New Zealand Painting and Printmaking Award Exhibition

Landlines | Juliet Novena

Landlines | Juliet Novena

October 9 2017 to March 2018
Artist talk | 9 October 10:30am
Ashburton Art Gallery, Ashburton

For several days from the 30th of September Dunedin based artist Juliet Novena Sorrel will use observational drawing and mapping as tools for exploring Mid-Canterbury’s natural identity. She will spend the first two days in the Ashburton area making drawings of natural and built features of the landscape which will act as her source material for a large aerial drawing which will be done directly on our foyer wall. Her observations will be arranged and fragmented to provide glimpses of Mid-Canterbury.

Sally Burton | Pale History

Sally Burton | Pale History

On 17 June 1843 twenty six people perished in the Wairau Valley. Violently clashing over land rights, this was the first major confrontation between Māori and colonials since the 1840 signing of Te Tiriti o Waitangi/The Treaty of Waitangi.

Nelson artist Sally Burton has approached The Wairau Incident as a three dimensional history painting. The monochromatic figures, constructed from found wood and draped in delaminated tapa cloth, are strong, cunning, raw, frail, passionate, evocative and ambitious. Burton freezes the figures in the moment that ignited conflict. Through this installation, and the inclusion of contextual artwork, Burton allows viewers to stop and reflect on the path that led to this violent confrontation and where it has taken us as a nation.

Image: Sally Burton, detail of Te Rauparaha, 2017, mixed media

Gordon Walters | New Vision

Gordon Walters | New Vision

Saturday November 11, 2017 to Sunday April 8, 2018
Dunedin Public Art Gallery, Dunedin

Gordon Walters: New Vision is a major survey of one of New Zealand’s great modernist artists. Walters’ abstraction was centred on a deceptively simple geometric language, and the infinite potential to be found in a limited range of forms. New Vision asserts the importance of Walters’ works from the 1950s, and connects this body of small and colourful paintings with some of his best-known works of the subsequent decades. Two years in the making, and including more than 150 works, this exhibition presents a unique opportunity to explore all aspects of Walters’ remarkable art practice for the first time.

Gordon Walters: New Vision is a partnership project between the Dunedin Public Art Gallery and Auckland Art Gallery Toi o Tāmaki with support from the Walters estate.

Image: Gordon Walters, Painting J,1974, Acrylic on canvas, Museum of New Zealand Te Papa Tongarewa. Courtesy of the Walters Estate

Sculpture in the Gardens 2017-2018

Sculpture in the Gardens 2017-2018

Saturday November 11 2017 to Sunday February 25, 2018
Auckland Botanic Gardens, Auckland

Sculpture in the Gardens is a free public event held for 3 months biennially at the Auckland Botanic Gardens. The exhibition’s main feature is a 2km sculpture trail through the Gardens. 20 outdoor works from the exhibiting artists will be exhibited. The event also features an extensive indoor gallery of small sculptural works, glass, medallion works, and jewellery. Free guided walks, entertainment and workshops can be sought out; and specialty walks for elderly, and for blind guests are also provided.

The upcoming exhibition will be the 6th Sculpture in the Gardens, and will celebrate 10 years since its inception – as such we will also celebrate the permanent sculptural works that now form a collection of over 20.

Anna Rankin | hail to

Anna Rankin | hail to

Saturday November 18, 2017 to Sunday February 25, 2018
Te Tuhi, Auckland
hail to is a Te Tuhi Billboard Project by Anna Rankin which explores positions of loss, grief, weakness and death through poetry and imagery in order to invoke transitional and unstable relationships of time in relation to the self and to the divine. The works negotiate subjectivity through contradictory and convergent experiences of weakness and ephemeral elation. In hail to she explores and locates desire, fantasy, allegory, delusion, memory, trace and displacement.

Image: Anna Rankin, the same fate; mirror, marc jacobs lipstick, 2017, commissioned by Te Tuhi, Auckland

Gary Peters | A Slow Take

Gary Peters | A Slow Take

Opening Saturday November 18, 4-6pm
Exhibition runs from Saturday November 18, 2017 to Sunday February 25, 2018
Te Tuhi, Auckland

A Slow Take by Wellington-based painter Gary Peters is a site-responsive exhibition commissioned by Te Tuhi that explores the legacy of formal abstraction through the geometry of the everyday. Using architectural features as compositional devices, Peters brings observations about the surrounding environment into the viewer’s conscious perception of space.

Image: Gary Peters, study for Slipped Monochrome #2, 2017. Commissioned by Te Tuhi, Auckland

Shannon Te Ao | With the sun aglow, I have my pensive moods

Shannon Te Ao | With the sun aglow, I have my pensive moods

Opening Saturday November 18, 4-6pm
Exhibition runs from Saturday November 18, 2017 to  Sunday April 22, 2018
Te Tuhi, Auckland

Curated by Sorcha Carey and Bruce E. Phillips

Te Tuhi is proud to present With the sun aglow, I have my pensive moods, a major new work by Wellington-based artist Shannon Te Ao (Ngāti Tūwharetoa) and a joint commission between Te Tuhi and the 2017 Edinburgh Art Festival. This two-channel video installation features footage filmed in three separate locations in Aotearoa New Zealand, documenting a dance, a highway and a farm. These visuals also contain a myriad of references that create a convergence between Te Ao’s personal socio-geography, his tīpuna and the imaginings of other artists, directors and musicians from distinct times and places.

Image: Shannon Te Ao, With the sun aglow, I have my pensive moods, 2017 (video still) two channel video, colour and sound, cinematography by Iain Frengley, commissioned by Edinburgh Art Festival and Te Tuhi, Aotearoa New Zealand

6148 CUPS OF COFFEE | Group Show

6148 CUPS OF COFFEE | Group Show

Friday November 24, 2017 to Sunday March 4, 2018
Te Manawa Museum of Art, Science and History, Palmerston North

This exhibition will showcase portfolio projects from students in their final year of study from UCOL’s Bachelor of Applied Visual Imaging (BAVI). Each student’s project is self-directed and will be an accumulation of an entire years worth of research and creative development. The BAVI degree prepares students for professional careers within creative industries that contribute to contemporary visual culture. Students build broad knowledge and experience in areas of illustration, moving image, 3D modelling, visual journalism, design and photography.

Gavin Hipkins | The Domain

Gavin Hipkins | The Domain

Saturday November 25, 2017 to Sunday March 25, 2018
The Dowse Art Museum, Wellington

New Zealand artist Gavin Hipkins’ career is characterised by a remarkable fluidity, spanning a wide range of photographic media, from slide transparencies to photograms to moving image.

The Domain will be an expansive survey of Hipkins’ work, bringing together 25 years of art-making. It will reveal an ever-evolving practice which returns again and again a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; how social and political ideologies visually shape the world we live in.

Read more

GAVIN HIPKINS, THE COLONY, INSTALLED SAO PAULO BIENNALE, 2002

Kushana Bush | The Burning Hours

Kushana Bush | The Burning Hours

Opening day artist talk | Saturday November 25, 3pm
Opening Saturday November 25, 4pm
Exhibition runs from Saturday November 25, 2017 to Wednesday February 28, 2018
Te Uru Waitakere Contemporary Gallery, Auckland

Kushana Bush (b. 1983) inhabits a singular position within contemporary New Zealand art. Reaching across history, culture and society, her meticulously detailed compositions, multi-ethnic characters and open-ended narratives combine to create a unique visual language. It is an approach that has attracted significant attention for this Dunedin-based artist, drawing audiences into the complex choreography of her world.

The Burning Hours focuses on works made between 2014-2016, showing audiences what happens when Bush pushes her compositional limits and uses the entire surface of the paper. This recent body of work is rich with detail – each surface, of gouache and gold, is filled with references to illuminated manuscripts, Persian miniatures, European art history and modern life. These disparate sources bind Bush’s works to both the past and the present; the historical and the contemporary. Human interactions, humour, ambiguity, dramatic tension and intimate scale are her tools to draw viewers into a private conversation and, in some cases, a spiritual space.

Image: Us Lucky Observers 2016 (detail). Collection of Dunedin Public Art Gallery

Nigel Brown | I AM, WE ARE

Nigel Brown | I AM, WE ARE

Saturday December 2, 2017 to Sunday March 18, 2018
Waikato Museum | Te Whare Taonga o Waikato, Hamilton

A wide-ranging yet cohesive exhibition, I AM, WE ARE features exemplary works from many distinct periods of Brown’s artistic exploration over the last 35 years.

The diverse themes represented in the exhibition are all drawn together by Brown’s unmistakeable painterly style, along with his iconic symbolism and use of text. The result is a lively and high-impact exhibition celebrating the work of this prolific and engaging artist.

Image: The Meeting House, Nigel Brown.

Philip Jarvis | Toothpaste Tubes doing Parkour

Philip Jarvis | Toothpaste Tubes doing Parkour

On from December 2, 2017 to February 25, 2018
Dunedin Public Art Gallery, Dunedin

Philip Jarvis, a Dunedin-based artist renowned for his off-beat ceramics, has turned the Rear Window Gallery into a bathroom filled with parkour-practicing toothpaste tubes. Balancing on furniture and diving off walls, it is their extraordinary core strength and stamina which allows them to tackle this extreme sport.

Riddle | Enigmatic work from the collection

Riddle | Enigmatic work from the collection

Saturday December 2, 2017 to Sunday February 25, 2018
Sarjeant Gallery, Whanganui

Inspired by a selection of recent additions to the Sarjeant collection, this exhibition features works that are intriguing and elusive in their use of materials, technique or subject matter.

Image: Peter Ireland The Fifteen Mysteries (Paekakariki, Canterbury, Makorori) [detail] 1987-1988, oil on bison board, 2015/9/2. Collection of the Sarjeant Gallery Te Whare o Rehua Whanganui. Gift of Don Lawson, 2015.

Freedom and Structure | Cubism in New Zealand Art 1930-1960

Freedom and Structure | Cubism in New Zealand Art 1930-1960

Wednesday December 6, 2017 to Monday April 2, 2018 | FREE
Waikato Museum | Te Whare Taonga o Waikato, Hamilton

A revolutionary style, Cubism’s influence spread globally beyond Europe and the United States to Asia and Australasia, affecting other disciplines including architecture, design and fashion.

Freedom and Structure looks at the significant effect of Cubism on New Zealand painting, and reveals its impact on the work of initial adopters John Weeks, Louise Henderson and Colin McCahon, and others including Melvin Day, Charles Tole and Wilfred Stanley Wallis. This exhibition explores how these artists incorporated the radical language of this style, weaving it into their work in inventive ways.

Image: Colin McCahon, French Bay 1957, oil on canvas on board, Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, purchased 1984.

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.

Elizabeth Thomson | Cellular Memory

Elizabeth Thomson | Cellular Memory

Saturday December 9, 2017 to Monday April 2, 2018
Aratoi, Masterton

Curated by Gregory O’Brien

For over three decades, Elizabeth Thomson’s art has engaged with issues to do with science, imagination, culture and, increasingly, what it means to live in the South Pacific in the 21st century. Thomson’s art has been described, variously, as hypnotic, intense, soothing, transformative and magical. The works in Elizabeth Thomson – Cellular Memory speak of such timely concerns as global warming, over-fishing of oceans, pollution and environmental degradation.

The exhibition is accompanied by a highly illustrated publication with contributions from Gregory O’Brien, Lloyd Jones and Jenny Bornholdt.

Image: the cascades II (DETAIL) 2016, Cast vinyl film, lacquer on contoured and shaped wood panel, 1400mm x 2020mm.

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

Paratene Matchitt | Hui

Paratene Matchitt | Hui

Saturday December 9, 2017 to Sunday March 18, 2018
Hastings City Art Gallery, Hastings

Paratene Matchitt is one of New Zealand’s most prominent senior artists. Matchitt’s 60-year career has seen his work in most public art gallery collections in this country. The gallery is thrilled to present new work in ‘HUI’ Matchitt’s first major exhibition in three years.

