Veronica Herber

Yuki Kihara | Te Taenga Mai o Salome

Yuki Kihara | Te Taenga Mai o Salome

Artist’s Floor Talk | Friday December 8, 4pm
Friday December 8, 2017 to Tuesday June 5, 2018
MTG Hawke’s Bay, Napier

Poetic and visually alluring photographs and video works from leading interdisciplinary artist Yuki Kihara place the symbolic figure of Salome in the landscape of Ngāti Kahungunu ki Heretaunga – Hawke’s Bay.

Kihara was inspired to set her works in the Hawke’s Bay region after reading an account of the great Takitimu waka, built in the artist’s homeland of Sāmoa many generations before carrying ancestors of Ngāti Kahungunu to Aotearoa.

Salome is seen visiting various sites of layered historical and contemporary significance, exploring the connections between local tangata whenua and the people of Sāmoa while critiquing colonial systems.

James Robinson | Doors: Hyper objects of the cthulucene

James Robinson | Doors: Hyper objects of the cthulucene

Saturday December 9, 2017 to Sunday June 3, 2018
Te Manawa Public Art Gallery, Palmerston North

This stunning exhibition presents a new series of compelling, experimental large paintings and drawings created specifically for this exhibition by award-winning artist James Robinson. Using a series of actual doors he explores the concept of the cthulucene – the concept of a new age when ‘humans, as refugees from environmental disaster, come together to create new worlds based on balance and living in harmony with nature – or what’s left of it’.

Image courtesy of the Diversion Gallery

No Categories

Art Today with Lois Perry

Art Today courses are year long but students tend to continue year after year as they gain confidence. There is no set programme for these classes but rather the course material and topics considered develop from current events in the art world. These may be exhibitions or events in New Zealand, New York, London, Sydney or elsewhere.

There is discussion on exhibitions to visit locally and interesting art places to visit overseas. We also make class trips to galleries in Auckland from time to time, and students have the opportunity to visit art events in other places with Art Today groups.

There are no examination requirements and students are encouraged to learn at their own pace.

For further information or to enrol in a class, please contact Te Tuhi
(09) 577 0138

Click here for Terms & Conditions.

Clouds | Group Show

Clouds | Group Show

Featured image Kenneth MacQueen McCauley’s Farm 1935, watercolour, 1937/2/2. Collection of the Sarjeant Gallery Te Whare o Rehua Whanganui

Starting Saturday February 17

Sarjeant Gallery, Whanganui 

A selection of works from the Gallery’s permanent collection depicting the many moods of clouds as represented over several centuries of artmaking.


Kerry Ann Lee | Life Should Be Simple And Good

Kerry Ann Lee | Life Should Be Simple And Good

Opens Saturday February 17

Te Uru Waitakere Contemporary Gallery, Auckland

Kerry Ann Lee is a visual artist from Wellington who uses hand-made processes and socially-engaged projects to explore hybrid identities and histories of migration. For this commissioned project, Lee continues her interest in the relationship between craft, identity and place by drawing upon the specialist craft knowledge and legacies associated with West Auckland. The Learning Centre gallery is re-imagined as a whimsical garden – a space loaded with concepts of home and belonging. Here, visitors are invited to create a pot plant with handmade flowers made from twigs and paper. The simplicity of the invitation belies its endless experimentation; what can a vessel look like? How many different ways can you make a flower or plant? What else might grow, or take shape?

In prying open the possibilities of form, the project makes space for different forms of material knowledge to come to the fore. Over the course of the project, Te Uru and Kerry Ann Lee will develop public programmes that further connect with local makers who specialise in the various mediums of wood, clay and paper. Somewhat paradoxically, then, by encouraging a sprawl of creative growth, Lee also sparks a recognition of locally-rooted expertise.

Call for Submissions | 2018 EMERGING ARTIST AWARDS

Call for Submissions | 2018 EMERGING ARTIST AWARDS

Submissions due Monday July 16

Upstairs Art Gallery, Auckland

Call for submissions open now!

Upstairs Gallery’s 10th EAA exhibition is now open to emerging artists in all media Auckland wide. Ten finalists will be exhibited in the Upstairs Gallery and 3 will be awarded with prizes worth over $5000.

Exhibition Period: 3 – 26 Aug 2018.

The 2018 Upstairs Gallery Emerging Artist Award is promoting the medium of art as a means to engage the local community and cultures around the concept of mental health, and to convey messages to counter misunderstanding, fear and prejudice.

We believe art is a tool for empathy that can help people understand mental illness in a way that is enlightening and therapeutic for both the viewer and the artist.

A recent research study identified that publicly displayed art is an effective way of increasing empathy and understanding towards people with mental illness. Simply viewing or discussing a work of art can evoke powerful emotions.  We would like you to submit a work of art, in the media of your choice, which cultivates empathy and helps us become more aware of our own emotions and more receptive to the emotion of others.

Email: for further information

Entry Form below:

2018 EAA form 

Julian Rosefeldt | Manifesto

Julian Rosefeldt | Manifesto

Opens February 24 – Extended until July 15

Auckland Art Gallery, Auckland

The immersive 13-screen film installation Manifesto by German artist and filmmaker Julian Rosefeldt pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today.

Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Julian Rosefeldt has edited and reassembled thirteen collages of artists’ manifestos.

Performing this ‘manifesto of manifestos’ as a contemporary call to action, while inhabiting thirteen different personas, Australian actor Cate Blanchett imbues new dramatic life into both famous and lesser known words in unexpected contexts.

The New Zealand premiere of the exhibition Manifesto by Julian Rosefeldt is presented by Auckland Art Gallery Toi o Tāmaki and Auckland Arts Festival.

Rated M (offensive language and drug references)

The Language of Things | Meaning and Value in Contemporary Jewellery

The Language of Things | Meaning and Value in Contemporary Jewellery

Opens Saturday February 24

Dowse Art Museum, Wellington

Precious things aren’t always made from precious materials—and jewellery is no exception.

The intimacy of jewellery worn on the body gives us a unique way of showing who we are and what’s important to us. This exhibition expands on our associations with adornment: drawing out how ideas of value have changed in the twentieth and twenty-first centuries.

The Language of Things features over 100 artists from Europe, America, Asia, Australia and Aotearoa New Zealand whose work reveals how personal meaning develops from the often unusual materials and processes used in the field of contemporary jewellery. Visitors can expect to see beautifully crafted, wearable pieces as well as installation, photography and video, including a necklace made of scissors; a woman covered in brass leaves and a screening of jewellery appearances in films over the last 80 years.

At the heart of the exhibition, will be an installation by Berlin based Yuka Oyama called Helpers—Changing Homes, made especially for The Dowse during her Te Whare Hēra Residency. Featuring a video of a performance of wearable jewellery made from cardboard ‘moving’ boxes: her installation playfully mimics hermit crabs swapping shells to find new ‘homes’ which are a better fit. Through it, Oyama helps us think about immigration and how the objects we carry with us help create a sense of home.

The contemporary jewellers in this exhibition make pieces that comment on social, cultural or political matters through the materials that they choose to work with. Their themes include the shifting perception of precious materials such as gold, vanity, gender stereotyping, associations with place and our relationships with accessories, the environment and each other. Using our inherent understanding of jewellery as a symbol of personal expression to explore these ideas, The Language of Things also prompts us to reflect on how we ‘read’ the materials that surround us in daily life.

Contemporary jewellers in The Language of Things include Bernard Schobinger; Conversation Piece (duo), Daniel Kruger, David Bielander, Dorothea Prühl, Gerd Rothmann , Gijs Bakker, Helen Britton, Jiro Kamata, Karl Fritsch, Lauren Kalman, Liesbet Bussche, Lisa Gralnick, Mia Maljojoki, Moniek Schrijer, Noon Passama, Otto Künzli , Renee Bevan, Sharon Fitness, Susan Cohn, Suska Mackert, Ted Noten, Réka Lörincz and Zoe Brand.

The Dowse is grateful to all the artists and supporters who have made this exhibition possible especially The Rotasa Collection, USA; The Powerhouse Museum, Sydney; The Josef and Anni Albers Foundation, USA and CODA, The Netherlands. Exhibition sponsors and partners include Creative New ZealandBlumhardt FoundationMassey UniversityAsia New Zealand FoundationGoethe-InstitutHandshakeFab Lab Wgtn, and Allied Pickfords.

Open day event: All that Glitters

Exhibition open day featuring three international makers in the show, Daniel Kruger (SA/GER), Susan Cohn (Aus) and Lauren Kalman (USA)

Is this New Zealand | City Gallery Explores the Role of Art in Shaping National Identity

Is this New Zealand | City Gallery Explores the Role of Art in Shaping National Identity

Michael Stevenson This Is the Trekka 2003–5, collection Te Papa, Wellington.

Opening Saturday March 3

City Gallery, Wellington 

City Gallery reopens on March 3 with the exhibition This Is New Zealand. Taking over the entire building, this expansive show explores the role art has played in asserting and questioning notions of New Zealand national identity. It takes a critical look at the stories we’ve told ourselves—and the stories we’ve told others—about who we are.

The exhibition is curated by Robert Leonard and Aaron Lister. Their thinking started with works sent to represent New Zealand at the world’s pre-eminent contemporary art show, the Venice Biennale. Although the Biennale has been running for over 100 years, New Zealand has only been going since 2001 and our participation declares our desire to be ‘international’. However, some of the artists New Zealand has sent have used the opportunity to tackle themes of national identity, playing on the Biennale’s old-school national-pavilion structure. This Is New Zealand includes Venice works by Michael Stevenson (2003), Michael Parekowhai (2011), and Simon Denny (2015).

Alongside the Venice Biennale works, the exhibition includes works New Zealand has commissioned for other international exhibitions and diplomatic contexts. These include Marcus King paintings for the 1939 New York World’s Fair; John Drawbridge’s mural for New Zealand House in London; This Is New Zealand, a three-screen film made by Hugh Macdonald at the National Film Unit for Expo ’70 in Osaka; and photographic works by Michael Parekowhai and Fiona Pardington, gifted to Paris’s Musée du Quai Branly by the New Zealand government in 2006.

There are also new projects exploring national iconography. Gavin Hipkins’s The Homely II is a frieze of eighty photos shot on touristic excursions in New Zealand and Britain. Bronwyn Holloway-Smith’s The Southern Cross Cable: A Tour is an inquiry into New Zealand telecommunications infrastructure, which evolved out of a project to restore an E Mervyn Taylor’s ceramic mural representing Maui fishing up the North Island. For The National Basement, Emil McAvoy re-presents archival photos from the National Publicity Studios that document old promotional displays. He offers a ‘behind-the-scenes view’ usually hidden in the pictorial presentation of New Zealand. Plus there are films, TV ads, and vintage New Zealand Railways posters.

This Is New Zealand teases out connections between images, ideology, and identity. It reflects on who we thought we were and who we think we are. It presses the question of who and what is included and excluded in our representations of national identity. Is this New Zealand?’, says Robert Leonard.

This Is New Zealand opening weekend events (March 3 – 4) will include artist talks, discussions, and tours.

For more information please go to the City Gallery Website

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

Opening Sunday March 11

Te Tuhi, Auckland

“Every summer break for University, I often register myself into a temping agency for work to keep up with the cost of living. This habit started at an early age, as kids living in Herne Bay in the late 80s we were exposed to factory work from an early age. During our school holidays, my parents couldn’t afford baby sitters or holiday programmes, so we tagged along with our parents, uncles and aunties to their work places. The temping agency I enrolled into generally contracts work for factory industrial jobs, very minimal mundane repetitive activities in eight hour plus shifts for five to six days a week. This summer break, I worked at a potato chip plant, my role was to cut potatoes and lookout for foreign objects.”

As part of an ongoing enquiry into the conditions of labour, this latest exhibition by John Vea hones in on the people that work in Auckland’s factories. Focusing on how long days spent performing monotonous tasks affects the workers, he recreates the atmosphere of the potato chip plant as an installation for the gallery space. The work allows the audience to immerse themselves in a similar experience to that lived daily by the workers.

As far removed from the reality of factories as the art world can be, the artist bridges both spaces with this new piece, named after a statement heard on his first day at the factory from the mouth of a Samoan worker. Her advice to the younger generation becomes a cautionary tale encompassing both hope and despair in one sentence.

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award, due Sunday October 14

Jutta Cuny-Franz Foundation

Museum Kunstpalast
Ehrenhof 4-5
40479 Düsseldorf
T +49 211 56642360

Jutta Cuny-Franz Memorial Award 2019

The award is granted to artists worldwide who make significant use of glass in their work. Participating artists should not be older than 40 years of age in 2019, and their submitted work (sculpture, objects) should date from the previous two years. Each participant may submit three works in the form of images. The awards will be presented in the spring of 2019.

The Jutta Cuny-Franz Memorial Award is endowed with 10,000 EUR. Additionally, two Talent Prizes are awarded, each with an endowment of 1,500 EUR. The awards and a number of Honorary Diplomas are granted every two years. A choice of entries for this competition will be published in the journal Neues Glas/New Glass.

Winners are selected by a jury, and there is no possibility of legal recourse. Current members of the jury of the Jutta Cuny-Franz Foundation are: Christoph Brockhaus, former director, Lehmbruck Museum; Mischa Kuball, artist and professor, Academy of Media Arts, Cologne; Dedo von Kerssenbrock-Krosigk, head, Glasmuseum Hentrich; Helmut Ricke, former head, Glasmuseum Hentrich; Elisabeth Scheuba, attorney at law.

Further information and online application here.

Application deadline: Sunday October 14, 2018.

Questions and feedback:

The Jutta Cuny-Franz Memorial Award was founded by Ruth-Maria Franz (1910–2008) to keep the memory of her daughter and artist Jutta Cuny (1940–1983). Jutta Cuny was a distinguished protagonist of European glass sculpture from the mid-1970s to her early death. Shaped by sand-blasting from solid glass blocks, her sculptures opened new paths into glass art. Ruth-Maria Franz established the Jutta Cuny-Franz Foundation in Vienna in 1984. By her request, the seat of the foundation was transferred in 1994 to the city of Dusseldorf. The foundation’s tasks are being managed at the Glasmuseum Hentrich, Museum Kunstpalast.

Museum Kunstpalast, Ehrenhof 4–5, 40479 Dusseldorf, Germany

Botanical Art Worldwide | Exhibition

Botanical Art Worldwide | Exhibition

From Friday March 30, 8am

Huakaiwaka Visitor Centre, Auckland Botanic Gardens

Linking people to plants through botanical art.

The Friends of Auckland Botanic Gardens and the Botanical Art Society of New Zealand (BASNZ) are proud to to present Ngāi Tipu Taketake – Indigenous Flora, an exhibition of Botanical Art.

This exciting exhibition is part of the Botanical Art Worldwide exhibition, a global event where New Zealand’s botanical artists, along with botanical artists in 24 other countries, have come together to document their native plants.

The aim of the exhibition is to link people to plants through botanical art and by doing so create a record of today’s botanical diversity. A slideshow of all 25 countries artworks will be shown throughout the duration of the exhibition.

Fifty artworks by 41 NZ artists, including artwork by three Auckland secondary students, were chosen for this exhibition.

Watercolourists, acrylic artists, printmakers, graphite and coloured-pencil artists, as well artists working on vellum, have come together to create a veritable feast of form and colour. Their diverse styles range from traditional pen and ink line work, to large contemporary paintings, which allow the viewer to see our often small and unassuming native flora in a new and exciting light.

On 18 May, it will be the first World Botanical Art Day, and celebrations will go on over the 24 hours throughout the world. New Zealand, being the first country to see the day, has the honour of kicking off this global event! Come and help us celebrate the inaugural World Botanical Art Day!

Throughout the exhibition there will be workshops run by exhibiting artists, artist demos and talks.

