The staff of Strategic Partner EY talk about how art makes them feel ahead of the Gallery’s reopening in December 2015.
Blair Jackson has been appointed the new director of Christchurch Art Gallery Te Puna o Waiwhetū.
The London Club
In September 2017, Gallery director Jenny Harper, curator Felicity Milburn and Jo Blair, of the Gallery Foundation’s contracted development services, Brown Bread, went to London, taking a group of supporters who received a very special tour of the city’s art highlights. While there, they further developed the Foundation’s new London Club. Recently they sat down together in Jenny’s office…
London's hottest chefs are coming to town – and you're invited to dinner!
Anticipation and Reflection
This is a time of considerable anticipation at the Gallery: Bridget Riley’s new work for Christchurch is due for completion in late May 2017. A wall painting, it’s the fourth of five significant works chosen to mark the long years of our closure for seismic strengthening following the Canterbury earthquakes of 2010–11. It has been paid for, sight unseen, by a group of wonderful women donors, with further support for costs associated with its installation secured by auction at our Foundation’s 2016 gala dinner.
Shannon Te Ao: Tēnei Ao Kawa Nei
Tenderness and human longing are revealed in Shannon Te Ao’s award-winning video installations.
The Devil’s Blind Spot: Recent Strategies in New Zealand Photography
Recent photography by an emerging generation of New Zealand artists.
Francis Upritchard: Jealous Saboteurs
Exquisitely imagined, startlingly strange works by an internationally acclaimed New Zealand artist.
Energies: Haines & Hinterding
See, hear, smell and feel the invisible energies that surround us as Australian artists David Haines and Joyce Hinterding summon unseen forces.
Great Britten! A work by Billy Apple
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.
Fiona Pardington: A Beautiful Hesitation
A survey exhibition by a leading New Zealand photographer explores sex, death and the female gaze.
Simon Turcotte, GM of Singapore Airlines New Zealand, writes on art, Christchurch and why Singapore Airlines partner with the Gallery.
The Printing Arts
PMP Print have been printing Bulletin since late 2013. They sponsor the production of the magazine (which, given our modest budget we greatly appreciate) but more than that, they’re a true partner, going above and beyond to ensure that each edition of Bulletin is produced to the highest quality. We thought you might enjoy a brief insight into the delights and challenges of producing a magazine.
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Contemporary works that create subtle openings for connection and contemplation.
Brown Bread helps Christchurch Art Gallery engage its community to raise funds. They managed the Back the Bull campaign to buy Michael Parekowhai’s Chapman’s Homer and they grow our TOGETHER campaign for the Gallery Foundation—attracting a new family of commercial partners as well as a group of philanthropists to build an endowment fund to purchase major pieces of public art for Christchurch.
On Saturday a gala dinner for Christchurch Art Gallery TOGETHER Foundation marked the illumination of Martin Creed's Work No. 2314, the latest artwork funded by the Foundation. Multi-coloured neon letters, over a metre tall, spell out EVERYTHING IS GOING TO BE ALRIGHT on the Gallery's south wall.
On Saturday night artist Bill Culbert and chefs Margot and Fergus Henderson helped raise the bar for another extraordinary fundraiser from the Gallery and its Foundation
When 'Chapman’s Homer' was exhibited at the edge of the devastated central city in 2012, it was positioned between ruin and rebuild just outside the cordon in an empty lot on Madras Street. Our bull stood beside his seated brother while a red carved Steinway piano was played upstairs in an adjacent building. Over thirty days, Parekowhai’s work caught the public imagination as a symbol of the resilience of local people. At once strong and refined, a brutal force of nature and a dynamic work of culture, Chapman’s Homer resonated with local audiences. Subsequently, a public fundraising campaign kept the bull in Christchurch.
Chapman’s Homer was first exhibited in Venice, where Parekowhai represented New Zealand at the 2011 Venice Biennale. It travelled to Christchurch after being shown at the Musée de quai Branly in Paris. Over the past year, we’ve shown it at a number of sites around the city as part of the Gallery's Outer Spaces programme, including Worcester Boulevard, Placemakers Riccarton, New Regent Street, and most recently at Christchurch International Airport. And now the bull is back – standing strong in its permanent home at Te Puna o Waiwhetū Christchurch Art Gallery, welcoming visitors to our reopening exhibitions.