Reuben Paterson - Wharenui School visit

On Monday the 25th of March, kids from Wharenui school visited Te Pūtahitangi ō Rehua; a video installation by Reuben Paterson at 212 Madras street. They came to take part in a music based lesson organised as part of the Gallery's eduction programme. Reuben Paterson was keen to see how the kids would respond to his work, and you can see their response in this video. 

Te Pūtahitangi ō Rehua is part of the Christchurch Art Gallery's Outer Spaces programme and can be seen at 212 Madras from 21 Mar 2013 until 24 Apr 2013.

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Exhibition
Reuben Paterson: The End

Reuben Paterson: The End

Reuben Paterson's sparkling elevator installation offers an unexpected space for contemplation and connection.

Exhibition
Sydow: Tomorrow Never Knows

Sydow: Tomorrow Never Knows

1960s London set the scene for Carl Sydow’s playful, op-inspired sculptures.

Exhibition
Kamala, Astral and Charlotte, Lyttelton, March 1983

Kamala, Astral and Charlotte, Lyttelton, March 1983

Laurence Aberhart's 1983 photograph of Lyttelton children is displayed on our Gloucester Street billboard.

Artist interview
Silent Patterns

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.

Exhibition
Op + Pop

Op + Pop

The influence of two major twentieth-century art movements on New Zealand art.

Article
Sparks that fly upwards

Sparks that fly upwards

Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.

 

My Favourite
Peter Stichbury's NDE

Peter Stichbury's NDE

Anna Worthington chooses her favourite work from the Gallery collection.

Exhibition
Everything is Going to be Alright

Everything is Going to be Alright

Martin Creed's completely unequivocal, but also pretty darn ambiguous, work for Christchurch.

My Favourite
Julian Dashper's Untitled 1996

Julian Dashper's Untitled 1996

Sound artist Paul Sutherland chooses his favourite work from the Gallery’s collection.

 

Exhibition
Cosmo

Cosmo

Once upon a time, there was a massive rabbit...

Exhibition
Michael Parekowhai: Chapman's Homer at PlaceMakers Riccarton

Michael Parekowhai: Chapman's Homer at PlaceMakers Riccarton

Christchurch's favourite bull can now be found at PlaceMakers Riccarton. That may sound a bit unusual, but these are strange times.

Exhibition
David Cook: Meet Me in the Square

David Cook: Meet Me in the Square

Cathedral Square, Centennial Pool, Lancaster Park, schoolboys, punks, nuns – a photographic journey through 1980s Christchurch.

Notes
Holloway Press 1994-2014

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. 

 

 

Collection
Black on white
Gordon Walters Black on white

Gordon Walters is best-known for work that fused the influence of European modernist art and Māori and Pacific art forms, particularly the koru motif of painted kōwhaiwhai rafter designs. Walters’ influences from European modernism included the hard-edged geometric abstractions of Victor Vasarely and Auguste Herbin, seen while in Europe in 1950–51. Walters made his first optically charged ‘koru paintings’ in 1956, but didn’t show them until 1966 when he first exhibited this painting in Auckland.

Walters’ adaptation of the koru has been both admired and criticised by cultural commentators. Walters himself, when discussing the motif, increasingly focused on the fine mechanics of abstraction:

'What I’ve done to the form is push it more in the direction of geometry. So that I can have in my painting not only a positive/negative effect of black and white, but I can also have a working of vertical and horizontal, which is equally important.' (Op + Pop, 6 February – 19 June 2016)

Exhibition
Paul Johns: South Pacific Sanctuary / Peraki / Banks Peninsula

Paul Johns: South Pacific Sanctuary / Peraki / Banks Peninsula

The consideration of Japanese whale-hunting activity and ensuing protest in nearby southern waters has led to a reflection on our local whaling past, highlighting changing and divergent attitudes to animal life.

Exhibition
Proceed and Be Bold: The Pear Tree Press

Proceed and Be Bold: The Pear Tree Press

An exhibition of beautifully crafted, designed and hand-printed books from New Zealand's most renowned private press, The Pear Tree Press.

Exhibition
Max Hailstone: Book and Typographic Designer

Max Hailstone: Book and Typographic Designer

A selection of typographic designs, including books, posters and ephemera, by renowned Christchurch graphic designer Max Hailstone (1942–1997).