Image: Paratene Matchitt,’s HUI,. Photograph taken by Richard Brimer, 2017

Richard Stratton | Living History

Richard Stratton | Living History

Saturday December 9, 2017 to Sunday March 11, 2018
i-site upstairs, Taupo

In Living History, Wellington artist Richard Stratton presents a series of new work that continues his interest in bringing together ceramic decoration and production techniques, art histories and social narratives. This exhibition is toured by the Dowse Art Museum and supported by Creative New Zealand.

Image: Richard Stratton: Living History installed at the Dowse Art Museum in 2017. Image courtesy of the Dowse.

Yayoi Kusama | The obliteration room

Yayoi Kusama | The obliteration room

 to Auckland Art Gallery Toi o Tamaki, Auckland

The obliteration room (2002–present) is a family-friendly and participatory installation by one of the world’s most popular, well-loved artists, Yayoi Kusama (b. 1929 Matsumoto, Japan).

Beginning as a stark white interior, it encourages you to transform the space of our Creative Learning Centre by saturating it with a rainbow of brightly coloured dots. Watch as, over time, a dizzying blur of colour is built up by visitors applying brightly coloured stickers in various sizes to every surface.

With the familiar characteristics of a typical Aotearoa New Zealand home, The obliteration room at Auckland Art Gallery encourages visitors, especially children, to experience and engage with the artwork with little or no prompting.

Originally developed by Yayoi Kusama for the Queensland Art Gallery’s APT 2002: Asia Pacific Triennial of Contemporary Art, The obliteration room has toured to London, Buenos Aires, Rio de Janiero, Brasilia, Sao Paulo, Mexico City, Shanghai, South Korea, Switzerland, France and Dunedin.

Image:
Yayoi Kusama
The obliteration room 2002–present
Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery. Gift of the artist through the Queensland Art Gallery Foundation 2012.
Collection: Queensland Art Gallery, Australia. Photograph: QAGOMA Photography.

Euan Macleod | Painter

Euan Macleod | Painter

Monday December 11, 2017 to Sunday February 25, 2018
Whangarei Art Museum, Whangarei

The first major touring exhibition of Macleod’s work on this side of the Tasman. Christchurch-born, but resident in Sydney since the early 1980s, Euan Macleod has produced a singular, remarkable and gripping body of work. Spanning three decades of a prolific career, canvases in the exhibition take us on a journey not only through physical landscapes but also through states of mind and being. As well as asking how each of us engages with nature, the exhibition hints at myths and narratives from human history–processes of discovery, conflict and resolution.

Curated by Gregory O’Brien and toured by Exhibition Services.

Image courtesy of Whangarei Art Museum

Ann Shelton | Dark Matter

Ann Shelton | Dark Matter

Saturday December 16, 2017 to Sunday April 15, 2018
Artist Talk | Saturday December 16 2017, 2pm
Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch

An expansive view of Ann Shelton’s tightly conceived, large scale and hyperreal photography

Ann Shelton is one of New Zealand’s leading artists, operating where documentary and conceptual photography meet. Seeking insight and understanding of our collective histories and cultural memories, Shelton excavates narratives buried within, or sitting upon, a psychological and hyperreal landscape.

Exhibition organsied by Auckland Art Gallery Toi o Tāmaki

Image: Ann Shelton The Courtesan, Poroporo (Solanum sp.) from the series jane says 2015–ongoing. Pigment print

Len Lye | Big Bang Theory

Len Lye | Big Bang Theory

Exhibition tour by Curator Paul Brobbel | Saturday December 16, 11am-12pm
Saturday December 16, 2017 to Sunday March 18, 2018
Govett-Brewster Art Gallery, New Plymouth

We unveil for the first time since 1980 Len Lye’s large ‘myth’ paintings, capturing Lye’s interest in ancient mythology and human identity, searching our primordial DNA for the ‘happiness acid’.

Image: Len Lye in studio with Land and Sea c.1979, a painting in the Big Bang Theory exhibition. Courtesy of the Len Lye Foundation

Bryce Brown | Figure & Land

Bryce Brown | Figure & Land

Opening event Thursday February 1, 2018, from 6pm
Flagstaff Gallery, Auckland 

Flagstaff Gallery in Devonport will host a showing of eleven brand new, never before seen paintings by Bryce Brown this February!

These new works have a character, texture, and boldness that Bryce has been working towards for a long time. They are the sum total of twenty years of his artistic evolution.

Opening 6 pm – 9 pm Thursday, 1st February 2018 with an introduction from special guest speaker, Christine Fletcher.

 

Call for Applications | London Gasworks Residency

Call for Applications | London Gasworks Residency

Applications due Tuesday March 27

Gasworks London residency for Artists based in New Zealand 

This opportunity will enable an early/mid-career New Zealand artist to undertake a fully-funded residency at Gasworks in London from October 1 to December 17 2018 (11 weeks). Gasworks’ residencies are opportunities for self-led professional development, artistic exchange and experimentation.

The Residency Comprises

– 24-hour access to a fully accessible studio at Gasworks, alongside other visiting artists and Gasworks’ permanent studio holders.
– An Open Studio, or similar public presentations, at Gasworks
– Single room accommodation within Gasworks Residencies House (a 3-story house, shared with 3 other artists-in-residence)
– Basic living expenses in London
– Economy return flights from the artist’s home city to London
– Travel card (zones 1+2) for unlimited travel within central London for the duration of the residency
– Administrative, pastoral and curatorial support from Gasworks (during office hours)

For more information about the residency and how to apply, please go to the Gasworks website

Application Procedure
Gasworks accept digital applications only. Please use the online application form on the Gasworks website.

Your application should include the following in ONE PDF file only:

1. An artist’s statement describing your practice and areas of interest (up to 250 words)
2. A minimum of 10 images of recent work, with captions and a short description if necessary.
3. A CV/Resume
4. A simple statement outlining your plans, if you were to be offered the residency, which could include a short description of a research project specific to the context of London or your residency at Gasworks (up to 250 words). This proposal does not have to be definitive and can change during the course of the residency.
5. Any relevant documentation (e.g. articles or papers about work, exhibitions, publications, etc)
6. A cover sheet with name, contact address, e-mail and telephone numbers if available, plus confirmation that you will be available from October 1 – December 17 2018, if selected.

Applications that do not follow this format will not be considered.  

Please note that there is a 10MB limit on pdf submissions. If your file is not in pdf format or is over 10MB you will not be able to submit it.

Application Deadline: Tuesday March 27 2018

Co-organised by Jan Warburton Charitable Trust and Stephanie Post, with the support of David and Libby Richwhite and the NZ Friends of Gasworks, in collaboration with Creative New Zealand and Elam School of Fine Arts, the University of Auckland.

Call for Ideas | Pacific Arts Programme 2018

Call for Ideas | Pacific Arts Programme 2018

Applications due Monday February 26

Pacific Arts Programme, Auckland

Auckland Council invites creatives of Pacific heritage to submit their ideas for consideration to be part of a new Pacific arts programme to be launched in 2018.

The kaupapa of the programme is to showcase urban Pacific expression and creativity from Tāmaki Makaurau – and to share it with the world.

Intended outcomes of the project:

  • Create a platform to showcase work by Pacific artists and producers
  • Contribute to creating a flourishing and sustainable Pacific arts ecology
  • Encourage inter-generational and cross-art form collaboration to build capability and enable experimentation among Pacific producers
  • Create dialogue within the sector and between audiences and artists
  • Be driven by Pacific values.

Auckland Council is looking to feature a range of projects across the Auckland region. They welcome bold, new ideas from practitioners and organisations across all creative genres.

What Auckland Council is looking for:

  • A single ‘big idea’ or concept, that will have a high impact on audiences and communities, including youth
  • Takes place in public space
  • Is highly engaging for audiences in real time and online
  • Represents and/or reflects Tāmaki Makaurau
  • Is created and produced by creatives of Pacific heritage
  • Is original new work and not happening anywhere else.

How to apply

If you would like to submit your idea, please complete the submission form, which you can download here and email it to Reina Sutton, Arts & Culture Programmer reina.sutton@aucklandcouncil.govt.nz by Monday 26 February 2018.

If you need assistance with submitting your idea, or if you have any questions, please call Reina on 021 528 340.

Call for Proposals | Hainamana 2018

Call for Proposals | Hainamana 2018

Hainamana is looking for contributors. If you would like to contribute a piece of writing about contemporary Asian New Zealand art or culture, then get in touch. This is a paid writing opportunity!

Aspirational or provocative ideas are encouraged, as well as experimental pieces of writing. Long-form essays, articles, interviews, reviews and pieces of creative writing are all welcome.

Proposals should be no longer than 150 words and should respond to contemporary Asian-New Zealand culture within the context of Aotearoa and the Asia-Pacific.

To make a submission please email info@hainamana.com

HAINAMANA is a first linguistic encounter with Asia from a regional perspective. A transliteration of an English denomination –Chinaman – and operating at a third remove from what Chinese and East Asian migrants would call themselves, HAINAMANA points to a moment in Aotearoa’s recent colonial history, and to the often uneasy relations between tangata whenua and tauiwi.

With broad allegiances, HAINAMANA is committed to fostering contemporary Asian New Zealand arts and cultural discourse. With a view towards subjectivity and personal narratives, regional specificity, linguistic difference, and the multifarious and rapidly changing dimensions of contemporary New Zealand society, HAINAMANA also seeks to ask pertinent questions around issues of identity. It is at best an indication of emergent themes rather than resolutions, never a definitive authority on Asian cultural practice, and acknowledges social agitation as its primary function.

 

 

Call for Proposals | The Refinery Artspace

Call for Proposals | The Refinery Artspace

Applications due Saturday February 24

The Refinery Artspace, Nelson

The Refinery ArtSpace is delighted to now invite proposals for our show season mid-June 2018 to July 2019 from….

  • Individuals and groups from all creative fields locally and nationally
  • Community arts and cultural groups;
  • Experienced, new and emerging practitioners, including secondary/tertiary students and recent graduates;
  • Proposals from other national galleries with a similar community focus;
  • Curatorial practitioners and curatorial programmes, locally and nationally;

Closing date – 24 February 2018.
Please find all relevant information – Proposal Guide, Proposal Form and a general informative document ‘Proposal Writing Tips’ on their website; http://www.acn.org.nz/the-refinery-artspace.html
Completed proposal may be
–       emailed to refineryartspace@gmail.com
–       mailed to Refinery ArtSpace/Arts Council Nelson, PO Box 566, Nelson 7040  or
–       dropped off to the Refinery ArtSpace, 3 Halifax St, Nelson 7010.
All submitters will be advised on the outcome of their proposal by 2 April 2018.

Call for Proposals | Toi Pōneke Gallery

Call for Proposals | Toi Pōneke Gallery

Applications due Monday March 5

Toi Pōneke Gallery, Wellington

Tautai exists to nurture, develop and support contemporary Pacific art and artists in developing their practice.

Tautai is currently inviting curatorial applications for an upcoming group show to be held at Toi Pōneke Gallery Wellington, which will run from September to October 2018.

Proposals Should Provide:

  • Exhibition concept
  • Concept rationale
  • Possible title
  • Names of artist(s) and the medium in which they work
  • A public program component

General:

  • This is a paid opportunity
  • Curator and artists fee will be provided
  • Curator and the majority of the artists should have Pacific heritage
  • Curator and artists will ideally be residents of the wider Wellington region
  • Some funding for catalogue or print material will be provided
  • Tautai and Toi Pōneke will provide guidance and support to the selected curator throughout the exhibition development through to realisation

Applications close Monday March 5 and proposals should be two pages maximum.