Mark Graver | In Series

Mark Graver | In Series

Open until May 27

Whangarei Art Museum 

A collection of works by Kerikeri- based artist printmaker Mark Graver focuses on connection to place, memory and the passing of time in a series of works. Prints created to explore the motion of water, light, shadow, fauna and flora– brought to Aotearoa by European settlers and viewed as signifiers of physical and environmental colonisation.

Image: Mark Graver, So With Present Time I, 2015

Andrew Denton and Janine Randerson | Strange Climes

Andrew Denton and Janine Randerson | Strange Climes

Opening event Monday April 9, from 6pm

TSB Bank Wallace Arts Collection, Auckland

AV and Little Gallery

Strange Climes includes three video artworks and two prints that respond with sensory cues that our world is undergoing rapid change. Digital and analogue media in the work of Andrew Denton and Janine Randerson probe the aberrant landscapes created by the warming climate to produce affective resonances. As fragile terrestrial and cryospheric landscapes rapidly become unrecognisable, these works operate to keep our climate emergency in the public eye.

Dr Janine Randerson is an artist, writer and academic at AUT University. She has collaborated with environmental scientists on media artworks in Denmark, Australia, and New Zealand. Her first book ‘Weather as Medium: Toward a Meteorological Art’ will be published by MIT Press in 2018.
Dr Andrew Denton is an academic at AUT, and a film and video artist who works with digital, analogue, and interactive time-based media, with a focus on the topic of ecological crisis. His moving image and photographic practice applies methods aligned with essayist cinema and video installation, as well as historical avant-garde film.

Image: Janine Randerson, film still from Slope (2018), HD video. Courtesy of the artist.

Stephen Bambury | Lines of Desire

Stephen Bambury | Lines of Desire

Opening event Sunday April 8, from 4pm

Trish Clark Gallery, Auckland

Back in New Zealand after months re-establishing a European studio, Bambury will present his first solo exhibition since 2014. Throughout his career, Bambury has traveled extensively in the USA, Europe, and Asia, exploring art and architecture from a diversity of historic periods and cultures; these experiences remaining integral to his studio practice. Employing an exceptional range of scale, Bambury explores and reconnects the apparent dualities of light / dark, negative / positive, masculine / feminine, the sea and the land, the intellectual and emotional and the universal and the particular.

Curated from works spanning newly created to the early 90’s, this exhibition delivers a fresh take on Bambury’s deep mastery of materiality and recurring preoccupations. His constant investigation of materiality drives Bambury’s practice and delivers a visually rich and compelling exhibition. No empty formalist, more an alchemist, Bambury’s comprehensive technical mastery sees exhibited works utilizing precious and semi-precious metal gilding, graphite, resin, chemical patinas and rust. An exceptional range of scale in the paintings, from several meters long to under 200 millimeters, gives physical punch to the exhibition.

Born in Christchurch, Stephen Bambury has been exhibiting regularly in New Zealand since the mid-1970s, after graduating with a Diploma of Fine Arts (Hons) from the University of Auckland. From the mid-1980s he has exhibited in the USA, Australia, France, Germany, Austria and Slovenia. Among other awards he received the inaugural New Zealand Moët & Chandon Fellowship in 1989; including the Fellowship period, Bambury spent two and a half years living and working in France. A major retrospective exhibition at Wellington’s City Gallery and the Auckland Art Gallery, and the publication of a monograph, marked the turn of the century. Since 2009 Bambury has been exhibiting regularly in Germany.

Susan Wilson | Nottinghill: Kaikoura

Susan Wilson | Nottinghill: Kaikoura

Opening event Monday April 9, from 6pm

TSB Bank Wallace Arts Centre, Auckland

Boardroom, Little Gallery and Master Bedroom

“I am just trying to make something personal.” – Bonnard

Susan Wilson, b.1951, grew up in remote mountain country in Southland where her Father’s parish included Milford Sound and Lakes Manapouri, Te Anau to the foot of Wakatipu. It was wild, and the shingle roads were dangerous. The family moved to Waikari, North Canterbury when the artist was seven.

Susan was educated at rural schools in the South Island and graduated at Auckland Public Hospital with Distinction. She later worked in the Neurosurgical Unit until departure for Tahiti and Peru in 1976.  On arrival in Europe, she moved to Notting Hill, London, 1976.

Susan Wilson studied at Camberwell School of Art & Crafts and The Royal Academy Schools, London. Her exhibition history is extensive with many solo and group shows in New Zealand and the U.K. Represented by Browse & Darby 19 Cork St  London W1. She taught at Chelsea School of Art (BA & MA Painting 1992-2000). She is a Senior Member of Faculty at The Royal Drawing School.

“I am not able, nor can I explain what I do. It is up to the visitor to look and think and find what they will in the images. I don’t work from photographs always working from life, from objects and outdoors in the landscape. It’s more interesting. The wind blows, the sun shifts, the sea roars, the boat rocks. Who would want to be in the studio copying photographs? The world is too interesting and too ever changing for that.”

Image: The Oxford undergraduate muses on the poetry of Siegfried Sassoon (2007), Oil on linen, 910 x 710mm

Call for Applications | McCahon House Artists' Residency

Call for Applications | McCahon House Artists' Residency

Applications due Friday June 15, no later than 5pm

McCahon House Artists’ Residency 2019 Call for Applications

The McCahon House Trust is calling for applications from outstanding emerging and mid-career professional visual artists for the McCahon House Artists’ Residency programme.

Three residencies, each of three months duration, are available between January 2019 and December 2019.

The future potential of artists will be a major factor in the panel’s choice. The selectors must believe that the recipients of the residency have the potential to reach national and international standing and that the opportunity afforded by this residency will contribute to that potential.

Full criteria and application guidelines are available on their website .     

Photo Credit: Patrick Reynolds

Call for Applications | Olivia Spencer Bower Foundation Art Award

Call for Applications | Olivia Spencer Bower Foundation Art Award

Applications due Saturday June 30 

The Olivia Spencer Bower Foundation Art Award is a year long residency in Christchurch. The recipient receives a stipend of $30,000 and a studio at The Physics Room.

The general purpose of the award is to encourage and promote New Zealand artists and sculptors with particular emphasis on future artistic potential rather than financial need. It was Olivia’s specific objective to assist New Zealand artists and sculptors with talent so they could devote their energies, on a full time basis for a twelve month period, to painting and sculpture freed from the necessity to seek outside employment.

For full information and application forms to download please visit their website

Or contact Gary Anderson @ Perpetual Guardian

Group Show | The Water Project

Group Show | The Water Project

Opening event Wednesday 11 April, from 6pm

Ashburton Gallery, Canterbury 

The province of Canterbury has become the epicentre of much discussion about the role of water in present day New Zealand. From political to scientific standpoints, the many opinions on the future of water seem convoluted and fraught with disunity. The arts play a vital role in widening the scope for discussion and dialogue at a grassroots level and The Water Project attempts to bring a new voice to the fore. Thirteen New Zealand artists have responded to the invitation to ‘be the water’ and create new work which challenge, inspire and call to action every individual inhabiting the natural world.

This exhibition is developed by the Ashburton Art Gallery. The thirteen artist involved are Ross Hemera, Peter Trevelyan, Brett Graham, Kate Woods, Jenna Packer, Bruce Foster, Gregory O’Brien, Euan Macleod, Jacqui Colley, Dani Terrizzi, Phil Dadson, Bing Dawe and Elizabeth Thomson. 

Call for Entries |  Aesthetica Art Prize

Call for Entries | Aesthetica Art Prize

Submissions due Friday August 31 2018

The Aesthetica Art Prize is now open for entries. It is a fantastic opportunity for artists, both established and emerging to further their careers in the art world and showcase their work to a wider audience.

The internationally renowned award nurtures and supports talented practitioners from around the world, aiming to unite and provide a diverse platform for artists.

Furthering the career of many artists, the Prize is an opportunity for artists to gain further exposure through publication in the Future Now: 100 Contemporary Artists annual and have the chance to exhibit their work at the Aesthetica Art Prize Exhibition, hosted in the historic city of York, UK.

There are two categories for entry; the Emerging Prize which is open to current students and artists who have graduated within the last two years, and the Main Prize, open to all including those eligible for the Emerging Prize.

Artists can submit work to one of four categories; Photographic & Digital Art; Three-Dimensional Design & Sculpture; Painting, Drawing & Mixed Media and Video; and Installation & Performance.

Prizes include; £5,000 for the Main Prize, £1,000 for the Emerging Prize, group exhibition hosted by Aesthetica, Editorial coverage, Publication in the Future Now annual, art supplies and books supplied by Prize sponsors.



Double Opening | Sweet Dreams and #Update

Double Opening | Sweet Dreams and #Update

Opening event Thursday April 12, from 6pm

Corban Estate Arts Centre, Auckland

Join Corban Estate Arts Centre for the opening of two new exhibitions. A solo exhibition by Sweet Dreams by Yukari Kaihori and group exhibition #Update featuring artists Hanna Shim, Dominique Baker, Alvin Xiong, Jihun Hwang, Sena Park and Ruby White.

SWEET DREAMS / Yukari Kaihori 
When Yukari Kaihori’s grandmother passed away in 2016, she left behind a book of handwritten poems featuring tanka and haiku (forms of Japanese short poetry). Surviving through WWII and a tough upbringing, these bittersweet poems explore a deep sense of longing. Beauty and sorrow co-exist in her grandmother’s poems, and Kaihori uses this relationship as a starting point for this project. Sweet Dreams explores the process of dreaming and encourages people to embrace when their dream worlds merge with reality.

#UPDATE / Hanna Shim, Dominique Baker, Alvin Xiong, Jihun Hwang, Sena Park and Ruby White
This exhibition was influenced by curatorial research into contemporary Asian art practices combined with our vision to provide a platform for diverse artistic perspectives. #UPDATE features a collection of Te Whanganui a Tara and Tāmaki Makaurau based artists who work with media such as painting, carving, sculpture, ceramics and light.

Public programme: 

Saturday April 14, from 11am-12pm

SATURDAY GALLERY CLUB #37:GEISHA AND KOI (part of Kids Arts Festival 2018)
Saturday May 12, from 10.30am and 12pm

Image: Yukari Kaihori, Sweet Dreams (2018).

Jan Nigro | Out of the Bedroom and into the Lounge

Jan Nigro | Out of the Bedroom and into the Lounge

Opens Saturday April 14

Waikato Museum, Hamilton

As the anniversary of Jan Nigro’s death five years ago nears, this significant retrospective exhibition has been distilled from her life’s work held by the Jan Nigro Trust. The works illustrate a strong female contribution to the trajectory of contemporary New Zealand art history and reclaims Jan Nigro as an important New Zealand artist. Nigro resolutely celebrated the human figure regardless of trends in contemporary art practice. It also firmly places the artist as commentator, a role she perhaps unwittingly played as her content reflected current events or thinking during a period of immense social change in New Zealand. Most importantly it celebrates us, our bodies, united by an unclad identity and shaped by her uninhibited colourful context. During her life, Jan battled to have her close focus on the ‘nude’ accepted by viewers and peers. We are honouring Jan’s commitment to “get them out of the bedroom and into the lounge” as she wished.

Education programmes are available for this exhibition.

This exhibition is brought to you by Fine Art Society New Zealand and Jan Nigro Trust in collaboration with Waikato Museum Te Whare Taonga o Waikato.

Image: Nude and Rose, Jan Nigro, courtesy of Jan Nigro Trust and Fine Art Society New Zealand

Call for Submissions | Estuary Art and Ecology Prize 2018

Call for Submissions | Estuary Art and Ecology Prize 2018

Submissions due Friday June 1, by Midnight

The only contemporary art prize in Aotearoa New Zealand with ecology at its core. Artists are invited to research and respond to the Tāmaki Estuary, to underscore the ecological value of this vital waterway and encourage action against its pollution. With a total prize pool of $8,300 the winning artworks will be intelligent and innovative responses to ecology in the field of contemporary art.

Download the Conditions of Entry Here

Download the Entry Form here

Opening and Awards Ceremony Saturday July 7, 2.30pm
Exhibition of Finalists Monday July 9 – Friday August 17

Image: Roma Anderson, Liminal, 2017, Merit Award EAA11


Paul Brobbel is the Len Lye Curator at the Govett-Brewster Art Gallery/Len Lye Centre, and former Assistant Collection Manager (Photography) at Te Papa Tongarewa Museum of New Zealand.  Paul grew up in Howick and brings a local knowledge of the area to this year’s Awards.    Photo credit: Glenn Jeffrey


First Prize: $5,000

Second Prize: $2,000

People’s Choice: $1,000
As chosen by visitors to the exhibition.

Two Merit Awards: $150 Gordon Harris Gift Voucher

The Estuary Art and Ecology Prize is generously funded by the Auckland Council’s Howick Local Board and supported by Gordon Harris and the Rice Family Partnership.

Call for Proposals | A Group Exhibition of Contemporary Art by Chinese artists

Call for Proposals | A Group Exhibition of Contemporary Art by Chinese artists

Application closes Friday June 29, no later than 6pm 

Northart, Auckland

In order to further engage with Auckland Chinese and other immigrant communities Northart is calling for proposals for a group exhibition of contemporary art by Chinese artists to be held in August, 2018.

This programme aims to support and promote Chinese art and develop audiences. Expression of interest and proposals from New Zealand resident Chinese artists, as well as international artists, who’s work deliver ideas about Chinese culture, reality and fantasy.

The proposed dates of the group exhibition are: opening function Sunday August 5, 4pm 2018; on display daily 10am to 4pm until Sunday August 26 2018.

Exhibition venue: Northart gallery, Northcote.

Proposals for solo exhibitions are also welcomed.

Please submit your proposal as a single PDF document, including:

  • Brief outline of your works, such as approaches, materials, concepts and further ideas.
  • Contact details, contributor’s CV will be appreciated.
  • Images of your work.

Visit their Website for more information

Please email your proposal to, and feel free to contact Mia for further information.

Group Show | Unseen, Unknown: Unveiled

Group Show | Unseen, Unknown: Unveiled

Opening event Saturday April 21, from 2.30pm

Uxbridge, Auckland

Curated by Alice Tyler and Zoe Hoeberigs

Making the invisible visible, this exhibition brings together works by artists who reflect on things unnoticed and the obscured forces that play within the overlooked.

Featuring Wanda Gillespie, Matilda Woods, Sarah Smuts-Kennedy, Rozana Lee, Pamela Wolfe, Georgie Hill.

Image: Wanda Gillespie, Seeker 2 (Kai) 2016, woodcarving (Ash), fur, fabric

Matthew Galloway | The Freedom of the Migrant

Matthew Galloway | The Freedom of the Migrant

Opening Saturday April 21

Dunedin Public Art Gallery 

Matthew Galloway has an art practice that uses the tools and methodologies of design as a way to investigate social and political issues. Through new sculptural works and printed ephemera The Freedom of the Migrant takes its starting point from an article published in the New Zealand Herald on 26.03.16 detailing a hypothetical scenario presented by Sir John Key after returning from a meeting of the International Democratic Union (of which Key was then Chairperson). In his new body of work, Galloway explores the complex narratives set up by this statement by Key that positions the terrorist, the refugee, the investor and the politician in relation to one another.

Artist talk: Saturday April 21, 11.00am

Wellington Media Collective representatives Chris McBride and Philip Kelly, and artist Matthew Galloway will celebrate the first public day of their respective exhibitions with an artist-led talk in the galleries. NOT NEUTRAL: Selected works from The Wellington Media Collective Archive 1978-1998, and Matthew Galloway: The Freedom of the Migrant .