Article
The pleasure of making: objects taking centre stage in the space of the art gallery

The pleasure of making: objects taking centre stage in the space of the art gallery

Was it serendipity that the opening of Christchurch Art Gallery's Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker coincided with that of Slip Cast, a group exhibition at the Dowse Art Museum that also focused on the pleasure that artists take in manipulating materials in the process of making art?

Exhibition
Edwards+Johann: Rebels, Knights and Other Tomorrows

Edwards+Johann: Rebels, Knights and Other Tomorrows

Combining vividly imagined photographs with sculptural elements, Christchurch-based collaborative duo Edwards+Johann present an enigmatic and playful installation laced with tension and possibility.

Exhibition
Shane Cotton: Baseland

Shane Cotton: Baseland

Christchurch audiences at last have the opportunity to experience the complexity and ambition of Cotton's latest work in this two-venue exhibition by one of the biggest names in New Zealand art.

Exhibition
Daniel Crooks: Seek Stillness in Movement

Daniel Crooks: Seek Stillness in Movement

Hectic city scenes transformed into contemplative meditations of extraordinary beauty.

Article
Quiet invasion

Quiet invasion

The idea of peppering the vestigial city centre with portraits from the collection became part of the Gallery's tenth birthday POPULATE! programme, intended to remind all of us that the collection is, indeed, still here and in good shape.

Exhibition
Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker

Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker

A family-focused exhibition powered by the excitement of seeing ordinary things transformed in unexpected ways.

Article
Shifting Lines

Shifting Lines

It's where we live: the encrusted surface of a molten planet, rotating on its own axis, circling round the star that gives our daylight. Geographically, it's a mapped-out city at the edge of a plain, bordered by sea and rising, broken geological features. Zooming in further, it's a neighbourhood, a street, a shelter – all things existing at first as outlines, drawings, plans. And it's a body: portable abode of mind, spirit, psyche (however we choose to view these things); the breathing physical location of unique identity and passage.

Exhibition
Shifting Lines

Shifting Lines

Six artists use line to investigate space and structure in unexpected ways.

Exhibition
New Zealand Illustrated: Pictorial Books from the Victorian Age

New Zealand Illustrated: Pictorial Books from the Victorian Age

A selection of lavishly illustrated books from the Victorian era relating to New Zealand landscape, Māori culture, colonial enterprise and our unique flora, fauna and birdlife.

Article
Drawing from Life

Drawing from Life

In the beginning art was drawing.

Artist Profile
The endless newscape: Barry Cleavin’s inkjet prints

The endless newscape: Barry Cleavin’s inkjet prints

Barry Cleavin is often, rightfully, referred to as a 'master printer' – a maestro of intaglio printing techniques including the complex tonal subtleties of aquatint, soft- and hard-ground etching and the creation of 'linear tension'. Mastering these complex techniques to achieve a command over the etching processes has required patience and fortitude over a career spanning some forty-seven years.

Article
Yvonne Todd: The Wall of Man

Yvonne Todd: The Wall of Man

A succinct ad placed in the classifieds of the North Shore Times in March 2009 attracted some forty applicants. Respondents were shown a photographic portrait of an unnamed executive, and directed towards ervon.com – artist Yvonne Todd's website – to decide whether or not they wanted to be photographed. Some still did. The unfolding story might not have been exactly what they'd expected, but all who agreed understood it would be something different. Next came the eliminations: sixteen men were chosen to be photographed; twelve made it to the final cut. The resulting images were printed at varying sizes and titled: International Sales Director, Retired Urologist, Family Doctor, Senior Executive, Hospital Director, Company Founder, Sales Executive, Chief Financial Officer, Image Consultant, Independent Manufacturing Director, Publisher, Agrichemical Spokesman. This is The Wall of Man.

Exhibition
Bodytok Quintet: The Human Instrument Archive

Bodytok Quintet: The Human Instrument Archive

An interactive installation that reveals the astonishing sounds people can make using their bodies – from lip plopping to bone clicking.

Exhibition
Glen Hayward: I don't want you to worry about me, I have met some Beautiful People

Glen Hayward: I don't want you to worry about me, I have met some Beautiful People

Real or illusory? Virtual or physical? Sculptor Glen Hayward teases out these questions in this mind-bending new sculpture, a hand-carved and painted recreation of the famous office cubicle from The Matrix.