Email your proposals to tautai@tautai.org, or post to ‘Tautai’, PO Box 68 339, Wellesley Street West, Auckland 1010 
Call for Submissions | Fieldays No.8 Wire National Art Award

Call for Submissions | Fieldays No.8 Wire National Art Award

Applications close Friday April 13, 2018
Nationwide opportunity

Fieldays No.8 Wire National Art Award, hosted by Waikato Museum, culminates in a public exhibition at Hamilton’s ArtsPost. 

Held annually around the Fieldays event, the Fieldays No.8 Wire National Art Award celebrates innovation by challenging artists to create artworks using No.8 wire, an iconic Kiwi agricultural product.

Entrants are invited to utilise agricultural-based materials and No.8 wire to create sculptural artworks. The online entry form enables streamlined entry, multiple images, online payment and a blind selection of the finalists by the judge.

In previous years, the entry criteria have called for the artworks to feature a minimum 50 per cent No.8 wire. Reflecting the way the future of farming is changing, the awards will now allow artists to use a wider range of agricultural products, with the dominant visual and structural feature of the artwork to be No.8 wire or wire of a similar gauge.

Waikato Museum Director Cherie Meecham says the removal of the 50 per cent No.8 wire condition expands what artists are now able to create with the iconic farm product.

“The variety and intricacy of what can be created through the manipulation of No.8 wire never ceases to amaze me,” she says. “Waikato Museum and ArtsPost are excited to be part of Fieldays’ milestone celebration.”

The award culminates in a month-long exhibition at Hamilton’s ArtsPost Galleries & Shop, and selected finalists will also be invited to have their work displayed at Fieldays, which celebrates its 50th anniversary in 2018.

The judge for the 2018 award is Andrew Clifford.

First prize: $7,000
Second prize: $1,000
Third prize: $500
President’s Choice: $100 ArtsPost voucher
People’s Choice: $100

Key Dates

Entry closes: Friday April 13 2018
Finalists notified: Week of April 16 2018
Opening and Awards event: 5.30pm, Thursday May 10 2018
Exhibition: Friday May 11 to Monday June 11 2018
Venue: ArtsPost Galleries and Shop, 120 Victoria Street, Hamilton.

For more information visit  http://waikatomuseum.co.nz/artspost/fieldays-no.8-wire-national-art-award/

 

 

Call for Submissions | Lysaght Watt Trust Art Award

Call for Submissions | Lysaght Watt Trust Art Award

Applications close Thursday March 29

2018 Lysaght Watt Trust Art Award held at the Lysaght Watt Gallery, South Taranaki

The theme of this year’s competition is “Rising”

The major prize of $3000 (sponsored by the Lysaght Watt Trust), as well as several other sponsored prizes, continues to draw entries from artists throughout New Zealand. Each year the Lysaght Watt Trust Art Award attracts approximately 70 entries New Zealand wide. Now in its sixth year, the Award has grown in national awareness.

An esteemed member of the New Zealand Art community is invited each year to choose the overall winner. They also choose the winners of the individual prize categories, including 3D, 2D and Local Artist. A gala evening is held at the Lysaght Watt Gallery to announce the winners and open the exhibition. All entries are for sale.

The People’s Choice Award is given to the artwork with the most votes from the public by the end of the show.

The Lysaght Watt Trust Art Award is extremely well received. It provides a platform not only for established artists, but also for aspiring artists to nurture their careers.

For more information and entry conditions please visit http://www.lysaghtwattgallery.co.nz/art-award/

Call for Submissions | Toi Pōneke Public Artwork

Call for Submissions | Toi Pōneke Public Artwork

Submissions close Wednesday March 7, 5pm

Toi Pōneke, Wellington

Toi Pōneke Arts Centre is inviting artists and designers to submit a design for a public artwork on the East building at 61 Abel Smith Street, pictured above.

An artist’s fee of $5,000 is available to support one proposal from an arts/design practitioner that fulfils the criteria outlined in the project brief.

Download the project brief

Proposed artwork will

  • respond to the site including the architecture of each building and existing signage, colours, texture, etc.
  • consider local Māori whakapapa and history
  • reflect the activity within to give Toi Pōneke a clear creative identity and act as an interface between residents at Toi Pōneke and the public
  • be a visible link from the Cuba – Abel Smith Street intersection.
Please send your proposal to jane.yonge@wcc.govt.nz by Wednesday March 7 2018, 5pm.
Any questions please email Jane Yonge
Call for Submissions | TSB Community Trust EMERGENCE Award For Young Taranaki Artists

Call for Submissions | TSB Community Trust EMERGENCE Award For Young Taranaki Artists

Applications close Friday February 23

Percy Thomson Gallery, Stratford, with the generous sponsorship of TSB Community Trust, is organising and mounting a Taranaki-based competition and exhibition for young emerging visual artists.

You must be born Taranaki, live in Taranaki, or have attended secondary school in Taranaki, and be aged 15 to 26 years on February 23 2018, the date entries close.

The TSB Community Trust Award for Young Taranaki Artists aims to empower and encourage the creative talents of young, aspiring and emerging artists from Taranaki, while providing a showcase for their works.

The winner will receive a cash prize of $2000 and a trophy designed by Taranaki glass artist Richard Landers. Other awards up for grabs too.

Opening event and awards presentation at Percy Thomson Gallery on March 29 2018.
Viewer’s Choice Award will be announced after the exhibition closes.

For more information visit:

 

Elfi Spiewack  | In Splendour Moot: Adornment Re-framed

Elfi Spiewack | In Splendour Moot: Adornment Re-framed

Opening Event Thursday 1 February 2018, from 5.30pm

The National, Christchurch

The National is proud to present the second showing of an exciting exhibition by contemporary jeweller Elfi Spiewack In Splendour Moot: Adornment Re-framed, curated and toured by Ashburton Art Gallery.

This striking exhibition explores jewellery as a marker of self-expression and invites viewers to reconsider preconceived ideas around the value of jewellery and objects of adornment. Spiewack states “Nature has always been a big inspiration, working with ordinary materials and elevating them, putting them into a different context is what interests me. I want to open people’s minds as to what jewellery can be, to challenge the traditional definitions of what jewellery is.”
In this exhibition Spiewack reconstructs the traditional jewellery pieces worn by those of high social rank and importance in portrait paintings from the Renaissance, Baroque and Victorian era. She has taken reproductions of these paintings and edited out the original jewellery and re-created new responses with jewellery pieces which are presented 3-dimentionally on the flat surface of the paintings. These new creations have been made using materials such as silver, gold and pearls which have been juxtaposed with materials of low monetary value like animal bones, antlers and synthetic hair in an attempt to question notions of beauty.

Spiewack completed a Bachelor of Arts in Jewellery and Object Design from the University College for Art, Design, Technology and Economy, Pforzheim, Germany. She is represented by The National and in galleries throughout New Zealand and has shown in numerous group and solo shows in New Zealand, Australia, Germany, The Netherlands and USA since 1993.     

Handcrafted Forms | Traditions and Technique

Handcrafted Forms | Traditions and Technique

Touring exhibition presented by The Japan Foundation

TSB Bank Wallace Arts Centre, Auckland

The exhibition comprises of art works which highlight the richness of Japanese handcrafted objects that have developed within the context of daily life, including ceramics, textiles, metalwork, lacquerware, woodcraft, and papermaking.

The exhibition features both utilitarian objects and creative works of art. The artisans and craftspeople from different regions across Japan have used traditional skills to develop creative works.

 

The Japan Foundation, as a key organization in furthering cultural exchange between Japan and other countries, carries out a wide variety of projects together with over 130 countries in areas ranging from various academic pursuits such as Japanese studies and Japanese language education to the arts, publishing, and audio-visual media.  By participating in the international art exhibitions, such as Venice Biennale and Sao Paulo Biennale, and co-organizing or supporting diverse projects, from traditional art to the works of today’s leading modern artists, the Japan Foundation has endeavored to introduce Japanese artworks to foreign countries, and to bring Japanese artworks from throughout the world.

As part of its exhibition activities, the Japan Foundation has assembled touring exhibitions from its own collection of artworks and actively sends them to foreign countries.  Touring exhibitions may consist of works in areas such as ceramics, photographs, paintings, clay work, and Japanese dolls.  Twenty permanent touring exhibitions are on the road throughout the year, appearing in over 100 museums and cultural facilities and, as introductions to the breadth of Japanese culture and art, have been received with rave reviews everywhere.

‘Handcrafted Form’ introduces two groups of craft objects.  Ceramics, textiles, metalwork, lacquer ware, wood and bamboo crafts, paper, etc., have been nurtured within the daily lives of people in every region of Japan. In addition to those crafts of daily living, we have also assembled creative works of art made by craft artists using skills fostered in the workshop environment.

Acknowledgment to Todate Kazuko of the Ibaraki Ceramic Art Museum, who planned and supervised this exhibition, and the many artisans and artists who graciously provided their work.

Job Opportunity | Auckland Art Gallery

Job Opportunity | Auckland Art Gallery

Applications due before 10.30pm Sunday March 4

Casual Gallery Technicians, Auckland Art Gallery Toi o Tāmaki

Auckland Art Gallery Toi o Tāmaki is the wharenui (home) of visual arts in New Zealand and an internationally recognised award-winning institution.

They are a catalyst for art and ideas that strengthen and enrich our communities. As kaitiaki (custodians) of art, Auckland Art Gallery care for and conserve our collections, and create new avenues of access.  Installing and handling valuable artworks is a specialised role and we’re looking for people with the right combination of passion and hands-on skills to join us.

The role:

As a Gallery Technician, you will be involved with all aspects of installing and maintaining exhibitions at the Auckland Art Gallery, as well as assisting with the packing, movement and storage of loaned and collection artworks.

Working alongside collections staff, curators and artists on an ambitious programme, you’ll help ensure international museum standards are maintained and all tasks align with conservation, insurance, and health and safety requirements. To fit in with our team you’ll take pride in your work, be flexible, and enjoy working with a committed group of people.

To thrive in this role, you will have:

  • Relevant practical and technical experience working in a creative environment
  • An active interest in art & design
  • Current NZ driver’s licence with no restrictions and comfortable driving a manual delivery van or utility vehicle
  • Knowledge of relevant NZ Health and Safety practices, preferably with a current Site Safe Building Construction Passport

You will also be eager to acquire new skills, as plenty of training will be provided to the right person, be calm under pressure and have an organised, methodical approach to tasks, with the ability to prioritise and seek out advice or help when needed.

You may also have other specific skills or experience such as:

  • Joinery and furniture production
  • Installation and configuration of a broad range of audio visual equipment
  • Interior painting, surface restoration and refinishing
  • Basic understanding of CAD applications such as AutoCAD, REVIT and SketchUp
  • Display lighting and familiarity with relevant electrical and conservation constraints

There are currently multiple casual roles available.  These are working as and when required.  Although we can not guarantee the same number of hours each week, our casual staff are normally required for an average of 20-25 hours per week. These hours are predominantly Monday to Friday, however, flexibility will be required as, although rare, there may be the need to work weekends when required.

If you have the required skills, make the most of this rare and sought after opportunity by applying online by 10:30pm, Sunday 4 March 2018. 

For more information please go to the Auckland Council Careers website

Please note this position is deemed a safety sensitive position and will require pre-employment drug testing.

Job Opportunity | Audience Engagement & Administration Assistant

Job Opportunity | Audience Engagement & Administration Assistant

An opportunity to join the team at Te Tuhi has become available!
Applications due Wednesday February 28

Te Tuhi, Auckland

Te Tuhi is seeking a passionate and engaged individual to fill an available role as Audience Engagement & Administration Assistant, from May 2018.