Image courtesy of Dunedin Public Art Gallery

Shannon Te Ao | my life as a tunnel

Shannon Te Ao | my life as a tunnel

Opening Saturday April 21

The Dowse Art Museum, Wellington

The exhibition my life as a tunnel is the third iteration of a moving image project that follows on from Untitled (malady) (2016) and With the sun aglow, I have my pensive moods (2017); the title itself an analogy for his process of mining, revisiting, transposing. The video installation configured for The Dowse embraces local references and distinct historical narratives.

Sleeping Arrangements

Sleeping Arrangements

Opening Saturday April 21

The Dowse Art Museum, Wellington

Sleeping Arrangements pivots around a moment of crisis—the beginning of the second decade of the AIDS epidemic in the early 1990s. This exhibition uses the epidemic to provide a shared context within which meditations on intimacy, tactility, memory and desire are offered.

Featuring works by Malcolm Harrison (1941–2007), Grant Lingard (1961–1995), Zac Langdon-Pole (b. 1988), and Micheal McCabe (b. 1994), Sleeping Arrangements proposes a queer time and space in which bodies, objects and languages are invited to encounter, play with and complicate each other.

A selection of quilts by Malcolm Harrison provides a point of departure for the exhibition. These works are rendered in a visual language at once generous and playfully coy, and demonstrate the artist’s skill as a storyteller. The quilts locate Harrison within a community of friends and lovers, and prompt a critical re-examination of the ways the artist navigated his identity, politics and sexuality through a complex and often contradictory aesthetic and sensory vocabulary.

Alongside Harrison are three artists whose work troubles the relationship between language, desire and identity. They transform intimate objects into sites of contestation and open up space for reconsidering ornamentation, surface effects and the body’s relation to textiles and architectural space.

Sleeping Arrangements brings to bear new perspectives on a crisis that remains unresolved and unfinished. The show suggests a non-linear model of queer history based on intergenerational intimacy, erotic encounters and tactile pleasures.

Sleeping Arrangements is curated by Simon Gennard, the 2017–2018 Blumhardt/Creative New Zealand Curatorial Intern.


Simon Morris | Jan van der Ploeg

Simon Morris | Jan van der Ploeg

Opening event Thursday April 26, from 6pm

Two Rooms, Auckland

Simon Morris |  I Watch The Falling Light

Simon Morris brings a fresh material approach to his new exhibition, I watch the falling light, working on tall timber panels – coated with yellow ochre, sienna, umber, Naples yellow – muted colours often associated with the ground and sky. The palette is drawn from the artist’s recent experiences of walking in natural environments and looking toward the horizon. These processes of walking, watching, and working demonstrate Morris’ interest in self-awareness: a feeling of consciousness arising from a walk in the wilderness as much as from the slow, reflective act of painting. As we find ourselves tracing the slow retreat of Summer – visible in the ever-shifting colour and appearance of our surroundings – Morris foregrounds this experience in his work. The new monochrome wood panels are complemented by meditative, time-intensive wall paintings which create harmonies and resonances across gallery walls. Similarly, the viewer is invited to watch the falling light shimmer across these surfaces, to slow down and take time.

Jan van der Ploeg | Lyrics

Jan van der Ploeg’s vibrant new exhibition, Lyrics, playfully provokes viewers with a musical analogy for his paintings. The exhibition title further evokes the term ‘lyricism’, more commonly associated with biomorphic abstraction than the cool, hard-edged forms of its geometric counterpart. Yet his precision works hum with dynamic energy and colourful expression. For some, these new compositions may resemble musical notation. Van der Ploeg’s paintings are at once self-referential and point to the world beyond themselves with a sense of both the familiar and unfamiliar. Van der Ploeg is based in Amsterdam and exhibits extensively in an international dialogue. Fresh from recent projects in New York, Beijing, Germany, UK, Sydney, and Wellington, Van der Ploeg’s practice continually tests and reworks the language of abstraction. One might posit he constantly conjures up new words to accompany a given song sheet, innovating fresh propositions both cerebral and celebratory.

Elizabeth Price | A RESTORATION

Elizabeth Price | A RESTORATION

Opening event Friday April 27, from 6pm

Adam Art Gallery, Wellington

The Adam Art Gallery is pleased to present A RESTORATION by 2012 Turner Prize winning British artist Elizabeth Price. In this complex two-channel video installation, Price reanimates objects, images and archives from the collections of The Ashmolean and Pitt Rivers Museums to evoke an unruly and sensuous vision of a past that can only be accessed by its material traces.

Isobel Thom

Isobel Thom

Opening event Friday April 27, from 5.30

Brett McDowell Gallery, Dunedin


Marie Shannon | Rooms found only in the home

Marie Shannon | Rooms found only in the home

Opening event Friday April 27, from 6pm

Adam Art Gallery, Wellington

Join the Adam Art Gallery for the Wellington presentation of Rooms found only in the home, a focused survey presenting 39 photographs and five recent video works by Auckland artist Marie Shannon. This exhibition has been developed and toured by Dunedin Public Art Gallery.

Opening weekend event 

Marie Shannon in conversation with
curators Lucy Hammonds and Lauren Gutsell
Saturday 28 April, 2pm
Adam Art Gallery


Matthew Allen | Black Sea

Matthew Allen | Black Sea

Opening Saturday April 28, from 1pm

Fox/Jensen/McCroy, Auckland

“The hands want to see, the eyes want to caress” Goethe

Goethe’s apparent inversion of otherwise defined sensory roles tells us much about the sensuality of vision, its complicity with truth and fiction and the quality of tactility that vision can extend.

On a late November day in Amsterdam, Matthew Allen’s works line up with benign military precision, braced for the studio’s crisp conditions. Though the works are modest in scale, one immediately registers that their proportions are carefully dictated. The fine linen weave is folded immaculately around the ample support, negating some of the distractions that orthodox supports can present. But Allen is a painter and doesn’t wish to disguise that fact.

Black Sea Cycle, a new quintet, sits out from the wall, appearing contained – held…until the the light shifts. Immediately they respond by asserting their mercurial character and their volume. The regular cadence of shadows describe their thickness, the shimmer of the surface insinuates something of their depth. As the face of each panel illuminates, blinking and reflecting the cool autumn light, they also embrace any ambient colour. And for a painter like Allen, whose earlier works have been driven by a sophisticated investigation of material and colour, these cooler, apparently restrained forms appear to eschew some of “paints” unpredictable behaviour and materiality but on closer inspection we can sense a very intimate finessing of the surface and a rhythmic cajoling of material that accumulates into a rich chronicle of touch.

As we are drawn close to view each work there is something of the millpond about them – alluring and mysterious. They can be clear one minute and dark and foreboding the next. One also has the feeling that these polished graphite surfaces shift between a fragile meniscus and a steely obdurate constitution. This fluctuation is not driven simply by the play of light across their faces but also depends on our position. Any reflections are fugitive and uncertain, despite the solidity of the form. It is this unrest, impermanence and fluidity that Allen is pursuing.

On seeing the works in Amsterdam, I was immediately reminded of an exquisite ancient Egyptian mirror seen in Paris just days earlier. Tarnished and imperfect it will at best have provided an alternate version of the viewer…a glistening visual fiction. The object itself was beautifully crafted signalling a mandate beyond its form and function. My sense is that Allen wants his paintings to carry a similar responsibility – one where the painting participates in an existential enterprise, parrying reflection and light, ghost forms and shadows inviting us in and denying us in equal measure.

The size of Allen’s new work reinforces this assignment. Little more and at times less than the scale of our face, these works suggest solitary contemplation. Like a miniature they are to be seen privately, quietly at close range. Against the current fashion for scale and theatre, the modesty of his works invite a direct and rewarding relationship with the viewer. The monochrome paintings of Günter Umberg impel us toward a profound existential search for ourselves. Their density, their material depth and mystery move the object well away from the pictorial towards a profoundly visceral reading of presence and absence. Matthew Allen’s work is more tangible in what it reveals, but like Umberg the pictorial is replaced by the material, illustration by sensation and the judgments about form and scale are more than vital.

Matthew Allen will present new works made in Amsterdam over the last twelve months at Fox Jensen McCrory. Titled Black Sea, the exhibition will continue the development of Allen’s intimate graphite paintings described above. He will be present for the opening.

Andrew Jensen, April 2018

Bootcamp Professional Development Workshops 2018

Bootcamp Professional Development Workshops 2018

The Artists Alliance Bootcamp Programme is back!

What is Bootcamp?

In 2018, Artists Alliance will once again present a suite of short, sharp workshops designed to give your career a boost! This popular programme boasts a stellar line up of industry professionals, and with each session being kept to a maximum of 15 participants you will have a unique opportunity to engage directly with each speaker.

The programme consists of eight complementary workshops, which will run over four Saturdays from April – July 2018 at Studio One Toi Tu, 1 Ponsonby Road, Newton, Auckland. Our 2018 series is a full suite of new workshop topics. Once again, we are offering a ‘pick and mix’ approach – it is not compulsory to purchase the entire suite.

The full suite of workshops (four days, eight workshops) is $340.
Individual days (consisting of one morning and one afternoon workshop) are priced at $85 per day.

Workshop location:
Studio One, 1 Ponsonby Road, Auckland

To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

The Schedule:

DAY ONE, Saturday April 28, 2018

10:30am – 12:30pm | Goal Setting with Veronica Herber

We will kick of Bootcamp 2018 with a goal setting workshop to get your practice into focus. The morning will be structured around questions to identify each participant’s values, then take these results to create a step by step practical process to help each person plan their next 6 to 12 months with a 5 year goal in mind. The session will be fast moving, lively and fun with concrete outcomes to take away.

Before becoming a full time contemporary art student and artist Veronica Herber was a successful business owner and business coach in Christchurch. Now fully immersed in her art practice, she still enjoys sharing practical goal setting knowledge with creatives.

1pm – 3pm | Making it Happen with Emil McAvoy

An artist’s perspective of time management, balancing life and work, navigating the art world. Emil McAvoy is an artist, art writer and Lecturer in Photo Media & Fine Arts at Whitecliffe College of Arts & Design. His art work examines the cultural roles of the artist: as medium, activist, citizen and public intellectual. He works across a range of media and publishes widely as an essayist and critic.

DAY TWO, Saturday May 26, 2018

10:30am – 12:30pm | NET-WORK: Creating an art portfolio website with Shelley Simpson

NET-WORK is designed specifically for artists. Artists’ websites need to fill specific requirements. The 2 hour NET-WORK bootcamp session will help you to identify those requirements and will demystify the process of setting up your own site. By the end of the session you will have a clear pathway to creating a website that works for you and your audience.

The workshop will cover; Identifying your audience and what they need, project planning – identifying users and user goals, domain names and hosting, choosing the right website format for you, content – what to include and how to prepare it, using social media.

Shelley Simpson is both a website designer/developer and an artist. She taught digital media for many years at Media Design School and AUT. She has a Certificate in Tertiary Teaching from AUT and an MFA from Elam. She works with small creative businesses on their online presence, and teaches workshops on web design and creation. Her art website is, and her business site is

1pm – 3pm | Clearing a path; tactics for writing in and about art practises, with Elle Loui August

Art writing workshop with Elle Loui August.

Elle Loui August is a writer and curator currently based in Tamaki Makaurau. Elle has previously held professional roles at The Physics Room in Christchurch, University of Auckland, and Elam School of Fine Arts where she completed her MFA in curatorial practice through the postgraduate research programme. She has written for a number of institutions and publications including Art New Zealand, Artspace NZ, Pantograph Punch and split/fountain, and presently divides her time between independent writing and curatorial projects and her role as Assistant Curator at Objectspace.

DAY THREE, Saturday June 23, 2018

10:30am – 12:30pm | Editioning: Best Practice, with John Pusateri

Artist John Pusateri will guide us through his experience working as a printmaker, with a focus on the dos and don’ts of producing editions. Bring along your questions!

1pm – 3pm | Commissions: Best Practice, with Deborah White

What happens if your family lawyer asks you to make an artwork for the board room to fit a specific space? You are flattered to be asked and agree on a price and make and install the work. Transaction completed – or is it?

What then happens when an image of the artwork appears on the company’s annual report cover and on the companies Christmas card mailed out to clients?

What are your rights in the commissioning process?

In this workshop we discuss what can go wrong and how best to avoid awkward situations. Bring along your stories and questions.

DAY FOUR, Saturday July 28, 2018

10:30am – 12:30pm | Pricing Your Work & Other Money Matters with Tim Melville and Artists Alliance

Tim Melville (Te Arawa, Te Atiawa) speaks regularly to tertiary students about strategies for creating post-university relationships in the commercial art world, including around pricing, and will be more than happy to answer questions.

Tim Melville Gallery represents Matt Arbuckle, Elliot Collins, Johl Dwyer, Russ Flatt, Alberto Garcia-Alvarez, Star Gossage, Jonathan Jones, Mabel Juli, Nonggirrnga Marawili, Joe Sheehan, Phyllis Thomas and Roberta Thornley.

1pm – 3pm | Artist Collectives

Artists Deborah Rundle and Jerome Ngan-Kee will conduct an informal discussion around their involvement in various artist collectives, the challenges, the highlights and advice for those wanting to start or join a collective. This is an opportunity to bring your questions.


To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

Paul Johns | Look at the crowd in swimming

Paul Johns | Look at the crowd in swimming

Opening event Tuesday May 1, from 5pm

ILAM Campus Gallery, Christchurch

Artists Talk Thursday May 3, from 12.30pm

The frequent disconnect between curatorial intention and viewer response is too often the classic “elephant in the room” when contemporary art exhibitions are staged. Given the unspoken rules of the art world this gap between intention and response is seldom owned up to. Bewilderment is audibly masked by strategies of knowingness, peppered by buzz-words such as “immersive”, but the silent question prowls unanswered: “What is this all about?”
In Johns’ case there are some useful keys. First, the scope of his work over forty years – not just a succession of styles but an engagement with social mores. Second, his perhaps central medium of photography, that diaristic, serial and more tangible connection with life as it’s lived. Third, photography’s intimate relation with memory – that curiously unstable hindsight attempting to confer shape on shifting identities. Earlier in Johns’ career his shaping seemed almost exclusively personal, but by now the accumulation of this plumbing the depths of his experience is more historical in scope, more generally applicable, a wider commentary on his life and our times.
Peter Ireland.

Image:  Paul Johns, 10.04.2018

David Cauchi | A Future Unlived

David Cauchi | A Future Unlived

Opening Wednesday May 2, from 6pm

Ivan Anthony, Auckland

Image: Bananas, 2018, oil, watercolour and coloured pencil on linen, 400 x 300mm

Applications for Grants | Emerging Artists Trust

Applications for Grants | Emerging Artists Trust

Applications due Sunday June 3

Emerging Artists Trust, Wellington 

Applications for project grants are now open for projects or project components that start after 13th July 2018.

Grants are project based and must have connections to Wellington.

Applicants will be informed of outcomes within 6 weeks.

A maximum of:
$1000 – Theatre
$1000 – Visual Arts
$3000 – Film

You will need:

  • Project Synopsis (50 words)
  • Project Description (one typed A4 page)
  • CV’s
  • Budget
  • Quotes for items of expenditure a grant would be used for
  • Support material (such as script sample, reviews/examples of previous work, letters of support, photographs)

Read the Guidelines, FAQs and Funding Conditions.

All applications will be submitted online here.

Deng Xinli and Xie Yi | Re-imaging cultural memory

Deng Xinli and Xie Yi | Re-imaging cultural memory

Opening event Thursday May 3, from 5pm

Orexart, Auckland

Introducing the work of Deng Xinli and Xie Yi, two artists whose work navigates the shifting current of Chinese society, politics, and economy, while maintaining a connection to the country’s deep cultural roots.

Part of a new generation of Chinese artists deeply affected and influenced by the country’s recent and ancient history, Beijing-based Deng Xinli and Xie Yi’s powerful figurative paintings engage highly traditional methods to communicate thoroughly contemporary ideas about art and culture in China today.