Exhibition
Fernbank Studio: away past elsewhere

Fernbank Studio: away past elsewhere

A selection of hand-printed books from Wellington's Fernbank Studio.

Notes
To the memory of Julian Dashper

To the memory of Julian Dashper

One of the highlights for staff over the eight or so years that the Christchurch Art Gallery was open prior to the shakes was the opportunity to work alongside Julian Dashper on his exhibition To The Unknown New Zealander

Exhibition
Boyd Webb: Sleep/Sheep

Boyd Webb: Sleep/Sheep

Boyd Webb contributes a new work to the Gallery's Sterescope programme.

Notes
Untitled 1956 by Gordon Walters

Untitled 1956 by Gordon Walters

This article first appeared as 'Balancing act' in The Press on 17 August 2012.

Exhibition
Tony Oursler: Head Knocking

Tony Oursler: Head Knocking

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: Fist

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
Faces from the Collection

Faces from the Collection

Treasured portraits populate empty spaces in our changing city.

Article
Christchurch Art Gallery is ten: highs and lows

Christchurch Art Gallery is ten: highs and lows

In recognition of the anniversary of the move of Christchurch's public art gallery from its former existence as the Robert McDougall in the Botanic Gardens to its new more central city location (now eerily empty), I've been asked by Bulletin's editor to recall some highs and lows of the last ten years. So here goes — and stay with me during this reflection, which takes the place of my usual foreword.

Article
Fall tension tension wonder bright burn want

Fall tension tension wonder bright burn want

Curator Felicity Milburn on Tony Oursler and the grotesque.

Artist interview
Gregor Kregar: Reflective Lullaby

Gregor Kregar: Reflective Lullaby

Justin Paton: As everyone who has seen your works at Christchurch Airport will know, you often make big sculptures with a geometric quality. Gnomes, however large, aren't the first things viewers might expect you to be interested in. What's the appeal of these figures for you?
Gregor Kregar: I'm interested reinterpreting mundane objects, shapes, situations or materials. In my large geometric works I do this by creating complex structures out of basic shapes—triangles, squares, pentagons and hexagons. And with the gnomes I am interested in how something that is usually made out of plastic or concrete and is associated with a low, kitsch aesthetic can be transformed into an arresting monumental sculpture.

Interview
It’s our party and we’ll cry if we want to

It’s our party and we’ll cry if we want to

On 10 May 2013, Christchurch Art Gallery Te Puna o Waiwhetu turns ten. Which is fantastic. But it's probably fair to say that there's a bittersweet quality to the celebrations around this particular anniversary, as it also marks two years and eleven weeks of closure for the Gallery, and catches us staring down the barrel of another two years without our home.

It's frustrating. And then some.

However, we're not going to let these little, ahem, inconveniences get in the way of our party. Populate! is our birthday programme, and it's our attempt to bring some unexpected faces and figures back to the depleted central city. Bulletin spoke to the Gallery's senior curator Justin Paton about what he really wants for the tenth birthday, what he finds funny, and what he really doesn't.

Exhibition
Roger Boyce: Painter Speaks

Roger Boyce: Painter Speaks

Grinning ventriloquist dummies are the stars of the show in Roger Boyce's Painter Speaks.

Exhibition
Face Books

Face Books

Portraits in books from the Christchurch Art Gallery Library collection.

Exhibition
Tony Oursler: Bright Burn Want

Tony Oursler: Bright Burn Want

The fantastically strange, inescapably human works of renowned video artist Tony Oursler.

Exhibition
Jess Johnson: Wurm Whorl Narthex

Jess Johnson: Wurm Whorl Narthex

New Zealand-born, Melbourne-based artist Jess Johnson makes intricate drawings and painted environments that evoke other worlds and parallel realities.

Exhibition
Gregor Kregar: Reflective Lullaby

Gregor Kregar: Reflective Lullaby

Gnomes are figures in historic folklore as well as garden ornaments. But Gregor Kregar has brought gnomes like you've never seen to 'the garden city' – staunch, shiny and more than three metres tall.

Exhibition
Camp Blood: Hand-Painted Film Posters

Camp Blood: Hand-Painted Film Posters

Drawn from the collection of Christchurch painter Roger Boyce, these promotional posters from Ghana, Africa, are movie marketing like you've never seen: lurid, vivid and emphatically hand-made.

