellowship in Dunedin in 1997.
A small but poetic exhibition looking at early European and Māori representations of seafaring vessels, with the Charlotte Jane as a focal point.
Five significant works of art that look to traditional Māori architecture to inform modernist and contemporary Māori art practice.
Canterbury modernist landscape painting from the collections of Te Puna o Waiwhetu Christchurch Art Gallery, poignantly revised from within a Kāi Tahu perspective
Joyce Campbell’s immersive video work takes the viewer on a journey into the ocean’s fathomless depths, exploring processes of creation and annihilation.
Billy Apple blurs the line between life and art with a new installation that celebrates the triumphant, record-shattering 1995 campaign of the Christchurch-designed Britten V1000 motorbike.
Death, sex, flesh and the female gaze are among the many themes explored in the Gallery’s newest exhibition, Fiona Pardington: A Beautiful Hesitation.
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
A survey exhibition by a leading New Zealand photographer explores sex, death and the female gaze.
Laurence Aberhart's 1983 photograph of Lyttelton children is displayed on our Gloucester Street billboard.
Selwyn Toogood, Levin
I spent much of my adolescence in hospital, confined to bed due to a chronic illness. With a 14" TV beside me, I’d travel to imaginary places via the controller of my Nintendo games console. At the time, I couldn’t imagine walking to the letterbox, let alone experiencing the more exotic places of the world.
A Perspective on Pacific Art in Christchurch
Pacific art is one of the more internationally successful and innovative sectors of New Zealand’s art industry, but Pacific artists in Ōtautahi have struggled to be a visible part of the city’s cultural landscape. Due to our small population and distance from the Pacific art capital that is Auckland, our artists have often developed in relative isolation, relying on our Pasifika arts community to maintain a sense of cultural vitality, belonging and place within the city.
Taryn Simon's known unknowns
In 2003, the American photographer Taryn Simon embarked upon a four-year heart-of-darkness journey. In response to paranoid rumours of WMDs and secret sites in Iraq, she turned her gaze to places and things hidden within her own country.