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    Bulletin
    New Zealand's leading 
    gallery magazine

    NotesCommentaryArtist ProfileArticleDirector's ForewordMy FavouriteInterview

    Director's Foreword

    Director's Foreword

    Alicia Frankovich’s Atlas of Anti-Taxonomies

    Commentary

    Hard and Slippery – HAHAHA (Wait, is that the title?)
    On naming things, collaboration as whanaukataka, and holding the door open for others

    Artist interview

    The Arts and Crafts Movement at the End of the World

    Commentary

    HomeCollectionEarth Vein
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    Andrew Drummond

    Aotearoa New Zealand

    Earth Vein

    • 1980-2010
    • Photographs on paper
    • Gift of the artist, 2010
    • 520 x 719mm
    • 2012/019.1-18

    Tags: artists (visual artists), landscapes (representations), monochrome, natural landscapes, people (agents), performance artists, sculptors

    Save to My Gallery
    Image: uploads/2020_05/2012_0195E1-18.jpg

    Related reading: Ecology, Enviromentalism

    Product
    Andrew Drummond: Observation / Action / Reflection

    Andrew Drummond: Observation / Action / Reflection

    Jennifer Hay, John Finlay, Bruce Barber, Peter Leech, Pamela Hansford

    $49.99

    Commentary
    Pauline Rhodes: Blue Mind

    Pauline Rhodes: Blue Mind

    Painted blue and patterned with rust, the thin plywood panels and screens lean nonchalantly around the walls of the gallery and form a skyline of sorts. Across the floor sculptures intersect the space, with groupings of tall rods, waist-high enclosures, clusters of plywood shapes and a small kayak frame on salvaged seaweed and driftwood. Islands for the audience to navigate. The forms are roughly human in scale and relative to the body, generating an intensity and making this an immersive installation to wade through. 

    Continued

    Commentary
    The Edge of the Sea

    The Edge of the Sea

    A vision of New Zealand’s past from 1995:

    Europeans first imagined New Zealand as “a garden and a pasture in which the best elements of British society might grow into an ideal nation”... When the smoke of the colonists’ fires cleared at the end of the 19th century, New Zealand had become a different country. Māori had lost their most precious life-support system. Only in the hilliest places did the forest still come down to the sea. Huge slices of the ancient ecosystem were missing, evicted and extinguished. Our histories, however, have had neither the sense of place nor ecological consciousness to explain what has happened.

    Continued

    Exhibition
    Adele Jackson: Antarctic Sun Lines

    Adele Jackson: Antarctic Sun Lines

    To mark the opening of the 2019/20 Antarctic summer season, Christchurch Art Gallery Te Puna o Waiwhetū presents the first publicly exhibited Antarctic Sun Lines solargraph. A multi-day exposure image made using a pinhole camera and illuminated with solar energy, it considers Antarctica in relation to the sun and the natural forces that create and sustain life on Earth

    Artist interview
    Power Play

    Power Play

    In November 2017, Simon Denny’s The Founder’s Paradox opened at Michael Lett Gallery in Auckland, the first solo exhibition Denny had made specifically for New Zealand audiences in several years. His starting point for the project was local: the news, broken by New Zealand Herald journalist Matt Nippert in early 2017, that the billionaire tech investor and Donald Trump supporter Peter Thiel was in fact a New Zealand citizen.

    Continued

    Commentary
    Of Braided Rivers and Hydro-Traders

    Of Braided Rivers and Hydro-Traders

    “With 14,000km of coastline, over 180,000km of rivers, and 3,820 lakes, there’s more to the land of the long white cloud than land…” So began an advertisement in a recent Sunday Star Times. It might have been the opening gambit for a campaign devoted to water conservation but was, in fact, a promotion for the latest model jet ski: “And all you need to unlock it is the all-new Yamaha Waverunner FX HO… SAME PLANET, DIFFERENT WORLD. Yamaha-motor.co.nz.”

    Continued

    Commentary
    The Lines That Are Left

    The Lines That Are Left

    Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.

    — Joanna Paul

    The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.

    Continued

    Collection
    Dawn/Water Poem

    Ralph Hotere Dawn/Water Poem

    For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:

    “There are very few things I can say about my work, that are better than saying nothing.”

    —Ralph Hotere, undated

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    Christchurch Art Gallery Te Puna o Waiwhetū

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