Exhibition
Francis Upritchard: Believer

Francis Upritchard: Believer

A New Age awakening? Or just a 1960s pipe dream? Francis Upritchard's Believer is a recent addition to her expanding gallery of hippies, dreamers and gurus.

Notes
Glittering

Glittering

When it comes to posting comprehensive pictures of your new exhibitions online, opinion is divided.

Exhibition
Sian Torrington: How you have held things

Sian Torrington: How you have held things

Wellington-based artist Sian Torrington's site-specific sculptural installation combined ideas, images and materials that related to life in post-quake Christchurch

Notes
Sian Torrington Call Out

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

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.

Exhibition
Steve Carr: Majo

Steve Carr: Majo

Steve Carr's strangely mesmerising sound and video projection is shown after dark in an upstairs window of the old house opposite the Gallery on Worcester Boulevard.

Exhibition
Seung Yul Oh: Huggong

Seung Yul Oh: Huggong

Christchurch Art Gallery has a new offsite space, and Seung Yul Oh has filled it to bursting with his comically vast balloon sculptures.

Exhibition
Reuben Paterson: Te Pūtahitangi ō Rehua

Reuben Paterson: Te Pūtahitangi ō Rehua

Op-art patterns, expanses of glitter and Māori stories of water. They're all set in motion in this dazzling video installation by New Zealand artist Reuben Paterson.

Exhibition
Populate!

Populate!

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.

Exhibition
Toshi Endo: Wolf-Cub

Toshi Endo: Wolf-Cub

The kaleidoscopic moving imagery of Christchurch artist Toshi Endo has been stripped of colour and brought to a standstill in Wolf-Cub, his contribution to Christchurch Art Gallery's Stereoscope programme.

Exhibition
A Caxton Miscellany: The Caxton Press 1933–58

A Caxton Miscellany: The Caxton Press 1933–58

Established in Christchurch in 1933 the Caxton Press became one of the most progressive publishers of contemporary New Zealand writing and dynamic modern typographical design.

Exhibition
Brenda Nightingale: Christchurch Hills 2010–2012

Brenda Nightingale: Christchurch Hills 2010–2012

Local artist Brenda Nightingale's beautifully produced, hand-stitched publication features a selection of recent watercolours based on one of Christchurch's defining features, the Port Hills

Exhibition
Stereoscope #2: Robert Hood

Stereoscope #2: Robert Hood

Two Year of the Cyclops works by Christchurch artist Rob Hood kick off the second itteration of Stereoscope at 26E Lichfield Street.

Exhibition
Stereoscope: Robin Neate

Stereoscope: Robin Neate

Christchurch artist Robin Neate's contribution to the Gallery's Stereoscope programme is drawn from his recent series of energised abstract paintings.

Exhibition
Tricksters

Tricksters

Expect the rug to be pulled out from under your feet with the last exhibition in the Rolling Maul series.

Exhibition
De Lautour / Greig / Hammond

De Lautour / Greig / Hammond

An exciting opportunity to see new work by leading Canterbury artists Tony de Lautour, Jason Greig and Bill Hammond

Article
A miscellany of observable illustrations

A miscellany of observable illustrations

Romantic notions of gothic leanings, the legacy of Tony Fomison, devotion to rock sub-genres and an eye to the past are familiar and sound reasons to group Tony de Lautour, Jason Greig and Bill Hammond together in one exhibition, but De Lautour / Greig / Hammond is to feature new and recent work. Could all this change? What nuances will be developed or abandoned? Will rich veins be further mined? We can only speculate and accept that even the artists concerned can't answer these questions. For the artist, every work is a new endeavour, a new beginning. What may appear to the public, the critic or the art historian as a smooth, seamless flow of images is for them an unpredictable process where the only boundaries are those that they choose to invent.

Artist interview
Shane Cotton

Shane Cotton

Back on 20 September 2011, when our public programmes team began setting up the Hagley Park Geo Dome for a talk with Shane Cotton, they put out about sixty chairs and would have been glad to fill them. After all, it was a cold night in Christchurch, the roads were rough, the Geo Dome was off the beaten track and the quake had long since broken the rhythm of the Gallery's old Wednesday night programme of public talks.

