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 education 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.
Related reading: Op + Pop, Outer Spaces
Reuben Paterson's sparkling elevator installation offers an unexpected space for contemplation and connection.
1960s London set the scene for Carl Sydow’s playful, op-inspired sculptures.
Laurence Aberhart's 1983 photograph of Lyttelton children is displayed on our Gloucester Street billboard.
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.
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Martin Creed's completely unequivocal, but also pretty darn ambiguous, work for Christchurch.
Julian Dashper's Untitled 1996
Sound artist Paul Sutherland chooses his favourite work from the Gallery’s collection.
Christchurch's favourite bull can now be found at PlaceMakers Riccarton. That may sound a bit unusual, but these are strange times.
Cathedral Square, Centennial Pool, Lancaster Park, schoolboys, punks, nuns – a photographic journey through 1980s Christchurch.
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.
An exhibition of beautifully crafted, designed and hand-printed books from New Zealand's most renowned private press, The Pear Tree Press.
A selection of typographic designs, including books, posters and ephemera, by renowned Christchurch graphic designer Max Hailstone (1942–1997).
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?
Combining vividly imagined photographs with sculptural elements, Christchurch-based collaborative duo Edwards+Johann present an enigmatic and playful installation laced with tension and possibility.
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.
Hectic city scenes transformed into contemplative meditations of extraordinary beauty.
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.
A family-focused exhibition powered by the excitement of seeing ordinary things transformed in unexpected ways.
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.
Six artists use line to investigate space and structure in unexpected ways.
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.
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.
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.
An interactive installation that reveals the astonishing sounds people can make using their bodies – from lip plopping to bone clicking.
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.
A selection of hand-printed books from Wellington's Fernbank Studio.
Boyd Webb contributes a new work to the Gallery's Sterescope programme.
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.
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.
Treasured portraits populate empty spaces in our changing city.
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.
Fall tension tension wonder bright burn want
Curator Felicity Milburn on Tony Oursler and the grotesque.
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.
It’s our party and we’ll cry if we want to
On 10 May 2013, Christchurch Art Gallery Te Puna o Waiwhetū 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.
Grinning ventriloquist dummies are the stars of the show in Roger Boyce's Painter Speaks.
The fantastically strange, inescapably human works of renowned video artist Tony Oursler.
New Zealand-born, Melbourne-based artist Jess Johnson makes intricate drawings and painted environments that evoke other worlds and parallel realities.
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.
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.
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.
Wellington-based artist Sian Torrington's site-specific sculptural installation combined ideas, images and materials that related to life in post-quake Christchurch
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.
Christchurch Art Gallery has a new offsite space, and Seung Yul Oh has filled it to bursting with his comically vast balloon sculptures.
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.
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.
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.
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.
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
Two Year of the Cyclops works by Christchurch artist Rob Hood kick off the second itteration of Stereoscope at 26E Lichfield Street.
Christchurch artist Robin Neate's contribution to the Gallery's Stereoscope programme is drawn from his recent series of energised abstract paintings.
Expect the rug to be pulled out from under your feet with the last exhibition in the Rolling Maul series.
An exciting opportunity to see new work by leading Canterbury artists Tony de Lautour, Jason Greig and Bill Hammond
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Laden with associations, but buoyant with possibility, this large-scale window commission by renowned New Zealand artist Richard Killeen features a richly-layered composition that hints at systems of knowledge and classification.
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.
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.
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.
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'.
Michael Parekowhai's spectacular Venice Biennale installation returns home for its first post-Biennale showing in New Zealand.
Hannah and Aaron Beehre's immersive new installation connects us with the transformative moments beneath the surface of the everyday.
Strength, fragility and connection are at the heart of the second Rolling Maul exhibition, which features works by Georgie Hill and Zina Swanson.
Presenting new art from Christchurch, our Rolling Maul project series begins with a remarkable exhibition of sculptures by Sam Harrison.
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.
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.
A haunting video projection by Ronnie van Hout in the window of the old house opposite the Gallery on Worcester Boulevard.
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'.
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.
Pablo Picasso, Marcel Duchamp, Damien Hirst, Robert Smithson, Michelangelo... Yes, all the big names have just arrived on the Christchurch Art Gallery forecourt.
Julia Morison has turned the Gallery's squat grey bunker into a dizzying vision in dayglo green.
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.
An immense and oddly surreal landscape glowing out from the Springboard over Worcester Boulevard is the latest addition to the Outer Spaces programme.
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.
New Zealand in the Biennale of Sydney and the Biennale of Sydney in New Zealand
and the Biennale of Sydney in New Zealand
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.
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.
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.
Bill Culbert’s high school art teacher asked his students to stand in a dark room, then went outside. The sunlight streamed through the keyhole, projecting a tiny image of him – upside down and waving – on the room’s far wall. From that moment, Culbert was excited by light’s power to transform how we see the world. These sculptures were some of the first he made exploring the possibilities of electric light. In Celeste, he placed a lightbulb into a dark box full of tiny holes, then put that inside a bigger Perspex box so that it generates multiple ‘ghost’ bulbs on the outside. Reflection 1 tests the line between reality and illusion, as another bulb repeats itself into infinity. Culbert liked ordinary, everyday materials best, believing they left more room for the imagination.
(Wheriko - Brilliant! 17 May 2019 – 16 February 2020)
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.
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.