DOCSLIB.ORG

Ceramics by Bronwynne Cornish New

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ceramics by Bronwynne Cornish New Gallery One Mudlark: ceramics by Bronwynne Cornish Opening Saturday 8 November at 5.30pm, with speaker, Alexa Johnston. Exhibition: 8 November – 13 December 2014 Bronwynne Cornish’s distinctive figurative works carry a strong sense of both their material and maker, pushing boundaries and perceptions of both contemporary craft and sculpture. When her large scale installations first appeared in the 1980s, they were considered a radical departure from the accepted traditions of pottery‐making in Aotearoa/New Zealand. Early on her work was accepted as ceramic sculpture, being included in the exhibition Five x Five at Denis Cohn Gallery, with the ambitious scale of the installation Home is where the heart is creating a sensation at the Dowse Art Museum in 1982 and then entering its collection. The following year Dedicated to the Kindness of Mothers was created as an installation at the Auckland Art Gallery, and a photograph of it made the cover of Art New Zealand 30 due to its spectacular cracked face, dramatic red lighting and the basalt composition of the body of the prone mother. These important exhibition, curated by Lucy Hammonds for MTG Hawke’s Bay, brings together four major series – Temples, Seated Figures, Baa Birds and Standing Figures. These motifs form the cornerstone of Cornish’s practice over the past twenty years, constantly recurring as her practice has evolved. Gallery Two New Graduate Works: selected by Tim Wagg Opening Friday 5 December at 5.00pm, with speaker Derrick Cherrie. Profiling the work of this year’s crop of graduating students from Elam School of Fine Arts, this exhibition will be curated by Tim Wagg following a call for submissions. Three graduates will be awarded and their artwork will be purchased as part of the University’s art collection. Judges will be Linda Tyler, Director Centre for Art Studies, Dame Jenny Gibbs and Lisa Crowley, Collection Committee members and Tim Wagg, Window curator and Gus Fisher Gallery curatorial assistant, and the graduates will receive certificates acknowledging the acquisition of their work for the collection on the night. PUBLIC PROGRAMMES Saturday 8 November ‐ CLAYATHON: incorporating Clay O’Clock, an Auckland Festival of Ceramics in Shortland Street. Meet the Makers Saturday: Join the bus tour 10am NorthArt, 11am Te Uru, 1.30pm Masterworks, 2.30pm Objectspace, 3.30pm FhE Galleries, 4.30pm Anna Miles Gallery, 5pm Gus Fisher Gallery. Following a viewing of the exhibition Claytime at 10am at NorthArt, Norman King Square, Ernie Mays Street, Northcote Shopping Centre with curator Chika Lim, travel by bus to the talk at Te Uru, Titirangi, by this year’s Portage Ceramic Awards Judge Takeshi Yasuda (born 1943) at 11am, travel back into town and meet for a light lunch at Masterworks where Bronwynne Cornish will introduce her works on display. Travel on to Objectspace in Ponsonby to view Virginia Leonard’s installation in the Window and chat with her and Objectspace Director, Phillip Clarke at 2.00pm then around the corner to Whitespace for a viewing of Jim Cooper’s ceramics. Then back into town to FhE Galleries in Lorne Street to see Emily Siddell’s excursions into clay at 3.30pm, then on to Anna Miles Gallery at 47 High Street at 4.00pm for a Richard Stratton extravaganza before viewing the pop‐up exhibition of ceramics at Jason Books curated by Henry Davidson, and then joining the throng at the opening of Mudlark at Gus Fisher Gallery at 5.30pm. Taxi vans will return you to the carpark at NorthArt or Te Uru Waitakaere Contemporary Art Gallery at 6pm . Book for this ceramic lovers tour (styled as Clayathon, an Auckland Festival of Ceramics) by emailing [email protected] Cost $65 1pm, Saturday 15 November Photographer Deborah Smith will convene a panel discussion with Mark Thomas, Pauline Bern and Helen Aldridge. 