Exhibition
Shane Cotton: The Hanging Sky

Shane Cotton: The Hanging Sky

Touring Australia and New Zealand 2012–13

Exhibition
James Oram: but it’s worth it

James Oram: but it’s worth it

Manipulating found footage of the infamous 'Black Friday' sales held by American chain stores, James Oram isolates and magnifies smaller physical gestures amidst the frenzied crush.

Exhibition
Concrete Propositions

Concrete Propositions

An explosive work of art in the central city.

Exhibition
Stereoscope: Kristin Hollis

Stereoscope: Kristin Hollis

Drawings of two bottles - one of gin, one of water – grace the Montreal Street side of the Christchurch Art Gallery bunker in the latest offering in the Stereoscope series.

Exhibition
Miranda Parkes / Tjalling de Vries: Keep left, keep right

Miranda Parkes / Tjalling de Vries: Keep left, keep right

Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, Miranda Parkes and Tjalling de Vries explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.

Notes
Worcester Boulevard exhibition extended as publication developed

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.

Exhibition
André Hemer: <del>CASS</del>

André Hemer: <del>CASS</del>

André Hemer's many-dimensioned installation for the Rolling Maul series combines painting with a range of secondary outputs to play with ideas of distance and deletion – with particular reference to a well known work from the Gallery's collection.

Exhibition
Helen Calder: Orange Up

Helen Calder: Orange Up

Helen Calder's new work, Orange Up, provides a refreshingly bold statement on the Gallery bunker using one of the powerhouses in the range of colours: orange.

Exhibition
Justene Williams: She Came Over Singing Like a Drainpipe Shaking Spoon Infused Mixers

Justene Williams: She Came Over Singing Like a Drainpipe Shaking Spoon Infused Mixers

Australian artist Justene Williams uses performance and ephemeral materials to produce a sensory overload of shapes, patterns and colours in the vibrantly theatrical video work.

Notes
Selected proofs

Selected proofs

Peter Trevelyan's exhibition Selected Proofs is currently on at the University of Canterbury's  SOFA Gallery until 7th September.

Exhibition
Ruth Watson: from white darkness

Ruth Watson: from white darkness

Offering a poetic commentary on the intriguing resemblances between art and science, Ruth Watson's container-based video installation combines historical footage, text and her own Antarctic imagery.

Exhibition
Tjalling is Innocent

Tjalling is Innocent

An ambitious paste-up work by local artist Tjalling de Vries on CoCa's back wall (viewable from Worcester Boulevard), Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.

Exhibition
Tony de Lautour: Unreal Estate

Tony de Lautour: Unreal Estate

Painted on found pages from real estate publications, Unreal Estate, is an artist's book published by local artist Tony de Lautour and Christchurch Art Gallery.

Exhibition
Out of Place

Out of Place

Katharina Jaeger, Chris Pole, Tim J. Veling and Charlotte Watson start with structure and consider what is possible when the normal rules no longer apply.

Notes
The inner binding now on display at the library

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

(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'...

Article
Laying out Foundations

Laying out Foundations

Looking broadly at the topic of local architectural heritage, Reconstruction: conversations on a city had been scheduled to open at the Gallery but will now instead show on outdoor exhibition panels along Worcester Boulevard from 23 June. Supplementing works from the collection with digital images from other collections, curator Ken Hall brings together an arresting art historical tour of the city and its environs.

Exhibition
Phantom City: Doc Ross’s Christchurch 1998–2011

Phantom City: Doc Ross’s Christchurch 1998–2011

Back projected large onto a shop window in Colombo Street, Sydenham, Doc Ross's photographs create a haunting record of this city before its dramatic seismic demise.

Exhibition
Stereoscope #1: Robert Hood

Stereoscope #1: Robert Hood

Two Year of the Cyclops works by Christchurch artist Rob Hood kick off Stereoscope, a new Outer Spaces series housed within two black frames positioned on the street-side of the Gallery's Montreal Street bunker.

Exhibition
Here are the people and there is the steeple

Here are the people and there is the steeple

A big bright mural inspired by the challenges of rebuilding a city. Kay Rosen turns the word 'people' into the foundation for an unexpected 'steeple'.

Exhibition
Michael Parekowhai: On First Looking into Chapman’s Homer

Michael Parekowhai: On First Looking into Chapman’s Homer

Michael Parekowhai's spectacular Venice Biennale installation returns home for its first post-Biennale showing in New Zealand.

