This exhibition is now closed
Tony Oursler: Bright Burn Want
10 May –
30 June 2013
Tony Oursler Sang 2008. Fibreglass form, BluRay, BluRay player, projector. Courtesy of the artist, Jensen Sydney and Fox/Jensen Auckland
The fantastically strange, inescapably human works of renowned video artist Tony Oursler.
From neurotic talking heads to monstrous outdoor projections, Christchurch Art Gallery offers an unforgettable insight into the parallel universe of world-renowned American video artist Tony Oursler, whose grotesque, morphing faces and tragicomic dialogues invite both our discomfort and our empathy. Out front at 212 Madras Street, an oddly dysfunctional light bulb accompanies a classic Oursler monologue, while inside the spaces are inhabited by the psychedelically-coloured, multiple personalities of Spectar and the neurosis and existential angst of Sang and Vision Tracey Doll. Come dark, Fist and Head (Knocking) make compelling additions to the city's nocturnal landscape.
My Gallery
Collection works in this exhibition
Curator:
Felicity Milburn
Exhibition number: 950
Presented by
Part of
Collection works in this exhibition (1)
Related
Exhibition
Tony Oursler: Fist
1 Jul 2013 – 29 Sep 2013, 6–10pm
Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.
Exhibition
Tony Oursler: Head Knocking
1 Jul 2013 – 29 Sep 2013, 6–10pm
Credited with freeing video art from the 'tyranny of the monitor', Tony Oursler is regarded as one of the world's most influential artists in that medium.
Exhibition
Populate!
From 10 May
Christchurch Art Gallery celebrates its tenth birthday with a burst of art in the city – including whopping new murals, night-time projections and sculptures where you least expect them.
Notes
Sang by Tony Oursler
This article first appeared in The Press as 'The many faces of Tony Oursler' on 14 July 2015.
Notes
Populate! update #14 (Light bulb moment)
Ever get the feeling a work of art is trying to tell you something?
Notes
Populate! update #24 (Who you gonna call?)
There's something straaange... in the neighbourhood.
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
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.
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
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
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'...
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.