Art in Context

A visual artS and art history education resource for secondary teachers, inspired by Bill Culbert’s 2013 Venice Biennale exhibition, Front Door Out Back

Helen Lloyd, Senior Educator Art, Museum of Te Papa Tongarewa and Education Programme Manager for Creative New Zealand (2013)

© Museum of New Zealand Te Papa Tongarewa and Creative New Zealand, 2013 Contents Background

About this resource ...... 3 The Venice Biennale ...... 4 Venice – the city ...... 4 Bill Culbert ...... 5 Front Door Out Back ...... 5 Studying art in context ...... 6 Curriculum links ...... 7 Useful books ...... 7 Useful websites ...... 7

Resources

Part 1: Front Door Out Back analysis cards Drop ...... 8 Bebop ...... 10 Strait ...... 12 Walk Reflection and Walk Blue ...... 14 Daylight Flotsam Venice ...... 16 Level ...... 18 HUT, Made in ...... 20 Where are the other two? ...... 22 Part 2: waterfront sculpture trail Map ...... 24 Contextual information ...... 25–46 Part 3: Student question cards and worksheets Question card 1: Describe and interpret a sculpture ...... 47 Worksheet 1: Describe and interpret a sculpture ...... 48 Question card 2: Analyse a sculpture’s context ...... 49 Worksheet 2: Analyse a sculpture’s context ...... 50 Worksheet 3: Compare and contrast two sculptures similarities ...... 51 differences ...... 52 Part 4: Visual arts project Project brief: Design a public sculpture ...... 53

2 ART IN CONTEXT | BACKGROUND 3

age 24 age 53 age 47 age 8

context of any public sculpture. P public sculpture. of any context A project brief for brief for A project project: Visual arts in their own sculpture create to students P a particular context. to response for each of Culbert’s art each of Culbert’s for cards Analysis Door works Back Out in Front . The cards how to to students introduce designed to are art works and consider issues interpret P and site. context to relating map trail sculpture waterfront Wellington on 11 public art information with contextual for Culbert) by works (including three use as the basis of an art in to teachers or virtual). P field trip (real context and worksheets cards of question A set as part of use with students to teachers for or a field trail waterfront the Wellington trip in their own locale, the when studying or

is inspired by the relationships the relationships by is inspired Art in Context contexts and the sculptures Culbert’s between It is designed for situated. are they within which and art history, visual arts of secondary teachers ‘sculpture about studying students teach to be to intended The activities are in context’. with their students. use for teachers by adapted ■ he resource has four major major has four The resource components: ■ ■ ■

About this resourceAbout IMAGE: Front entrance of Istituto Santa Maria della Pietà, 2013. Photograph by Helen Lloyd. Te Papa Te Helen Lloyd. by Photograph 2013. Maria della Pietà, Santa of Istituto entrance Front IMAGE: The programme’s aim is to increase New Zealand New Zealand increase aim is to The programme’s the exhibition, access to and students’ teachers work Culbert’s of both awareness raise and to the world’s – arguably Biennale and the Venice art contemporary significant international most Experiments It includes this resource, event. for art and science resource with Light (an and teacher teachers), primary and intermediate events. development professional This visual arts and art history education education and art history arts This visual with in association has been created resource for exhibition Door Out BackFront , Bill Culbert’s Biennale Venice the at Pavilion the New Zealand kind, it is part of its such resource The first 2013. as a developed programme of a wider education the Museum of between of a partnership result and Creative Tongarewa Papa Te New Zealand New Zealand. BACKGROUND ART IN CONTEXT | 4

enaissance. Every year, it holds a it holds a year, enaissance. Every Venice – the city in north-eastern is a unique city located Venice of small islands on a group and situated Italy bridges. by canals and linked by separated setting, the beauty of its for It is renowned city and art works. The entire architecture, but it is Site, Heritage as a World is listed high tides and regularly to susceptible very rising floods, from risk experiences placing it at known has been variously Venice sea levels. of ‘City of Masks’, ‘City of Water’, as the ‘City of Canals’. and ‘City City’, ‘Floating Bridges’, part in several its The city is well known for and as a centre movements artistic important of the R in Carnevale, celebration, cultural flamboyant 18th-century don and visitors which Venetians has also masks, wigs, and costumes. Venice of in the history role an important played classical music, and is the birthplace of Vivaldi. composer Antonio to next the islands situated one of Murano, The glass glass factory. its for is famous Venice, on the island has been in existence industry glass is an iconic Murano since the 14th century. shops across can be that seen in tourist product the many decorating and in chandeliers Venice, palaces. opulent Venetian obinson and obinson and ver 30,000 30,000 ver

Papa Te Helen Lloyd. by 2013. Photograph Venice, IMAGE: New Zealand has exhibited at the Venice the Venice at has exhibited New Zealand who artists New Zealand Biennale since 2001. as part of the New Zealand exhibited have R Peter the Biennale are at Pavilion the 55th Venice at presentation New Zealand’s New Zealand, of Creative Biennale is an initiative Aotearoa, Toi Council of New Zealand Arts partner Museum of New Zealand with key supporting and partners Tongarewa Papa Te o Waiwhetu, Puna Art Gallery Te Christchurch Art Gallery Toi and University, Massey o Tāmaki. The Venice Biennale has been described by some Biennale has been some described by The Venice as ‘the Olympics of the art world’, commentators contemporary and is widely viewed as one of the two pre-eminent Held every events. art world’s biennial), it runs for is Italian (‘Biennale’ years exhibitions and features November June to from than 80 countries. O more from critics, and collectors, curators, international the three-day attend openingartists vernissage alone. (preview) (2001), Michael Stevenson Jacqueline Fraser al. (2005), Judy Millar and Francis et (2003), and (2009), Upritchard a the Biennale has led to (2011). Exhibiting at and profile and international national greater all theseopportunities artists. for ale The Venice Bienn ART IN CONTEXT | BACKGROUND 5