Exhibition
Hannah and Aaron Beehre: Waters Above Waters Below

Hannah and Aaron Beehre: Waters Above Waters Below

Hannah and Aaron Beehre's immersive new installation connects us with the transformative moments beneath the surface of the everyday.

Exhibition
Georgie Hill and Zina Swanson: Breathing space

Georgie Hill and Zina Swanson: Breathing space

Strength, fragility and connection are at the heart of the second Rolling Maul exhibition, which features works by Georgie Hill and Zina Swanson.

Exhibition
Sam Harrison: Render

Sam Harrison: Render

Presenting new art from Christchurch, our Rolling Maul project series begins with a remarkable exhibition of sculptures by Sam Harrison.

Artist interview
Rolling Maul

Rolling Maul

A lot of water, and Lord only knows what else, has flowed under the bridge since Justin Paton and I first hatched our plans for a fast-paced, post-quake showing of new work by local artists. Rolling Maul, so far, has been quite the antithesis of 'fast-paced', and despite our best efforts, it is yet to roll anywhere – rather it has been beset by the same delays, cancellations and frustrations as all of the Gallery's other in-house plans.

Our original concept, as outlined in B.165, was based around the use of one of Christchurch Art Gallery's ground-floor exhibition spaces, which we hoped to reoccupy as soon as they were no longer required as part of the City Council/CERA earthquake response. But as we are now only too aware, we won't be showing anything there any time soon.

 

Exhibition
Elliot Collins: For those who stay behind

Elliot Collins: For those who stay behind

Keep an eye out for the Gallery's latest Outer Spaces project around town over the next couple of weeks as poster reproductions of three paintings by Auckland artist Elliot Collins appear pasted to bollards and walls throughout the city.

Exhibition
Ronnie van Hout: The creation of the world

Ronnie van Hout: The creation of the world

A haunting video projection by Ronnie van Hout in the window of the old house opposite the Gallery on Worcester Boulevard.

Exhibition
Julia Morison: Meet me on the other side

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'.

Exhibition
I seem to have temporarily misplaced my sense of humour

I seem to have temporarily misplaced my sense of humour

Stretching across a vast wall at the gateway to Sydenham, Wayne Youle's new public artwork is a shadowboard, where tools for rebuilding hang alongside many familiar but precious objects.

Exhibition
Sara Hughes: United We Fall

Sara Hughes: United We Fall

A procession of politically charged colours

Exhibition
Matt Akehurst: You Are Here

Matt Akehurst: You Are Here

Pablo Picasso, Marcel Duchamp, Damien Hirst, Robert Smithson, Michelangelo... Yes, all the big names have just arrived on the Christchurch Art Gallery forecourt.

Exhibition
Julia Morison: Aibohphobia

Julia Morison: Aibohphobia

Julia Morison has turned the Gallery's squat grey bunker into a dizzying vision in dayglo green.

Exhibition
André Hemer: Things to do with paint that won't dry

André Hemer: Things to do with paint that won't dry

New Zealand artist André Hemer's colourful Worcester Boulevard intervention Things to do with paint that won't dry, appears to flow and spill down the side of the building.

Exhibition
Jae Hoon Lee: Annapurna

Jae Hoon Lee: Annapurna

An immense and oddly surreal landscape glowing out from the Springboard over Worcester Boulevard is the latest addition to the Outer Spaces programme.

Exhibition
Scott Flanagan: Do You Remember Me Like I Do?

Scott Flanagan: Do You Remember Me Like I Do?

Including a wishing well and mirror painstakingly woven from reflective black VHS tape, Scott Flanagan's latest installation considers the surprisingly elusive nature of civic memory.

Notes
The ghost of studios past

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.

Article
New Zealand in the Biennale of Sydney and the Biennale of Sydney in New Zealand

New Zealand in the Biennale of Sydney and the Biennale of Sydney in New Zealand

and the Biennale of Sydney in New Zealand

Collection
Energy Triad
Don Driver Energy Triad

Op + Pop 6 February – 19 June 2016

The New Plymouth-based Don Driver worked from the mid-1970s until the 1990s on sculptural assemblages made from found materials. Echoing the work of American pop artist Robert Rauschenberg, whose work Driver had experienced while visiting New York in 1965, Energy Triad makes assertive use of familiar, locally sourced items, placing pioneering farming tools alongside advertising and road signage, all with a meticulous eye to formal balance and arrangement.