This opportunity is for one of two positions that share front of house responsibilities between them across 7 days per week. The posts work closely together, and with the Executive Director, Artistic Director, Centre Administrator and the evening Duty Supervisors, to provide excellent and professional reception and audience engagement services for Te Tuhi.  The role’s primary purpose is to communicate the exhibition programme in an accessible way to all visitors and the general public, in person and through social media. Reception and building services for classes and venue hirers also forms a substantial part of the workload.

This role helps Te Tuhi meet its aims to increase audience engagement, to develop new audiences for the contemporary art programme, to increase the diversity of its audiences and to build the reputation of Te Tuhi as a contemporary art gallery.

Please visit the Te Tuhi website to download the full job description.

To Apply

Please email a CV and cover letter to jobs@tetuhi.org.nz by 9am Wednesday 28 February 2018.  Please state how your skills and experience meet the requirements of the person specification and how this part time role fits in with your current commitments and future plans. If you would like to discuss the role prior to making an application please contact Hiraani Himona on hiraani@tetuhi.org.nz or at Te Tuhi on (09) 577 0138.

Interviews will be held on Thursday 22 March and the role will start in May 2018.

Cathy Carter | Waimarama, Reflecting On Water

Cathy Carter | Waimarama, Reflecting On Water

Opening event Friday February 2 2018, from 5.30pm
Muse Gallery, Havelock North 

Muse opens their 2018 exhibition programme with Auckland artist, Cathy Carter, fresh from her three-week residency at Waimarama Beach late last year. Carter presents a series of photographic works themed around local myths, iconic landmarks and human interaction with Waimarama, that will literally take your breath away. Not to be missed.

Carter, who is down for the opening, will also be doing an artist talk on Saturday 3 Feb at 11 am.

Colin Hoare and Sons | A Family Affair

Colin Hoare and Sons | A Family Affair

Opening event Friday February 2 2018, from 5pm
Taylor Jensen Fine Arts, Palmerston North 

Taylor-Jensen Fine Arts is honoured to host an exhibition of recent works by distinguished award-winning Palmerston North artist Colin Hoare who will share exhibition space with his two talented twin sons, Alex and James Hoare.

Image credit: Alex Hoare

Janette Cervin | What Lies Beneath

Janette Cervin | What Lies Beneath

Opening event Friday 2 February from 5pm

Gallery Thirty Three, Wanaka 

Janette Cervin completed her Masters in Visual Communication at Unitec, Auckland in 2013. Janette works from home in her studio in Warkworth and is represented by The Vivian Gallery, Matakana and gallery thirty three in Wanaka.

Cervin released a statement regarding her work below

This series of paintings, ‘What Lies Beneath’, is intended to provoke a more imaginative state, a state of surrealism where things that should not make sense, appear to do so. Native and introduced flora and fauna co-exist within a fantastical space. I aim to create a transcendent, translucent, painterly world that I can share; a weaving of the past and present.

As an adoption of 16th century Vanitas themes in a 21st century discourse, the use of flora and fauna as a motif stands as an emblem of the transience of life and the ephemeral nature of objects in a society driven by the perpetual cycle of production and consumption. As the Still Life Vanitas painters of the 16th century included flowers from different seasons in the one vase, my work contains images of flora and fauna from different environments in the one painting. The highly-polished, reflective surface is also a reference to the vanity and opulence of the 16th century.

From a 21st century perspective, the images of endangered birds and plants also reference the notion of contemporary, consumer society pushing native flora and fauna out of their natural existence.

‘What Lies Beneath’ has become more process driven with the removal and application of paint between multiple layers of resin which aims to draw the viewer into and around the painting. Aesthetic decisions are made during the making process rather than following any preconceived ideas. Each layer of painting stands alone until it is preserved behind a layer of resin, safeguarding and protecting the subject matter in a moment of time

Sorawit Songsataya | Starling

Sorawit Songsataya | Starling

Opening event Friday February 2 from 6pm

Artspace, Auckland

Artspace NZ is pleased to present a solo exhibition by Auckland based artist Sorawit Songsataya.

Starling, named after a bird commonly known for its collective murmuring behavior, presents a series of studies that move towards a more bio-philosophical viewpoint. As a ‘soft-digital’ environment made active and populated by viewing collaborators, Starling advocates for artistic co-production, drifting from obsessive individualism to a more modest and symbiotic perception of nature and culture alike.

Brought together within the space as an immersive installation, the project entails filmic work Lovebirds, sculptural objects Four Chambers, workshop series Weave Me In, and non-hyphenated, a text based project by Robyn Maree Pickens. Emerging through cell-like forms, wool fibres, and a fleshy sea in the exhibition, is an undermining of linear ideas, theoretical frameworks, or illustrative animism.

Given the ecologically compromised world we find ourselves in, can we learn to regard other, more open, systems of knowledge and being that strip humancentric perceptions of the world? E.g. How far can the computer determine or engineer biological design? How to shape our continuous study of ‘being here’ by being inclusive and taking in matter, forms, and energies from our greater environment – its objects and beings – to stimulate a more dynamic cycle of interactions and co-partnership with nonhuman others.

What is brought to life in Starling is not necessarily a singular result or an outcome, instead it produces a system able to communicate new ways of being in the world. The extensive public programme aims to give insight to specific histories connected to, and connecting, the multitude of lives active in the exhibition, where materials can be handled, reformed, and changed to embody the suggestions made by the artist and network of collaborators.

What is constructed throughout this exhibition should perhaps be regarded as ‘a labour of love’, a non-magical gathering of experiments, not necessarily belonging to humans, but rather a political act that refuses to reimagine clear lines of gender, body, or geneology.

More information found on the Artspace website.

Vjekoslav Nemesh | Gennie Collection

Vjekoslav Nemesh | Gennie Collection

Opening Event Friday 2 February from 5pm

The Art Lounge NZ, Tauranga 

Vibrant abstract oil paintings by Vjekoslac Nemesh, with guided oil classes by Nemesh run over the opening weekend on the Saturday 3 and Sunday 4 February from 11am – 5pm both days.

Exodus The End of Ordinary

Exodus The End of Ordinary

Exodus The End of Ordinary

Featuring   Dan Arps   Iain Cheesman   Dale Frank   Virginia Leonard   Hugo Koha Lindsay   Fiona Pardington and   Patricia Piccinini.

Image:Patricia Piccinini – Sphinx, 2012 © Patricia Piccinini

3rd February –18th March 2018

Opening Preview Saturday 3rd February at 4pm

Director’s Talk

Sunday 4th February at 12pm

 

Exodus. The word has numerous connotations – religious; as a verb to signify mass movement of people; and a significant cultural shift from old to new.

This exhibition focuses on the mass movement away from politics and religion as the traditional ‘meta narratives’ (or guiding principles) in our lives, and explores the role of art in re-connecting us back to our ‘place’ in the world. The hypothesis explored is a simple one: As we move away from these traditional frameworks, what are we moving towards?

Exodus showcases outstanding work from seven emerging and established artists from New Zealand and Australia. It’s an exhilarating show that captures the sense of exploration, freedom, and hope that art can bring to our lives – and perhaps our very existence.

The Small Work Salon   | Group Show

The Small Work Salon | Group Show

Opens Saturday February 3, 10am – 4pm

NKB Gallery, Auckland

NKB Gallery’s New Collectors Program features a presentation of small – midsized works by gallery artists at very collectable prices.

This exhibition is aimed at new collectors with modest budgets and seasoned collectors with limited wall space. Two walls of the gallery will be given over to ‘smaller’ works with prices starting from as little as $300. The remaining walls will feature larger works by emerging artists, alongside a selection of earlier and standout works from more established gallery artists.

A number of works in this exhibition are able to go home on the date of purchase while others are required to hang until the close of the exhibiton.

Johl Dwyer | The Caerulean Blue Room

Johl Dwyer | The Caerulean Blue Room

Opening event Wednesday February 7 from 6pm

Tim Melville, Auckland

The exhibition comprises two complementary bodies of work – the first, a group of three 2m-high floor sculptures fabricated in polished stainless steel, oxidised Corten steel and powder-coated aluminium – the second, a dozen 450mm square resin paintings whose glowing, polished translucency allows their wooden stretcher bars to remain visible.

Dwyer’s new resin works have their genesis in the plaster and cedar ‘stain’ paintings for which he is best known. Fascinated by the way we experience colour in the digital age, Dwyer has recently focussed his practice on exploring the differences and similarities between pigment-based and light-based media.

In his 2017 catalogue for Grid / Colour / Plane at Malcolm Smith Gallery, curator Julian McKinnon describes Dwyer’s coloured resin works as having pigments that “… do not appear on the surface, as they would with most approaches to painting. Rather they exist within the material and are illuminated by its transparency […] akin to the electronic screen where coloured light is emitted from behind.”

‘The Caerulean Blue Room’ is Johl Dwyer’s fifth solo exhibition at Tim Melville.

Kate Newby | Swift little verbs pushing the big nouns around

Kate Newby | Swift little verbs pushing the big nouns around

Opening event Wednesday February 7 from 6pm

Michael Lett, Auckland

Consisting of site-specific projects that form relationships with locations through actions, Kate Newby’s work engages with a wide range of situations using every-day actions and materials in order to displace and challenge how contemporary art is exhibited, viewed, and archived. These projects draw directly from the locations in which they are presented. Kate’s work bounces backwards and forwards between initial observations, the process of working, and the sites that she works in. Kate’s working methodology is immediate and responsive to events and people around her.

Kate Newby was born in Auckland, New Zealand in 1979. She graduated with a Doctor of Fine Arts from the University of Auckland’s Elam School of Fine Arts in 2015. In 2012 she was awarded the prestigious Walter’s Prize by international judge Mami Kataoka, chief curator at the Mori Museum of Art in Tokyo, Japan. Recent solo exhibitions include: Let me be the wind that pulls your hair, Artpace, San Antonio, TX (2017); Big Tree. Bird’s Eye, Michael Lett, Auckland (2016); The January February March, The Poor Farm, Wisconsin (2016); and Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles (2015). 

Kate Newby currently lives and works between Auckland, New Zealand and Brooklyn, New York.

Marie Le Lievre | I  fix(es)

Marie Le Lievre | I fix(es)

Opening event Wednesday February 7 from 5.30pm

Bartley and Company Art, Wellington

Bartley and Company Art are delighted to open this year’s programme with a new body of work by Marie Le Lievre, who is coming up from Christchurch for the opening.  You are warmly invited to join them next Wednesday 7 February at 5.30pm.

In fix(es), her most overtly figurative body of work to show in Wellington, Marie Le Lievre employs self-portraiture and domestic settings to suggest a complex and surreal interior world, defying set interpretation or categorization.

In surprising juxtapositions, many of the works in the exhibition combine graphite drawing with her signature layers of translucent and opaque oil paint. The obliviousness of the drawn figure – sleeping, dreaming, praying, musing – to those seeing her, pulls the viewer inward and suggests the emotional and psychological readings which the artist is interested in evoking.

Revealing and concealing, layering and veiling, Marie continues to play with existential themes of chaos and order, which have long underpinned her work.

Marie’s work is currently attracting significant attention. It features on the covers of two magazines (Art New New Zealand and Takahe) and in the current issue of Home magazine where she is picked out as one of five artists to watch. Marie has a Master of Fine Arts from the University of Canterbury and has work in a range of public and private collections.

 

Salome Tanuvasa | Do you want to give it a name?

Salome Tanuvasa | Do you want to give it a name?

Opening event Wednesday February 7

Tim Melville, Auckland

“as true as they can be”
by Lana Lopesi
Auckland, February 2018

“In a brief reprieve from full-time work, keeping the children entertained and myriad other responsibilities, a brisk walk around the family home reveals art materials; paper, card, gift wrap and an A4 clear file. Knowing that every minute taken means another minute lost, marks are made over and over and over, then discarded, redrawn and repositioned until, before long, ten works are made and left to dry until the next reprieve. These self-set environmental parameters have resulted in a new exhibition by Salome Tanuvasa in the second (office) gallery at Tim Melville; ‘Do you want to give it a name?’