1

) employ a combination a combination ) employ The exhibition features nine sculptural works. works. nine sculptural features The exhibition All but one (Level of found objects and fluorescent light tubes. and fluorescent objects of found Front Door Out Back Front exhibition Bill Culbert’s 2013 at 23 to November 1 June held from was of the site Pietà, Maria della Santa the Istituto the Venice at pavilion national New Zealand’s senior Paton, Justin by curated Biennale. It was Puna Art Gallery Te Christchurch at curator o Waiwhetu. by situated venue, the selected carefully Culbert pedestrian thoroughfare the canal busy on the and the Giardini. San Marco Piazza between works he created visits, site several Following and exterior interior its to responded that spaces. These entranceway include the long the composer Antonio by used once famously his students, teach to (1678–1741) Vivaldi and an enclosed courtyard. a small garden, he when has describedCulbert how he felt the venue: visited complex and the Pietà through Walking seeing the doors, the canal through straight also the magic. was There was the water, to either. boats many sound – no cars and not Front Door Out Back . with drawings filling fast started My notebook

, 2013 (detail). Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013 (detail).

oyal College of Art in London. He now lives He now lives College of Art in London. oyal

, Christchurch Art Door Out Back Exhibition Readings, Christchurch Front with Bill Culbert’ in Bill Culbert Now! A conversation ‘There, Paton, in Justin Quoted

p7. 2013, o Waiwhetu, Puna Gallery Te IMAGES: New Zealand Creative French. Jennifer by Biennale. Photograph the 2013 Venice for ilion, La Pietà, Pav of the New Zealand the entrance at Bill Culbert Bill Culbert, Level Bill Culbert, 1 Culbert’s fascination with light has fuelled his with light has fuelled his fascination Culbert’s with decades. experimented He first for practice and, since the in the 1960s light and movement work has encompassed photography, his 1970s, He investigates, objects. and found light, and experiments observes, manipulates, widely in New Zealand, has exhibited Culbert and Australia, States, the United England, France, Wellington, for public sculptures and has created His work is held by and Auckland. Christchurch, major public collections and in other Papa Te New Zealand. throughout a small port town on ’s harbour, in 1935. in 1935. harbour, on Dunedin’s a small port town High School and studied Hutt Valley He attended School and of Art University the Canterbury at the R Kingdom and France. in the United subject and medium. with light as both Bill Culbert (1935–) was born in Port Chalmers, Chalmers, born in Port was (1935–) Bill Culbert ulbert Bill Culbert ART IN CONTEXT | BACKGROUND 6

3

examples within art works that show the impact impact show the within art works that examples on how and why of a time, place, or culture the will develop they and that made’ were they describe social, ‘how personal, to skills required influenced or factors and technological historical, of the art work, elements informed such as how by and appreciated made, perceived, were they the audiences and critics’. When studying sculpture, and in particular and in particular sculpture, When studying an art between the relationship public sculpture, location is a crucial factor. physical work and its its to responds a sculpture whether Determining the decided after was the site or whether site, we understand way the affects created, work was context. physical its 2

rt in context art tudying tki.org.nz, 2013 tki.org.nz,

2, 3 S Guidelines for teaching the visual arts within within the visual arts teaching Guidelines for include a focus Curriculum the New Zealand It is art. for the context on understanding ‘particular will identify students that expected The New Zealand Curriculum guidelines for guidelines Curriculum for The New Zealand art in on studying focus include a art history art works to ‘connect need to Students context. influence their that factors of contextual a range Contextual and value. production, development, artistic, or include personal influences may economic, social, political, religious, historic, and gender’. philosophic,technological, theoretic, Studying the contextual factors influencing an influencing an factors the contextual Studying is an important and reception creation art work’s of learning within the fields of the visual feature and art history. arts ART IN CONTEXT | BACKGROUND 7

The Wellington Sculpture Trust website website Trust Sculpture The Wellington public sculpture featuring to dedicated images with and information. in Wellington, The official website for the New Zealand the New for The official website Biennale features the 2013 Venice at Pavilion Doorimages of Front Out Back, as well as in work in his studio at videos of Culbert in Venice. the exhibition and installing France of art at is the online home Papa Te Arts has images, articles, The website Papa. Te and videos. resources, educational interviews, Auckland University Press, Auckland, 2009. Auckland, Press, University Auckland with Creative in partnership o Waiwhetu 2013. University, and Massey New Zealand i ētehi ariā whakamahi i te hangarau i te ariā whakamahi i ētehi hei i ngā taputapu tōtika hei whakamahi whakaaro whakawhitiwhiti a ngā kaitoi. tūhuratanga me te kunenga ki te Door Front Out BackBill Culbert: , exhibition Puna Art Gallery Te Christchurch catalogue, Lightworks: , Gallery City catalogue. , exhibition Bill Culbert 1997. Wellington, Wellington: Lister, Harper and Aaron Jenny Press, University , Victoria sculpture A city for 2007. Wellington, seful Websites seful Books nzatvenice.com artstepapa.govt.nz sculpture.org.nz , Light Work Making Bill Culbert: ,

U ■ ■ ■ ■ ■ ■ U ■ ■ ■ ■

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Understanding the arts in context the arts Understanding ideas Developing and interpreting Communicating ears 9–13 ears e Marautanga o Aotearoa, taumata 6 taumata o Aotearoa, e Marautanga oi Ataata, taumata 6 taumata oi Ataata, he Arts The Arts earning area:

Hei whakawhanake i ngā tūmomo tukanga i ngā tūmomo tukanga Hei whakawhanake mātāpuna rapu ka hōhonu, tūhura Ka whai māramatanga: ka tautohu, ka whakahihiri, Ngā T Ariā Matua T T toi, huhua o ngā āhuatanga me ōna mōhio ki te atu. o ētehi me tērā mahi toi i āna ake Demonstrate understanding of art of art understanding AS91186 2.7 Demonstrate environments. their physical to works in relation Examine the relationship(s) AS91484 3.3 the relationship(s) Examine art and context. between 91182 2.3AS91182 the influence of Examine on art works. context(s) Demonstrate understanding of of understanding AS91017 1.3 Demonstrate and art works. context(s) links between NCEA Art History Analyse methods and ideas from and ideas from methods Analyse AS91444 3.1 practice. sculpture established Demonstrate an understanding of of an understanding Demonstrate AS91309 2.1 practice established and ideas from methods sculpture. to appropriate NCEA Visual Arts of understanding Demonstrate AS90913 1.1 cultural and another a Māori art works from using art terminology. context ■ Visual Arts ■ ■ ew Zealand C Zealand New L Y m links curriculu