Collection
Untitled
Julian Dashper Untitled

Op + Pop 6 February – 19 June 2016

The repurposed drumskin became a signature motif for Auckland-based Julian Dashper, whose conceptual art practice saw him develop an international exhibiting profile in the United States, Australia and Europe, before his untimely death in 2009.

Resonating with the American pop artist Jasper Johns’ 1950s target paintings, Dashper’s drumskin canvases were also made to honour a band of New Zealand’s pioneering modernists. In 1992 The Big Bang Theory saw him assembling full drumkits emblazoned with his heroes’ names: The Anguses, The Hoteres, The Colin McCahons, The Woollastons and The Drivers.

Collection
June Pause
Simon Morris June Pause

Op + Pop 6 February – 19 June 2016

Packed with an energetic sense of movement, Simon Morris’s painting gives the effect of a boldly rhythmic musical score. Its pattern, appearing at first to be random or chaotic, is found to be sequenced and repeating, and with diagonals regularly breaking up the picture plane.

Morris builds on the legacy of pioneering New Zealand geometric abstractionists such as Carl Sydow and Gordon Walters. This optical sequence was generated by a mathematical formula, which he says “creates images that I wouldn’t come up with myself. It’s like the system partly makes the work.”

Collection
Elongated Triangles 4
Bridget Riley Elongated Triangles 4

Op + Pop 6 February – 19 June 2016

British artist Bridget Riley is a leading name in the op art movement. Her work came to international attention in 1965 when included in an exhibition called The Responsive Eye at the Museum of Modern Art in New York, alongside artists including Victor Vasarely and Josef Albers.

Riley’s earliest op art paintings in black and white had a major impact on 1960s fashion, advertising and design. She increasingly used colour in her work from 1967 onwards, when she also began using simplified forms, often vertical straight or wavy lines, and colour variation and contrast that produced a sense of movement.

Collection
Slumper
Miranda Parkes Slumper

Miranda Parkes’ Slumper occupies its own unique territory, but might also be seen as the wayward love child of British op artist Bridget Riley and American pop artist Claes Oldenburg, best-known for his giant, painted soft sculptures. Slumper seems ready to enfold the viewer and also perfectly comfortable in its own billowing skin. (Op + Pop, 6 February – 19 June 2016)

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Drawing 6: V
Carl Sydow Drawing 6: V

Carl Sydow has used these 20 cubes, each tilted onto one edge, to explore form, surface texture and the presence of objects within space. Taken individually, each object is distinct, as the 'light' falls in a different way on every surface, but together they form an engaging abstract pattern. Sydow created the work with a combination of precise ink drawing and the use of letrafilm, a system of ready-made transfers. The effect creates the illusion that the work is three-dimensional. Sydow's formal investigation of abstract properties such as colour, line, tone, volume and movement reflect the influence of Constructivism on his work. Born in Takapau, in the central Hawkes Bay, Sydow studied at the Schools of Fine Arts at both the University of Canterbury and Auckland University. After graduating, he went to the Royal College of Art, London, on an Arts Council grant from 1964 to 1966. Sydow regularly exhibited with The Group in Christchurch and was a founding member of the Sculptors’ Group, formed in 1970.

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Untitled
Gordon Walters Untitled

New Zealand painter Gordon Walters started making his optically charged paintings in 1956, four years before the British painter Bridget Riley, op art’s principal exponent, began working with similar ideas. Walters’ explorations owed much to his study of Māori and Papua New Guinean art and their positive/ negative treatment of space, and to the abstract modernist painting he had seen while in Europe in 1950–51. Although best-known for his koru (fern bud motif ) paintings, his later, more simplified works remained equally visually challenging.