1pm, Saturday 22 November A screening of the film Mindspaces: The Artist’s Studio, a 2014 documentary film narrated by Denis O’Connor who has authored a chapter titled “Funk, Pop and Putiki” in the book Mudlark. Produced and directed by Stephanie Bennett, the film pays tribute to the work of the artist’s late daughter Dr Blaze Valeska O’Connor (1975‐2009), who was involved in the relocation of painter Francis Bacon’s studio to Dublin. The studio of Bacon’s lifelong friend, Lucian Freud, is also discussed in the film with art critic and historian Martin Gayford, whose book Man in the Blue Scarf: On Sitting for a Portrait by Lucian Freud, is a record of the 250 hours he spent in Freud’s studio. 1pm, Saturday 29 November Bronwynne Cornish will present a floor talk in the exhibition, and invite visitors to offer their responses to her work. 1pm, Saturday 6 December In conversation with the artists whose work has been chosen for the University of Auckland collection, Tim Wagg, curator of New Graduate Works will discuss trends at Elam. 1pm, Saturday 13 December Homemade Christmas fruit mince pies on pottery platters to be consumed with Bronwynne Cornish and Alexa Johnston telling clay stories. THE GUS FISHER GALLERY GALLERY HOURS The Kenneth Myers Centre Tuesday ‐ Friday 10am ‐ 5pm 74 Shortland St Saturday 12pm ‐ 4pm Auckland, New Zealand Closed Public Holidays Telephone: 923 6646 www.gusfishergallery.auckland.ac.nz .
Load more

Recommended publications
  • Julian Dashper Michael Lett 312 Karangahape Road Cnr K Rd
    Julian Dashper Michael Lett 312 Karangahape Road Cnr K Rd & East St PO Box 68287 Newton Auckland 1145 New Zealand P+ 64 9 309 7848 [email protected] www.michaellett.com Julian Dashper 1960 Born in Auckland, New Zealand 1980 First solo exhibition at 100m2, an artist-run space in Auckland City 1981 Completes B.F.A. 1991 Awarded inaugural Q.E.II Arts Council Visual Arts Programme Fellowship 1992 Exhibits work concurrently in two solo public gallery exhibitions in New Zealand 1994 First solo public gallery exhibition in Australia 1995 Artist in residence at the Ludwig Forum für Internationale Kunst, Aachen, Germany 2001 Senior Fulbright Fellowship 2001 Artist in residence at the Chinati Foundation, Marfa, Texas 2001 Artist in residence at the University of Nebraska, Lincoln 2003 Artist in residence at Artspace, Sydney 2005 25-year retrospective exhibition opens in Sioux City, Iowa, U.S.A. 2008 Visiting scholar, University of Sydney 2009 Dies in Auckland, New Zealand Solo Exhibitions 1980 100m2, Motorway Schools, Auckland, New Zealand 1981 100m2, Huntly Huntly Whangarei, Auckland, New Zealand 1984 Durham House, Dashper at Durham Lane, Auckland, New Zealand 1985 New Vision Gallery, Auckland, New Zealand Real Pictures Gallery, Auckland, New Zealand 1986 Peter McLeavey Gallery, Wellington, New Zealand New Vision Gallery, Auckland, New Zealand Brooke/Gifford Gallery, Recent Paintings, Christchurch, New Zealand 1987 Peter McLeavey Gallery, Wellington, New Zealand Room 11 Gallery, Auckland, New Zealand Centre Gallery, Julian Dashper. A Survey, Hamilton, New Zealand George Fraser Gallery, Painting, Auckland, New Zealand Brooke/Gifford Gallery, Works on Paper 1985-1987, Christchurch, New Zealand 1988 Peter McLeavey Gallery, Thirteen recent paintings, Wellington, New Zealand The North Gallery, Small Paintings 1980-1988, Whangarei, New Zealand 1989 Sue Crockford Gallery, Auckland, New Zealand Brooke/Gifford Gallery, Recent paintings, Christchurch, New Zealand Peter McLeavey Gallery, Wellington, New Zealand Artspace, Building.
