In this issue, Roger Collins looks at the Pacific etchings of eighteenth-century French artist Charles Meryon, who sailed around New Zealand on the Rhin, visiting the French settlement of Akaroa in 1843. And Lara Strongman talks to prominent British artist John Stezaker, who is known for his distinctive, often deceptively simple, collages. Resolutely analogue in a digital era, he works with scalpel and glue, slicing images and joining them together in new configurations. We also hear from Gwynneth Porter and Ani O’Neill, who talk about the collaborative nature of work. Pagework comes from Holly Best, who recently featured in our Devil’s Blind Spot exhibition; My Favourite is by Victor Rodger, who finds familiarity and past adventures in another work from that same exhibition, our recent purchase Seta by Ane Tonga. Our Postcard comes from former Gallery guide, Margaux Warne, who revels in some of Paris’s smaller museums and galleries.
In this issue also, art historian and curator, Priscilla Pitts, considers trends in collecting for Christchurch’s public art collection during Jenny harper’s time here as the Gallery’s director; and Christina Barton, director of the Adam Art Gallery, writes of working with and knowing Jenny for a number of years.
Imprint: Christchurch Art Gallery Te Puna o Waiwhetū
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