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BULLETIN of the CHRISTCHURCH ART GALLERY TE PUNA O WAIWHETU Spring September – November 2004

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BULLETIN of the CHRISTCHURCH ART GALLERY TE PUNA O WAIWHETU Spring September – November 2004 BULLETIN OF THE CHRISTCHURCH ART GALLERY TE PUNA O WAIWHETU spring september – november 2004 Open 10am – 5pm daily, late night every Wednesday until 9pm Cnr Worcester Boulevard & Montreal Street, PO Box 2626 Christchurch, New Zealand Tel: (+64 3) 941 7300, Fax: (+64 3) 941 7301 Email: [email protected] www.christchurchartgallery.org.nz Gallery Shop tel: (+64 3) 941 7388 Form Gallery tel: (+64 3) 377 1211 Alchemy Café & Wine Bar tel: (+64 3) 941 7311 Education Booking Line tel: (+64 3) 941 8101 Art Gallery Carpark tel: (+64 3) 941 7350 Friends of the Christchurch Art Gallery tel: (+64 3) 941 7356 b.138 Exhibitions Programme Bulletin Editor: Sarah Pepperle Gallery Contributors 2 Introduction THE COLLECTIONS Director: Tony Preston A few words from the Director OWEN MERTON – SOUNDINGS ARTS & CRAFTS Collections Manager/Senior Curator: Neil Roberts EXPATRIATE PAINTER 23 JULY – 25 OCTOBER CANTERBURY STYLE Divided into Historical, Twentieth Curator (Contemporary): Felicity Milburn Century and Contemporary Curator (Works on Paper): Peter Vangioni 3 My Favourite 11 JUNE – 26 SEPTEMBER A monumental new painting 19 NOVEMBER – Barry Cleavin makes his choice 27 FEBUARY 05 Collections, this installation Curatorial Assistant (Contemporary): Jennifer Hay A unique exhibition of paintings installation by Ross Gray inspired displays a rotating selection of Public Programmes Officer: Ann Betts by landscape watercolourist Owen by the urban landscape. A comprehensive overview of an the treasures of the Gallery’s Gallery Photographer: Brendan Lee 4 Noteworthy Merton. Catalogue available art movement and its considerable permanent collections. Friends of Christchurch Art Gallery: Marianne Hargreaves News bites from around the Gallery Catalogue available Touring Gallery B impact on Canterbury in the early Acoustiguide® and catalogue twentieth century. Other Contributors Ravenscar Gallery available Barry Cleavin, Paula Granger, Owen Marshall Catalogue available 6 Art/Speak Collection Galleries Coming home in the dark with Owen Marshall Touring Galleries A and B Tel: (+64-3) 941 7300 Fax: (+64-3) 941 7301 Email: [email protected] [email protected] Please see the back cover for more details. 8 Southern Gothic RECENT ACQUISITIONS OPEN BAY ISLANDS FRANK CARPAY SUITES FROM THE We welcome your feedback and suggestions for future articles. Curatorial perspectives on a sinister exhibition 11 JUNE – 26 SEPTEMBER 13 AUGUST – 28 NOVEMBER 19 NOVEMBER – COLLECTIONS 27 FEBUARY 05 13 From the Vaults An exhibition of recently acquired An exhibition of silver-selenium An exhibition of five suites of prints works in the Gallery’s permanent photographs of the archaeologically An exposé of the artist’s design by contemporary New Zealand Two new installations from the Collections collections. significant Open Bay Islands by career during the emergence of artists Tony Fomison, John Pule, photographer Hugh Best. modernism in New Zealand. Denise Copland, Barry Cleavin and 16 Squeeze W. A. Sutton Gallery a collaboration between Ralph Catalogue available Sculptor Tony Bond discusses his practice Tait Electronics Antarctica Gallery Hotere and Bill Culbert. Touring Gallery C Burdon Family Gallery 18 Open Bay Islands A look at an intriguing historical photographic essay CURRENT SPONSORS OF THE GALLERY 19 dis-comfort PORTRAITS FROM THE DIS-COMFORT SQUEEZE PAUL CULLEN Gold A disturbing installation from Terèsa Andrew PERMANENT COLLECTIONS 23 JULY – 25 OCTOBER 15 OCTOBER – 9 JANUARY 05 19 NOVEMBER – EUREKA TRUST 27 FEBUARY 05 An exhibition featuring self- MONTANA WINES NZ LTD Performance and installation artist An exhibition of new work by local 20 Soundings portraits, family portraits and Terèsa Andrew’s exhibition explores artist Tony Bond, using ordinary and A dramatic new installation project PYNE GOULD CORPORATION/PERPETUAL TRUST A painting installation by Canterbury artist Ross Gray portraits by and of New Zealand childhood memory and past history often disregarded objects to create by sculptor Paul Cullen using SPECTRUM PRINT artists, drawn from the Gallery’s through various media. large-scale sculptures that are everyday found objects to explore SPICERS PORTFOLIO MANAGEMENT LTD sculpture, painting, photography 21 Frank Carpay playful and intriguing. traditional sculptural concepts. STRATEGY ADVERTISING & DESIGN Borg Henry Gallery and works on paper collections. A preview of this coming exhibition Catalogue available Borg Henry Gallery THE CARTER GROUP Monica Richards Gallery W. A. Sutton Gallery Silver 22 Recent Acquisitions ARCHIBALDS CITROËN New works for the Gallery’s Collections GLASS TOWER STRATEGIC COMMUNICATIONS MORGAN JONES: COMING HOME IN THE PRESS 24 Coming Events JOURNEYS AND DECISIONS THE DARK VERVE DIGITAL LTD A look at what’s on at the Gallery 23 JULY – 25 OCTOBER 15 OCTOBER – 27 MARCH 05 26 Friends of the Gallery An exhibition celebrating this South Fourteen artists with connections An update on recent developments and coming