A recharged contemporary hang to mark 125 years of women’s suffrage.
As Aotearoa New Zealand marks 125 years of women’s suffrage, we’ve recharged our contemporary collection spaces with a high-voltage new hang. Some works resonate with challenge, like Allie Eagle’s defiant 1974 self-portrait – made after spending a long day hanging paintings by her male peers – or Robyn Kahukiwa’s foot-stomping women’s haka, Tena I Ruia (1988). Others claim space more obliquely, with ambition, insight and self-deprecating humour. Spanning four decades, the new line-up highlights major pieces by such celebrated artists as Vivian Lynn, Julia Morison and Louise Henderson, and also introduces several recent acquisitions, including works by Areta Wilkinson, Francis Upritchard and Saskia Leek.
See all the works from our collection that are in this exhibition.
Our Collection: 19th and 20th Century New Zealand Art
Our lively new historical collection exhibitions explore Māori architecture, colonial portraiture, early landscape painting and mid-century abstraction.
Francis Upritchard: Jealous Saboteurs
Exquisitely imagined, startlingly strange works by an internationally acclaimed New Zealand artist.
Julia Morison: Meet me on the other side
Julia Morison's evocative post-quake sculptures and 'liqueurfaction' paintings return to Christchurch for a special showing in a gallery space overlooking the inner-city 'red zone'.
The World Tossed Continuously in a Riot of Colour, Form, Sound
One hundred and twenty five years ago, after years of political struggle, Aotearoa New Zealand granted all adults the right to vote by extending suffrage to women. To mark this anniversary, for this issue of Bulletin our curators have written about some of the Gallery’s significant – yet lesser-known – nineteenth and mid-twentieth-century works by women. Our intention is to make these paintings, and the cultural contribution of the artists, more visible in 2018.
An Undeniable Promise
There is such a burden of expectation placed on Anne’s painting, and on the exhibition… itself. I feel, like many women painters that she is being asked to prove an undeniable promise. This is unfair.
Representing Women: Ann Shelton’s Dark Matter
What is ‘dark matter’? For theoretical physicists it is matter that cannot be directly observed but whose existence is nevertheless scientifically calculable – productively present yet simultaneously invisible. In a similar vein, the everyday phrase ‘dark matter’ describes objects, conditions and situations that harbour unease or trauma. Trauma that is often concealed, repressed, or buried. Both definitions are active in Ann Shelton’s mid-career review exhibition Dark Matter, and they provide a rich point of entry into this compelling collection of her photographic work. These are photographs that bristle with intensity and refuse to let their subjects die a quiet archival death.