Deng Xinli and Xie Yi met as classmates at the renowned Central Academy of Fine Arts in Beijing and, frustrated by the constraints of the institute’s focus on technique, they travelled together to Auckland to expand their horizons and further their study, each completing a Fine Arts Degree at Whitecliffe College of Art and forming strong bonds with Auckland’s art community.

Over the past 10 years, both artists have shown extensively in China, taking part in solo and curated exhibitions at galleries and fairs in Hong Kong, Taipei, Shanghai and Taipei. This occasion marks the first exhibition of their work together in New Zealand.

The work of both Deng Xinli and Xie Yi is deeply rooted in tradition and rich in cultural signifiers. Figures drawn from ancient myths, or conjured from legends, form the strongly symbolic heart of much of the subject matter, but manifest themselves in their paintings in different ways.

The exploration of complex ideas from multiple cultural perspectives has long played a prominent role in Deng Xinli’s life; his father is the adopted son of Rewi Alley, the famous Canterbury-born revolutionary political activist, teacher, poet and member of the Communist Party of China.

Deng Xinli’s work might be described as a critical fantasy. His complex and surreal compositions combine his academy-honed, technical skills with wry observations of post-socialist contemporary culture in China. The large painting ‘The Lady of the Moon’ offers a good example, conflating the ancient legend of Chang’e, the Goddess of the Moon, with the Apollo moon-landing. In it, a Tang-dynasty jade tower coexists in time and space with a rippling American flag – suggesting a double colonisation of the night sky.

The work of Xie Yi entwines history and myth in paintings of landscapes that strongly reference traditional ink-wash paintings – familiar to the Western eye in scrolls.  Hers is an ancient meditative world, uninhabited by humans, but filled with reiki – or spirits – which are represented by the horse, a symbol associated with nobility and purity. The horses, which hover above or beyond the landscapes, are highly stylized and drawn with a naivety that emphasises their other-worldliness.

Deng Xinli and Xie Yi will be in Auckland to attend the opening of their exhibition at Orexart, 15 Putiki Street, in Arch Hill on Thursday May 3. They will also conduct an open discussion about their work and the ideas behind it, at the gallery on Saturday May 5 at 1:00pm. All welcome.

Expressions of Interest | Artistic Contribution to the Design of a Pedestrian and Cyclist Bridge

Expressions of Interest | Artistic Contribution to the Design of a Pedestrian and Cyclist Bridge

Submissions due Wednesday May 23, no later than 4pm

Panuku Development Auckland and Henderson-Massey Local Board

Panuku Development Auckland is working with the Henderson-Massey Local Board to create a pedestrian/cyclist path from Henderson Rail Station to Corban Estate involving the construction of a bridge over the Ōpanuku Stream.

They are seeking expressions of interest from suitably qualified and experienced artists to collaborate with the design team and in particular those who have an interest in and professional experience of working across a variety of mediums (for example; structure, sculpture, light and sound) and a willingness to work creatively in a collaborative team for this opportunity.

  • To express an interest please provide:
    A professional history and an overview of any experience working with project teams
    (up to 250 words). If a collaborative approach is being proposed, please include in
    your statement an outline of the working relationships within the group and/or a
    description of any previous collaborative projects.
  •  Samples of up to five images of previous work relevant to this project and a
    description of your involvement and role in the samples provided.
  • A statement regarding your experience working with community stakeholder groups
    possibly including mana whenua or iwi groups (up to 150 words).

For information provided here: Opanuku Bridge

Expressions of Interest | Light Installations TSB Festival of Lights 2018/19 -

Expressions of Interest | Light Installations TSB Festival of Lights 2018/19 -

Applications due Friday June 1, no later than 5pm

TSB Festival of Lights, New Plymouth 

Want to light up the TSB Festival of Lights with your light installation? The TSB Festival of Lights is now accepting expressions of interest for light installations for the 2018/19 festival which runs mid December to early February.

Links & contact details: 

How to apply

To apply for the Expressions of Interest – Light Installations at the TSB Festival of Lights 2018/19, go to for more information, guidelines and an application form

Group Show | Water

Group Show | Water

Opening event Thursday May 3, from 4 – 6.30pm

The Geoff Wilson Gallery, Whangarei

‘Ma te wai, ka ora tonu ngā mea katoa!’
Through water, all things live! Water gives life to all things!  

New Zealand is surrounded by oceans and sea and is home to many rivers and inland waterways.  This environmental fact inspired the group exhibition Water, hosted at The Geoff Wilson Gallery, Northtec, Whangarei.

The exhibition features works by twelve, experienced and emergent, New Zealand artists each responding to the notion of water via an image, sound or sensation.  Represented are discussions pertaining to the qualities of water albeit; beauty, environmental challenges, cultural discussions or water’s sensual and erotic nature.

Participating artists include: Angela Carter, Benjamin Pittman, Brenda Briant, Denise Batchelor, Emma Smith, Jill Sorensen, Linda Cook, Lydia Anderson, Martha Mitchell, Natalie Robertson, Robert Carter and William Bardebes.

A calendar of events, workshops, lectures and discussions, will accompany the exhibition as Water runs its course through May – June, check the Geoff Wilson Facebook page for information.

Heather Straka | Time Suspended

Heather Straka | Time Suspended

Opening event Thursday May 3, from 5.30pm

Page Blackie, Wellington

‘Prior to painting portraits,.. artist Heather Straka created ‘personalities’ out of the most unlikely of inanimate objects. For her 2000 exhibition ‘Public and Private’ she investigated issues of sexuality and gender with a series of extremely realistically painted porcelain urinals, individualised with cracks, crazes and stains. She provided conveniences for all occasions and inclinations, with invented manufacturers’ names and buylines ranging from ‘Virtuous China’ and ‘Martyr Ware’ to ‘Queen – Closet Combination’ and ‘Reverence – Canonized China’.

Straka completed a BFA in sculpture at the Elam School of Fine Arts in 1994, followed by an MFA at the University of Canterbury School of Fine Arts in 2000. The attention to detail that would later characterise her paintings was already apparent, in the pristine surfaces and seamless welded joints of her sculpture, while such titles as ‘The Immaculate Incisions’ and ‘Exquisite Act’ were further hints of things to come. Her move to painting came in the late 1990s when she was working in France as an assistant to artist Julia Morison. Finding it difficult to obtain sculptural materials, Straka turned to pigment and canvas, while another important factor was her visit to a major Rene Magritte retrospective in Brussels.

Straka began exhibiting paintings in 1998, and produced her first real portrait six years later. The Expatriate was based on a well-known image by Sydney Parkinson, whose tattooed Maori was given additional ear ornamentation in the form of an ‘exported’ label. Then followed a series of portraits based on images of Maori by Gottfried Lindauer, now made both saintly and satanic, as well as irreverently rich in religious references. If the nineteenth-century originals were now subject to claims of ownership by descendants of the subjects, Straka’s entitlement to remodel them was her own childhood connection, the Bohemian ancestry she shared with Lindauer. Having ventured onto this potential minefield she then moved to multiculturalism, painting portraits of young women whose morphed Asian and Polynesian features reflected her view of the changing face of Auckland.’

Extracted from:
Wolfe, Richard. New Zealand Portraits. Viking: North Shore. 2008.

Sarah Dolby | New Portraits

Sarah Dolby | New Portraits

Opening event Thursday May 3, from 5.30pm

Orexart, Auckland

Orexart is delighted to present a suite of exquisite new paintings by Sarah Dolby.
The subjects of these small but powerful portraits possess a flawed and haunted beauty that, once seen, is not easy to forget.

Submit Your Photos! | Out of Control Exhibition

Submit Your Photos! | Out of Control Exhibition

Submissions due Tuesday May 29, no later than 3pm

Depot Artspace, Auckland

Calling all photographers, amateur or professional, camera phones, digital SLR’s or film! We invite you to contribute your photographs for our special participatory exhibition, Out of Control, to celebrate the 2018 Auckland Festival of Photography.

The theme for this year’s Auckland Festival of Photography is Control.

Out of Control is the Depot’s photographic response to a world over-burdened by imperatives which cause us to conform in a multiplicity of demeaning and debilitating ways.

In this increasingly structured and regulated world, we have come to regard control as inescapable, even desirable. The concept of being ‘out of control’ is often fraught with images that threaten an order preferable to unknown alternatives. Opportunities to liberate the creative side of ourselves are rare; even in the gallery, the crucible of creativity, exhibitions require themes, conditions and standards.

There are no restrictions on photographic technique, size, subject matter – we invite you to surprise, delight, horrify, puzzle, challenge, amuse or move the Depot Artspace community with your photos. Break the bonds of conformity, predictability, and the usual components of control – the only limit is your imagination!

The Out of Control exhibition runs from Saturday  June 2- Wednesday June 20. Everyone is welcome to attend the opening event on Friday June 1, from 5:30pm, Depot Artspace, 28 Clarence Street, Devonport, Auckland. 

Out of Control is part of the Auckland Photography Festival 2018 programme.

How to apply

Submissions process:

  • Print your photographs and deliver them to Depot Artspace (28 Clarence St Devonport, Auckland 0624) by 29 May 3pm. There is a $10.00 charge to enter work/s to this exhibition (standard administrative cost per exhibiting artist regardless of the number of photos entered). No late submissions will be considered for exhibition.
  • Photographs don’t need to be framed. Ensure that the photographs include your name and contact details on the back. Photographs in this exhibition will not be for sale.
  • Images will be on display as part of the Out of Control exhibition between Sat 2 June- Wednesday 20 June. You are welcome to join us for the opening event on Friday 1 June, 5:30pm.
  • After completion of the exhibition you need to pick up your photos at the Depot on Thursday June 21 (10 am-4.30 pm). Depot Artspace has no storage facilities and takes no responsibility for the works after this date.

For more information, contact: Natali Rojas, Gallery Coordinator. / 099632331

Alexis Neal and Elke Finkenauer | Something to Remember

Alexis Neal and Elke Finkenauer | Something to Remember

Opening event Friday May 4, from 5.30pm

The Gus Fisher Gallery, Auckland

Something to Remember is a collaborative exhibition which refers to the act of refiguring a past as contingent in the present. The work, which includes lithography, screenprint, debossment, foil stamped texts, sculptural installation and artist books, considers the process of forming identity influenced by community, place, role-models, and experiences; as well as the structures providing contexts within which identity is established.

The point of departure for the exhibition was the artists’ individual and collective response to ideas emerging from Nothing to Remember and Ode to Forgetfulness – two artist books created by Louise Bourgeois not long before her death. Within these works there is an absence of specificity that could be described as a reflection on the collective forgetting that inevitably extinguishes subjective details. Fragmented and reconfigured, ideas are remembered as forgotten.

Pivotal to Something to Remember is the idea that the past is crucial in informing the present, central to who we are and how we identify ourselves. In Neal and Finkenauer’s work this is manifested through ideas on narrative. Neal focusses on the role narratives about the past play in the creation of a national identity. In Something to Remember Neal revisits her childhood memories, reflecting on learning, identity, and place. She inserts her identity into her work as a means of recreating the past, yet not denying her family colonial history, recognising how colonisation has shaped contemporary society. Finkenauer’s work reflects on knowledge gleaned from the unsaid – lessons often learned in hindsight with the benefit of distance. She considers issues of voice and visibility; and the impact of clichéd, often gendered, narratives on collective perspectives.

Alexis Neal (of New Zealand/Maori descent) lives in New Zealand. She has an MFA from Slade School of Fine Art (2000) and a PgDipFA/BFA from Elam School of Fine Arts (1997). Alexis has exhibited extensively, major shows include Whare Taonga, with Rona Osborne at Sarjeant Gallery, Whanganui (2012); Tyle Cottage residenecy, Whenua ki te Whenua, Pura Te Manihera McGregor at Sarjeant Gallery, Whanganui (2015); Korero Tuku Iho at Gus Fisher Gallery, Auckland (2016).

Elke Finkenauer (of New Zealand/German descent) is based in Auckland and Glasgow. She has an MFA from The Glasgow School of Art (2015) and a PgDipFA from Elam School of Fine Arts (2013). Her recent solo exhibitions include Saturday Safari, Glasgow Project Room (2017) and Approximately Bacon, The Old Hairdresser’s, Glasgow (2016). In 2016 Elke completed Transitional Line, a public commission for Auckland Council.

Georgina Watson and Alexander Laurie | Aggrieved Weaklings

Georgina Watson and Alexander Laurie | Aggrieved Weaklings

Opening event Friday May 4, from 5.30pm

Gus Fisher Gallery, Auckland

burnished sunflower, gourd 
threshed camellia

tenancy trellise’d
potted, enmeshed
in aspirational geometries

security pond, kindergarten
snowflake clock

hoarded armoury, decorative
farmhouse implement
needle of mistletoe
scoured leaf of autumn!

tiny hands furl’d, snake
upwards ensnared
the short rungs
the structures of

*   *   *

Georgina Watson currently lives in Auckland. Recent projects include: Hark, Un-Magazine, Australia, forthcoming, (2018), Anxious Garden, Enjoy Gallery, Wellington (2017), Pack Lite organised by Stella Corkery, NY, LA, Auckland (2017), Decorative Orchards & Mostly I Harvest Each Green Fruit with Regret, Window, Auckland (2016), The World Continues to Infect, St Paul Street Gallery, Auckland (2016)

Alexander Laurie lives and works in Auckland. His recent exhibitions include Calendar, RM Gallery, Auckland (2017), Im- perative, Rockies, Auckland (2016) and Coast FM, Fuzzy Vibes, Auckland (2015).

Kathy Boyle and Beth Charles | Stitches and Stones

Kathy Boyle and Beth Charles | Stitches and Stones

Opening event Friday May 4, from 5pm

Taylor-Jensen Fine Arts, Palmerston North


Kathy Boyle and Beth Charles are both primarily known locally and nation-wide as printmakers but both artists also follow other muses when pursuing their artwork.  “Stitches and Stones” showcases Beth Charles’s work as a textile/fabric artist alongside Kathy Boyle’s engravings on plaster and mixed media sculptural forms.  The exhibition theme revolves around the natural world.  Charles draws our attention to rising tides and warming seas, “As in previous shows my work is influenced by the natural world; this time thinking a little about rising tides and warming seas: the fragile ecosystem of the ice and the threat of climate change on our flora. My medium is stitch on fabric and I use the natural fraying of the fabric to emphasise this fragility.”  Boyle writes: “Much of my work references our natural environment and explores issues of conservation. It reflects my observations of the changing face of the environment resulting from the activities of human occupations: the gouging of the land by the elemental forces of wind and water erosion and the effect of introduced animals on the landscape. It is my commentary on endangered natural forms, flora and fauna of New Zealand.”  Stitches and Stones is an interpreted visual record of patterns that emerge on the land’s surface encoded with tracks and traces of animals, human habitation and the effects of the natural forces of nature. Boyle continues: “These patterns reference past structures, fence lines that follow the land’s contours and meandering animal tracks.  Pasture cultivation is evident through the regimented lines of crops and the ruts and furrows created by the plough and harrow.  Living in a rural situation creates an awareness to these ongoing changes and my current art practice is my response to this.”

Beth Charles holds a degree in Fine Arts, majoring in printmaking.  She has exhibited in New Zealand and overseas including North America and Europe, winning several awards. Her artwork is held in corporate and private collections in New Zealand and in private collections in Australia, Japan, England, the Netherlands and the USA.  Beth and her husband reside in Palmerston North.

Kathy Boyle is a visual artist working across several disciplines including printmaking, multi-media and installation art.  She has been a printmaker for 15 years and was a founding member of the Print Council of Aotearoa New Zealand. Kathy is the current chairperson of the PCANZ. In addition to her art practice Kathy draws on 30 years teaching experience to provide a range of printmaking and mixed media workshops for artists, teachers and school students.  She also serves as a visiting art teacher in schools within Hawke’s Bay. Her work is held in private and corporate collections in New Zealand, Australia, the United Kingdom and the U.S.A.