Tanuvasa describes her drawings as being “as true as they can be”.
In one sense this is emphasised by the challenge she sets herself; to use the materials and time allowed by her immediate environment, and to ask the question ‘what can one make artwork with?’ and, ultimately, ‘what can be art?’.
In another sense, though, her instinctual drawing style is a form of truth-telling in itself. Tanuvasa’s marks are distillations of her thoughts – moments of time, moments of pause – and she seems to ask “What kind of marks can hold a viewer’s attention?”

Tanuvasa has developed her drawing practice since her MFA graduation from Elam in 2014, and since that time her marks have become stronger, more refined, and more considered. One can’t help but see them as the artist creating her own language – or code – of swirls and shapes. Bearing in mind the fact that certain motifs carry multiple meanings, Tanuvasa seems to consider the ways that meaning can be formed via a language that is entirely visual.

While the transference of meaning may be less important to the artist than the production of a formal language, the artworks in this show, ‘Untitled 1-13’, seem to perform a similar function to Rorschach inkblot tests. They are gestural and instinctual but they also encourage the viewer into an unexpected space of contemplation.

In the 10 years I have watched Tanuvasa’s broad practice – from wall drawings to video to photography to installation – the single thing that remains constant is the impossibility to pin it down. In part this is because Tanuvasa works almost exclusively within, and in response to, her (private) environment. Which is not to imply that her works are about interiors; in fact the opposite is true.
Tanuvasa’s practice is set within the confines of a domestic space, but conceptually they look outwards; her home is her personal framework for looking.”

 

Aliyah Winter | Hardening

Aliyah Winter | Hardening

Opening event Wednesday February 7, 5:30pm

Enjoy Public Art Gallery, Wellington 

Revisiting historical representations of gender and sexuality, Aliyah Winter’s artistic practice considers these personal and shared histories within our present moment. Incorporating moving image, performance and archival research, the solo exhibition ‘hardening’ is part of an ongoing project by Winter that revisits the biography of Dr. Hjelmar von Danneville.

Born in Europe, Danneville lived in Te Whanganui-ā-Tara Wellington and worked at the Lahmann Health Home in Miramar during the early 20th Century. Well known locally for their eccentric dress, the doctor wore closely cropped hair, men’s shirts and jackets with skirts, and often partook in dry shaving. Their gender nonconformity, worldly experience and association with alternative medicine made the Doctor a highly suspicious person to local authorities during World War I. During this time, the Doctor was interned on Matiu Island in Wellington Harbour as a suspected ‘enemy alien’.

Drawing together the historical settings of Matiu and the Health Home at Miramar, ‘hardening’ takes Danneville’s experiences as starting points for contemplating how health, healing, desire and belonging are understood within our contemporary social context.

The exhibition is presented during Wellington Pride Festival I Tū whakahīhī e Te Whanganui-ā-Tara and includes a walk with the artist on Matiu Island on Saturday 3 March (with the wet weather date of Saturday 10 March). Further details to be confirmed with Enjoy. The Island is accessible by ferry, and places are limited to 20 people. Please email comms@enjoy.org.nz to attend.

Enjoy Public Art Gallery acknowledges Taranaki Whānui as the kaitiaki of Matiu. All participants will need to comply with the biosecurity instructions from the Department of Conservation in order to protect the wildlife and predator-free status of the Island.

Carbon | 2018 Group Show

Carbon | 2018 Group Show

Opening event Thursday February 8, from 5.30pm

Fox/Jensen/McCroy, Auckland

Please join Fox/Jensen/McCroy for their inaugural 2018 exhibition, CARBON, featuring works by Gabriel de la Mora, Gunter Umberg, Matthew Allen, Ceara Metlikovec and Arik Levy.

Michael Hight | 2018

Michael Hight | 2018

Opening Event Thursday 8 February from 5.30pm

Page Blackie, Wellington 

Please join Page Blackie for the opening of Michael Hight’s exhibition of stunning new paintings, next Thursday from 5.30pm.

Since the late 1990s, Hight has painted several predominantly realist series of hives set in dramatic New Zealand landscapes. His work focuses on a variety of neglected objects that quietly occupy New Zealand’s rural landscape.  Hight draws our attention to man made structures which are slowly being reclaimed by the landscape. Celebrating the beauty of the overlooked and the discarded, the weathered surfaces are all exquisitely rendered in Hight’s acclaimed photorealist style

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
grace@tetuhi.org.nz

Click here for Terms & Conditions.

Under Control | Group Show

Under Control | Group Show

Featured image Renee-Cosgrave, 2016

Group show featuring Gretchen Albrecht, Renee Cosgrave, Fu-On Chung, Rohan Hartley Mills, Lauren Winstone.
Opening event Thursday February 9 from 6pm

Two Rooms, Auckland

This exhibition expands the boundaries of the abstract tradition, at times avoiding arbitrary definitions in favour of interdisciplinary tendencies. The artists employ a progression of styles but all lean to a more intuitive gestural brush strokes and there are many instances of celebratory dialogue between markings, patterns and colours. Many argue that abstract painting is no longer relevant in contemporary practice however the exhibition speculates on the function abstraction has in an era where art can be a mobilising force towards rational political values, gender equality and regard for the environment.

Fiona Tunnicliffe | Harry's Circus

Fiona Tunnicliffe | Harry's Circus

Opening event Saturday February 10 from 2pm

Form Gallery, Christchurch

Please join Form Gallery again in 2018 for an exhibition of Fiona Tunnicliffe’s delightful ceramic work, where Fiona hopes to continue a playful theme of a fantasy world populated by peculiar, anthropomorphic creatures, bound to fascinate and intrigue.

Award winning Ceramic Artist Fiona Tunnicliffe has been working as a full time potter for 25 years. Her beautiful pieces almost always use animal forms as a starting point. Each of Fiona’s rather special formed ceramic animals seems to exude its own unique personality enhanced by the textures, patterns, text, and relief work to its coat and shape. Her work is collected and treasured widely.

Fiona has won numerous accolades for her work including people’s choice awards and overall section winners at key New Zealand Art and Ceramic exhibitions.

Yvette Velvin | Something in Mind

Yvette Velvin | Something in Mind

Opens Saturday 10 February

Toi Pōneke, Wellington

Something in mind is an exhibition of new paintings by Yvette Velvin that considers objects; tiny, beautiful things, recognisable and comfortably familiar, rendered with oils on clay, timber and linens.

Check out Yvette’s instagram.

Phil Dadson | Elemental

Phil Dadson | Elemental

Opening event Sunday February 11 from 4pm

Trish Clark, Auckland 

Trish Clark Gallery is pleased to present the first solo exhibition by Phil Dadson since 2015, as a complement to From Scratch: 546 Moons presented at Te Uru, Titirangi, as part of Auckland Festival 2018.

Phil Dadson has been pushing the boundaries of sound and intermedia art in New Zealand since the 70s. His highly inventive transdisciplinary approach to making art includes solo performances and exhibitions, building experimental musical instruments and sonic objects, video / sound installation, music composition, graphic scores, drawing, sound sculptures and improvisations with invented instruments. Video has been a constant passion for Dadson, as much for its ability to synergistically combine image and sound as for its unique physicality.

A central focus of Elemental will be Dadson’s long-duration performative work, which sees Dadson create a visual score on each day of a month, sequential months each successive year for a twelve year period. Adding to January Music (2014), February Music (2015), and March Music (2016), the 2018 exhibition Elemental will for the first time present April Music (2017). True to the exploratory nature of Dadson’s practise, each month’s drawings from the first three years were produced using different medium and techniques, lending each month its own very distinct personality. The daily drawings from the summer months of January were created using ink and the wind. The daily drawings from the numeral-dominated month of February, with its shift from 28 to 29 days every four years, were created by utilising the strong graphic contrast of light-reflective graphite on matte-black-painted heavy paper. March’s drawings were created using fire and smoke, referencing Mars, the god of war, as well as the fiery nature of these islands we inhabit. April Music for the first time is made with daily filming, referencing a landscape both abstracted and emblematic.

Alex Plumb | Rosario

Alex Plumb | Rosario

Opening event Monday February 12, from 6pm

TSB Bank Wallace Arts Centre, Auckland

Join the James Wallace Arts Trust for the official opening of Alex Plumb’s ‘Rosario’, presented as part of the Auckland Pride Festival.

‘Rosario’ deals with the representation of the ordinary and the everyday through a continuous play between the real and the imaginary, to question the relationship between desire and identity.
Through multi-channel video work, ‘Rosario’ amplifies questions about the psychological interplay between the subject, the site of performance, and the viewers themselves.

The AV Gallery will house a series of video works exploring notions of faith and fantasy in relation to Latin American culture. In particular, it will explore the power play between desire and identity in everyday life.
In the Little Gallery, a series of short videos will aim to reposition our encounter with images of bodies and gestures in space, to uncover the psychological dialogue present within the domestic mundane.

 

Bob Jahnke | ATA: a third reflection

Bob Jahnke | ATA: a third reflection

Opening event Monday February 12 from 6pm

TSB Bank Wallace Arts Centre, Auckland

‘Ata’ in te reo Māori references artistic concerns such as reflection, form, light and shadow, but also refers to the act of deliberation. Bob Jahnke’s ‘Ata’ explores Māori creation narratives and prophetic imagery through light and reflection.

Bob Jahnke’s work champions modern Māori art and uses it to highlight important cultural issues. His works focus on peoples differing perceptions of reality according to historical facts and circumstance. Jahnke’s works are defined through their questioning and challenging of the established Eurocentric narration of New Zealand’s history; he promotes and champions the Māori experience within his considered contemporary metaphor.

A travelling exhibition presented and toured by Pātaka.

F. van Hout | Swan Song

F. van Hout | Swan Song

Opens Tuesday February 13

City Art Depot, Christchurch

Abstract art may exacerbate the question of fantasy but in no sense has the monopoly on it. Any art, figurative or not, engages the spectator in fantasy and projection; no work of art of any interest possesses a single meaning which is then divulged to the correctly viewing subject.
—Briony Fer in On abstract art, 1997

The works in F. van Hout’s Swan Song invite the viewer in with familiar abstract territory, giving way to a delightful depth and movement.

Earth and flesh tones are captured through a bridging of abstract painting’s various languages. Soft hazy grounds surround the defined edges while translucencies recede and pull the forms. Stripped and reworked layers give a textural depth to the finished surface, as ghostly forms of previous painted or planned iterations show through in the final works.

One can trace these paintings through F. van Hout’s various bodies of work shown at City Art Depot. As he did in Painted Red Paintings and the Every Tom, Dick and Harry works, he returns to geometric forms, drawing from underlying facial shapes. However, instead of attaching shapes to the frame of each image, here he suspends them in space. This more challenging sense of balance was explored in the abstract fields he painting in 2017’s de void.

These mixed surfaces combine methods of abstraction, such as the scraping of Gerhard Richter, with the geometric language of Russian suprematists like Kasimir Malevich. An obsessive performance of repainting, reworking, retexturing brings each piece to its final staging – or swan song.

 

Maddy Plimmer | Flowers

Maddy Plimmer | Flowers

Opening onsite event Wednesday February 14 from 6.00pm

Onsite:
FLOWERS – Maddy Plimmer

Wonderful and Fantastic ⭐⭐⭐⭐⭐

This lady is the real deal… do not miss your chance to enjoy a simply perfect woman with an absolutely elegant and incredible beauty.

Cover image by Sean Burn.

