This exhibition is now closed
Laurence Aberhart's 1983 photograph of Lyttelton children is displayed on our Gloucester Street billboard.
Our art billboard has moved to a new site on Gloucester Street. Laurence Aberhart's photograph is a portrait of his daughters and a small family friend, framed in the niche of an old fish and chip shop in Lyttelton. A chronicler of the New Zealand vernacular, Aberhart's world is the overlooked and the outmoded, which he continues to photograph with the same century-old view camera he bought second-hand in the late 1970s. Enlarged to a monumental scale and hoist into the sky, the children watch over a city being rebuilt underneath and around them.
Collection works in this exhibition
Related reading: Photography, exhibition-1006, Outer Spaces
6 February 2018
Iconic and unseen early photographs of Christchurch by Laurence Aberhart
This article first appeared in The Press on 9 July 2008
It is adapted from an essay in the book Laurence Aberhart, published by Victoria University Press in partnership with City Gallery, Wellington.
Welcome to the world of Larence Shustak—a rule-breaker and image-maker who came of age in the creative cauldron that was New York City in the 1950s. He used a camera as a paintbrush, documenting as well as creatively interpreting his subjects: street people and nudes. Old folks and children. Jazz legends.
Uncovering the remarkable, largely unseen work of early New Zealand photographers.
Representing Women: Ann Shelton’s Dark Matter
What is ‘dark matter’? For theoretical physicists it is matter that cannot be directly observed but whose existence is nevertheless scientifically calculable – productively present yet simultaneously invisible. In a similar vein, the everyday phrase ‘dark matter’ describes objects, conditions and situations that harbour unease or trauma. Trauma that is often concealed, repressed, or buried. Both definitions are active in Ann Shelton’s mid-career review exhibition Dark Matter, and they provide a rich point of entry into this compelling collection of her photographic work. These are photographs that bristle with intensity and refuse to let their subjects die a quiet archival death.
An expansive view of Ann Shelton’s tightly conceived, large scale and hyperreal photography
New Zealand artist Laurence Aberhart is internationally regarded for his photographs of unpeopled landscapes and interiors. He photographs places redolent with the weight of time, which he captures with his century-old large-format camera and careful framing. But he’s always taken more spontaneous photographs of people too, particularly in the years he lived in Christchurch and Lyttelton (1975–83) when he photographed his young family, his friends and occasionally groups of strangers. ‘If I lived in a city again,’ he says, ‘I would photograph people. One of the issues is that I even find it difficult to ask people whether I can photograph a building, so to ask to photograph them – I’m very reticent. I also know that after a number of minutes of waiting for me to set cameras up and take exposure readings and so on, people can get rather annoyed. So it’s not a conscious thing, it’s more just an accident of the way I photograph.’
The Devil’s Blind Spot
Te Puna o Waiwhetū Christchurch Art Gallery has a long-standing tradition of curating exhibitions of emerging and early-career artists. We do this in order to contribute to the ecology of the local art world, as well as because – quite straightforwardly – we’re interested in the practices of artists at all stages of their careers, and would like to bring the work of outstanding younger artists to wider public attention. The Devil’s Blind Spot is the latest in this ongoing series, but unlike earlier exhibitions, it’s concerned with a single medium – photography.
Recent photography by an emerging generation of New Zealand artists.
The Camera as a Place of Potential
To Māori, the colour black represents Te Korekore – the realm of potential being, energy, the void, and nothingness. The notion of potential and the presence of women are what I see when I peek at Fiona Pardington’s 1997 work Moko. And I say peek deliberately, because I am quite mindful of this work – it is downright spooky. Moko is a photographic rendering of a seeping water stain upon the blackboard in Pardington’s studio, taken while she was the recipient of the Frances Hodgkins Fellowship in Dunedin in 1997.
Joyce Campbell’s immersive video work takes the viewer on a journey into the ocean’s fathomless depths, exploring processes of creation and annihilation.
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.
A survey exhibition by a leading New Zealand photographer explores sex, death and the female gaze.
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.
Selwyn Toogood, Levin
I spent much of my adolescence in hospital, confined to bed due to a chronic illness. With a 14" TV beside me, I’d travel to imaginary places via the controller of my Nintendo games console. At the time, I couldn’t imagine walking to the letterbox, let alone experiencing the more exotic places of the world.
A generous, multimedia selection of animal-themed works, both lively and thoughtful.
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.
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).
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.
Taryn Simon's known unknowns
In 2003, the American photographer Taryn Simon embarked upon a four-year heart-of-darkness journey. In response to paranoid rumours of WMDs and secret sites in Iraq, she turned her gaze to places and things hidden within her own country.