Image: Ice Flow (detail), Beth Charles. Courtesy of Taylor-Jensen Fine Arts

Lara Lindsay-Parker and Holly Walker | Anti-body

Lara Lindsay-Parker and Holly Walker | Anti-body

Opening Friday May 4

Toi Pōneke, Wellington

Anti-body aims to draw lines between the conflicting intimacy we feel towards an increasingly technological landscape and our innate desire to be connected to our earth.

Through video and sculpture the artists unearth relationships between their own bodies and metaphorical bodies created from their chosen areas of research into gender, identity and the environment.

Using ordinary objects and materials such as iphones, mac computers, plants and soil, the bodily relationship acts as a catalyst to realise an emotional connection to these objects and the cultural significance they hold.

Matt Arbuckle | Low Cloud

Matt Arbuckle | Low Cloud

Opening event Friday May 4, from 5.30pm

Parlour Projects, Hastings

Parlour Projects is honoured to present Matt Arbuckle: Low Cloud, the artist’s first solo exhibition with the gallery. On view from May 4 to June 2, the exhibition presents eight new paintings by the Auckland-born Melbourne-based artist.

In Low Cloud Arbuckle looks to artefacts of the digital world – Wifi, bluetooth, radio, routers, satellites, hotspots and modems – to continue his exploration of space. Using colour, shapes, lines and textures he creates, manipulates, organises and reorganises expanses within the material confines of the painted surface. They are at once an abstract representation of the sublime nature of space as they are a landscape, containing expanses, volumes and voids within their own unique world. Of this work the artist states:

“My work captures something of this vast network: delineating intersections between physical spaces and digital infrastructures that have spread rapidly and organically, free from material constraints; grounding intangible signals with solid longitudes and latitudes, and imagining those digital realms in which they exist, with their information superhighways, radio waves, beacons and frequencies. The task is a paradoxical one. How do you represent something that is both ubiquitous but largely invisible?”


An essay by Danae Valenza will accompany the exhibition. For further information, images or enquiries please email or call 021 450 279.

Image: 33°55’19.8”S 151°17’18.0”E. acrylic dye and oil stick on polyester silk
1219 x 914 mm

Adrian Jackman | Minimal Wave Revisited

Adrian Jackman | Minimal Wave Revisited

Opening event Friday May 4, from 5.30pm

Aratoi Wairarapa Museum of Art and History, Masterton

Adrian Jackman sees geometry all around him. The lines and curves and angles that form much of the constructed modern world are, for Jackman, ready-made sketches that he can extract, mix and re-form to create his energetic paintings. The delineation begins with photography, and the artist sees his work as exploring the interface between the two media. He sources images from whatever crosses his path, often posters, advertisements or his own snapshots, and subjects have ranged from Earth seen from space to a pair of bookends.(Warwick Brown, 2016)

Adrian Jackman (MFA, Elam School of Fine Arts, 1997) has exhibited widely throughout New Zealand. His work is held in public, private and corporate collections across New Zealand and abroad. Born in Te Kopuru to a family with links to Whanganui, he now lives in the Wairarapa. He is represented by NKB Gallery in Auckland.

Image: Adrian Jackman, Sequential Circuits (2013), Vinyl acrylic on paper, 2240 x 2280mm

Angela Burns | Painting a Garden

Angela Burns | Painting a Garden

Opening event Saturday May 12, from 12pm

The Moray Gallery, Dunedin

A series of works reflecting on seasonal changes of colour and contemplation in a garden.

Group Show | Never an Answer

Group Show | Never an Answer

Opening event Saturday May 5, from 4pm

The Vivian, Matakana

Created especially for The Vivian to celebrate 125-years of women’s suffrage in New Zealand, The Vivian is enormously proud to present our first all-women painting show Never an Answer – 12 Abstract Painters. Curated by Linda Tyler and Lucinda Bennett, it showcases the work of some of our most outstanding young abstract painters. This show also features two major Sally Gabori works, shown for the very first time in New Zealand.

There will also be a gallery talk on Sunday May 6 at 11am.

Image: Sally Gabori – My Country, 2011 (detail). © The Estate of Sally Gabori.

Group Show | A Company of Potters

Group Show | A Company of Potters

Opening event Sunday May 6, from 4pm

Northart, Auckland

The central focus of the fascinating ceramics exhibition opening at Northart on Sunday is the three kilns built between 1973 and 1984 on the Redvale property of Ian and Sheryl Smail. Some of New Zealand’s leading ceramicists – amongst them Chester Nealiee, Warren Tippet, Bronwynne Cornish, Len Castle and the Smails themselves – made use of the baby oil-fired kiln, stoneware and wood-fired kilns, and the spirit of improvisation and experimentation that grew from the social nature of their association was instrumental in the flourishing of locally produced pottery during the 1970s and 1980s.

Curated by art historian Damien Skinner for Objectspace in Grey Lynn, where it was first shown in November last year, the exhibition in galleries 2 and 3 brings together archival and moving image material with a selection of work produced in the Smail’s kilns. Northart acknowledges the support and generosity of Objectspace’s director Kim Paton, in making the show available to us.

(Image by Sam Hartnett, courtesy of Objectspace.)

Group Show | Abstract Idiom

Group Show | Abstract Idiom

Opening event Sunday May 6, from 4pm

Northart, Auckland

Painters Christine Tizard, Maggie Mcgregor, Leigh Munro and Heather Grouden all work in an abstract idiom. In this group show they will each exhibit both familiar and new pieces. The exhibition closes a few days earlier than the other May shows at Northart, so make sure you get to it in good time.

Group Show | Nine by Three

Group Show | Nine by Three

Opening event Sunday May 6, from 4pm

Northart, Auckland

Over the years that close friends and fellow painters Karl Amundsen, Ross Ritchie and Frank van Schaik have been consistently exhibiting at Northart, a number of people have commented on the correspondences in the work of the trio. It is certainly true that the group meets often to discuss art, but none of them produces work informed by the other.

What they do however share, and what in some way influences all of them, is an abiding interest in artists such as Frances Bacon, Michael Andrews, R.B. Kitaj and Munch, and those that preceded and influenced them. For their group show, each will exhibit three new works.

Image: Karl Amundsen 2018 new work. Courtesy of Northart

Jane Crisp | Feel

Jane Crisp | Feel

Opens Monday May 7

Quirky Fox, Hawera

In a world where entertainment and news is consumed and spat out at an ever increasing pace, art can be a way to step back, breathe and reflect on the things to come and the things that have passed. Jane Crisp’s work veers away from the fast pace of the world surrounding us and draws the viewer into a quiet space of contemplation; when people step into Quirky Fox looking for a moment of peace it is often Jane’s works they settle in front of.

Committing herself to just one solo show every two years, Jane immerses herself in the creative progress, her life revolving around the creation of new works with extraordinary results. Creating an ongoing narrative of reflection and growth in these rare exhibitions, ‘Feel’ is a particularly poignant body of works, partially motivated by grief:

“Being surrounded by grief, experienced from slowly losing my Mum to Dementia and the altered dynamics of family, and then the sudden loss of Neo, my studio mate who was always beside me 24 hours a day and a huge part of my life, I’ve had to understand the many more layers of grief and where this new grief showed up.”

Describing herself as the tool from which the work flows, Jane’s work uses birds as the personification of the soul expressing the human experience, either as a self portrait or as an expression of the collective consciousness of the world. If you are interested in reading more about the concept behind this series please pop over to our website and read Jane’s artist statement here.

Jane’s previous exhibitions have sold out prior to opening such is the popularity, rarity and depth of her works and we are delighted to showcase Jane’s newest creations.  As well as new original works Jane has chosen ‘Feel’ as the platform to release her new selection of limited edition prints. The new prints are available exclusively through Quirky Fox for the duration of the show and are available at a special introductory price.

Expression of Interest / Pānui | Suffrage 125th Anniversary Temporary Artworks

Expression of Interest / Pānui | Suffrage 125th Anniversary Temporary Artworks

Applications close Sunday May 27, Midnight

Auckland Council

Emerging artists are invited to express their interest in creating temporary works commissioned to mark the 125th anniversary of women’s suffrage in New Zealand.

Auckland Council is looking for semi‐permanent installations with a lifespan of five years.

This enables works that will thematically respond to the anniversary.

Auckland Council has identified three likely sites as locations:

  • Tin Tacks Reserve Onehunga
  • Crawford Reserve Howick
  • Killarney Park Takapuna (TBC).

What they’re looking for

Auckland Council is looking for artists to produce a concept that:

  • is a stand-alone artwork
  • conceptually fits with the context of the site
  • contributes to transforming how Aucklanders experience the area
  • can be developed within the available budget and proposed timeline
  • has a lifespan of five years
  • is made of robust materials that are resistant to vandalism and weather
  • is less than four cubic metres in size
  • is designed to be fixed to a foundation two metres by two metres, and half a metre high
  • weighs less than four tonnes.

Read full project information

Auckland Council welcomes expressions of interest from both individuals and collectives.

Submit your application via SmartyGrants

For more information email

Call for Applications | Tylee Cottage Residency

Call for Applications | Tylee Cottage Residency

Applications due Friday May 25

The Tylee Cottage Artist-in-Residence programme is generously supported by Creative New Zealand’s Toi Uru Kahikatea (Arts Development) Investment Programme.

The Sarjeant Gallery Te Whare o Rehua Whanganui is calling for applications for its renowned artist-in-residence programme at historic Tylee Cottage in central Whanganui. In 2016 the residency celebrated its thirtieth anniversary and to date over fifty artists have participated in the programme including many who have gone on to become some of New Zealand’s most accomplished visual arts practitioners.
The residency is an opportunity for an artist with New Zealand residency currently living outside of Whanganui, to develop a body of work whilst living financially unencumbered at Tylee Cottage for five months. The cottage is provided rent-free and with maintenance, electricity, phone, and internet covered by the Sarjeant Gallery in its role as a cultural facility of the Whanganui District Council. A stipend of $4000 a month is paid for the five-month period.

There are three separate and distinct residencies on offer:

RESIDENCY 1: September 2018 – January 2019. For a female painter aged 35+ years. The selected artist will also be the recipient of the Lilian Ida Smith Award valued at $5000

RESIDENCY 2: February – June 2019. For a craft/object-based practitioner

RESIDENCY 3: September 2019 – January 2020. For a photographic/new media artist

The aim is that as a result of the residency a body of work will be developed that will culminate in a solo exhibition at the Sarjeant Gallery in their 2019 – 2020 programme and upon negotiation, a work produced from the residency will enter into the Sarjeant Collection.
To read the complete Tylee Cottage prospectus and download the application form:  Go to:

The Tylee Cottage
The Tylee Cottage was built in 1853 and is one of Whanganui’s oldest homes. It is named after Thomas Tylee, a Whanganui pioneer who was in charge of the Commissariat for the 65th Regiment. The cottage was originally situated in Wilson Street, Whanganui before being moved to its present location in 1982 and restored.

The first Tylee residency commenced in January 1986 and welcomed photographer Laurence Aberhart as its first resident. Since then over fifty artists have been Tylee residents, with many choosing to settle permanently in Whanganui afterward.

Lilian Ida Smith Award 2018
In 2018 the $5000 Lilian Ida Smith Award will be additional to RESIDENCY 1 to acknowledge the 125 year anniversary of women gaining the vote in New Zealand and the global suffrage movement.

Lilian Ida Smith 1920 – 1983 was a Whanganui resident who in her will instructed her estate to be divided into three equal parts to establish trusts to assist people aged 35 years and over to develop and further their interest in painting, writing and teaching music. The Sarjeant Gallery was charged with administering the painting strand of the bequest and in 1993 established the Lilian Ida Smith Award. An accomplished artist herself, sadly she never exhibited and her desire to support someone over 35 was in recognition of the constraints her father, Vivian Smith, faced in response to his experimental output as a painter. Since 1993 the award has been offered three times with the last being in 2003.

Fifteen years on, the Sarjeant is reactivating this generous bequest to be awarded in conjunction with a five-month residency at Tylee Cottage. The additional criteria is that we are limiting applications to female painters 35 years or over.

Current Tylee resident
The current Tylee Cottage Artist in residence is ceramicist Kate Fitzharris from Dunedin who is creating a ‘Library of Things’ as a result of the stories shared with her by local Whanganui people about ceramic items important in their lives.

The Sarjeant Gallery
The Sarjeant Gallery Te Whare o Rehua Whanganui was founded through the generosity of Henry Sarjeant who in 1912 left a large sum of money – the equivalent of over $70 million in today’s terms – to establish the gallery “as a means of inspiration for ourselves and those who come after us”. The Gallery opened in 1919 and is recognised as one of the country’s most important heritage buildings. The Sarjeant Collection has become one of national significance and numbers over 8500 works of New Zealand and international art, spanning 400 years.

The Sarjeant Gallery Redevelopment
In 2012, the Sarjeant Gallery at Queens Park, Pukenamu – a Category I listed heritage building – was assessed as meeting only 5% of the current building code and classed as an earthquake-prone building. It was vacated of all staff and works in 2014. The Collection and an ongoing exhibition programme is now housed at Sarjeant on the Quay, the temporary home of the Sarjeant in central Whanganui. The $35 million Sarjeant Gallery Redevelopment Project to strengthen, rebuild and extend the original gallery was green lit in December 2017 and the two year construction will begin in 2019.

How to apply

To read the complete Tylee Cottage Artist-in-Residence 2019 – 2020 prospectus and how to apply go to:

For any further information or to arrange an interview with Curator and Public Programmes Manager Greg Donson who administers the Tylee Cottage programme please contact
Sarjeant Gallery Relationships Officer Jaki Arthur on or 027 577 4923.

Call for Entries | The Parkin Drawing Prize 2018

Call for Entries | The Parkin Drawing Prize 2018

Entries due Friday June 8, no later than 2pm

Chris Parkin and the New Zealand Academy of Fine Arts invite all artists in New Zealand to submit drawings in the 2018 Parkin Drawing Prize.

The award promotes excellence in drawing in all its forms and the winning entrant receives a prize of $20,000. 10 highly commended prizes of $500 each will also be awarded.

The exhibition of finalists will be held at the New Zealand Academy of Fine Arts, Queens Wharf, Wellington, when the winner and highly commended prize winners will be announced.

Note: You can only submit your entry online through this form. Artists may submit up to two drawings. Please have the image(s) of your artwork at hand when you complete this form.

Page one of the form collects information about you, the artist. Page two of the form collections information about your drawing(s).

The winning drawing shall become the property of the Parkin Drawing Prize once the prize money is paid to the artist(s).

Please visit their website for more information and entry form 

Image: Hannah Beehre, Catastrophe. 2016

Call for Proposals | Changing Lanes

Call for Proposals | Changing Lanes

Proposals due Friday July 13, no later than 5pm

CHANGING LANES is a collaborative project between Artweek Auckland, Auckland Council and Heart of the City.

Auckland Council and Heart of the City are pleased to offer opportunities for an artist, or group of artists, to activate a LANEWAY in Auckland city centre for Artweek.

There are two lanes available.

ARTWEEK AUCKLAND  |   October 6 – 14, 2018.


Artists are asked to consult with stakeholders to develop a concept that responds to an issue and/or opportunity identified with the following principles in mind:

  • Context of place – Concepts should be cognizant of both the physical and social environment, considering all of its user groups; businesses, residents, visitors alike.
  • Heritage and/or potential of place – Where possible, signals to the history or future aspirations of the location.
  • Bring to attention the spaces as alternative walking routes during construction period


  • Occurs in the public space. Artists may work with whichever materials and methods of their choice however, are subject to permitting requirements.