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 8

, 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by , 2013. Photograph Drop Bill Culbert, IMAGE: Drop ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 9

anta anta ut Back. stituto S stituto Venice is famous for its Murano glass glass Murano its for is famous Venice opulent palaces, and its which are factory How with chandeliers. decorated often influenced the have might this context of this work? creation huge Biennale is a The Venice by visited art exhibition contemporary the world. How all around people from influenced the have might this context of this work? creation 4 5 Drop Front Door Front O enice Biennale exhibition, ulbert’s 2013 V ulbert’s

Think about the art work’s title. Why do do title. Why Think about the art work’s ? What called think Culbert it Drop you think about? you does the title make encounter, visitors piece that As the first the to an introduction is like Drop The space in which it is exhibition. which lobby, is a small entrance exhibited a canal. Within this context, opens out to make chose to think Culbert do you why the ceiling rather hangs from a work that piece? than a floor or wall-based magine standing underneath this art work this art work underneath Imagine standing you How does it make it. and looking at up of? you does What it remind feel? ckground

t is the first art work visitors see when they enter. enter. see when they visitors art work It is the first , 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by , 2013. Photograph Drop Bill Culbert, IMAGE:

3 2 ietà – the site of Bill C – the site Maria della Pietà 1 Questions

is a group of suspended, inverted chairs and a table, each of which has been pierced with a with a of which has been each pierced and a table, chairs of suspended, inverted is a group Drop of the I lobby entrance the above hangs high tube. light The sculpture fluorescent Ba

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 10

Bebop , 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Bebop, 2013. Photograph Bill Culbert, IMAGE: ART IN CONTEXT RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS

| 11

Think about the physical properties of this of this properties Think about the physical high-ceilinged space, and long, narrow, What Vivaldi. use by historical consider its of the about the grouping notice do you the anglesobjects, which the furniture at have they hang, and the way and lights does What the sculpture been arranged? of? you think remind do you ways In what by been inspired have may the sculpture the space? 3 Bebop ew Zealand Zealand New of the the site Maria della Pietà, anta ormica tables and chairs and fluorescent light tubes. light and fluorescent and chairs ormica tables stituto S stituto

he corridor is the second space that visitors encounter in in encounter visitors The corridor is the second enice Biennale 2013. space that

Think about the title of this sculpture. Think about the title of this sculpture. of? you doesWhat it remind Culbert sourced second-hand furniture for for second-hand furniture sourced Culbert period What does the style this sculpture. does What the style belong to? of furniture of? you remind title? chose the think Culbert do you Why ckground

avilion at the V at avilion t is suspended along the entire length of a corridor that is famous for one of its previous uses. previous one of its for is famous of a corridor that length It is suspended along the entire composed Seasons The Four , who famously (1678–1741) Vivaldi composer Antonio The Italian in the I students in 1723, and taught P lobby. the entrance and leads on from the exhibition

, 2013 (detail). Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph Bebop, 2013 (detail). Bill Culbert, IMAGE: 2

1 Questions

is a long sculpture made up of F made Bebop is a long sculpture Ba

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 12

, 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by , 2013. Photograph Strait Bill Culbert, IMAGE: Strait ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 13

enice, it hung on the enice, it hung on the Consider the ways in which the milk in which the milk Consider the ways New Zealand. to is important industry light-resistant new, How do Anchor’s the potential to relate bottles of this work? interpretations think this sculpture do you ways In what the dual been influenced by have may and the New Zealand of contexts Biennale? Venice 4 5 Strait The Anchor logo on the milk bottles The title (consider the different the different The title (consider and ‘straight’) meanings of ‘strait’ location, with a narrow The sculpture’s and linking the front passageway venue of the exhibition back parts

■ ■ ■ What symbolism might be involved in each in each might be involved symbolism What aspects of the work? of the following Look at the sculpture’s colours, shapes, colours, the sculpture’s at Look of? you does What it remind and forms. its to hangs in contrast This sculpture Describe all the contrasting surroundings. can see. you elements

ckground

, 2013 (detail). Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013 (detail). Strait Bill Culbert, IMAGE:

3 2

1 Questions

is a linear, wall-based sculpture consisting of a series of white plastic ‘Anchor’ branded milk milk branded ‘Anchor’ plastic of a series of white consisting sculpture wall-based is a linear, Strait light tube. In V a fluorescent by lids, held together or green with blue bottles Ba bare brick wall of a narrow passageway linking the front and back parts of the exhibition, between between of the exhibition, and back parts the front linking passageway of a narrow brick wall bare a long corridor and a garden.

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 14 Walk Reflection Walk and Blue Walk , 2001/2013. Photographs by Jennifer French. Creative New Zealand Creative French. Jennifer by Blue, 2001/2013. Photographs Reflection and Walk Walk Bill Culbert, IMAGES: ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 15

Walk Blue Walk Walk Blue? Walk Culbert has removed these objects from these from objects has removed Culbert How does their usual domestic context. you change the way their new context think he do you Why think about them? Reflection and called the works Walk 3 Walk ReflectionWalk and ach wardrobe has a different front panel: one is a mirror, panel: one is a mirror, front has a different ach wardrobe are large sculptures made from wardrobes through which three which three through wardrobes made from sculptures large Blue are Walk oth sculptures are positioned in an enclosed garden, exposed to the elements, the elements, to exposed positioned in an enclosed garden, are sculptures oth

How do the fluorescent lights change the change the lights How do the fluorescent we view function, and the way wardrobes’ of? you remind do they What them? Culbert sourced second-hand wardrobes second-hand wardrobes sourced Culbert or artistic style What these sculptures. for do you What represent? period do they of wardrobe? with this style associate ckground

the other is blue. B the other in the exhibition. room another to and the entrance passageway the end of a narrow between

, 2001/2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Blue, 2001/2013. Photograph Reflection and Walk Walk Bill Culbert, IMAGE: 2

1 Questions

Walk Reflection and Walk E horizontally. run lights fluorescent Ba

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 16

, 2013 (detail). Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013 (detail). Venice Flotsam Daylight Bill Culbert, IMAGE: Daylight Flotsam Venice Flotsam Daylight ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 17