events Island sculptor’s remarkable career. to the Mainland are represented in Catalogue available an exhibition that explores the dark underbelly of the region’s genteel Touring Galleries A and C 28 Review: Carter Group Art Lecture 2004 appearance. A review of Gaylene Preston’s lecture ‘Wanderings in the “Cultural Desert”’ Ravenscar Gallery Design and Production Art Director: Guy Pask Editorial Design: Douglas Maclean Designer: Amy Mead Cover: Badlands 2001 Tony de Lautour. Acrylic on canvas. Production Manager: Lynda Courtney Collection of the artist Photolithography: Verve Digital Ltd Back cover: Death and the Woodcutter c. 1945 Leo Bensemann. Engraving. Printing: Spectrum Print Collection of the Gallery, presented by Mr F. A. Shurrock, 1961 ISSN 1176 – 0540 Please Note: The opinions put forward in this magazine are not necessarily those of the Christchurch Art Gallery Te Puna o Waiwhetu. All images reproduced courtesy of the artist or copyright holder unless otherwise stated. iii Welcome to the Spring edition of the Introduction Bulletin. In this issue, we introduce our My Favourite Barry Cleavin Spring/Summer exhibition Coming Home in the Dark, exploring the ‘gothic underbelly of paranoia, alienation and unease’ that prevails in many of the works of a number of Canterbury’s finest artists. Curators Felicity Milburn and Peter Vangioni provide their views on how works in the exhibition explore dark (but often darkly humorous) themes that reveal potentially disturbing The fact is, one brings a Daumier, Callot, Goya and elements of the Mainland psyche. raft of life’s experiences to Blake for starters. We thank Owen Marshall, one of New Zealand’s most bear when considering any What am I going to do celebrated writers and author of the sinister short story object of contemplation – be about this business of ‘my ‘Coming Home in the Dark’, for lending its name to the it a cricket ball if you are a favourite’? I am going to leave exhibition. In our Art/Speak article, Owen discusses the cricketer, or a bible if you are the safety of works on paper reasoning behind this grim tale, and provides his perspective a theologian. I don’t, in truth, and New Zealand’s Pacific on the shadowy vein that runs through our region’s art. have a Gallery favourite. I have, insularities. I’m too close to With this in mind, a similar theme is revealed in My at the Christchurch Art Gallery, these matters. I am going to Favourite, with acclaimed artist and printmaker Barry the equivalent of a depository pronounce in favour of Walter Cleavin’s usual witty perceptions. containing a series of stimuli. Sickert’s The Shoreditch Empire. We introduce two new exhibitions from the Gallery’s Some are of great consequence Recently, Patricia Cornwell (the permanent holdings – Suites from the Collections and to me, others lesser, and some New York Upper East Side Portraits and Personalities. Christchurch-based ceramic of no consequence at all. I walker and forensically inclined artist Tony Bond discusses how ordinary objects can become have preferences based upon popular author) released her provocative works of art, and we also look at the new a personal disposition that discernments concerning installations of Ross Gray and Terèsa Andrew, and the favours certain kinds of things Sickert as Jack the Ripper in exhibition Open Bay Islands. To close, Paula Granger from above others: I am very attached Portrait of a Killer: Jack the Ripper, Screen Canterbury reviews the 2004 Carter Group Art to books and reading; I have a Case Closed. Lecture by New Zealand filmmaker Gaylene Preston. fierce attitude to something The Madder Red below the Finally, we acknowledged Vivienne Mountfort’s death that I term ‘graphic literacy’ Opera Box – a cardiac surgeon on 26 June with great sadness. The Gallery offered tribute (this is not to be confused with friend of mine exclaimed: “that to this respected artist and Friend of the Gallery, displaying illustration). is the colour of blood in the her flax wall-hanging Life is Like a Long Braided River on the I like images with imbedded chest cavity!” His experiences Gallery’s balcony walls for a period, in memory. Vivienne stories and works that present certainly came with him to was a generous supporter of the Gallery, and her talent and me with visual mysteries. (So. that viewing. For my part, I The Shoreditch Empire 1920 Walter Sickert. Oil on canvas. Collection commitment to the textile arts will be much missed. Vale. Incongruities – Jo Braithwaite. of the Gallery, gift of the New Zealand Government, 1965 enjoy the paint for itself and Inferences – Philip Trusttum. its part in presenting the Outrage – Tony Fomison. Anomalies – Tony De Lautour. objective drama. I like the work for its emotive literacy Tactile Surfaces – Don Peebles. Historical Romance that acknowledges paint and canvas. I like it for its chiaro – Trevor Moffitt. Un-natural Histories – Bill Hammond.) I clear and oscuro obscure – chiaroscuro – presentation of the don’t want answers. I relate to items that ask me questions, theatrical event. Undoubtedly, it is a dark work – suited to so that I may, in turn, formulate questions to others – like my perceptions of the South.
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