Each treatment/installation must be in place for the duration of Artweek Auckland festival; 6 – 14 October. Installations need to be durable and sustainable for the 10 day period night and day. Also need to factor in weather contingencies.


  • Concept design
  • Engagement with surrounding businesses and/or residents
  • Creation, installation and break-down of installation.
  • Complete all relevant permitting requirements; event permit and health and safety.
  • Ensure site health and safety requirements met.
  • Evaluation
How to apply

Email for further information on sites and how to be involved!

Adrian Jackman | Still Life with Landscape

Adrian Jackman | Still Life with Landscape

Opening Thursday May 10, from 6pm

NKB Gallery, Auckland


Still Life with Landscape is a new series of paintings by Adrian Jackman.

Still Life with Landscape, is what you first see when you pull into any small town – the bright light, the static open spaces. It is only after looking closer, discovering more, that you begin to make out the landmarks and figures of those who inhabit that space.

At first glance, these new paintings are a drone-eye view of the plains, ravines and patchwork fenced-in farmland of the artist’s new home in the Wairarapa. As the eye ranges it teases out more information, figures and objects float through unhinged within the painted surface. The technological clutter that inhabits the visual topography of the everyday, acts as a buffer and diffuses the viewers focus.

A Pantone colour palete of what’s been trending globally over a three year period forms the basis for this series of works. As does an interest in Seurat’s pointillist technique known as ‘chromoluminarism’ – a method that utilises colours in patches that essentially trick the eye into blending them, creating luminance and shape.

Fields of flat solid colour are arranged and held together with clean sharp lines which diverge, align, and intersect across the surface of these works. New forms appear and disappear, developing a complex web of relationships and endless a rythmic flow for the viewer to move through.

Adrian Jackman graduated in 1997 with an MFA from Auckland University’s Elam School of Fine Arts and has exhibited widely thought New Zealand since. His recent exhibitions include a solo exhibition at the Sarjeant Gallery, from the Tylee Cottage Artist in Residence programmed and a Solo exhibition at Bath Street. His work is held in public, private and corporate collections across New Zealand & Overseas, including: TSB Wallace Arts Trust, The Sarjeant Gallery, Te Whare o Rehua Whanganui, Citibank Art Collection, Perpetual Guardian Trust, Auckland City Council.

Grant Beran | The Present Perfect

Grant Beran | The Present Perfect

Opening event Thursday May 10, from 5pm

Megan Dickinson Gallery, Whangarei

MD GALLERY is proud to support local artist Grant Beran with his solo exhibition The Present Perfect.  Grant masterfully combines his love of photography and drawing in this eclectic collection of unique photochemical drawings.


Ann Verdcourt, Katrina Beekhuis, Charlotte Drayton | Mirror Grain

Ann Verdcourt, Katrina Beekhuis, Charlotte Drayton | Mirror Grain

Opening event Friday May 11, from 6pm

Objectspace, Auckland

The exhibition Mirror Grain brings together the work of three New Zealand artists, celebrated ceramicist Ann Verdcourt and visual artists Katrina Beekhuis and Charlotte Drayton. Each draw on reproductions from the history of design, architecture and the visual arts, in order to focus on the material nature of our relationship with objects. Read more about Mirror Grain here.

Image: Ann Verdcourt, Morandi Vase, date unknown

Kim Gunter | AS ABOVE so below

Kim Gunter | AS ABOVE so below

Opening event and film screening Friday May 11, from 6pm

Upstairs Gallery, Auckland

Kim entered the film industry, first as a scenic artist, then as a writer and director of many New Zealand documentary drama series such as Epitaph, Secret New Zealand and Beyond the Darklands. This exhibition marks Kim’s return to painting as his primary creative pursuit and he hopes it will lead to more opportunities to exhibit and share his work.

The paintings incorporate elements such as sand and shell to create layered textural surfaces that capture raw, elemental patterns and rhythms of the natural world.

Kirsty Lillico |Happy Together

Kirsty Lillico |Happy Together

Opening event Friday May 11, from 6pm

Objectspace, Auckland

Part of an on-going series of sculptures that re-present architectural floorplans utilising pieces of remnant carpet by Wellington based artist Kirsty Lillico. Happy Together draws its form from architectural plans for a co-living complex in New York, in assembled pieces of salvaged and hand dyed carpet. Read more about Happy Together here.

Image: Blueprint, 2015, Kirsty Lillico

Sarosh Mulla and Andrew Paterson - PAC Studio | Penumbral Reflections

Sarosh Mulla and Andrew Paterson - PAC Studio | Penumbral Reflections

Opening event Friday May 11, from 6pm

Objectspace, Auckland

For the first major architecture exhibition commissioned by Objectspace since the gallery’s reopening, Penumbral Reflections, by Auckland based architects Sarosh Mulla and Aaron Paterson of PAC Studio draws on ideas of penumbral shadow. The partial shadow that occurs between umbra—the darkest part of the shadow—and full illumination. The installation contains an aluminium and steel construct that merges two architectural devices—the grid and a Claude glass—through projected light and simulated shadow. Read more about Penumbral Reflections here.

Fauze Hassen | Yellow Street Light Madness

Fauze Hassen | Yellow Street Light Madness

Opening Saturday May 12, from 2pm

Depot Artspace, Auckland

 Yellow Street Light Madness arises from the invisible chaos and the marginal aspects that go unnoticed in today’s society.

The subjects are fuelled with a restless countercultural appetite and shaped by childhood memories of his upbringing in the outskirts of São Paulo, one of the largest cities in the world.
In his debut show Fauze will explore the connection between different mediums and ways in which poems and paintings are able to translate his cultural background and experiences, allowing the audience to connect with his creative process.

Fauze Hassen is an emerging Brazilian visual artist and poet based in Auckland since 2011. Join us at the opening event, with special musical guests Let’s Go Descarrego .

This exhibition will present a unique body of paintings plus an audiovisual work, in response to Fauze’s recently published collection of poems Yellow Street Light Madness (ISBN-13:978- 1977915030). Yellow Street Light Madness will be available to purchase at Depot Artspace.

Fiona Gray | Flight of Light

Fiona Gray | Flight of Light

Opening event Saturday May 12, from 2pm

Depot Artspace, Auckland

Inspired by the contemplation of nature, Flight of Light from visual artist Fiona Gray combines the observation of landscape and details of scenes with words and phrases evoked in parallel. Using colour and letters to create a formal composition, with abstraction and detail to complement each other.

An exploration of colour;
The making of happiness,
The scouring of demons
That plague the heart;
How trippy the world
In it’s simple elegance,
Is revealed by calm,
Honest, contented

So – my take,
A look here,
A word there,
Images played with
Colour and the
Light of reflection,
Resonate with themes of
The domestic,
Regeneration and hope;
With space and timelessness
Echoing the past,
And looking to the future.

Group Show | Te tangi a te awa

Group Show | Te tangi a te awa

Opening event Saturday May 12, from 6pm

[Tacit], Hamilton

[Tacit] would like to warmly invite you to the opening of Te tangi a te awa.

[Tacit] is showing a selection of artists whose work reveals an interest in freshwater, the river, the river as a site of pollution, the river as a spiritual personification and also a source of life-giving wai or water, and features a range of Aotearoa artists, including Jude Robertson, Xavier Meade, Uma Tuffnell, Alexis Neal, Clara Wells, Sarah Hudson, Mitchell Vincent, Bonco, Ji Yeon Jeong, and Georgia Ransfield.

[Tacit] gallery is located upstairs at 223 Victoria street, open Wednesday – Sunday, 12-6pm.

We would like to warmly thank our sponsors, the Framing House, and Super Liquor for making this exhibition possible.

Dieneke Jansen | 90 DAYS +

Dieneke Jansen | 90 DAYS +

Opens Sunday May 13

Te Tuhi, Auckland

On the 22nd of October 2016 Ioela Rauti (Niki) was issued a third 90 day eviction notice from her home of 22 years. As a member of the Tamaki Housing Group, she has been fighting the destruction and gentrification of her Glen Innes community and home since 2011. An occupation of Niki’s home began with two conjoint marches arriving at her home on the 17th January 2017. This action, highlighted through media coverage and Niki’s four subsequent court appearances, alerted people to the injustice and improprieties that took place between the government, the Tāmaki Regeneration Company and developers.

90 DAYS + invites viewers to consider the kaupapa of the activists: connectivity, hospitality, care and respect. Of particular concern is the relationship between the resident wahine elders and strident rangatahi (youth) through the practice ofako-ako (a two-way teaching and learning process). At the core of this collective determination for social justice is the reluctant face of the struggle: Niki Rauti. Niki subsequently asked Dieneke Jansen – an adjunct member of the Tamaki Housing Group – to witness this resistance.

Activating a space between aesthetics and activism, 90 DAYS + creates an immersive experience in the gallery, questioning how lens-based art practices might provide possibilities for observation and for listening, enabling visibility for that which sits outside fields of vision. At the core of this project is a desire to enable and expand the space for politics, to explore gestures that traverse the didactic and the poetic[1].

[1] Thompson, Nato. Seeing Power: Art and Activism in the 21st century. Brooklyn, NY: Melville House 2015.

Workshop | Contemporary Jewellery with Sarah Walker-Holt

Workshop | Contemporary Jewellery with Sarah Walker-Holt

Classes commencing Monday May 14 2018

$157.50 for 7 week course
Mondays 7—9.30pm

Focused on object, sculpture, jewellery making for beginners to intermediate, Contemporary Jewellery offers students an insight into using riveting and other cold joining techniques and non-precious materials. Lessons include technique demonstrations exposing students to different approaches and building a strong knowledge base to develop their own ideas. Enjoy exploring and experimenting while being mentored by an experienced New Zealand Contemporary Jeweller.

To enrol visit or phone 09 577 0138

About the tutor:
Sarah Walker-Holt is a full time visual artist with a BVA from Auckland University. She is well renowned for her complex 3 dimensional compositions as an art jeweller and is represented by Fingers Gallery. Sarah exhibits nationally and internationally and is an experienced art tutor and mentor that is passionate about helping students find their own visual voice.

Caroline Bellamy | Moving Water

Caroline Bellamy | Moving Water

Opening event Tuesday May 15, 5.30pm

Parnell Gallery, Auckland

Caroline Bellamy’s latest body of work continues to depict the South Island’s many personalities – rugged and serene, energetic and contemplative, all of which often occur within one captured landscape.

Broad, intentional brushstrokes describe restless rivers alongside still plateaus or tranquil tarns and lakes within majestic vistas. Caroline’s unique sense of movement transports us to an untouched, private viewing of scenes that hum with tension and glow with the natural hues of our Southern land.

These large-scale works in oil are rendered through the young artist’s hand after spending days tramping the terrain, recognising nature’s ability to compose itself.

With titles that often include a moment in time, “Evening”, “Dawn”, or “Morning”, Caroline recognises how quickly time can shift these views into a different landscape entirely and brings these remote vistas to us, redefining the wilderness through her eye while inviting us to be swept up in that moment with her.

Colin McCahon | Kitchener St

Colin McCahon | Kitchener St

Opening Tuesday May 15, from 5pm

Gow Langsford, Auckland

Following the success of Gow Langsford’s recent presentation at Art Basel Hong Kong, this exhibition brings together paintings from several of McCahon’s most formative stages and will reflect the significance of a home-grown artist, whose stature in Australasia can only be compared to the influence that artists such as Jackson Pollock, Robert Motherwell and Mark Rothko had on American art. Spanning two decades of his career – from 1958 to 1977 – the show documents the scope of the artist’s evolving concerns: the relationship between Maori and the New Zealand landscape, as well as the influence of early settlers and their beliefs on this revered land.

Coinciding with this exhibition, Gow Langsford Gallery has published an accompanying illustrated catalogue.

Group Show | Bright Cave

Group Show | Bright Cave

Opening Tuesday May 15, from 5.30pm

Blue Oyster, Dunedin 

Anthony Antonellis, Hana Pera Aoake, Emma Fitts, Miranda Parkes, Maddy Plimmer, Sorawit Songsataya

<Bright Cave>
Curated by Robyn Maree Pickens

“Would a discursive shift from environmentalism to vital materialism enhance the prospects for a more sustainability-oriented public? … If environmentalists are selves who live on earth, vital materialists are selves who live as earth, who are more alert to the capacities and limitations…of the various materials they are.” (Jane Bennett, 2010: 111)

>Bright Cave takes place on whenua belonging to Kāi Tahu, Waitaha, and Kāti Mamoe iwi.

>You are an online (offline) corporeal bundle reading this data on a screen.
>You are an offline (online) corporeal bundle holding this page of oil and tree cellulose in the gallery.

>Bright Cave contains clay, Papatūānuku, wool, readymades, dye, textiles, paint, flowers, monitors, words, handmade paper, karakia, time, games, anxiety, kawakawa, captured rain, GIFs, sound, distress symbols, recycled materials, code, queerness, and friendship.

>Bright Cave is an exhibition about the materiality of art making in a time of socio-ecological crisis. The assembled works make a play between disembodiment and tactility, but ultimately resist a neat IRL/URL distinction in favour of an “earth-based” continuum. In some respects Bright Cave is asking what it means to make work about socio-ecological crisis (the earth, biodiverse species – including humans) with the very materials of the earth.

>The para-curatorial events—through films, talks and presentations— are intended to draw out the materiality of the Internet (e-waste, server farms, subterranean cables, “The Cloud”), the materiality of digital art practices and digital dissemination of art works, to highlight socio-ecological issues that are at once localised and globalised, and to counterpoint “crisis” with “remediation.”

>Repurposing Jane Bennett’s proposition above, Bright Cave asks: what does it mean to live as earth, to live with the awareness that we are earth?

Anthony Antonellis (MFA, 2011, Bauhaus-Universität, Germany) lives and works on the Internet from New York. Recent exhibitions include the Whitney Museum of American Art, New York, 2016; 3rd Shenzhen Independent Animation Biennale, China, 2016; Artecámara Gallery, Colombia, 2016; DAM Gallery, Berlin, 2015. He is Visiting Assistant Professor of Art+Design at Purchase College, New York.

Hana Pera Aoake (Ngāti Raukawa, Tainui) is a writer and artist trapped in Te Whanangui-a-tara, Aotearoa. They are currently drowning in debt they will never be able to repay completing an MFA at Te Kunenga ki Pūrehuroa (Massey University). Hana works primarily within the Māori art collective, Fresh and Fruity with Mya Morrison-Middleton (Ngāi Tahu). Recent projects include, ‘Heartache Festival’ organised with Ali Burns in Te Whanangnui-a-tara, 2018; ‘Pirate Bay residency’, WORM Gallery, Rotterdam, NL, 2018; ‘Whats love got to do with it? Love, labour and contemporary art’ organised by All Conferences at First Draft Gallery, Sydney, 2018; ‘Murky Waters’ with Fresh and Fruity, curated by Charlotte Parallel and Aroha Novak, Art & Activism symposium, Otago University, Ōtepoti, 2017.

Emma Fitts (MFA, 2010, Glasgow School of Art, Scotland) is the current artist-in-residence at McCahon House, Titirangi Auckland. Recent projects include ‘I digress’, with Victor & Hester, Enjoy Public Art Gallery, Wellington, 2017; ‘Homeshow’, Christchurch, 2017; ‘Section, Elevation, Perspective’, Parlour Projects, Hastings, 2017; ‘From Pressure to Vibration: The Event of a Thread’, The Dowse, Wellington, 2017; ‘Necessary Distraction: A Painting Show’, Auckland Art Gallery, 2015-2016. Emma returned to New Zealand in 2014 to take up the Olivia Spencer Bower Foundation Award.