3 Look carefully at the way in which this in which this the way at carefully Look in the space. What art work is arranged aspects to? of the space does it respond a in How might it look different space? different surrounded is built on an island Venice The city with canals as streets. water, by rising floods, risk from and is at regularly aspects of the work may What sea levels. this context? by been inspired have he simplest and cheapest material to to material and cheapest The simplest 3 4 Daylight Venice Flotsam … no matter exciting … the most me is often disintegrated. or how up it is beaten how it’s if what It can continue on and on, even society. used changes. for A throwaway dumb. pretty That’s

Consider the work’s title. ‘Flotsam and and title. ‘Flotsam Consider the work’s describe used to often is a phrase jetsam’ but the objects, useless or discarded specific nautical meanings. have words of a ship wreckage is the floating Flotsam that material to refers jetsam cargo; or its has been purposefully overboard, cast do you load. Why ship’s a lighten to often call his work has chosen to think Culbert ? Venice Flotsam Daylight uses plastic uses plastic Venice Flotsam Daylight previously they look like that bottles cleaning liquids or chemicals. contained in might be involved symbolism What What choice of these objects? Culbert’s in a this have does a work like relevance consumer society? throwaway, ckground

http://en.wikipedia.org/wiki/Flotsam_and_jetsam. 10.9.13. http://en.wikipedia.org/wiki/Flotsam_and_jetsam. , Christchurch Art Door with Bill Culbert’Readings, Christchurch Front Out Back Exhibition in Bill Culbert Now! A conversation ‘There, Paton, in Justin Quoted 4

2013, p8. o Waiwhetu, Puna Gallery Te New Zealand Creative French. Jennifer by Photograph , 2013 (detail). Venice Flotsam Daylight lbert, Bill Cu IMAGE: 3

2 Questions 1

is a collection of fluorescent light tubes interspersed with an assortment with an assortment light tubes interspersed is a collection of fluorescent Venice Flotsam Daylight Ba of discarded coloured plastic containers and bottles. Apparently random in their placement, in their placement, random and bottles. Apparently containers plastic coloured of discarded opens that on the floor positioned of a room directly are up this sculpture make that the objects he sculpture is arranged at the foot of an ornate brick stairway. brick stairway. of an ornate the foot at is arranged The sculpture end. far its a canal at out to and dramatic shadows creating light source, own its the sculpture give lights The fluorescent (a three- is called an ‘assemblage’ up-lightingspace. the This type of sculpture illuminates that made (an art work or ‘installation’ or objects) materials made up of found dimensional art work a specific environment). for

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 18 , 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013. Level IMAGE: Bill Culbert, Level Bill Culbert, IMAGE: ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 19

Think about the connotations of the of the Think about the connotations the word? with rising change is associated Climate title have the work’s How may sea levels. of Venice? the context been influenced by word ‘level’. A spirit level, for example, example, for A spirit level, ‘level’. word line. a true horizontal determine is used to with associate do you phrases other What 3 4 Level ach jar has been placed at a jaunty angle, but the water ach jar has been angle, but the water a jaunty placed at ’s physical physical ’s , 2013 (detail). Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013 (detail). Front Door in Front is the only sculpture

Describe in which Level the ways impact on the work,surroundings and If the with it. associate you influence what context, in a different exhibited work were you change the way how might that it? and read experience Level use electric light; instead, to Out Back not Consider light. surrounding it captures electric associations light personal what In what you. for light have and natural different? these light sources are ways we see way How does the each affect How do these associations things? of this work? interpretation influence your he sculpture is suspended in an The sculpture half-filled with water. of glass jars is made up of a row ckground

IMAGE: Bill Culbert, Level Bill Culbert, IMAGE:

2 line remains level inside them. inside them. level line remains 1 is Venice Flotsam in which Daylight the end of the room the canal, at looking out to open doorway – ancient buildings, of their surroundings reflections light and distort capture The jars exhibited. and people.the canal, and passing boats E Questions

Level Ba

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 20 HUT, Made in Christchurch in Made HUT, , 2012. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by , 2012. Photograph Made in Christchurch HUT, Bill Culbert, IMAGE: ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 21 3 Discuss ideas that you associate with with associate you Discuss ideas that such both they are Why light and shelter. would life What in life? elements important the types Compare without them? be like with today we have of light and shelter people 500 or 1,000 to available was what How would these differences ago. years lives? people’s affected have possible title has many The sculpture’s Describe some things the connotations. What ‘hut’ think about. you word makes ‘hut’ to of using the word is the effect has no roof that describe a structure the from no shelter and offers or walls, chosen have might Culbert Why elements? his work? this title for 3 4 HUT, Made in HUT, Christchurch

ulbertsaid has of this work:

After the Christchurch earthquakes, earthquakes, the Christchurch After damaged or homes were people’s many view you How does the way destroyed. This sculpture relates to two different two different to relates This sculpture the place it was contexts: geographical and the New Zealand) made (Christchurch, Italy). (Venice, place it is being exhibited between make connections do you What and these two contexts? this sculpture of How does environment the physical you change the way the ancient courtyard view it? consider it in change if you the sculpture this context? ckground is enclosed by the ancient walls and ornate windows of a courtyard, of a courtyard, windows and ornate ancient walls the is enclosed by , Made in Christchurch

New Zealand Creative French. Jennifer by Photograph , 2012 (detail). Made in Christchurch HUT, GE: Bill Culbert, , Christchurch Art Door with Bill Culbert’Readings, Christchurch Front Out Back Exhibition in Bill Culbert Now! A conversation ‘There, Paton, in Justin Quoted 2013, p10. o Waiwhetu, Puna Gallery Te IMA

3 2

1 Questions he shape The shape surroundings. with its contrasts modern frame stark Its the elements. to which is exposed walk is big enough to house). The sculpture (meeting a house or wharenui is like of the sculpture boat basic bush hut, tent, (house), garage, Māori whare of a traditional the size – approximately into shed. C shed, or garden HUT or in the bush or on a beach, a hut is mountain one up a make you basically Whether It’s a refuge. too – elemental. that A light bulb is a bit like about shelter. Ba

ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 22

, 2013. Photographs by Jennifer French. Creative New Zealand Creative French. Jennifer by Photographs , 2013. two? the other are Where Bill Culbert, IMAGES: Where are the other two? two? other the are Where ART IN CONTEXT | RESOURCES PART 1: FRONT DOOR OUT BACK ANALYSIS CARDS 23