Online:
fall on your knees – Emmanuel Sarmiento


a shrivelled up guitar
an omen in the bloodline
if you thought i’d leave then you were wrong
cos i wont stop holding on </3
our kindred symptoms
our song
you played yourself to death
in me

Matt Palmer | Making Landfall

Matt Palmer | Making Landfall

Opening Event Friday February 16, from 5.30 – 7.00pm

Solander Gallery, Wellington 

Making landfall featuring New Zealand artist Matt Palmer opening at Solander Gallery.

Palmer describes his work below:

“These images work within the tradition of landscape painting. They capture a moment in time where light and composition work together to tap into something distinctly New Zealand but also strangely universal.

Not simply landscapes, I am attracted to images that have narrative content. I see the potential for a painting and then endeavour to create the idea or image I saw in that moment. In this way the works make a statement about the more personal places I experience when I make the journey home or even just imagine it from afar.”

Ayesha Green | Alma Venus

Ayesha Green | Alma Venus

Opens Thursday February 15

Corban Estate Arts Centre, Auckland

The works in this exhibition explore the landscape as a site where ideas are both formed and imposed. With imagery of the Aotearoa landscape, used in combination with roman statues, we are invited to tour a historical site of exoticism, investigating the Western gaze before it reached the shores of the South Pacific.

Call for Submissions | National Contemporary Art Award 2018

Call for Submissions | National Contemporary Art Award 2018

Submissions close Wednesday May 9, 1pm

Waikato Museum, Hamilton

The National Contemporary Art Award can be described as brave, colourful and never shy, an award which takes on an exciting genre – contemporary art. Contemporary art is simply described as art that has been and continues to be created during our lifetimes. In other words, contemporary to us. Or more simply, the art of now.

Key members of the Waikato Society of Arts initiated and launched what we now know as  the National Contemporary Art Award in 2000. Gavin Hipkins won the inaugural Trust Waikato National Contemporary Art Award and received $10,000 for his photo of a soap dish.

Artists entering this year’s National Contemporary Art Award, managed by Waikato Museum, will now vie for a prize pool of more than $27,000.

The overall winner will receive $20,000 from Tompkins Wake and Chow Hill. The Hugo Charitable Trust will sponsor the Hugo Award for the Runner-Up, with the recipient receiving $5,000, and each merit award winner will receive $1,000 sponsored by Friends of Waikato Museum and Random Art Group.

Important dates:

  • Entries open Thursday February 15 2018 and close 1.00 pm Wednesday May 9 2018
  • Entrants will be notified if their work has been selected in the week beginning Monday May 21 2018
  • Waikato Museum will announce finalists the week commencing Monday 21 May 2018

This year’s award will be judged by the Director of Pātaka Art Gallery and Museum, Reuben Friend.

Entry Form

For more information, terms and conditions please go to the Waikato Museum Website

Nourishing Our People | Northland Pasifika Fusion Festival

Nourishing Our People | Northland Pasifika Fusion Festival

Opening Thursday February 15 from 4pm

Quest Art Space, Whangarei 

The Northland Pasifika Fusion Festival 2018 is about celebrating our unique Pasifika individuality and inspiring and empowering our Pasifika community.  Ultimately it is Quest Art Space’s desire to encourage all cultures in Whangarei and Northland to learn and appreciate each other’s culture through the hosting of a collaborative event.

Mark Schroder | NEW GOLD MOUNTAIN

Mark Schroder | NEW GOLD MOUNTAIN

Opening event Friday February 16 from 5.30pm

Blue Oyster Art Project Space, Dunedin 

‘NEW GOLD MOUNTAIN’, a new installation by Mark Schroder, repurposes Blue Oyster Art Project Space as a foyer-dairy-bank to present, in sculptural form, disparate elements drawn from a broad investigation of the intersection between art and finance, and modern notions of success and failure.

‘NEW GOLD MOUNTAIN’ looks to the lucky history of Ōtepoti; it’s development, accelerated through geographical luck with its proximity to goldfields; the merger of Hudson Bakery with English Chocolatier, Cadbury, to form Cadbury Hudson Fry, who’s regulatory luck propelled them to the top of the national food chain by circumventing import costs and local production (until recently); and finally, ELSIE, the random number generator, selecting winning numbers for Bonus Bonds, a government established lottery dressed up as savings scheme.

Raising concerns about aspirational materialism, the ebb and flow of protectionist policies, and casino capitalism, whereby speculation is preferred to entrepreneurial growth, ‘NEW GOLD MOUNTAIN’ considers the roles luck and chance play in determining outcomes: career cut short by injury, scammed by a snake oil evangelist, job lost due to decisions made by the board, the inheritance of wealth, an enterprise liquidated, a market crash. Luck (or lack of) in all its guises: timing, location, birth, proximity, regulation, selection. New gold. Old gold. Fool’s gold. Invest now!

Campbell Patterson | Toot Floor

Campbell Patterson | Toot Floor

Image: Campbell Patterson, toot floor [detail], 2017, oil and gesso on carpet, courtesy the artist and Michael Lett Gallery

Opens Saturday February 17

Hocken Collections, Dunedin

Drawing on the detritus of his surroundings, Campbell Patterson engages in conscious acts of repetition to document the banality and absurdity of everyday life—causing the ordinary to become abstract. Through the language of film, painting, sculpture, printmaking and text, he translates common materials, or habits, into formalist exercises that meditate on boredom as an aesthetic device.

Campbell Patterson was the 2017 Frances Hodgkins Fellow.

A publication with text and images by Campbell Patterson, designed by Gilbert May and printed on a risograph by POINT will accompany the exhibition, and will be available for purchase from the Hocken and selected stockists.

About the Frances Hodgkins Fellowship

The Frances Hodgkins Fellowship was established by the University of Otago Council in 1962, largely through the efforts of Dunedin philanthropists that contributed funding to support the Fellowship. The Fellowship was intended to ‘encourage artists in the practice and advancement of their art’ by providing them with a studio and a year’s stipend, to aid and encourage painters, sculptors and multi-media artists, while at the same time associating them with the life of the University and fostering an interest in the Arts within the University. It was named after Dunedin-born Frances Hodgkins, one of New Zealand’s most distinguished painters.

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.

Sarah Hillary | Things to Remember

Sarah Hillary | Things to Remember

Exhibition opens Sunday February 18 from 3pm – 5pm

Anna Miles, Auckland

In Things to remember, Sarah Hillary reconstructs rooms from holiday homes well known to her. The exhibition comprises 9 dioramas. The kitchen in the exhibition comes from Te Waha, a house built my her mother’s family at Anawata in 1928, that no longer exists. Recreating these spaces with basic supplies, Hillary contemplates the ‘perfect imprefection’ of these partly austere, partly accidental interiors filled with “loved, useful and junky things.”

 

 

ManaRewa Collective | This is love

ManaRewa Collective | This is love

Opening event Saturday February 24 from 1pm

Nathan Homestead Gallery, Auckland 

ManaRewa is a local artist collective, based in Manurewa. They formed in 2016 and this is their third exhibition at Nathan Homestead.

This is Love profiles art work by members of the group. The artists respond to the idea of what it means to have aroha/alofa (love) for their local community and how their experience and responses may resonate with wider audiences in their neighbourhood.

Field Recordings | Group Show

Field Recordings | Group Show

Opening event Tuesday February 20 from 5.30pm

Guo Zixuan, Li Xiaofei, Tu Rapana Neill, Jim Speers and Clinton Watkins

ST PAUL St Galleries One and Two, Auckland

A recurring question among the members of Field Recordings is why make work in Shanghai? Field Recordings work as a collective, and as such, there is no single response. Hunan-born Li Xiaofei lived in Shanghai for many years, and has seen the city transform under the influences of global commerce. For Jim Speers, it is a place he frequently returns to and will continue to, since meeting Xiaofei in 2012. Making this work is, in part, a way to come to terms with the relationships he and the collective have established there. The collective also includes Guo Zixuan who is from Beijing, came to Auckland to study and now makes work between the two cities; Auckland-based artist Clinton Watkins; and London-based New Zealand artist Tu Rapana Neill. Over time, their dialogue and shared interest in how, from their respective positions, to approach making a film in Shanghai, and with people working within the large-scale systems of industrial production there, led to the decision to make work collectively.

This exhibition brings together a new single-channel work made in Shanghai, Xiao Pudong (2017) with Zhu Weihua, and a multi-channel work relating to the workers living on boats and along the banks of the Suzhou and Changjiang Rivers in Shanghai, and travelling to Hengsha Island. Narrative coherence is disrupted by the multiple channels in Let the Water Flow (2016) in part as a way of emphasising the multiple perspectives that make up any place. Or in the case of Xiao Pudong, the narrative is entirely led by Zhu Weihua. The exhibition also includes artworks made individually by each artist. These works not only show what is seen, but also what is able to be seen, or able to be shared, through the relative relationships each artist has with the place.

So what does it mean, then, to encounter this work here in Tāmaki Makaurau, in the recognition that ‘here’ is particular to each viewer? The sight of shipping containers in Tāmaki Makaurau, a port city like Shanghai, is familiar. Although it may be possible to see the relationship between the two cities in global terms, on the basis of capital transaction and data, we ourselves, each of us and our lives, are not ‘global.’ We are differently located. The larger question raised by these films, then, is how we might work with and through this ‘double-bind’, with forms of locatedness built into every relationship.

Floor-talk with Li Xiaofei

5.30pm Tuesday 20 March
ST PAUL St Gallery Two

This exhibition is accompanied by a publication designed by Narrow Guage, Layla Tweedie-Cullen. It includes essays by Emma Ng, Michael Wilson and Hsieh Feng-Rong, and will be launched alongside a floor-talk by Li Xiaofei and the artists.

 

Luke Willis Thompson | 2018

Luke Willis Thompson | 2018

Opening event Tuesday February 20 from 5.30pm

Adam Art Gallery, Wellington

You’re invited to the opening of Luke Willis Thompson, The Adam Art Gallery’s first exhibition of 2018.

Please join Adam Art Gallery for a reception at Milk & Honey Café, located immediately opposite the Gallery, from 6.30pm until 8pm.

This is the first major solo exhibition by Thompson at a public gallery in New Zealand. The show stages three silent films in near-total darkness over the building’s three levels, premiering Thompson’s latest work, How Long?, commissioned by the Adam Art Gallery and filmed in Fiji in December 2017.

Adam Art Gallery and the artist have been generously supported by Creative New Zealand, The Chartwell Trust, Jan Warburton Charitable Trust, The Clark Collection, Wellington City Council, and Park Road Post Production. The exhibition is the Adam Art Gallery’s contribution to the 2018 New Zealand Festival.

Luke Willis Thompson in conversation
Saturday February 24, 2pm
Adam Art Gallery

Join Luke Willis Thompson, Christina Barton, and Stephen Cleland for an introduction to the exhibition followed by a discussion.

Nicola Holden and Matt Heays | Push/Pull

Nicola Holden and Matt Heays | Push/Pull

Opens Tuesday February 20

Antoinette Godkin Art House, Auckland

Nicola Holden’s practice addresses the physicality of painting; the wooden support, the frame, the fabric surface, paint, colour and light. Her paintings engage the push of the flat picture plane combined with the pull of the empty spaces in the interior of the work.

“I consider my approach to painting to be more like an architect or furniture-maker than a painter. I look at the physical structure of painting. I’m fascinated by the fact that a painting on canvas was initially an innovation to help people move their art about when it had previously been painted directly on the wall. It’s interesting how this portable object – made like a piece of furniture – captures and reflects the surrounding light, and can be built up to contain complex spaces within it.

The translucent material surface of these works is often left uncoloured, revealing a maze of weft and warp in their construction, permeated by coloured-light.

“I construct the paintings as an architect might layer multiple plans on top of each other. Though it’s not actually a conceptual, intellectual or planned process at all – I make several flat pieces and then pair them – testing out their relationships in an intuitive way. It’s the unexpected pairings that often result in works that ‘stick’.”