Miranda Parkes’ (MFA, 2005, Ilam, Christchurch) practice includes painting, large-scale installation, video, and work in public space. Recent exhibitions include ‘(Un)conditional I’, The Physics Room, 2018; ‘the merrier’, Hocken, Dunedin, 2017; ‘Pocket Star’, State of Princes, Dunedin, 2015; ‘Stargazer’, Yuill/Crowley, Sydney, 2015. Parkes’ work is held in public collections throughout New Zealand, and in private collections in New Zealand, Australia, the U.K and U.S.A. Parkes was the Frances Hodgkins Fellow, 2016; Olivia Spencer Bower Foundation Art Awardee, 2013; Tylee Cottage Fellow, Whanganui, 2009, and the William Hodges Fellow, Southland, 2007.

Maddy Plimmer (BFA, 2015 Massey University, Wellington) is a studio artist at MEANWHILE Gallery, Wellington, and a resident artist of the JPEG2000 Collective. Recent exhibitions include ‘Hive Mind’, The Engine Room, Wellington, 2018; ‘Flowers’, Window Gallery, Auckland, 2018; ‘Caressing the Silver Rectangle’, Enjoy Public Art Gallery, Wellington, 2017; ‘The Tomorrow People’, Adam Art Gallery, 2017.

Robyn Maree Pickens is a writer, curator, and PhD candidate in ecological aesthetics at the University of Otago, Ōtepoti. Her writing has appeared ANZJA, Rain Taxi, Jacket 2, Art + Australia Online, takahē, Turbine|Kapohau, The Pantograph Punch, Queen Mob’s Teahouse, Art New Zealand and Art News. Currently she is an art reviewer for the Otago Daily Times, Art News, and The Pantograph Punch, and was Blue Oyster Project Space’s 2016 summer writer-in-residence on Quarantine Island Kamau Taurua.

Sorawit Songsataya (MFA, 2014, Elam, Auckland) is a Thai-born artist who lives and works in Tāmaki Makaurau (Auckland). Songsataya was the recent artist-in-residence at McCahon House in Titirangi, Auckland. Currently he is participating in the Swedish Arts Grants Committee’s International Studio Programme (IASPIS) in Stockholm. His recent exhibitions include: Soon Enough: Art in Action, Tensta Konsthall, Stockholm, 2018; Starling, Artspace, Auckland, 2018; Cabinets of Curiosities, Papakura Art Gallery, Auckland, 2017; Acting Out, Adam Art Gallery, Wellington, 2017; Dark Objects, The Dowse Art Museum, Wellington, 2017; Potentially Yours: The Coming Community, Artspace, Auckland, 2016; The Non-living Agent, Te Tuhi Centre for the Arts, Auckland, 2016.

Tony Cragg | Lorne Street

Tony Cragg | Lorne Street

Opening Tuesday May 15, from 5pm

Gow Langsford, Auckland

ony Cragg is widely recognized as one of the most acclaimed artists of his generation. Having maintained a consistently high international profile since the 1980s his work has contributed significantly to the global discourse around contemporary sculpture. At the centre of his practice is an interest in the relationship between materials, science and the body.

This phenomenal new exhibition at Gow Langsford’s Lorne Street Gallery showcases works from a variety of mediums, including wood, marble, steel and bronze. Each is multi-faceted, exploring possibilities for stimulating multiple perceptions within a single work.

Call for Submissions |  Your Art. Our Rooms

Call for Submissions | Your Art. Our Rooms

Submissions due Friday June 8

QT Museum Hotel, Wellington

Calling all culturephiles, artists and creatives – QT Museum Wellington wants your art in their new rooms.

QT Museum Wellington is all about the New Zealand art scene and is throwing a challenge to the creative community; to create in-room artworks for the wall space behind the bed heads of 9 new guest rooms, including an optional 6 private balcony walls. Be it illustrative, graffiti, or abstract art – the space is yours.

If you haven’t yet had the pleasure of exploring, QT Museum Wellington’s lobby is home to New Zealand’s largest privately owned art collection, with art and design at the heart of the hotel’s identity. Your artwork could be part of a collection boasting works by Dick Frizzell, Seraphine Pick, Liz Maw and BMD to namedrop a few.

Submissions are open now until Friday June 8, with the winning designs announced on Friday 22 June. Winners will have 6-8 weeks to complete their masterpieces with the new rooms set to be unveiled in early September this year.

The chosen artists will receive between NZD$2,000 – $6,000 remuneration for each work and experience QT Life with two night’s accommodation at QT Museum Wellington, including breakfast for two and dinner at Hot Sauce or Hippopotamus.

Submissions – and a full brief, including colour palettes, architectural drawings and the terms and conditions – can be made by visiting


Mallory Allen | Time Is A Ship With No Anker

Mallory Allen | Time Is A Ship With No Anker

Opening event Wednesday May 16, from 5pm

Studio One Toi Tū, Auckland

Time Is A Ship With No Anker (a title taken from a Norwegian Saami proverb) is inspired by multidisciplinary artist Mallory Allen’s recent residency on an island in the Arctic Circle.

In this remote environment in Norway where the sun never sets, notions of loneliness, resilience and reflection were cast against a backdrop of overwhelming beauty. Allen’s exhibition is a selection of drawings, videos and sculptures based on Norway’s vast landscapes.

Pearce Gallery | 40th Year Bastion Point Anniversary Exhibition

Pearce Gallery | 40th Year Bastion Point Anniversary Exhibition

Opens Wednesday May 16, from 6pm

Pearce Gallery, Auckland

Pearce Gallery is pleased to present an exhibition of photographic images and ephemera from the Hawke Whanau Trust. The exhibition focuses on images that document the 506 days of occupation at Bastion Point, which led to the removal of 222 people on 25th May 1978 by New Zealand police and armed forces. The archive of images and ephemera were first exhibited at the Auckland Library in 2008, on the 30th anniversary of the occupation and includes New Zealand documentary photographers of the 1970s: Mairi Gunn, John Miller, Gil Hanly, Margaret Jones, Robin Morrison.

In conversation Wednesday May 23, from 6pm to 7.30pm

In conversation Wednesday May 30, from 6pm to 7.30pm

Scott Savage | Nominals: Carnal Treasures

Scott Savage | Nominals: Carnal Treasures

Opening event Wednesday May 16, from 5pm

Studio One Toi Tū, Auckland

Nonimals are primal forms; with few distinguishing features or any known taxonomic rank. They don’t follow or lead, but exist purely to interact.

Nonimals don’t know taste or sound, convenience or hunger, experience anxiety, pain or threat. They do, however, exude arousal and indifference. In a world obsessed with one’s own identity, age, size and gender; Nonimals prevail in an environment without such
burdens. Nonimals just are.

Vanessa Crofskey and Joshua Harris-Harding | Inconsolata

Vanessa Crofskey and Joshua Harris-Harding | Inconsolata

Opening event Wednesday May 16, from 5.30pm

RM Gallery, Auckland

Language is flat-pack furniture: we are trying to build a table. We tried to get The Internet to help us build it and this is the best it could offer.

We belong to fonts, Akaroa, art school, and the dialectical digitas. Trust us, we have University Degrees. We are using our mouths and hands to think about symbols. Limbic to limbo. We are not trying to sell you anything, but we may be persuaded.

Listen, we have to talk. We have squeezed some thoughts through a play-doh extruder in a variety of shapes. A Do It Yourself Font. ________ is a shiny, clean thing that flattens out what is embodied, complex, and furry. Repeated cycles of dis/assembly that thread its screws and tarnish its veneer.

Ask Raph Leviens why he made Inconsolata; about his penchant for herrings. The compression and decompression of a defibrillator. ____ __ a directive invitation.

It might seem like talking has failed us but it is the only option left.

Wendy Wadworth | ECHO Land and Survivors

Wendy Wadworth | ECHO Land and Survivors

Opens Saturday May 5

Arts in Oxford, Oxford

Distinctive works oil on glass and canvas and ink and watercolour on paper.


“If a landscape doesn’t have a human viewer – then it is not called a landscape – it is just land (sitting land,living land) it continues to exist. We are good at naming and not seeing.
A human being has an innerscape. Sometimes their innerscape is visible from the outside to other human beings… but more often than not it is invisible/hidden. Hidden inside. An invisible humanscape.”

Image: Ascent, Wendy Wadworth, oil on glass, 630 x 590 mm


Daniel John Corbett Sanders | After Jack

Daniel John Corbett Sanders | After Jack

Opening event Thursday May 17, from 6pm

Window, Auckland

After Jack – Daniel John Corbett Sanders

Time is now measured in damage – Ana Iti

To make each knife my brother first finds a photo of a knife he likes on the internet, he prints off the image and lays it on top of the steel like a sewing pattern. He traces the shape of the blade and cuts it out carefully with a jigsaw.

The handles he cuts out of pieces of recycled timber, first hewn into a rough shape and then weighed by the hand, using brass pegs and glue to attach them.

He gives the knives as gifts. I bring mine home at Christmas and he sharpens it on a whet stone using cooking oil and plastic clips. To test the edge he cuts through a sheet of white A4 paper, slicing ribbons.

Richard Lewer | It's better to burn out than to fade away

Richard Lewer | It's better to burn out than to fade away

Opening event Thursday May 17, from 5.30pm

{Suite}, Wellington

{Suite} is pleased to present their first solo exhibition of new works by Richard Lewer. The artist will be present at the opening preview.

The exhibition, ‘It’s better to burn out than to fade away’, includes a series of drawings of Richard’s Mum’s recent funeral and landscape paintings of Raglan, one of his Mum’s favourite places to visit.

Acts of Passage | Te Tuhi Offsite

Acts of Passage | Te Tuhi Offsite

Opens Friday May 18

Silo 6, Wynyard Quarter, Auckland

Albert Ashton (Aotearoa NZ) // FAFSWAG (Aotearoa NZ) // Ayrson Heráclito (BR) // Kitso Lynn Lelliott (BW/ZA) // Antonio Paucar (PER-DE) // Rosanna Raymond (Aotearoa NZ)

The performance exhibition Acts of Passage addresses the body in its cathartic function: by performing small rituals and cleansing gestures artists trigger memory to reconcile history and the now through physical action.

Since the dawn of humanity, ritual practices have been meticulously devised to establish and maintain personal and common welfare. The expression sumak kawsay (literally ‘good living’) widely refers to the worldview of the Quechua peoples of the Andes, a community-centred, environmentally balanced and culturally responsible system that has recently entered the legal framework of Ecuador by including nature as a right-bearing entity in the country’s Constitution.

Acts of Passage will include immersive video installations and scheduled live performances that showcase the most exciting manifestations of the practice from around the world including Africa, Aotearoa, Brazil, the Pacific, and Peru.

Drawing from a particularly southern cartography, the exhibition presents artists versed in a diversity of knowledge systems invariably connecting humans with the natural world, myth and ancient cultural values. Their films and live performances bond the body to the surrounding world to symbolically address a powerful way of being present at the crossroads of times.

Maud Cook Davies | Untold Stories from the Kaauta: Blending our identities

Maud Cook Davies | Untold Stories from the Kaauta: Blending our identities

Opening Friday May 18, from 5.30pm

Kings Theatre Creative, Kawakawa

Kia ora koutou katoa,

You are invited to attend the opening of this multi-media exhibition by Ngati Hine artist, Maud Cook Davies. Sharing historical, social and cultural understanding of the purposes and practices o nga kaauta, Maud presents the ‘Untold Stories from the Kaauta’.

Stories from the kaauta (kitchen) are from the heart of the Marae and this exhibition presents korero, interviews, and photograph’s from kuia and kaumatua from four local Marae, Otiria Marae – Kawakawa, Tau Henare Marae – Pipiwai, Whakapara Marae – Hikurangi, Maungaronga Marae, Poroti.

The multi-media exhibition will include film and photograph’s and be accompanied by the artists own print and uku work.

Kings Theatre Creative invites whanau and our community to support the opening of this significant exhibition and Maud’s important mahi to keeping local stories available for future generations.

Nau mai, haere mai,

Phillip Lai and Peter Robinson | Spinning

Phillip Lai and Peter Robinson | Spinning

Opening event Friday May 18, from 6pm

Hopkinson Mossman, Auckland

Hopkinson Mossman is pleased to present Spinning, a two-person exhibition of new sculpture by Phillip Lai and Peter Robinson.

Phillip Lai (born Kuala Lumpur, 1969) lives and works in London. Lai has exhibited extensively at international venues including: Camden Arts Centre, London (2014); Tate Modern, London (2010); Transmission, Glasgow (2009); Drawing Room, London (2005); Hayward Gallery, London (1999); MOMA, New York (1998); and ICA, London (1995). Earlier this year, Lai was nominated for the Hepworth Prize for Sculpture.  Lai is represented by Stuart Shave / Modern Art, London; Edouard Malingue, Hong Kong; and Galleria Franco Noero, Turin.

Peter Robinson (born Ashburton, 1966) lives and works in Auckland. Robinson’s work has been exhibited extensively in New Zealand and internationally: he was New Zealand’s representative at the 49th Venice Biennale (2001), participated in the 5th Auckland Triennial (2013), 13th Istanbul Biennale (2013), 11th and 18th Biennale of Sydney (1998/2012), and the 8th Baltic Triennale of International Art, Vilnius (2002). Robinson was nominated for the Walters Prize in 2006 for The Humours at Dunedin Public Art Gallery, and again in 2008 when he won for his exhibition ACK at Artspace, Auckland.

Image: Peter Robinson, Fieldwork, 2018, anodised aluminium wire, 300 x 300 x 200mm approx.

Denise Batchelor | Wilderness, Water and Wind

Denise Batchelor | Wilderness, Water and Wind

Opens Saturday May 19

Nathan Homestead, Auckland

This exhibition is a rare opportunity to see work in both still and moving image by Hokianga based artist Denise Batchelor.

Wilderness, Water and Wind explores encounters with nature, revealing moments unnoticed, the way a breeze blows, native birds move or how the kelp sways.

She offers us a gift, the time to slow down, appreciate the ebb and flow of the rhythms of life and to find quiet moments of reflection.

Ford Jonez | Rhythm of a BadBoy

Ford Jonez | Rhythm of a BadBoy

Opening event Saturday May 19, from 7pm

Satchi&Satchi&Satchi, Auckland

“Come feast your eyes on the freshest shit you’ve ever seen.

This criminology sci fi, hip hop fantasy is a collection of my work from the last year which I have been thinking about and wanting to share for a long time.

There is no intention here. Every work has been made on the spur of the moment and there isnt any fine arts smoke and mirrors bullshit behind any of it.

I make art because it makes me happy and I would love to share it with all the people who inspire and motivate me so come and check it out 🙂

Super special superstar spectacle DJ Leo CW will be hitting ur earz with some fresh cuts and breaks to move ya body till it aches”

Simon Kerr | The Colour of Crime

Simon Kerr | The Colour of Crime

Opens Saturday May 20

Potocki Paterson, Wellington 

“This is the surest thing I have ever found in my life … [art] it’s definitely a true love. People will say this guy has lived his life like a piece of crap, he’s a criminal … there’s no ifs or buts about that, I completely put my hand up to that. I did like it, I thought it was exciting [being a criminal].

[But] life is short and there’s greater things you know. I am on the right track and this is the track and it doesn’t involve crime … I am working hard at something I am far more happy about.”

Kerr was a professional safe cracker and was involved with number of successful prison breaks in his 35 year criminal career.

But it was while inside at Ngawha in Northland that he found art and began painting to critical acclaim. His works have been described as “striking – handwriting and colourful scrawls, like the love-child of Banksy and Colin McCahon”.

Kerr has previously made headlines for his part in: the infamous “Hole in the Wall Gang” of bank-robbers; an escapes which led him to stow away on a cargo ship to Australia; but most infamous for making headlines in in 1994 with a 13-day rooftop protest, about remand conditions, at the of top Mt Eden jail.

“I am not looking to be accepted by society.
I want to contribute to it.
I don’t want to add my mess to it in a destructive way, as I have in the past.
I want to give all that mess a home. For good.

