7 June – 17 August 2014
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.
For two decades Shane Cotton (ONZM, Ngāpuhi, Ngāti Rangi, Ngāti Hine, Te Uri Taniwha) has been one of New Zealand's most acclaimed painters of landscape and memory. Trained at the University of Canterbury's School of Fine Arts, his works of the 1990s played a pivotal part in that decade's debates about place, belonging and bicultural identity.
In the mid 2000s, however, Cotton painted the first in what would become a major series of vast, nocturnal skyscapes. Over the last half-decade, Cotton's works have become increasingly complex and provocative, incorporating ragged skywriting and a host of charged images.
These skyscapes inspired Christchurch Art Gallery's celebrated Australasian touring exhibition Shane Cotton: The Hanging Sky, and now Christchurch audiences are able to experience a selection in Baseland. This two-venue exhibition combines major recent paintings with new works made especially for the show – including a vast new mural-scale painting, a spectacular suite of 'target' prints, and painted baseball bats that suggest both trophies and weapons. Baseland showcases Cotton's faith in painting as a space of possibility and provocation – a place of leaps, freefalls and charged collisions between images.
Baseland is at Christchurch Art Gallery's venue at 209 Tuam Street and Ilam Campus Gallery at the School of Fine Arts, University of Canterbury, and is accompanied by a major book with contributions by Justin Paton, Eliot Weinberger, Robert Leonard and Geraldine Kirrihi Barlow.
Free guided tours at 2pm on Wednesdays and Saturdays at 209 Tuam Street. No bookings required.
Part of this exhibition was also on display at the Ilam Campus Gallery from 7 June to 27 July 2014.
209 Tuam Street
From the Store
Related reading: Outer Spaces
3 May 2018
Energies and anxieties from the threshold of the new millennium.
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.
Haymaker suggests the act of making at the right moment in time. It’s also a boxing term for a powerful punch. In this massive, psychedelic, sci-fi-like painting, Shane Cotton has gathered together signs, symbols and references with elements from past paintings and unloaded them into the ether of te pito o te ao, the centre of the Māori universe. Time, power, Māori culture and tradition, semiotics and art history all play out across these five panels.The carved wooden figure shown in the first panel is Arnold Manaaki Wilson’s 1956 'He Tangata, He Tangata', Cotton’s homage to this pioneering Māori artist he respected greatly. The final panel of the work is titled Staging Post, and suggests a moment for taking account and preparing to set forth again. Here Cotton acknowledges two contemporary Māori artists, both of whom feature in Te Wheke – Peter Robinson (the chain) and Michael Parekowhai (the doe).
(Te Wheke, 2020)
Dust, Smoke and Rainbows pictures an unbounded space – not of this world, but a place of potential that exists beyond and in relation to this one. In Māori cosmology the genealogy of phenomena accounts for a time before Te Ao Marama, the world of light. Before light there was Te Pō, the night; and before Te Pō there was Te Korekore, the void, the realm of potential. “All my work, in some form, has a relationship to Māori cosmology,” says Cotton, “because a lot of what I paint is about the relationship of matter and ideas to one another, and where things sit in context to one another: whakapapa.” Cotton’s dark sky is filled with matter linked by a network of relationships. Here a painted version of a modernist carving by Northland artist Clive Arlidge acknowledges an older generation of Māori artists who laid a foundation for contemporary practitioners; it also affirms that the cultural representations of previous generations continue to exert active agency.
(Now, Then, Next: Time and the Contemporary, 15 June 2019 – 8 March 2020)
Before there was the world of light there was Te Pō, the night; and before Te Pō there was Te Korekore, the void, the realm of potential. There’s an unearthly quality to this painting, where the dark sky behind the cliff might signify the vastness of space rather than the fall of night. “All my work, in some form, has a relationship to Māori cosmology”, says Shane Cotton. “A lot of what I paint is about the relationship of matter and ideas to one another, and where things sit in context to one another: whakapapa.” A giant rock face takes on human features. Birds plummet past at great speed, forming themselves out of or into carving patterns: are they flying or falling? Among them is a bird which might be Taiamai, the great white ancestral bird of Ngāpuhi, who vanished by melting into a rock that still stands not far from Ohaeawai in the Far North. Cotton’s painting describes a place of potential and possibility, a world which intersects with our own yet is not of it.
(Te Wheke, 2020)
This week we've been installing a new collection exhibition, Your Hotel Brain. It replaces curator Ken Hall's elegant meditation on architecture and memory, Above Ground, in the contemporary collection galleries.
Shane Cotton: Baseland opens at 209 Tuam Street and the Ilam Campus Gallery this Saturday
Curated by Justin Paton, and in development since 2009, Shane Cotton: The Hanging Sky was scheduled to open at Christchurch Art Gallery in late 2011. However, earthquakes and the subsequent closure of the Gallery intervened, and the show was reconfigured as a very successful touring exhibition, visiting venues in Brisbane, Sydney and Wellington. So it will be a pleasure to finally open a version of the exhibition in Christchurch with Baseland in June this year. Bulletin caught up with Shane to ask a few questions about what has been a rather unusual journey.
Having been lucky enough to attend the intimate opening of our exhibition Shane Cotton: The Hanging Sky at the IMA in Brisbane in December it was great to be part of the Christchurch Art Gallery Te Puna o Waiwhetū whanau again last Friday evening in Wellington.
The US President Theodore Roosevelt famously said that politicians on the world stage should 'speak softly and carry a big stick'. And on the evidence of this photo, you might think that Sean Duxfield, whose arm this is, has decided to follow Teddy's advice in committing his duties as Exhibitions and Collections team leader. 'Problem? Talk to the bat.'
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.
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.
Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
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.
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
Christchurch Art Gallery is excited to be working with Wellington-based artist Sian Torrington on a site-specific sculptural installation that will combine ideas, images and materials that relate to living in Christchurch now.
See below for a message from Sian to find out how you can get involved.
The Gallery's latest exhibition in the Outer Spaces programme, Showhome, has opened in Christchurch, featuring the disconcertingly 'perfect' works of recent University of Canterbury graduate Emily Hartley-Skudder.
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.
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.
The popularity of Reconstruction: Conversations on a City has led to the exhibition being extended until 14 October, and the development of a publication.
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.
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
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.
We're pretty pleased with what we're achieving with our Outer Spaces programme, but it's always good to see what else is out there. And I do mean 'out there'...
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.