(Op + Pop, 6 February – 19 June 2016)

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Mang
Mark Braunias Mang

Mark Braunias has applied a kind of speculative genetic engineering to the work of Walt Disney, Andy Warhol and the surrealist Jean Arp, resulting in giant, amoeba-like versions of comic-book characters that appear ready to spring to life. A master of reassemblage and reinvention, Braunias makes his ‘quick draw’ from a vast cache of popular cultural and historical sources, while applying a quiet dose of wry intent. (Op + Pop, 6 February – 19 June 2016)

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Tootoo
Julia Morison Tootoo

Like a Gordon Walters painting doing the cancan, Julia Morison’s Tootoo makes ready to kick the high-minded formalism out of abstract painting and take the viewer on a wild, exhilarating dance. Folding and reversing on itself, and playing with positive and negative space, the work's elaborate structure creates a powerful visual conundrum. (Op + Pop, 6 February – 19 June 2016)

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Mao Tse-Tung
Andy Warhol Mao Tse-Tung

Op + Pop 6 February – 19 June 2016

Closely associated with notions of fame and popular culture, Andy Warhol was a leading name in American pop art, and renowned for using the aesthetics of advertising and commercial printing techniques in his work.

Warhol’s screenprint of Mao Tse-Tung was made when communist China’s founder was still alive. It adapted a portrait that was used throughout China in veneration of its leader and his ideas. The blue-faced Chairman Mao is one of a series of colour variations Warhol created, all equally startling. He made similar portraits of American icons including Marilyn Monroe, Elizabeth Taylor, Elvis Presley and Mickey Mouse.

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Roy Lichtenstein Flowers

Op + Pop 6 February – 19 June 2016

Roy Lichtenstein’s Flowers is art about art; a parody both of cubism and of the long-established still life genre. Lichtenstein was a leading figure in

the American pop art movement from the 1960s. He began making still lifes in 1972, riffing off artists such as Fernand Léger, Juan Gris, Henri Matisse and Piet Mondrian while applying his adaptation of graphic comic book style and commercial printing techniques.

Flowers exists in multiple versions. The screenprint (and a Christmas card) followed a much larger work in paper collage, tape and marker on card.

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Whiteout
Neil Dawson Whiteout

Neil Dawson’s sculptures consistently explore the slippage between appearance and reality. We think we see solid forms, but on closer inspection they turn out to be illusions.

Whiteout conveys Dawson’s fascination with these ideas and playfully challenges our perceptions of space and movement. This wall sculpture is reminiscent of the early structures of the Dadaists and Russian Constructivist sculptors Vladimir Tatlin (1885–1953) and Antoine Pevsner (1886–1962) in the early 20th century. Dawson is one of New Zealand’s leading contemporary site-specific artists. His innovative use of sculptural materials and principles of perspective are evident in this early example of his work.

Born in Christchurch, Dawson studied at the University of Canterbury School of Fine Arts and the National Gallery of Victoria Art School, Melbourne. He has exhibited widely and has several major public installations in New Zealand and internationally.

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Chromatic Variations IX
Mervyn Williams Chromatic Variations IX

This work is one a series of screenprints, the name of which reflects Mervyn Williams’ love of Johann Sebastian Bach’s music and also refers to variations in colour. He has said that Chromatic Variations IX can be looked at as if it was a Tibetan mandala, rather than simply being a design. Williams’ painting and printing have always centred on formal abstraction. In the Chromatic Variations series he abstracted forms in a complex manner and experimented with different colours in each print. Williams was born in Whakatane in the Eastern Bay of Plenty. In 1956 he met artist Ted Dutch (b. 1928) who got him interested in silk-screen work. Williams studied at Elam School of Fine Arts in Auckland. He won First Prize in the Graphic Section of the Hay’s Art Award in 1966 and was represented in the ‘International Biennale Exhibition of Graphic Art’ in Tokyo in 1966 and 1972. Williams also won the New Zealand Print Council Samarkand Award in 1969.

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Naturist
Reuben Paterson Naturist

In Naturist Reuben Paterson revels in geometric patterns and sharp contrasts between black and white, reminiscent of 1960s hard-edged abstraction, op-art and Maori designs. The delicate, illusory effect Naturist has on the viewer is heightened by Paterson’s use of glitter, a recurring feature in his work.

Naturist draws on an installation at Riccarton House in 2004 where the artist created a black and white optical illusion of the landscape. Tapping into invisible, undulating energies left behind by Maori, Naturist is a study of how collective energies from the past are reflected in the land.

Paterson graduated from the Elam School of Fine Arts, Auckland, in 1997. In the same year he was selected as one of three recipients of the Moet & Chandon Fellowship, awarding him a six-week residency in France.