Where are the the are title, Where eflect on the work’s R do Why to? could it refer What two? other ask a question? chose to think Culbert you think about? you doesWhat make it 3 Where areWhere two? the other

Look at the way the different elements elements the different the way at Look been positioned have of the installation How else could Culbert within the room. does What them? arrange to chosen have of? you placement remind their current been linked have think they do you Why with their electric cords? together Culbert sourced second-hand tables and and second-hand tables sourced Culbert might each What this sculpture. desks for How have been? use have former object’s and functions been their original forms does How this change the way altered? think about them? you ckground

, 2013. Photograph by Jennifer French. Creative New Zealand Creative French. Jennifer by Photograph , 2013. two? the other are Where Bill Culbert, IMAGE: 2

1 Questions

? is an installation made from 10 small tables or desks, each of which has a or desks,each of which has a 10 small tables made from ? is an installation two the other are Where by as a group joined together are The objects it. through tube light running vertically fluorescent on the tiled floor in a loose of a small, low- circle stand their connecting black electrical leads. They It has a door that accessed via a courtyard. of the exhibition, This is the final room ceilinged room. the canal. opens out to Ba ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 24

(2006). OID (2006).

(1939). upe (1939). Group (1998). (1998). Ferns Ferns Neil Dawson, K William Trethewey, Plinths project. Four artists, Various Cable Street forecourt, Papa Te V and , Bill Culbert (1994). (1994). Fault Ralph Hotere, and Bill Culbert Civic Square Civic Square Wharf Taranaki Te Papa (Level 2) (Level Papa Te

p Ma Trail culpture

terfront S terfront (1986). (1986). a

Frank Kitts Park Kitts Frank Sea City to Bridge (1994). Matchitt, Paratene (2002). the Garden (2002). of Dibble, Fruits Paul Albatross Ashken, Tanya (2006). SkyBlues (2006). Bill Culbert, Office Square Post Whirler (2006). Water Lye, Len Park Kitts Frank (2012). Ngā Kina (2012). Michel Tuffery, Frank Kitts Park Kitts Frank Civic Square/Jervois Quay Civic Square/Jervois

IMAGE: Google maps IMAGE: Wellington W Wellington

Kumutoto

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 25

IMAGES: IMAGES: New Zealand Aotearoa Films, Wellington, Nektar Foster, Ngā Kina, 2012. Darren Michel Tuffery, Trust Sculpture Ngā Kina, 2012. Wellington Michel Tuffery, Ngā Kina (2012) Ngā Tuffery, 1 Michel ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 26

but what it most obviously does is transform: does is transform: obviously it most but what to its impact is absolutely on this site life, it new give to change it permanently, and a dramatic an engagement, appeal. entertaining (1966–) of Zealand artist is a New Tuffery and descent. Samoan, Tahitian, and has and works in Wellington, He lives widely overseas. exhibited provides a strong and conscious and conscious a strong Ngā Kina provides and Wellington whenua of the mana link to and their their history both homage to pays their of significance, and the importance continued as it evolves in the city presence and reshapes. Trust’s Sculpture the Wellington to According Neil Plimmer: chair, former and celebrates, Ngā Kina commemorates

umutoto Pā. Middens Middens Pā. umutoto umutoto Stream, which flowed which flowed Stream, umutoto

he use of the kina shell forms the kina shell forms The use of Pā. umutoto In part its context acknowledges the the In part acknowledges its context was commissioned by the Wellington the Wellington by commissioned Ngā Kina was public various and funded by Trust Sculpture Michel Tuffery, The artist, sources. and private in a sculpture plans for originally submitted did not Trust Sculpture but the Wellington 2004, the for Negotiations initially select his proposal. began in 2005. site present its at sculpture about the meaning of has commented Tuffery on site the to relationship and its the sculpture location of the former waterfront, Wellington Pā: Kumutoto is an installation of nine giant kina (sea kina (sea of nine giant Ngā Kina is an installation concrete-reinforced shells made from urchin) each tonnes 7 over The kina weigh fibreglass. in diameter. 3 metres 2 to from in size and vary as partly underwater; high tide, the kina are At the harbour. from emerge they the tide goesout, an official the public at to revealed It was opening in 2012. the area, of geography and physical history known, not visible or perhaps now although not including the K the sea, and the to Street Woodward from built over, but now the historical, of location K a to as a reference can also be interpreted existed have may midden, a shell mound that K one time as part of at the contain that archaeological features are to a trace are They human activity. debris of one at that the people culture and material Its significance in indigenous time existed. provide ability to in the midden’s resides terms prior occupation. of evidence tangible

, 2012 (detail). Wellington Sculpture Trust Sculpture Wellington , 2012 (detail). Ngā Kina Michel Tuffery, IMAGE: Ngā Kina (2012) Ngā Tuffery, 1 Michel

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 27 2 Bill Culbert, SkyBlues (2006) Culbert, 2 Bill , 2006. Photograph by Sam Johnson by Photograph SkyBlues, 2006. Bill Culbert, IMAGE: ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 28

4 The fluorescent lights are switched on 24 hours hours on 24 switched are lights The fluorescent visible when it is dark or only are but they a day, Because of this, the low. very are if light levels day during the different looks very sculpture of the chair former Neil Plimmer, night. and at Bill Culbert recalls Trust, Sculpture Wellington ‘writing as being like the sculpture to referring with light’. He has made many public sculptures both in in both public sculptures He has made many including and overseas, New Zealand works with Ralph Hotere. collaborative The sculpture was commissioned by the the commissioned by was The sculpture The main funder was Trust. Sculpture Wellington from additional donations with Group, Tower New Zealand, City Council, Creative Wellington Office Square Post individuals, and trusts. private a public sculpture, for as a site had been selected based on selected work was and Bill Culbert’s the trust’s to in response submitted drawings work was The completed proposals. call for the city in 2006. to presented artist is a senior New Zealand (1935–) Culbert living of his adult life who has spent most Kingdom and France, the United between exhibit. to regularly New Zealand to returning be easily classified cannot practice Culbert’s aspects but various genres, of artistic in terms conceptual to relate of his work can be seen to and modern art, povera, arte art, abstract art, the use of light minimalism. He has explored medium and content. as both years many for tograph by Sam Johnson by tograph