    [Show full text]
  • Post-Fair Report
    POST-FAIR REPORT 24 - 28 FEBRUARY 2021 THE CLOUD / AKL WATERFRONT / AOTEAROA NEW ZEALAND 2021 Auckland Art Fair. Photo by Luke Foley-Martin 1 IT WAS A PRIVILEGE TO HOLD A LIVE HIGHLIGHTS OF THE FAIR INCLUDED: FAIR IN 2021. THE 2021 AUCKLAND ART − four galleries from Australia, and one each from Beijing and FAIR WAS DELIVERED AGAINST A STATUS Rarotonga joined 32 of the best galleries from across Aotearoa at the 2021 Art Fair, despite the closure of international borders QUO OF UNCERTAINTY, AS COVID-19 SWEPT THROUGH THE WORLD. ALMOST − $10 million worth of art sales by the galleries, continuing the upwards trajectory of sales at the Fair since 2016 EVERY OTHER INTERNATIONAL ART FAIR GLOBALLY IN THE LAST 11 MONTHS HAD − the launch of a new outdoor sculpture space at the harbour BEEN CANCELLED, INCLUDING THE 2020 end of The Cloud AUCKLAND ART FAIR. − the continuation of Projects with ‘Present Tense’ curated by Micheal Do, commissioning six new works by early-career artists The first-ever summer edition of Auckland Art Fair, opened at The for exhibition at the Fair and also at Tiffany & Co. in Britomart Cloud on Wednesday 24 February 2021 and was scheduled to run and Yu Mei in Newmarket until Sunday 28 February, but closed one day early due to a change in COVID alert levels. Collectors, gallerists, artists, art enthusiasts, − an inaugural museum partnership with the Govett-Brewster Art media and other partners came to celebrate and showcase the Gallery / Len Lye Centre enabling the presentation of Len Lye’s outstanding contemporary art of Aotearoa Pacific Rim region.
    [Show full text]
  • The Tim & Sherrah Francis Collection
    The Tim & Sherrah FrancisTimSherrah & Collection The The Tim & Sherrah Francis Collection A+O 106 a life, and love, in New Zealand art… The Tim & Sherrah Francis Collection Art + Object 7–8 September 2016 Tim and Sherrah Francis, Washington D.C., 1990. Contents 4 Our Friends, Tim and Sherrah Jim Barr & Mary Barr 10 The Tim and Sherrah Francis Collection: A Love Story… Ben Plumbly 14 Public Programme 15 Auction Venue, Viewing and Sale details Evening One 34 Yvonne Todd: Ben Plumbly 38 Michael Illingworth: Ben Plumbly 44 Shane Cotton: Kriselle Baker 47 Tim Francis on Shane Cotton 53 Gordon Walters: Michael Dunn 64 Tim Francis on Rita Angus 67 Rita Angus: Vicki Robson 72 Colin McCahon: Michael Dunn 75 Colin McCahon: Laurence Simmons 79 Tim Francis on The Canoe Tainui 80 Colin McCahon, The Canoe Tainui: Peter Simpson 98 Bill Hammond: Peter James Smith 105 Toss Woollaston: Peter Simpson 108 Richard Killeen: Laurence Simmons 113 Milan Mrkusich: Laurence Simmons 121 Sherrah Francis on The Naïve Collection 124 Charles Tole: Gregory O’Brien 135 Tim Francis on Toss Woollaston Evening Two 140 Art 162 Sherrah Francis on The Ceramics Collection 163 New Zealand Pottery 168 International Ceramics 170 Asian Ceramics 174 Books 188 Conditions of Sale 189 Absentee Bid Form 190 Artist Index All quotes, essays and photographs are from the Francis family archive. This includes interviews and notes generously prepared by Jim Barr and Mary Barr. Our Friends, Jim Barr and Mary Barr Tim and Sherrah Tim and Sherrah in their Wellington home with Kate Newby’s Loads of Difficult.