Acknowledging conventions of minimalism and geometric abstraction, the works undo any grand modernist statement with their modest scale and delicate, translucent surfaces and colour.

Nicola Holden has a background in both fine arts and interior architecture. She works as an ‘experience designer’ and previously as a lecturer at Unitec and Victoria University. Holden is represented by Antoinette Godkin Gallery in Auckland.

Matt Heays’s work explores notions of space and location through an amalgamation of conventions including sculpture, design, architecture and painting. Precisely constructed surfaces share the same square format and outer-frame dimensions yet each has their own geometric qualities. Pitched angles create a play between positive and negative, pointing outward and folding inward they invite the viewer to consider the surrounding space they inhabit, as well as to take notice of the dimensional shifts happening within the frame. The compositions are reductive and high-contrast further stimulating a sense of dimension and depth, while the flatness of each painted section acts as a reminder of the works materiality The greater subtleties occur as the viewer moves closer into and around the work and the extension of colour and composition is revealed. Areas of inquiry within Heays’s practice include notions of spatial ambiguity, voids, body-space relationships and displacement.

Please click here for more information

Billie Culy | From Somewhere Else

Billie Culy | From Somewhere Else

Opening event Wednesday February 21 from 6pm

Precinct 35, Wellington

Billie’s practice is concerned with traditional notions of the still life arrangement, and what those arrangements mean to both the maker and the audience. Her photographs are at once a nod to the historical, as well as an attempt to break free from the conventions of traditional still life. Each arrangement is informed by the origin of where the materials were gathered in an attempt to capture the spirit of a time and place of importance. Interested in subtle shifts in periphery and things that may otherwise go unnoticed in nature, Billie’s final product is the result of chance encounters with everyday materials.

Douglas Stichbury | The Light of Other Days

Douglas Stichbury | The Light of Other Days

Opens Wednesday February 21

{Suite} Gallery, Wellington 

Douglas Stichbury gained a Master of Fine Arts from Massey University in 2010. He has exhibited in New Zealand, China, Germany, Australia, and Switzerland, as well as participated as artist in residence at Die Weinhalde in Zurich, Development AIR in Auckland, and at Red Gate in Beijing. Douglas currently works between Basel in Switzerland, Hong Kong and Wellington.

Click here to view the exhibition online.

Fiona Connor | Object Classrooms

Fiona Connor | Object Classrooms

Opening Wednesday February 21

Govett-Brewster Art Gallery, New Plymouth 

Fiona Connor’s exhibition, Object Classrooms, tracks the movement and eventual disappearance of an artwork as it was moved around New Zealand in the mid-1970s. Tracking its mysterious path – through galleries, art institutions and conservation departments – Connor allows the absent painting and its related documentation to create a series of counterpoints between objects, words and architectures.

The painting in question was created by Los Angeles artist John McLaughlin, a pioneer of minimalism and hard-edge painting, and a leading United States West Coast post-war artist. It was included in the exhibition State of California Painting, which toured New Zealand in 1972, organised  by the American director of the Govett-Brewster Art Gallery, Robert Ballard. The exhibition had a substantial impact on New Zealand artists at the time, many of whom found inspiration in McLaughlin’s approach to contemporary painting.

Connor’s new film, Object Classrooms #1 (Finding John McLaughlin), commissioned by the Govett-Brewster, follows in the footsteps of the exhibition’s tour and includes footage of the New Zealand art institutions that hosted State of California Painting. The film is presented alongside other new works and historical material drawn from the Govett-Brewster’s archives. It forms an investigation into the life of the painting and considers the impact that an artwork and a place can have on one another.

Object Classrooms is accompanied by Abstractions: Works from the Govett-Brewster Collection, in Galleries 2, 3 and 4 (Sat 10 Mar– Sun 29 Apr), which focuses on the history and influence of geometric abstraction (particularly from the West Coast of the United States) on artists in New Zealand.

Richard Lewer | Getting To Know You

Richard Lewer | Getting To Know You

Opens Wednesday February 21

{Suite} Gallery, Wellington

Richard Lewer is a Melbourne-based visual artist who works with video and animation, painting, drawing and performance. Lewer has been labelled as a contemporary social realist largely driven by a desire to explain patterns and connections within crime, sport and religion.

Click here to view the exhibition online.

British Painting and Sculpture |  Jonathan Grant Galleries

British Painting and Sculpture | Jonathan Grant Galleries

Vanessa Bell, Still Life With Jug & Chrysanthemums, Oil on canvas

Opening event Thursday March 22, from 5pm

Jonathan Grant Gallery, Auckland

Jonathan Grant Galleries presents a unique collection of British paintings and sculptures. Works by Vanessa Bell, Francis McCracken, Patrick Hayman, Henry Moore, Margaret Lovell and Patrick Caulfield will be on display from February 22.

A highlight of the exhibition is an exquisite work by Vanessa Bell. Vanessa Bell (1879-1961) was one of the leading artists of the storied Bloomsbury Group, and for a period amongst the most progressive painters in England.  One of the four children of author and biographer Sir Leslie Stephen and his second wife Julia Duckworth, who had been a model for the Pre-Raphaelite painter Edward Burne-Jones, Vanessa’s younger sister was the novelist Virginia Woolf. Bell was a prolific and successful artist throughout her life, which has been minutely documented, along with all the other members of the Bloomsbury Group.

Bell’s work, Still Life With Jug & Chrysanthemums, has been extensively researched and written about by Christopher Johnstone. Johnstone’s insightful article into Vanessa Bell’s life and the history behind this unique painting is featured in our latest catalogue, British Paintings & Sculptures.

 Click here for the full article and catalogue

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: gallery@upstairs.org.nz for further information

Entry Form below:

2018 EAA form 

Margot Mills & Jeanne Vrastor | Extensions of being I & not you

Margot Mills & Jeanne Vrastor | Extensions of being I & not you

Opening event Thursday February 22

Play_Station, Wellington

Through installation and video, ‘extensions of being i & not you’ explores the ways in which our selfhood is regulated and influenced through subtle physical and institutional systems of control.

A collaborative project born from a decade long friendship situated in France and New Zealand, ‘extensions of being i & not you’ also investigates the distance between the self and other, and how we negotiate our relationships with our bodies overtime.

********

Jeanne Vrastor is an emerging artist from Toulouse, France. Currently finishing her studies at La Hear, she is interested in creating forms and imagery that investigates our relationship with the world around us, as individuals and as a group. Through video and install, Vrastor explores the tension of political and social structures which mediate our perceptual experiences of our immediate and conceptual surroundings. She has exhibited in group shows in Paris and Italy, and has just been accepted for 3 month residency at OTIS College of Art and Design in LA.

Margot Mills, a recent Massey graduate, explores the ways in which women’s relationships with their corporeal experience is consistently mediated and disrupted by prevailing structures. Through depictions of abject harm and body modification, her work explores the production and disruption of a ‘normal’ body, investigating how othered bodies have their right to intimacy, wholeness and corporeality severed. She has exhibited her video work in several local galleries and ARIs, including Toi Poineke Arts Centre and Meanwhile Gallery.

Special thanks to Haute École des Arts du Rhin.

Poster design by Milan de Maule

Karakter | Curated

Karakter | Curated

Artworks of Excellence met Mid-Century Furniture Classics
Opening Event Saturday February 24, 5pm

FHE Galleries, Auckland

Drawing on a carefully assembled collection of mid-century furniture, painting, photography and objet d’art, ‘Curated’ presents a unique collaboration between FHE Galleries and global furniture importer, Karakter.

The exhibition, opening late February, will see authentic mid-century and modern design furniture paired with artworks of excellence. ‘Curated’ will include works by artists including, Marti Friedlander, Chris Charteris, Ralph Hotere and Colin McCahon, and esteemed furniture designers such as Eames, Wegnes, Jacobsen, and Mies van der Rohe.

 

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)

Four Painters | Group Show

Four Painters | Group Show

Opening event Sunday February 25 from 5pm

Northart, Auckland

Opening late February is a group show by Jo Dalgety, Cath Williams, Karenna Mollard and Suzanne Vesty. While the work of all four women falls loosely under the umbrella of ‘abstract’, Jo’s and Cath’s paintings are landscape based, Karenna’s work is hard-edged and geometric, and Suzanne’s more organic and expressionistic.

Let's Get Together | Group Show

Let's Get Together | Group Show

Image: Isaac Katzoff  Keeping the Cups Full  hot and cold worked glass
Opening event Sunday February 25 from 2pm – 4pm

Masterworks Gallery, Auckland

Let’s Get Together is Masterworks Gallery’s first show of 2018; a “first-footing”, a show celebrating the diversity and strength of their artists, welcoming in the New Year. Fresh off the bench, sizzling from the kiln, cast, soldered, carved, polished and more, join Masterworks Gallery to celebrate these fresh, new works.

Members' Summer Exhibition | Group Show

Members' Summer Exhibition | Group Show

Opening event Sunday February 25 from 5pm

Northart, Auckland

The many and varied talents of the numerous artists associated with Northart will be celebrated in the popular annual Summer Members’ Show. It’s an opportunity not to be missed, to view a diverse and exciting range of art, from painting to photography, printmaking and object art.

Philippa Blair | Dancing Off Score

Philippa Blair | Dancing Off Score

Opening event Monday February 26 from 5.30pm

PG Gallery192, Christchurch

Philippa Blair is a New Zealand-born international artist residing in the USA and NZ. Blair has exhibited her work internationally for over the past 35 years with over 100 solo exhibitions and over 300 group exhibitions to her credit.
“Philippa Blair employs a full arsenal of abstract expressionist techniques, including the turning of her canvases so that there is no fixed point of view. Her gestures can crash against each other like a multi-car pile up but in fact are controlled impulses, rhythmically taut, expertly choreographed body movements embodied in stroke and color, a bravura orchestration that is both physical and emotional” —Lily Wei

Artist talk Tuesday February 27 at 12pm.

Free, all welcome

Derek Henderson | Are You Happy?

Derek Henderson | Are You Happy?

Opening event Wednesday February 28 from 5.30pm

Melanie Roger, Auckland

Begun within the “Mercy Mercer” series of 2008, photographer Derek Henderson’s ongoing series of Hydrangea works have been much admired and collected since. This exhibition presents five recent works in the series each a mass of hydrangea in pink, purple and blue and capturing the transitory nature of the flower and its short season. Through repetition and scale, Henderson transforms the everyday into explorations of colour and abstraction.

The Third Space | Ambiguity in the Art of Graham Fletcher

The Third Space | Ambiguity in the Art of Graham Fletcher

Opening event Thursday March 1, from 5.30pm

Gus Fisher Gallery, Auckland

You are invited to celebrate the opening of the exhibition
‘The Third Space: Ambiguity in the Art of Graham Fletcher’.

In association with Auckland Arts Festival and Tautai Pacific Arts Trust, The Gus Fisher Gallery is pleased to announce the opening of a new exhibition surveying the work of contemporary artist Graham Fletcher.

Join the Gus Fisher Gallery and guest speaker Ron Brownson (Senior Curator of New Zealand and Pacific Art, Auckland Art Gallery) for drinks and nibbles at the opening event.

In addition, Graham Fletcher will be giving a floor talk inside the exhibition on Saturday March 3 at 11am.

‘The Third Space’ will survey works from across Fletcher’s oeuvre, demonstrating how he harnesses the ambiguous to bring together Pasifika culture and European art history in a cultural limbo.

This exhibition will aim to deconstruct the entangled web of cross-cultural negotiations and elusive patterning found across the artist’s artworks. Sculptural forms included in the show will harness the same mystical qualities present in Fletcher’s painted statues in modern interiors. Standing within the gallery, the viewer will find themselves in an intersecting cultural third space where themes can be negotiated and cultures can harmonise.

Curated by Hannah Burgoyne with Linda Tyler.