Neil Plimmer, public talk at Museum of New Zealand Te Papa Tongarewa, 18 April 2013. Tongarewa, Papa Te Museum of New Zealand at public talk Neil Plimmer, stands in Post in Post SkyBlues stands sculpture Bill Culbert’s of It consists Wellington. in central Office Square poles stand that stainless-steel octagonal, seven in a koru, arranged high. The poles are 11 metres The position of the poles has formation. or spiral the Fibonacci sequence – a by been determined in aspects of nature found formula mathematical such as sunflower seed heads and pine cones. squiggly blue fluorescent pole has three Each The squiggles on it – 21 in total. mounted lights actually but Culbert provided seem random, may technical precise with very his engineers craft months to them several It took drawings. hand. by the lights

4 2 Bill Culbert, SkyBlues (2006) Culbert, 2 Bill etail). Pho etail). SkyBlues, 2006 (d Bill Culbert, IMAGE:

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 29 Water Whirler (2006) Whirler Water Lye, 3 Len , 2006. Wellington Sculpture Trust Sculpture Wellington Whirler, 2006. Water Lye, Len IMAGE: ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 30

The trust selected the location for the work the work location the for selected The trust Foundation, Lye with the Len and negotiated the work. produce to rights which maintains a team by and installed manufactured It was Group, the Technix from of engineers New Plymouth. be specially had to programme A computer working parts, the sculpture’s control to created flow. water and movement its which control are and weights springs, pivots, The motors, the sculpture. housed in the pier underneath The sculpture was completed in 2006. in 2006. completed was The sculpture but born in New Zealand was (1901–80) Lye in living and working spent much of his life States. and the United Kingdom the United As well as making kinetic sculptures, he created he created sculptures, As well as making kinetic and animations. short films, drawings,

Lye. > Gallery > Len sculpture.org.nz at Trust Sculpture the Wellington by quoted Lye Len nitial funding for the sculpture came from a a came from the sculpture Initial funding for the Wellington to Millennium Grant Board Lottery the by developed The work was Trust. Sculpture Waterfront, with Wellington in association trust Lighting. including ECC donors with funds from Whirler Water that ensure to strived The trust is a Whirler is a Water sculpture kinetic Lye’s Len on a specially pole mounted fibreglass flexible It was Harbour. Wellington pier over constructed the based on drawings death, Lye’s built after it that wrote Lye alive. was made while he artist choreography, fantastic be ‘a to intended was dimensions’. in three their spray, fling streams jet short periods for is animated The sculpture is that water spraying times each day, several Harbour. Wellington pumped up from it to. had intended as Lye just performed , 2006. Wellington Sculpture Trust Sculpture Wellington Whirler, 2006. Water Lye, Len IMAGE:

6 Water Whirler (2006) Whirler Water Lye, 3 Len

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2002. Wellington Sculpture Trust Sculpture the Garden, 2002. of Wellington Dibble, Fruits Paul IMAGE: (2002) the Garden of Fruits Dibble, 4 Paul ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 32

The work was one of a number of sculptures one of a number of sculptures was The work during waterfront along Wellington’s exhibited of Festival International New Zealand the 2002 Spaces – part of the ‘Changing It was the Arts. walk. sculpture Today’ Sculpture New Zealand it that it so positively The public received Wellington by purchased subsequently was permanent display. for Ltd Waterfront a central parts: has three the Garden of Fruits fronds. fern on either side by flanked bronze belly, a woman’s depicts the centre at The bronze beenthighs, and hips, one of which has inscribed motif). (spiral with a koru on apple sits A bronze The apple could be read form. of the female top of the reminiscent of temptation as a symbol of Eden. Garden figurative is a New Zealand Dibble (1943–) He has works in bronze. who regularly sculptor large-scale often made many works, which are works in a lyrical He often outside. exhibited and animal forms. human with abstracted style

Fruits of the the of Fruits sculpture bronze Dibble’s Paul of an open level Garden is positioned on the top Park, Kitts with the edge of Frank at area grass backdrop. Harbour as its Wellington

2002 (detail). Wellington Sculpture Trust Sculpture Wellington (detail). the Garden, 2002 of Dibble, Fruits Paul IMAGE: (2002) the Garden of Fruits Dibble, 4 Paul

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 33 (1986) Albatross Ashken, 5 Tanya 1986. Wellington Sculpture Trust Sculpture Wellington 1986. Albatross, Ashken, Tanya IMAGES: ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 34

albatross, its size, its power, and its awesome and its awesome its power, size, its albatross, and of and white is large My sculpture grace. too, there albatross is a realistic the sea. There being built. was sculpture realisedthe I when as the albatrosses it as a lament for think of I now disappear this planet. from as they and studied born in England in 1939 was Ashken and London, in art schools in Paris sculpture She has in 1963. New Zealand to moving before and widely in this country and lives exhibited works in Wellington. Barbara Hepworth can be seen in her approach Hepworth can be her approach seen in Barbara This work was forms. abstract creating to sculptures. separate three as originally conceived the work came the title for Ashken, to According in a moment of inspiration: the by been fascinated always I have

The artist, Tanya Ashken, took inspiration for for inspiration took Ashken, Tanya The artist, ’s three three ’s each of Albatross flows over Water daily, intervals regular at forms sculptural the work. transforming The area temporarily various has undergone the sculpture surrounding and is now a popular of redevelopment stages lagoon, Kitts on Frank activites leisure place for An particularly during the summer months. the sculpture. is adjacent to cafe outdoor was the first sculpture to be positioned be positioned to sculpture the first was Albatross Trust. Sculpture the Wellington by in Wellington creation its in negotiating involved The process of the the formation and positioningled to itself. trust her home pools close to her work in the rock The south coast. on Wellington’s in Island Bay, and Henry Moore influence of British sculptors

1986 (detail). Wellington Sculpture Trust Sculpture Wellington 1986 (detail). Albatross, Ashken, Tanya IMAGE: (1986) Albatross Ashken, 5 Tanya

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1993 (details). Wellington Sculpture Trust Sculpture Wellington Sea Bridge, 1993 (details). City to Matchitt, Paratene IMAGES: (1993) Sea Bridge to City Matchitt, 6 Paratene ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 36