    [Show full text]
  • Design & Creative Technologies
    DESIGN & CREATIVE TECHNOLOGIES RESEARCH REVIEW 2015 FROM THE DEAN It is my pleasure to bring you this fourth issue of the advance our society in the social, cultural and economic magazine τεχνη & λογόσ profiling the research of the spheres. From a learning perspective, that form of thinking Faculty of Design and Creative Technologies during the year can serve to challenge our students to a greater critical 2015. While the Faculty houses the Schools of Art & Design, awareness of the world in which they live. The Pacific Media and Communication Studies, this year has seen the merging Centre’s ‘bearing witness’ project presents a notable example within the faculty of the schools of Engineering, Computer of the ‘research-teaching-practice nexus’ approach to and Mathematical Sciences, to create a more visible presence research in the Faculty. Often highly grounded and situated, in the Engineering and Technology areas. Complementing in many cases the work is conducted with partners and in this range of disciplines, Colab as a combined research and practice contexts. For instance in Professor David Robie’s teaching unit in Creative Technologies has a central role work with students engaged in ‘journalism as research’, in both tying together and transcending the disciplinary on the 30 year anniversary of the sinking of the Rainbow threads of this diversity in the faculty. Warrior. The Faculty exists to take advantage of this very diversity, In this edition we introduce a set of research and academic aiming to generate a distinctive fusion of creative disciplines leaders, who joined the Faculty in 2015, through their through research, teaching and practice.
    [Show full text]
  • Two Rooms Lauren Winstone Born 1976, Auckland Lives and Works in Wellington, Aotearoa New Zealand Master of Fine Arts, Elam Scho
    Two Rooms Lauren Winstone Born 1976, Auckland Lives and works in Wellington, Aotearoa New Zealand aster of "ine Arts, #lam $c%ool of "ine Arts &niversit' o! Auckland ()*1*+ Bac%elor o! ,esign, &nitec Institute o! Tec%nolog' Auckland (1999+ $elected solo e.%i/itions0 )*16 Leanings, Two Rooms, Auckland )*11 Pieces, Two Rooms, Auckland )*1) 3olding 3oles, ,owse Art useum, Lower 3utt )*1* 3umming on a windless slo4e, 5/6ects4ace Window 7aller', Auckland )**7 Grou4 wit% Note4a4er 3older, ,e48art8ment, Auckland )**9 ,'nast', Rear Window, ,unedin Pu/lic Art Galler' $ummer $%ow, $%owcase, Amsterdam )**1 T%e 5ld Timer, 5/6ects4ace, Auckland Lauren Winstone, ic%ael Lett Galler', Auckland )**: Pie in t%e $ky, Rm1*:, Auckland )**1 Recentis% Works, Black ;u/e 7aller', ;%ristc%urc% 5 v l o v, ;&;<55 (5ccu4ation at Pilot 7aller'+, Auckland $elected grou4 e.%i/itions0 )*19 Two Rooms, Auckland Art "air, Auckland )*1= &nder ;ontrol, Two Rooms, Auckland )*17 "ill and "ull, Iso/el T%om and Lauren Winstone, T%e National, ;%ristc%urc% >anis%ed ,elft, Pa% 3omestead, Auckland, curated /' Anna iles )*16 All Lines ;onverge, Govett8Brewster Galler', New Pl'mout%, curated /' $o4%ie 5?Brien Recent Ac@uisitionsA T%e &niversit' of Auckland Art ;ollection, Gus "is%er Galler', Auckland )*19 Rea44raisal, ;or/an #state Art ;entre, Waitakere )*11 ,o I ,are ,istur/ t%e &niverse, Window 7aller', Auckland $li4 ;ast, ,owse Art useum, Lower 3utt )*1) $ingular ;om4anionsA $cul4ture from t%e ;ollection, Govett8Brewster Art Galler', New Pl'mout% ,ugout, 3o4kinson ;und' Galler',
    [Show full text]