“A place where it won’t cause any trouble for anyone.
A picture on a wall is a safe place for it all to live now.
A place where people can look at it and say…

“Well, thank f**k that’s all over, things were getting messy there.”

Erica Van Zon | Coffee Perhaps

Erica Van Zon | Coffee Perhaps

Opening event Tuesday May 22, from 5.30pm

Melanie Roger, Auckland

Meet the Artist over Coffee and Cake: Saturday May 26, 11AM – 2PM

Originally commissioned by and exhibited at The Dowse Art Museum, Wellington in 2016-2017, ‘Coffee Perhaps’ features works by ERICA VAN ZON that have been inspired by one of New Zealand’s first art dealers, Helen Hitchings. Her influentual Bond Street gallery in Wellington was open from 1949-1951 and sold works of art by New Zealand artists such as Colin McCahon and Toss Wollaston as well as ceramics, textiles and modernist furniture.

Van Zon’s Wellington studio looks directly into Hitchings’ old apartment. Inspired by Hitchings’ pioneering and personal style Van Zon’s new suite includes works on paper, silk, glass, leather, linen and ceramics.

Group Show | Reserve

Group Show | Reserve

Opening event Tuesday May 22, from 5.30pm

Sanderson Contemporary, Auckland

RESERVE is a subsidiary to Sanderson Contemporary’s presence at the 2018 Auckland Art Fair, features exciting work from Sanderson Contemporary’s stable of artists.

Including work from Paul Hartigan, Wendy Kawabata, Yoshiko Nakahara, Meighan Ellis, Paris Kirby, Liam Gerrard, Damien Kurth, Jon Tootill, Karyn Taylor, Kevin Capon, Paul Martinson, Ray Haydon, Julia Holderness, John Oxborough, Brendan McGorry, and Cruz Jimenez

Jacqui Colley | Phenomenon

Jacqui Colley | Phenomenon

Opening event Wednesday May 23, from 5.30pm

Solander Gallery, Wellington

“These works have been created alongside a larger project which has involved a group of thirteen New Zealand artists responding to Water and the state of the braided rivers in Canterbury. What I learnt from this research was that civilization, land, water and air are one. They are woven into a shape that we can consider as ‘us’, this place and our people. What we have done, what we do, where we do it and how we do it.

I have used aerial images from North Otago as source material to reference organic shapes; rivers which flow from the mountains to the sea, the great lakes and few remaining wetlands. With intersecting grids and lines I have mimicked the colonisation of the now mechanised land. The earth tones in the works reference the limestone, lichen and kokowai pigment, the red ochre, used by early Māori to draw on the rock walls of the cliffs at Takiroa near the Waitaki River. These drawings held information for fellow Māori of warnings, beliefs and the locations of provisions.”

Jacqui Colley

Image: Jacqui Colley, Phenomenon #2. 2018, 1360mm x 1360mm, Oil and Acrylic on Canvas.

Peter Collis | Tell me what you see

Peter Collis | Tell me what you see

Opening event Wednesday May 23, from 5.30pm

Solander Gallery, Wellington

This exhibition is an exercise in the difficulties of slip casting Parian clay in large forms and using black and white clay to explore the psychology of the splatter. Strength and softness.

The dichotomy of a strong and upright form against the flowing softness of the black shapes, this work continues Peter’s exploration of form and surface. Inviting the viewer to admire the strong form of the pot, ponder the gestural splash and dribble of the contrasting black slip and make their own decisions from the visual clues.

A mix of wheel throwing, slip casting and hand forming has seen Peter develop a number of strands to his practise over more than 45 years, but he is always concerned with form and surface, plus the chemistry involved in the make up of clay bodies and glazes. Over the years this has seen him formulate and work with porcelain, bone china, frita (soft past porcelain) and Its sister Parian clay. This notoriously difficult medium is used in these works with supreme confidence of handling.

Peter is renowned for the richness and quality of his glazes, but the nature of Parian clay, it’s satin textural surface, and the interaction of the black and white slips have rendered glaze unnecessary.

Peter has exhibited both nationally and internationally in over 50 solo and 200 group shows. His work is represented in numerous international collections and has been presented as gifts to such luminaries as Bill Clinton, Nelson Mandela and the President of China. Well known as a talented teacher Peter works from his home/gallery/studio complex in Auckland, with his wife, Julie and a changing range of graduates and interns.

Image: Peter Collis, Vessel 5. 2018, 180mm x 120mm.

Taro Shinoda | Lunar Reflection Transmission Technique

Taro Shinoda | Lunar Reflection Transmission Technique

Performances Wednesday May 23 and Thursday May 24

Corban Estate Arts Centre, Auckland

A film by esteemed Japanese artist Taro Shinoda filmed over a 10 year period capturing the full moon from the perspective of 12 of the world’s most iconic cities.

Projected on a giant screen Shinoda’s film captures the sublime contrast between the colossal form of the moon and us, the small indicators of life on earth.

Evening performances commence at 8pm with doors open from 7pm. Food and beverages available for purchase. Live musical performance by Uriel Barthélémi evening only. Please note daytime screenings do not include live musical accompaniment.

Daytime screenings: 11am and 1pm — FREE
Evening performances: 8pm — $40

Admission to all performances by ticket only. Online bookings essential. Go to:

RUNNING TIME: 65 minutes

Entry to the Corban Estate is via Mt Lebanon Drive (crossing the railway line) Note that access to Mt Lebanon Drive is on the junction
of Lincoln Rd, Great North Rd and Sturges Rd. (There is no right turn from Sturges Rd). Follow Mt Lebanon Drive down to the carpark. Follow the signs on foot from the carpark to Shed 1.

From the city BUS 136m approx 1 hour trip. For more information go and type in your location and Corbans Estate Arts

Raemon Matene (Ngā Puhi, Waikato-Tainui)  | Te Raki

Raemon Matene (Ngā Puhi, Waikato-Tainui) | Te Raki

Opening Saturday May 26, at 10.30am

Franklin Arts Centre, Auckland

In her first solo exhibition, photographer Raemon Matene (Ngā Puhi, Waikato-Tainui) celebrates the people of Te Raki ō Pukekohe and Nga Hau e Wha marae, in a documentary photographic collection spanning 5 years.

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Opens Sunday May 27

Pātaka Art + Museum, Wellington

There was no one before Owen Mapp’. It seems indisputable to attribute the revival of bone carving as an independent practice substantially to him… In Owen’s practice a sense of history is palpable, he’s consciously making works inspired from history for history.
Philip Clarke

Owen Mapp has been carving bone in Aotearoa New Zealand for 50 years. Before he started to carve in the late 1960s, bone was considered to be a secondary, less desirable medium for carving artists. Through Owen’s unwavering dedication to developing and refining the art of bone carving and sharing his technical skills with emerging carvers, he has played a vital part in its revival and the desirability of finely-carved bone today.

Pātaka’s major retrospective exhibition OWEN MAPP: Dragons & Taniwha – Fifty Years an Artist Carver celebrates Owen’s ground-breaking achievements as the country’s first professional contemporary artist carver of bone and the important influence he has had on the many carvers who have followed him.

Owen Mapp began his career in earnest in 1970 and quickly established himself as one of the most prominent bone carvers alongside Donn Salt and Norman Clark. While drawing on both his own European heritage and Asian influences, Owen also embraced traditional Māori carving to create works of great beauty and diverse cultural significance. While he is not Māori himself, Mapp is highly regarded by many Māori artists for his exceptional ability to sculpt bone and semi-precious stone.

Works by Mapp have become the benchmark for excellence in modern bone carving and are highly sought after by museum curators and private collectors in New Zealand and internationally. Mapp continues to create new works and expand and share his knowledge through international workshops and teaching opportunities. There are very few artists in this country today who match his skill and technical expertise in the field of bone carving and small object sculpture.  He is quite literally New Zealand’s’ most eminent living artist in that field.


Group Show | Kaitiaki

Group Show | Kaitiaki

Opening event Thursday May 31, from 5.30pm

Yvonne Rust Gallery, Whangarei

Artists celebrate kaitiakitanga and the recent Kiwi Release event at Pukenui Forest. These artists are considering the importance of our native bush, flora, fauna, and it’s inhabitants and the guardianship role we all need to adopt to help these spaces thrive. Their work responds to the beauty of our natural environment, and highlights the need to protect these places in any way we can. Working across multiple disciplines, the artists have all approached the topic from their own unique perspective, in their choice of material and method.

Contributing artists include… Vanessa Edwards, Celia Walker, Toni Hartill, Gabrielle Belz, Alexis Neal, Lisa Clunie, Megan Bowers Vette, Prue McDougall, Christine Cook, Miriam von Mulert, Mariette van Zuydam, Andrea Beazley, and more.

Chora Luz Carleton | Gloaming

Chora Luz Carleton | Gloaming

Opening Friday June 1

Toi Pōneke, Wellington

Public Readings: Monday 4, Monday 11, Monday 18 June at dusk

Solstice Reading: Thursday June 21 at dusk

Gloaming presents an experience exploring chromatic transformation in the time between day and night through a series of observational watercolour paintings and writings by Chora Luz Carleton. At gloaming, a strange light obscures our perceptions, colours transfigure into shadowy masses. The state of transition marks changes in our mental perception and focus, we define our world as a smaller more intimate space and the darkness looming beyond, calls the imagination.


Drawing towards the winter solstice this exhibition celebrates the growing dimness over the colder months. Carleton extenuates the lighting conditions within the gallery as if it were dusk. Within this temporal atmosphere, paintings and readings of observational poetry explore the connection between the perception, understanding and communication of space, colour, light and sense.

Kahurangi Smith | MāoriGrl

Kahurangi Smith | MāoriGrl

Opening event Friday June 1, from 5.30pm

Depot Artspace, Auckland

MāoriGrl combines installation and video game to reinvent the story of Hinetītama / Hinenuitepō, the woman who became the goddess of death in Māori mythology. The game MāoriGrl serves as a visual reference to this story, with bright colours, a nostalgic wide-screen format, and abstract landscapes to create a naïve atmosphere in the game’s world– a stark contrast to the realities of Hinenuitepō’s purpose in embracing the deceased.

The title and essence of the game itself is derived from Aroha Yates-Smith’s thesis Hine, E Hine, in which she researched different Māori goddesses from pre-colonial times and sought to further support a spiritual connection back to these atua wāhine.

This exhibition is part of the Matariki Festival 2018 programme.

Linda Jarrett | Walk: An Antithesis to the ‘Decisive Moment’

Linda Jarrett | Walk: An Antithesis to the ‘Decisive Moment’

Opening event Friday June 1, from 5.30pm

Depot Artspace, Auckland

The ‘Decisive Moment’, a well-known term associated with Henri Cartier Bresson, relates to a frozen moment, capturing a significant event as a precise organisation of forms.  If capturing the decisive moment is a way of freezing the moment: capturing a slice of time, then what is the antithesis?

Walk is a series of contemporary abstract images that captures the antithesis of the decisive moment. Not a frozen moment in time, but many moments in one, insignificant, imprecise and disorganised.  Captured whilst walking around Devonport and Narrow Neck, these images are more about the things we don’t see rather than the things we do.

Walk is part of the Auckland Festival of Photography 2018 programme.

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Opens Friday June 1

Courtney Place Park Lightboxes, Wellington 

Tērā Matariki ka rewa i te pae
Nau mai, haramai te hua o te tau hou…

Whetū Whitu is a series of  brooches that reflect the stories of Puanga and Matariki.  The brooches are part of McIntyre Wilson’s ongoing Price of Change Series which  feature re-purposed imagery cut from New Zealand, Cook Island and British coins. Brooches are normally pinned to the wearer, but for this exhibition they adorn light boxes as large-scale prints.


Attached image: Matthew McIntyre Wilson The Price of Change

Participatory Exhibition | Out of Control

Participatory Exhibition | Out of Control

Opening Friday June 1, from 5.30pm

Depot Artspace, Auckland

Depot Artspace has invited the community to contribute photographs for our special participatory exhibition, Out of Control to celebrate the 2018 Auckland Festival of Photography.

The theme for this year’s Auckland Photography Festival is Control.

Out of Control is the Depot’s photographic response to a world over-burdened by imperatives which cause us to conform in a multiplicity of demeaning and debilitating ways.

In this increasingly structured and regulated world, we have come to regard control as inescapable, even desirable. The concept of being ‘out of control’ is often fraught with images that threaten an order preferable to unknown alternatives. Opportunities to liberate the creative side of ourselves are rare; even in the gallery, the crucible of creativity; exhibitions require themes, conditions and standards.

Out of Control is an exhibition of photographic works, exploring the concept of control and the art that is produced when restrictions fall away and creative freedom reigns.

Prepare to be surprised, delighted, challenged, amused and moved.

The only limit is your imagination.

Liberation Word Wall

Given that the arts are a final bastion of freedom we have decided to employ the written word as well, to assist us in liberating our lives.

We invite you to tell us what freedom means to you or how it would manifest itself in the world.  Visit the Depot between June 1 and June 20 and write a message to post on our Liberation Word Wall. Or, you may choose an alternative way to communicate your message.

Out of Control is part of the Auckland Festival of Photography 2018 programme

Group Show | Dark Horizons

Group Show | Dark Horizons

Opening event Saturday June 2, from 4pm

Te Uru, Auckland

Dark Horizons is a suite of three interconnected solo exhibitions exploring this state of global anxiety through the lens of Muslim migrant communities in Australia. The artists in the exhibition are Malaysian and Anglo-Australian brothers Abdul Abdullah and Abdul-Rahman Abdullah, and leading Lebanese-Australian moving image artist Khaled Sabsabi.

Each artist presents an individual contemplation on issues relating to migration and multiculturalism in Western colonial nations such as Aotearoa New Zealand. These concerns are explored through a range of media including film, sculpture, photography, embroidery and painting. Through a process of personal introspection, the artists shed light on our own complicity in contributing to the economic, environmental and political conditions afflicting our international neighbours.

Abdul-Rahman Abdullah (1977) works primarily in sculpture and installation and draws on his cultural heritage as the basis for his art practice. He has an extensive exhibition history nationally and internationally with numerous projects at major Australian public art institutions, including most recently Casula Powerhouse Arts Centre, Sydney, 2017.

Abdul Abdullah (1986) is an accomplished multi-disciplinary artists working across mediums including painting, photography, video, installation and performance. He has an impressive exhibition history with major projects throughout Australia and internationally, including recent works in Primavera at 25 at the Museum of Contemporary Art, 2016 and the 8th Asia Pacific Triennial at Queensland Art Gallery | Gallery of Modern Art, 2015.

Khaled Sabsabi (1965) was began his creative life as a hip hop artist in the mid-1980s, before completing a Master of Arts from the University of New South Wales in 1998. He regularly exhibits nationally and international, including projects at major world biennales, including the 3rd Kochi Biennale, India, 2016; the 1st Yinchuan Biennale, China, 2016; the 5th Marrakech Biennale, Morocco, 2014; the Sharjah Biennial 11, United Arab Emirates, 2013; the 18th Biennale of Sydney, Australia, 2012;  the 9th Shanghai Biennale, China, 2012 and the 21st Biennale of Sydney, 2018.

The exhibition opening will be preceded by artist talks at 3pm, including all three artists who are visiting from Australia.

This exhibition is staged in partnership with Pataka Art + Museum, who presented Dark Horizons in Porirura in 2017.


Tiger Murdoch | The Insider

Tiger Murdoch | The Insider

Opening Saturday June 2, from 2.30pm

Malcolm Smith Gallery, Auckland

Developing from their exhibition in Ōtepoti in 2017, The Insider uses public space, street and gallery, as a site for response to inequality, allowing for a propaganda-like campaign to act as the catalyst for conversation and directly questions the hierarchies that govern culture and critical thinking.

Presented as part of Auckland Festival of Photography