Silent Sound presents Hypocrites accompanied by Daisy Wells

Silent Sound presents Hypocrites accompanied by Daisy Wells

Silent Sound presents Lois Weber’s Hypocrites (1915) accompanied by sound artist Daisy Wells in collaboration with Academy Cinemas and Audio Foundation.

Academy Cinemas, Auckland

Silent films were rarely ever silent, whether it was the chatter of the audience, an improvising piano player or a full-blown symphonic orchestra, silent films were largely accompanied by live sound. However, with the development of synchronous sound, the combination of cinema and live sound became a rare event. Even rarer is the presentation of silent cinema alongside contemporary experimental sound music. ‘Silent Sound’ attempts to bridge this gap by presenting Lois Weber’s Hypocrites alongside a live performance by artist Daisy Wells. This collaborative project seeks to re-animate early cinema through experimental music.

Although silent films were historically accompanied by acoustic instruments, electronic music actually found its earliest home in cinema, such as the use of the theremin in Hitchcock’s Spellbound. Electronic sound, particularly noise, possesses “a sonic materiality that finds no equivalent” (1). In cinema it can signify “a disruption to the normal, a challenge to existing models of social organisation… a monstrous threat to paradigms of the natural” (2). These disruptive elements are present in the social engagement of Weber’s practice, which challenged the prevailing morals and attitudes of her time.

Hypocrites follows the parallel narratives of a medieval monk and a modern minister. These stories intersect to deliver an anticlerical message. In the film’s medieval setting a Christian ascetic is devoted to sculpting a statue of the ‘Truth’, which appears to him in the form of a naked woman. His sculpture offends the local parish who kill him in retaliation. This narrative is allegorically contrasted with the pastor of a modern congregation whose followers are corrupted by money, sex and power. Through a series of vignettes the film poetically criticises the marriage of politics and religion.

Lois Weber has been wilfully forgotten in the canon of film history. This neglect has failed to acknowledge Weber’s contribution to early Hollywood cinema. In the peak of her career she was the highest paid director at Universal, a studio that championed the work of women throughout the 1910s. Weber consistently tackled social issues in her practice, including birth control, abortion, racism, sex work, poverty and the death penalty. During the 1920s Hollywood abruptly changed with the introduction of the Hays code and the increased commercialisation of the industry. This period saw the masculinisation of directing and the subsequent exclusion of women; a phenomenon that coincided with the introduction of synchronous sound. Although Weber actively resisted these changes, her socially engaged practice struggled under this new climate. The film scholar, Shelley Stamp, suggests that “Lois Weber was effectively written out of history at the same moment that she was written in” (3).

Hypocrites is the product of an experimental phase in Hollywood, which was marked by artistic freedom and exploration that was often socio-politically engaged. The narratives of this period had not yet taken the classical Hollywood form that we are familiar with today. Weber deploys an allegorical didacticism in Hypocrites that reflects the educational role she envisioned for cinema. In this light the film functions as a visual sermon that preaches against the hypocrisies of Victorian sensibilities. Hypocrites embodies Weber’s religious conviction and her belief that cinema would “become the new church of the twentieth century” (4).

Daisy Wells is an Auckland-based sound artist who has recently graduated from Elam School of Fine Arts. Her practice explores improvisation/chance, which include techniques such as the live manipulation of electronics, field recordings, and voice. The materiality of sound is employed in order to summon, acknowledge, and take inspiration from the mental and physical possessions of feminine multiplicities. She has performed solo under Petrichor, alongside Grace Verweij in Iskse_ and in her most recent solo project Ligeia.

Ardit Hoxha & Lila Bullen-Smith

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Pre-booking: $20.00
Door sales: $25.00

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Design: Lily Worrall & Ardit Hoxha

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1. Andy Birtwistle, “Strange Sounds” in Cinesonica: Sounding Film and Video, (Manchester: Manchester University Press, 2010). 128.
2. Ibid.
3. Shelley Stamp, ““Exit Flapper, Enter Woman,” or Lois Weber in Jazz Age Hollywood” Framework 51, No. 2 (2010): 359.
4. Paul Young, “Yours Sincerely, Lois Weber: Hypocrites and the Allegorical Mode of the Transitional Feature Film” Cinema Journal 55, No. 1 (2015): 119.

For more information click here

Fiona Van Oyen | Memory of Place Takes Flight

Fiona Van Oyen | Memory of Place Takes Flight

Opening event Friday March 2 from 7pm

Ashburton Art Gallery, Ashburton 

Fiona Van Oyen’s solo exhibition Memory of Place Takes Flight is an extension on her striking multi-panel work I think this is part of my garden…, which took out the Premier Award for ZAFAA17.

A mountain is a part of the landscape and it is a reference point… rivers, lakes, holes in the ground, fishing grounds, trees, burial places and islands… they all form a cultural grid over the land which provides meaning order and stability to human existence. Without the fixed grid of named features we would be total strangers on the land – lost souls with nowhere to attach ourselves. (Sir Sydney Moko Mead)

With an interest in the psychological and perceptual reading of landscape, Van Oyen creates meditative and arresting works which honour the traditions of printmaking while progressing the practice of contemporary drawing.

Artist talk | Sunday March 11,  2pm

This exhibition is supported by Zonta Club of  Ashburton in partnership with the Ashburton Art Gallery.

Not All Those Who Wander | Group Show

Not All Those Who Wander | Group Show

Opening event Friday March 2, 6pm

WTS (Watch This Space), Coromandel 

Evocative works by Coromandel Artists, curated by Sally Tennent-Brown and John Eaglen

WTS “Watch this Space” Coromandel was founded in May 2016 by three Coromandel artists – Sally Tennent-Brown, John Eaglen, and Pete Sephton.  WTS activities are managed by two voluntary committees of artists – one with focus on growing the long-established Open Studios Coromandel Arts Tour, the other organising artist activities including “Shared Studios”, artistic visits and workshops, collaborative events, and thoughtfully themed curated exhibitions.

Hauraki House Gallery
Kapanga Rd, Coromandel Town

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

Scott Eady | 1 and All

Scott Eady | 1 and All

Opening event Saturday March 3 from 2.30pm

Malcolm Smith Gallery, Auckland

A drainlayer, a fabricator, a builder, a Scout, a potter – unlikely partnerships, initiated through Scott Eady’s personal connections to local residents will develop to create a space for exploration and consideration, bringing an understanding of the local and connection to the immediate.

We want your woggles: Scott Eady, 1 And ALL

woggle
(noun)
a loop or ring of leather or cord through which the ends of a Scout’s neckerchief are threaded.

Scott Eady’s exhibition, 1 and ALL, opens at Malcolm Smith Gallery in March. As part of the exhibition he would like to include woggles of all shapes, sizes, colours and materials.

If you would like to be part of the installation, simply drop your woggles into us at Uxbridge Arts Culture or post to PO Box 38591, Howick.

All woggles will be returned following the conclusion of the exhibition.

HANDSHAKE 4 | Process

HANDSHAKE 4 | Process

Opens Sunday March 4

Toi Pōneke, Wellington

HANDSHAKE 4 is the fourth iteration of the unique mentor/exhibition project that originated in 2011. The HANDSHAKE project supports New Zealand jewellery artists, allowing them to develop ideas and artworks for a succession of national and international exhibitions with the assistance of a chosen mentor.

Process at Toi Pōneke Gallery brings together original works by the twelve HS4 jewellers who are currently half-way through their two-year mentorship programme.

A unique exhibition design by artist Gabby O’Connor extends the idea of process by including works in progress alongside the jewellers’ finished pieces. The gallery becomes a space for experimentation, offering insights into the thoughts and material processes of some of New Zealand’s most exciting jewellery artists.

https://www.handshakeproject.com/handshake-4/

Shaun Matthews | Incursion

Shaun Matthews | Incursion

Opens Saturday March 10

Otari Wiltons Bush, Mt Victoria Town Belt,

Wellington Botanic Garden and Te Papa’s Bush City 

Weeds take over central Wellington’s parks and green spaces in Incursion, a series of large photographic images on fabric by Shaun Matthews.  Hung high amidst the trees and bush, Matthew’s images “smother” the plants behind them to remind us of the huge and devastating impact weeds have on our native ecosystem.

 

https://www.shaunmatthews.com/

Supported by Wellington City Council’s Public Art Fund.

Philip Fickling | The Fragile Sea

Philip Fickling | The Fragile Sea

Opens Tuesday March 13

Te Uru Waitakere Contemporary Gallery, Auckland

Who knows what’s happening at this very moment on the bottom of the Fragile Sea?

Louis skulks along the bottom looking for an easy meal, while just above, Ronaldo eyes Louis with similar intent. Clem pokes his horns in where they don’t belong — if he’s not careful, he’ll wind up bloated on the beach. Meanwhile, plucky little Whale Rider takes up a commanding position on top of her giant hungry friend, guiding him toward Lucinda, an unsuspecting cephalopod, basking on the glassy surface.

– Phillip Fickling

Phillip Fickling is a paper engineer with a significant backgound in handcrafted paper objects, books and sculptures including the celebrated pop-up book Swell: The Art of Judy Millar. In this exhibition Fickling presents a display of carefully sculpted paper creatures – part animal, part machine – of a fictional era inspired by industrial design. The still and stark white paper gives way to imagined colours, movements and interactions between the underwater beings swimming through the exhibition space.

Artists in Eden | Celebrates 30 Years

Artists in Eden | Celebrates 30 Years

Saturday March 17, 10am – 3pm

Essex Reserve, Auckland

The gala event of the Eden Arts calendar is held in March each year and brings together a large number of recognised Auckland artists who draw and paint from the Essex Road Reserve. The completed works are auctioned the same day to provide funds for community arts initiatives.

Around 40 visual artists work in the park during the day. Talk to the artists or watch an artwork progress from start to finish. Children’s workshops are offered. The work of well known artists can be won in the raffle. It’s a great day with live music, entertainment and various activities to enjoy.
At the end there is a chance to purchase the works created, not to mention all the excitement of
a live auction!

For more information please go to the Eden Arts website

Euan Macleod | Painter

Euan Macleod | Painter

Opening Event Wednesday March 21 from 6pm

TSB Bank Wallace Arts Centre, Auckland

Euan Macleod: Painter is the first major touring exhibition of the artist’s work on this side of the Tasman. Christchurch-born, but resident in Sydney since the early 1980s, Euan Macleod has produced a singular, remarkable and gripping body of work. Spanning three decades of a prolific career, the 39 canvases in the exhibition take us on a journey not only through physical landscapes but also through states of mind and being. As well as asking how each of us engages with nature, the exhibition hints at myths and narratives from human history–processes of discovery, conflict and resolution.

Many of these paintings are self-portraits. With impassioned, visceral applications of oil paint, Macleod depicts himself marching, striding and covering ground. The exhibition features works painted in New Zealand as well as Australia– alpine and coastal vistas contrast with the baked or scrub-covered outback. Macleod paints himself from different vantage points; he buries himself in earth and clay, he dissolves into a plume of volcanic smoke. He is consumed by fire; he is drowned and then resuscitated. Extending, rather than being confined by, the genre of self-portraiture, Macleod is that rare being, an artist ‘prepared to push the boat out into uncharted waters and dare to take a risk’, as Peter Rose observed in his history of the Archibald Prize (which Macleod won in 1999).

With its striking imagery, raw, impasto surfaces and immense vitality, ‘Euan Macleod:Painter’ will excite, inspire and challenge viewers of all ages and backgrounds. Importantly, it is the first survey exhibition of Macleod’s work to be shown in Auckland. At a time when New Zealand society is thinking about environmental issues, global warming and the politics of water, his figure-in-landscape paintings are as relevant as they are vital.

– Gregory O’Brien, 2017

 Exhibition talk with Euan Macleod and Gregory O’Brien on Thursday 22 March from 1pm.

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.