  • Andrew Clifford
    ANDREW CLIFFORD Andrew Clifford is the inaugural director of Te Uru Waitakere Contemporary Gallery (formerly Lopdell House Gallery) in Titirangi. Under his leadership the gallery has gone from strength to strength, re-launching in new purpose-built facilities in November 2014 with a much-expanded programme and renewed vision. Andrew previously worked as the curator at the University of Auckland’s Centre for Art Studies, which manages the Gus Fisher Gallery and the university’s art collection, including a stint as acting director. He has a Bachelor of Design from Unitec and, in 2013, gained an MFA at Elam based on his long-standing interest in the crossover between art and music, particularly researching aspects of documention and archives for performance practices, notably the legacy of performance group From Scratch, founded by Phil Dadson. Andrew is also a well-known arts writer with contributions to many mainstream media outlets such as NZ Listener, The New Zealand Herald and Radio NZ as well as specialist art magazines here and overseas. He has contributed many articles to journals throughout the Asia-Pacific region, including Art New Zealand, Art & Australia and Hong Kong-based Art Asia Pacific. He has had essays included in publications about Lisa Reihana, Billy Apple, Len Lye, Sean Kerr, Reuben Paterson and Yuki Kihara, among others, and a chapter on invented instruments in the book Home, Land and Sea: Situating Music in Aotearoa. He is a trustee of the Len Lye Foundation, the Audio Foundation and the arts agency CIRCUIT. He has also been a judge of the annual Wallace Art Awards, a juror for the Walters Prize and has sat on a variety of other selection panels.
    [Show full text]
  • Full Programme of Abstracts and Biographies
    AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies AAANZ Conference, Auckland, 3-6 December, 2019 Owen G. Glenn Building, The University of Auckland 12 Grafton Road, Auckland 1010 & Te Noho Kotahitanga Marae, Unitec Institute of Technology 139 Carrington Road, Mount Albert, Auckland 1025 & Auckland Art Gallery Toi o Tāmaki Corner Kitchener and Wellesley Streets, Auckland 1010 Full Programme of Abstracts and Biographies The AAANZ Conference 2019 is supported by the Te Noho Kotahitanga Marae, and the School of Architecture, Unitec Institute of Technology, Waipapa Marae, Elam School of Fine Arts and the Faculty of Arts at the University of Auckland, ST PAUL St Gallery and the Faculty of Design and Creative Technologies at Auckland University of Technology, Whitecliffe College of Art and Design, the Auckland Art Gallery Toi o Tāmaki and the Chartwell Trust. The University of Auckland is proud to acknowledge Ngāti Whātua Ōrākei as mana whenua and the special relationship they have with the University of Auckland City Campus. Mana whenua refers to the iwi and hapū who have traditional authority over land. We respect the tikanga (customs) of Ngāti Whātua Ōrākei as mana whenua and recognise their kaitiakitanga (stewardship) role over the land the City Campus is located on. 1 AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies NAU MAI HAERE MAI! Welcome to AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies in Tāmaki Makaurau! The theme for this year’s conference had as its starting point a critique of the Ministry for Culture and Heritage’s Tuia Encounters 250th commemorations taking place in Aotearoa in 2019: the notion of encounter was one to conjure with.
