The Burning Hours focuses on works made between 2014-2016, showing audiences what happens when Bush pushes her compositional limits and uses the entire surface of the paper. This recent body of work is rich with detail – each surface, of gouache and gold, is filled with references to illuminated manuscripts, Persian miniatures, European art history and modern life.
For the first time in its now 17 year history, a New Zealander has been appointed to judge the Awards, Aotearoa’s best-known survey of contemporary ceramic activity. Whanganui-based curator and writer Emma Bugden has selected finalists and winners for this year.
Described as an experiment in art education, the One Tree Hill College Art Collection has grown into a world-class collection containing examples of some of Aotearoa’s most cherished artists. This presentation showcases work from Wallace Crossman, Sandy Adsett, Robin White and Haare Williams, four artists significant for their contributions to both art and education in Aotearoa.
Louise Menzies offers us objects, images and situations that explore the past and present through attention to the way they are already represented. For this exhibition, Menzies delves into feminist histories, via the Germaine Greer Archive held at the University of Melbourne.Lissaman.
This exhibition looks at the work of five key female potters working in the early twentieth century with the aim of understanding how their contexts enabled their work and shaped the directions their practices took. Curated by Moyra Elliott, with work by Briar Gardner, Elizabeth Matheson, Minnie F. White, Olive Jones and Elizabeth Lissaman.
George's new experimental film explores the psychological and emotional impact of an impending loss. Multiple channels are employed to entangle the often contradictory stories we tell and the coping mechanisms we adopt to deal with fear and heartache.
Acclaimed Auckland-based artist Christine Hellyar has long been interested in how people see and depict the landscape. Working with a range of materials and formats, she presents here botanical drawings of a flooded Coastland Broadleaf Forest in the Waitakere Ranges, printed life-size onto silk alongside sculptural textile figures and upholstered furniture.
Light Language takes its cue from Colin McCahon’s description of November light, as 'a miracle' which he experienced during his first year living in Titirangi. Using the daily occurrence and healing potential of light, Smuts-Kennedy shows drawings made both during and after her residency, as well as sculptural works that suggest tools that may be used to engage with the field.
McIvor proved to be a prolific painter, with a career spanning over five decades. She developed a consistent art practice, recognisable by a distinctively refined colour palette and simplified forms, while the beautiful coastline of West Auckland and the hills of the Waitakere Ranges were of undeniable significance to her uniquely personal and poetic vision of the world around her.
Oliver Perkins produces works that are suggestive reminders of paintings' relationship to common objects, making reference to art histories, the potential of materials, and cognitive thought processes, all as prompts for an intensive studio practice.
The Asia-Pacific Century is an ongoing project prompted by the growth of Aotearoa New Zealand’s Maori, Asian, and Pacific populations, with Statistics New Zealand projecting that these groups are set to collectively make up 52% of the total population in 2038 (up from 35% in 2013).
Lonnie Hutchinson and Reuben Paterson are renowned contemporaries; two artists who have firmly embedded M?ori and Polynesian world-views and visual languages into their practices. This exhibition brings their work together to explore the recurring aesthetic, political and spiritual use of light and darkness that runs through Hutchinson and Paterson’s works.
Roger Ballen is one of the most important photographers of his generation. He was born in New York in 1950 but has been living and working in South Africa for over 30 years. Over the past thirty years his distinctive style of photography has evolved using a simple square format in stark and beautiful black and white.
In this exhibition, presented amidst the elevated skyscapes of Titirangi and developed in collaboration between artist André Hemer and curator Andrew Clifford, an international network of artists negotiate the physical and digital interplay of light and space as a way to communicate ideas of place – locally, globally and imagined.
Using everyday materials found in his immediate vicinity, Yukihiro Taguchi creates fleeting formations that are animated through stop-motion techniques. In a constant flux of things becoming and disassembling, he revels in the potential for reinvention, performance and play embedded in any place, and the delight that can come from a familiar or found object acting in an entirely unexpected way.
This year the Learning Centre Gallery has seen many exciting projects and exhibitions including TEMP: O-Tu-Kapua - (What Clouds See), Kelston Girls College: Project Kai, ZEAL: Connect, Gatherings on the Manukau, Fly the Flag for Gender Equality and Two4Nine: A Supported Life.
Jacqueline Fahey is one of Aotearoa’s foremost artists. Though best-known for her iconic paintings made in the 1970s, Fahey has consistently been attentive to the everyday world both around and within her home, from scenes observed along Karangahape Road and Williamson Avenue to the ebbs of family life.
The Fairy Falls, a solo exhibition by T?maki Makaurau-based artist Cushla Donaldson, negotiates the world of finance we inhabit in which the Markets have an omnipotent presence. In the world of finance, objects are counted according to an abstract quantification which registers price differentials and looks for ways in which the differences between objects are tradable with a view to seizing value.
The Exquisite Wound is an interdisciplinary installation by visual artist Rebecca Swan in collaboration with composer Charlie Ha, engineer Peter Swan, light artist Peter Stoneham, and scientist David Shillington. The works contemplate how we relate to the disappearance of our physical bodies, which begs the question, “what are we without them?”
Stunning images, complex narratives, a fascinating conversation: pictures of Asia by two of the great masters of documentary photography. Picturing Asia: Double Take pairs and contrasts the work of New Zealander Brian Brake (1927-1988), and American Steve McCurry (born 1950).
Using the landing of the floating staircase behind Gallery One, Small Space is dedicated to and supports contemporary jewellery and object-making practices. This year's Small Space programme at Te Uru sees work from Kim Whalen, Emily Siddell and Chris Charteris, Hannah Valentine, Clementine Edwards and Sharon Fitness.
We are now in an era of HEAT: the Earth is quite literally heating up, with new global temperature records set every month and year, but there is also a warming of interest in more climate-friendly ways to live. HEAT: Solar Revolutions is an art event that asks how the sun’s energy may catalyse climate-friendly conversations, collective actions, speculations and interventions.