Lisa Reihana – Sex Trade, Gift for Banks, Dancing Lovers, Sextant Lesson (18550) (19205)
Dear Sex Trade, Gift for Banks, Dancing Lovers, Sextant Lesson (18550) (19205),
I’m surprised to see you here, and I’m conflicted.
At once I love you then I hate you. Do you remember the first time I saw you in your entirety? It was bitterly cold, an unexpected Toronto snowstorm and I hid from the sleet in the warm Galleria Italia at the newly renovated Frank Gehry architecturally designed and renamed Art Gallery of Ontario. (10-year-old Juanita did not foresee this future for herself, she was hungry for food… Now she’s hungry for art and meaning, how wanky! Te Kore, Te Pō, Te Ao, born, live, die.)
Reuben Paterson - The End
I am a clown. I spent my whole life perfecting the art of idiocy, learning my trade outside the Gallery on the corner of Worcester Boulevard and Montreal Street – cutting my teeth as a street performer. Then one day, I was invited to step inside the Gallery, to write about art. Naturally, I felt nervous, but excited.
Rita Angus – Cass
A few years ago, I walked the old Ngāi Tahu trails through Kā Tiritiri-o-te-moana The Southern Alps. I was hunting for traces of our pre-European history in the mountains. I encountered a lot of Pākehā mountain history as well. In the upper Waimakariri Basin, on my way to Tarahaka Arthur’s Pass, I wandered into New Zealand’s greatest painting – as seen on TV.
Marti Friedlander – Margaret Mahy
Marti Friedlander is my favourite Aotearoa photographer. I don’t remember the first time I saw one of her photographs, but they always feel familiar and give me a sense of warm nostalgia. Her work captures a time in New Zealand I miss – primary school cheekiness, shopping on a Saturday morning, travelling to family farms in Timaru and North Canterbury. A simpler life.
Jason Greig's Vulcan Paradise
I’ve had a quiet fascination with Jason Greig’s work ever since I was a Year 13 student hanging about Burnside High’s art block (which, granted, wasn’t that long ago). My then printmaking teacher, Nichola Shanley, is a good friend of Jason’s and managed to get him along to one of our classes.
Cerith Wyn Evans's Things are conspicuous in their absence...
I have never seen an artwork reflect something so true. “Things are conspicuous in their absence” is such an uncommonly heard reflection that it is eye-catching. When things are around us, they seem normal and often go unnoticed; the moment they are gone it can be startling and we wake up.
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Julian Dashper's Untitled 1996
Sound artist Paul Sutherland chooses his favourite work from the Gallery’s collection.
Shane Cotton's Takarangi
I grew up in the Motueka Valley at a place called Ngatimoti. The Peninsula Bridge crosses the Motueka river there. It carries one lane on a timber deck joining SH 61 to Peninsula Road and the west bank of the river. The bridge is 110 years old, still doing its job of daring every kid who grows up in its vicinity to climb the railing and take the leap one day – maybe thirty feet if the summer is hot and the river sedate and inviting. By the time I’m sixteen, I’m a veteran. Veterans don’t jump. We dive, head first, eyes open, arms outstretched. There must be grace in the art of falling.
Robert Herdman-Smith's Framed Presentation to Hugh Duncanson Buchanan
I’m often drawn to art that’s attached to a specific time and place, and so it was that I came across Robert Herdman-Smith’s beautiful piece – commissioned in honour of the departure from Little River of a wealthy landowner (Hugh Duncanson Buchanan) in 1908. Behind the intricately carved wooden frame, the tiny perfect lettering embellished with paintings and art nouveau-ish decorations, is a story that I’d like to know more about.