Sarah Lucas Nud Cycladic 1 2009. Tights, fluff, wire, concrete blocks, MDF. Collection of Christchurch Art Gallery Te Puna o Waiwhetū. Purchase enabled by a gift from Andrew and Jenny Smith, made in response to the generosity of Sarah Lucas, Sadie Coles, London and Two Rooms, Auckland to the people of Christchurch on the occasion of the Canterbury Earthquake, February 2011
Glen Hayward Yertle 2011. Wood (kauri, pine, puriri, rimu, totara) acrylic paint, wire. Collection of Christchurch Art Gallery Te Puna o Waiwhetū 2011
Wayne Youle The Saviour 2012. Fibreglass, mahogany, leather,ply and electrical components. Collection of Christchurch Art Gallery Te Puna o Waiwhetū 2012
Max Gimblett Self-Liberation by Knowing the Signs of Death 2010. Pencil, ink/Arches 555 lb rough watercolour paper France. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, The Max Gimblett and Barbara Kirshenblatt-Gimblett Gift
This exhibition is now closed
A selection of exciting recent additions to Christchurch's public art collection.
Art collections don’t stand still. Each new acquisition connects us with an ever-changing present, recharging the works it brushes up against with altered contexts and expanded meanings. Unseen offers an invigorating and intriguing selection from the works that have been added to Christchurch’s public art collection by purchase or gift while we’ve been closed.
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Date:
18 December 2015 – 19 June 2016 -
Exhibition number:
980 -
Contemporary Art Partner
Collection works in this exhibition
Related reading: Unseen: the changing collection, exhibition-980
Notes
There is only one direction by Colin McCahon
This article appeared as 'Divine Innovation' in the The Press on 31 August 2012.
Notes
Populate! update #4 (proofs of life)
So back at the start of last week I posted a teaser view of NDE, Peter Stichbury's work in progress for the Gallery's tenth-birthday Populate! programme, and asked the question: How is this easel painting, this thin skin of canvas with its fragile coating of acrylic, going to to muscle its way up to public art scale?
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No. 9, No. 9, No. 9, No. 9…Barbour Street
Colin McCahon spent several years based in Christchurch between 1948 and 1953 during which time he rented a house in Barbour street in the inner city suburb of Phillipstown.
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Hiding in plain sight
We've all heard the stories about confusions occurring on the edge where art meets life.
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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.
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Kauri tree landscape by Colin McCahon
This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015.
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NUD CYCLADIC I by Sarah Lucas
This article first appeared as 'A visible means of support' in The Press on 26 September 2014.
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How Did You Do That?
How often have you stood in front of an art work and wondered how the artist did that?
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Lift of a gift
Staff here at the Gallery have enjoyed finally getting the opportunity to see Dust, Smoke and Rainbows (2013), a major new painting gifted by Shane Cotton, which was brought out of storage to be photographed recently.
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Populate! update #8 (face up)
The waning sun and lowering weather have one nice side-effect, which is to create the perfect conditions for viewing Peter Stichbury's backlit billboard NDE, newly installed on Worcester Boulevard.
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A major boon to the Gallery in the direct aftermath of the earthquake
English artist Sarah Lucas was installing her show in Two Rooms, Auckland, when the 22 February earthquake struck.
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Max's gift
In early 2010 Max Gimblett announced his intention to give the Gallery a substantial gift of works on paper. The only complication was that someone had to go and select them...
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Subtly engaging security
We've all heard the stories about confusions occurring on the edge where art meets life. The London cleaning lady, for instance, who threw out hundreds of cigarette butts that turned out to be a Damien Hirst. Naturally, no self-respecting gallery professional wants to see their favourite artworks confused with mere stuff.