Ngake wanted to break free from the lake and and the lake from free break to wanted Ngake Petone, to so he went oceanswim in the waters, then swam around, and coiled himself around the Miramar to next the rocks full speed towards them and through When he broke Peninsula. the harbour sea, he formed made his escape to join him but got to wanted Whātaitai entrance. His body low tide. at is the on the rocks stranded Whātaitai’s known as Hātaitai. piece of land now and a bird into transformed have spirit is said to (Mount Victoria). of Matairangi the top flown to wooden poles of the bridge stand the top At pouwhenua (boundary posts) act like that symbols or modern-day Metal signposts. moon, sun, the poles: star, to attached are Some of them and heart. arrow, mountains, Pacific of navigation. symbols represent their navigate to used the stars voyagers way to Aotearoa, and arrows direct traffic traffic direct and arrows Aotearoa, to way and pedestrians today. such as the heart, has used symbols Matchitt before, and triangular mountain cross, Wepu, appear on Te those that by inspired the Māori resistance flag used by the battle in the North during land wars Kooti leader Te the contexts, Island in the 1860s. In other (portent) a tohu moon can represent crescent the can symbolise of a new world. The circle space, earth, the full moon, the sun, the universe, of the the creation before void (the Kore or Te a volcano, The triangle can represent universe). – an identifier of place or maunga (mountain) and also a and belonging within Māori culture, of strength. symbol of Māori is one of a generation (1933–) Matchitt in the role an important who played artists of the modern Māori art movement. development aspects of traditional His work incorporates Western Māori art as well as influences from art practice.

Two taniwha named Ngake and Whātaitai are are and Whātaitai named Ngake taniwha Two about the in a Māori story characters important (Wellington -a-Tara of Te formation how the harbour used tells The story Harbour). the two taniwha. by inhabited be a lake to n both sides of the bridge are two carved two carved sides of the bridge are On both (sea and two taniwha wooden manu (birds) their wings spread The manu have monsters). an play of welcome. Birds wide open – a gesture Māori legends; it is said part in many important the , Aotearoa. to the kūmara brought they is Aotearoa, discovered who first explorer great which helped him sailed with birds, have said to play birds stories, land ahead. In other identify as messengers. roles important forms Sea Bridge forms City to Matchitt’s Paratene the Wellington a pedestrian link between bridge was The and Civic Square. waterfront launched of a competition built as the result find a to Civic Trust the Wellington in 1984 by of the city and the the separation solution to to was objectives One of Matchitt’s harbour. significance the cultural enhance and respect Māori and for of the harbour and waterfront some aspects of while also representing Pākehā, history. Wellington’s

1993 (detail). Wellington Sculpture Trust Sculpture Wellington Sea Bridge, 1993 (detail). City to Matchitt, Paratene IMAGE: (1993) Sea Bridge to City Matchitt, 6 Paratene ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 37 1994. Wellington Sculpture Trust Sculpture Wellington 1994.

(1994) Fault Hotere, Ralph and Bill Culbert

Fault, Fault, and Ralph Hotere, Bill Culbert IMAGE: 7 ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 38

Bonus scheme, which was designed to encourage encourage Bonus designed scheme, which was to art consider incorporating to local developers and Culbert works on or near their building sites. a site-specific art create to invited were Hotere transformation library’s mark the central work to the new City Gallery in 1994. into of the glass windows along the front The large space wall provide up to boarded building were light, cut out natural hang art works, and to to and Culbert which canart works. damage Hotere blacked-out window use these new, chose to work. were their collaborative They spaces for the windows had moved in the way interested spaces of darkness. of light to apertures from in died Rarawa) and Te Aupōuri (Te Hotere friends for were He and Culbert April 2013. art on several and collaborated years, many use of light complementing works – Culbert’s black. signature with Hotere’s and contrasting

1994. Wellington Sculpture Trust Sculpture Wellington 1994.

(1994) Fault Hotere, Ralph and Bill Culbert

The work references Wellington’s position on one position on one Wellington’s The work references lines. fault minor earthquake major and several is also facade it slices the building’s The way can that shifts of the geographical a reminder The 1855 earthquakes. strong after place take reshaped example, for earthquake, Wairarapa land out new It lifted shoreline. Wellington’s Holdings Scollay commissioned by was Fault City Council Arts the Wellington through Ltd consists of two parallel lines of diagonally lines of diagonally of two parallel consists the cross that tube lights positioned fluorescent in Civic Square. City Gallery, width of Wellington but the work a day, hours 24 is illuminated Fault becoming much lessappears bright in daylight, night. luminous at and obviously apparent more of the sea, including land now occupied by and the Wellington 2 between Highway State Hutt Valley.

alph Hotere’s art work Fault Ralph Hotere’s and Bill Culbert 7 Fault, Fault, and Ralph Hotere, Bill Culbert IMAGE:

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 39

IMAGES: Neil Dawson, Ferns, Neil Dawson, IMAGES: 1998. Trust Sculpture Wellington (1998) Ferns Dawson, 8 Neil ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 40

an Ian architect influenced by was Dawson which palm sculptures, nīkau Athfield’s the square: surround delicate aimed is a sort of for I’ve What the of the top over can float intricacy that with elements can work palms so the two … because, course, the basic of each other ferns. is overlapping the nīkau of form is a Dawson in 1948, Born in Christchurch several who is known for artist senior Pākehā in cities across public art works located optical explores He often New Zealand. illusions in his work.