    [Show full text]
  • YUKI KIHARA a Study of a Samoan Savage Catalogue
    YUKI KIHARA A Study of a Samoan Savage 29 Aug - 23 Sept 2015 www.milfordgalleries.co.nz Milford Galleries Dunedin 18 Dowling Street (03) 477 7727 [email protected] Nose Width with Vernier Caliper (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel size: 800 x 1000 x 4 mm 1 general collectors edition of 11 + 3 AP, panel size: 536 x 670 x 4 mm Subnasale-nasal Root Length with Vernier Caliper (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel size: 800 x 1000 x 4 mm 2 general collectors edition of 11 + 3 AP, panel size: 536 x 670 x 4 mm Bicep with Skinfold Caliper (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel size: 680 x 1000 x 4 mm 3 general collectors edition of 11 + 3 AP, panel size: 455 x 670 x 4 mm Subscapular with Skinfold Caliper (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel size: 680 x 1000 x 4 mm 4 general collectors edition of 11 + 3 AP, panel size: 455 x 670 x 4 mm Head with Pelvimeter (2015) c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel size: 1000 x 800 x 4 mm 5 general collectors edition of 11 + 3 AP, panel size: 670 x 536 x 4 mm Front, Side and Back View with Stadiometer (2015) triptych; c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel sizes: 1000 x 680 x 4 mm each 6 general collectors edition of 11 + 3 AP, panel sizes: 670 x 455 x 4 mm each Front View with Stadiometer (2015) Part 2 of 3 triptych; c-print mounted on dibond aluminium museum edition of 5 + 2 AP, panel
    [Show full text]
  • Gabrielle Hope 1916-1962 Lyric Watercolours
    Gabrielle Hope 1916-1962 Lyric Watercolours 1 2 Gabrielle Hope 1916-1962 Lyric Watercolours 4 Foreword Described as ‘a woman of mettlesome and sparkling collections from exhibitions at the Auckland Society personality, with passionate intellectual and of Arts and from her 1957 solo show with dealer Peter philosophical interests’, Gabrielle Hope’s career as a Webb. Colin McCahon included eight of her works in the painter lasted just two short decades. Determined to nationally touring exhibition of five watercolour painters enrol in classes at the Elam School of Fine Arts the which he curated for the Auckland Art Gallery in 1958. day after her younger child began school in 1946, her Her reputation seemed assured. formal training lasted less than six months before Intensity and vitality characterised her peripatetic family commitments brought her home again. She life and relationships, and is conveyed in her painting. continued to teach herself painting by working alongside Even the recurrence of bird motifs in her work suggests other artists, and exhibited her work at the Society of a personal symbolism, as if the need to take flight was Arts in Hamilton and Auckland. It is evident that her part of her psyche. It has been suggested that Gabrielle interest was not sustained by oils, and it is in gouache Hope’s untimely death at the age of 46 years has led to and watercolour that she made her most adventurous her becoming one of the most unjustly neglected painters explorations of Fauvism, Surrealism and Cubism, before of her generation. This catalogue and the accompanying settling into a gestural Expressionist course.
    [Show full text]
  • Facing the Future: Local, Global and Pacific Possibilities
    Facing the Future: Local, Global and Pacific Possibilities 15 - 19 May 2016 Aotea Centre 50 Mayoral Drive, Auckland #MA16NZ Thank you to our MA16 sponsors: 2 #MA16NZ Contents Pōwhiri - Welcome ritual of encounter 4 Welcome to conference - Zara Stanhope 5 Conference Programme 6 Museums Aotearoa Welcome 12 Museums Australia Welcome 13 A message from Vernon Systems 14 Keynote Speakers 16 Monday 16 May 22 Tuesday 17 May 43 Wednesday 18 May 63 Kaitiaki / Indigenous Hui 82 General Conference Information 84 Aotea Centre Layout 85 Auckland Map of Museums 86 Posters 88 Sponsors 92 Exhibitors 99 Commonly used Māori words 102 Cover: Lisa Reihana, in Pursuit of Venus [infected], 2015, Auckland Art Gallery Toi o Tāmaki, gift of the Patrons of Auckland Art Gallery, 2014 (still from panoramic video interpretation of 1804 French scenic wallpaper Les Sauvages De La Mer Pacifique) #MA16NZ 3 Pōwhiri – Welcome ritual of encounter Museums Australasia delegates will be welcomed to the conference on Monday morning with a pōwhiri (a welcome ritual of encounter) from Ngāti Whātua - tangata whenua (hosts) and local iwi (tribes) of Tāmaki Herenga Waka (Auckland). We will assemble at the entrance to the Aotea Centre and wait for the karanga (call of welcome). A kaikaranga (female caller) will respond to the call on our behalf as manuhiri (visitors), following which we will move into the venue, led by the women. Tangata whenua will call and guide us in to be seated before whaikōrero (speeches). Speakers from each side will be supported by waiata (song). At the conclusion of the speeches, there will be harirū (shake hands) and hongi (press noses) before we join together for morning tea.
    [Show full text]
  • Auckland 2018 Artweek 6—14 Oct
    ARTWEEK 6—14 OCT. AUCKLAND 2018 ARTWEEK.CO.NZ Welcome to Artweek Auckland Artweek Auckland is an annual, week-long festival celebrating the Visual Arts of Auckland. Now in it’s eighth year the festival is a collaboration of Gallerists, Art Writers, Curators, 1OOO+ Artists and Art Workers working together to present a week of stimulating programmes, events and activities that encourage visitors to discover our diverse and extraordinary arts community. ARTISTS Nearly all events are free of charge. While many of the exhibitions take place in Galleries; public and private, there is much to enjoy in public spaces. Taking art into the public realm has many proven benefits of increasing economic development and building a collective attitude that inspires and offers a sense of pride in our city. With over 50 free-guided tours during the week, there is ample opportunity to discover new 1OO+ spaces or existing venues that are often tucked away, or sometimes even a part of a private home. Artweek Auckland offers visitors permission VENUES and encouragement to engage and enjoy exhibitions and installations in a safe and inclusive way. For ease of discovery Auckland is divided into precincts for the week, with activities North, South, East and West, and a vibrant central city programme. Each precinct presents its own unique exhibitions and events. For information on the full programme visit artweek.co.nz. I do hope you enjoy the programme. 9 Deborah White ONZM DAYS Director artweek.co.nz artweekauckland Proudly presented by: @ VA Auckland Charitable Trust OF #artweekakl IMMERSION CONTENTS Our guide is divided into the following precincts: 6 CENTRAL CITY 16 PONSONBY.
    [Show full text]
  • Report on Te Papa's Support for Other Nz Museums Part 1
    REPORT ON TE PAPA’S SUPPORT FOR OTHER NZ MUSEUMS PART 1: BACKGROUND AND KEY OBSERVATIONS The Ministry for Culture and Heritage carries out assurance reviews of the work of the organisations directly funded through Vote Arts, Culture and Heritage. These reviews inform the Minister for Arts, Culture and Heritage about agency performance and identify relevant issues which need further action or follow-up. This review has been structured in two phases: the first phase is to gather information about Te Papa’s activities. The second phase, if approved by the Minister, will be to test the Ministry’s initial observations with the museum sector. Legislative obligations The Museum of New Zealand Te Papa Tongarewa Act 1992 (the Act) gives Te Papa’s Board the following functions: To exhibit, or make available for exhibition by other public art galleries, museums, and allied organisations, such material from its collections as the Board from time to time determines [Section 7 (1) (e)] To cooperate with and assist other New Zealand museums in establishing a national service, and in providing appropriate support to other institutions and organisations holding objects or collections of national importance. [Section 7 (1) (i)] The Act also defines “museum” as: Museums, art galleries, whare taonga, tribal museums, cultural centres, historic places, science centres, interpretive centres and exhibition centres. They usually carry out a range of functions, which include but are not confined to, care of collections, public programmes including exhibitions, education, and community relationships. For the purposes of this report, ‘museum’ should be taken to accord with the definition above.
    [Show full text]