IMAGE: Neil Dawson, Ferns, Neil Dawson, IMAGE: 1998. Trust Sculpture Wellington (1998) Ferns Dawson, 8 Neil The spherical sculpture is silver on the outside on the outside is silver The spherical sculpture types five and gold on the inside, and depicts lace fern, whekī, pūniu, petako, fern: of native the commissioned jointly by and ponga. It was the New Zealand Trust, Sculpture Wellington and City of the Arts, Festival International the city in 1998. to presented and was Gallery, is suspended Ferns is suspended sculpture Neil Dawson’s stainless taut by Civic Square Wellington’s above the Wellington run between that wires steel City Council and City Gallery Made buildings. float to aluminium, the work appears of coated of the square. the centre above

ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 41

Trust Group, 1939. Sculpture Kupe Wellington William Trethewey, IMAGE: (1939) Group Kupe Trethewey, 9 William ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 42

The Coming as The Coming exhibited first was Group Kupe Centennial New Zealand the Maori in the 1940 of part of a larger It was Exhibition in Wellington. each depicted works that of figurative group of New Zealand, some aspect the progress of and ‘Pioneering Men’ such as ‘Pioneering originally made was The sculpture Women’. of plaster. the to moved was the sculpture Some time later, where Station, Railway main hall of Wellington the departing could be seen pointing to Kupe and later vandalised It was and arriving trains. in 1986. Show Grounds the Wellington to taken Papa, Te at held in storage Subsequently it was successfully Trust Group but in 1999 the Kupe It in bronze. the sculpture cast to fundraised waterfront on the Wellington has been situated building now The new Wharewaka since 2000. the sculpture. to a backdrop provides (1892–1956), William Trethewey The sculptor, English parents to born in Christchurch was mason and stone as a wood carver and worked memorials. specialising in war

. Hine Te Āparangi is pointing is pointing Āparangi . Hine Te Matahourua

across the sea to this new land they have have this new land they the sea to across (long, white Māori name, Aotearoa Its discovered. her. to cloud), is attributed is Kupe, the the is Kupe, Group of Kupe figure The central New Zealand. of Aotearoa legendary discoverer Āparangi, Hine Te with his wife, He is depicted The (priest). their tohunga and Pekahourangi, of their on the prow standing are figures three waka,

1939 Group, Kupe (detail).Trust Sculpture William Trethewey, IMAGE: Wellington (1939) Group Kupe Trethewey, 9 William ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 43

Out of the Dusk,Out of 2012, Trust Sculpture Wellington

2010–12, Brotherhood, Mimetic Trevelyan, City Council; Peter Wellington Islands, 2007–10, Green Gentry, – Regan Plinths project Four IMAGES: Joanna Trust; Sculpture Wellington Longford, 10 Various artists, Four Plinths project Plinths Four artists, 10 Various ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 44

egan Gentry (Green

Out of the DuskOut of , 2012–). 10 Various artists, Four Plinths project Plinths Four artists, 10 Various Artists who have exhibited work as part of the work as part of the exhibited who have Artists R are Plinths project Four (Mimetic Trevelyan Peter Islands, 2007–10), Joanna Longford and , 2010–12), Brotherhood ( Every couple of years, a panel of arts a panel of arts couple of years, Every a and invite identify and trustees professionals submit to artists of leading New Zealand group The this project. for of interest an expression of 6 months a minimum for installed works are the and remain and a maximum of 2 years, of the artist. property The Four Plinths temporary sculpture project is is project sculpture Plinths temporary The Four Trust. Sculpture of the Wellington an initiative Papa Te to next located plinths are The concrete site-specific for work that intended and are some aspect of this unique location. to responds , 2007–10 (detail). Four Plinths project. Wellington City Council Wellington Plinths project. Four (detail). Islands, 2007–10 Green Gentry, Regan IMAGE: ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 45

2006. Te Papa (2006-0032-1) Papa Te 2006. VOID, and Ralph Hotere, Bill Culbert IMAGE: alph Hotere, VOID Hotere, alph and R Culbert 11 Bill ART IN CONTEXT | RESOURCES PART 2: WELLINGTON WATERFRONT SCULPTURE TRAIL 46

The circular form on the floor can be seen to on the floor can be to seen form The circular the diagonal line in Papatūānuku; represent the over can walk the ceiling Ranginui. Visitors and so become part of its part of VOID bottom two halves. its caught in the space between story, from something create The work seems to – defining a space between. nothing Both Culbert and Hotere have explored the the explored have and Hotere Both Culbert of darkness their and light in opposing forces is the void) (the Kore Te work. In Māori belief, darkness – the space of possibilitiesempty that of the world and the the formation before existed tells story The Māori creation of light. creation and Ranginui mother) (earth how Papatūānuku embrace. in a tight held each other father) (sky in darkness. born and lived were Their children separate to and tried restless grew The children lay god of the forest, Tānemahuta, their parents. his father on his back and pushed up against his parents, separating legs. By with his strong which all living the world, after light into he let being. things came into is a site-specific installation that spans the spans the that is a site-specificVOID installation One half of the Papa. of Te core) ihonui (central a circle by work – a black rubber disc surrounded half – other The level. ground at of neon light – is a diagonal strip by disc dissected a black painted above. levels on the ceiling four of neon light – is in 2006. Papa Te by commissioned It was

2006. Te Papa (2006-0032-1) Papa Te 2006. VOID, and Ralph Hotere, Bill Culbert IMAGES: (2006) VOID Hotere, alph and R Culbert 11 Bill 47 48 49 50 51 52 ART IN CONTEXT | RESOURCES PART 4: VISUAL ARTS PROJECT 53

Describe how the selected artist models Describemodels artist how the selected work. influenced your have Describe how the chosen physical wider contextual and its environment of influenced the creation have factors sculpture. your used and ideas symbolism Explain any sculpture. your by being communicated a title. sculpture your Give Use the images as backgrounds for for Use the images as backgrounds shape Consider sculpture. designing your composition and scale, colours, and form, symbolism, and construction, materials meaning, and context. your for options Experiment different with your in which Consider ways sculpture. the context to might respond sculpture composition, scale, materials, of the site, and the viewer, to relationship proportion, a model of your Create symbolism. final design. model collage and use your Photograph show it in position in the to or Photoshop chosen location. 10 11 12 13 7 8 9

ecord them from different different them from ecord

ecord all aspects of this location through aspects all of this location through ecord

Use the internet or library to research research to or library Use the internet about this site. information contextual R and photographs. notes, drawings, the two sculptures. local environment your of Selectarea an a public create to would like you that for. sculpture For both artist models you have chosen, chosen, have models you artist both For 1: Describe and Worksheet complete and Worksheet a sculpture, interpret Use context. 2: a sculpture’s Analyse and contrast compare 3 to Worksheet Use the library or internet to research research to or internet Use the library about these information contextual people If possible, interview sculptures. the works. to about their responses Select two public sculptures to draw or or draw to Select two public sculptures your models for as artist photograph own work. R and angles,viewpoints and far up close different them at record to Try away. light and in different and times of the day Include aspects conditions. of weather their surroundings.

6 5 4

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1 public sculpture a public Design brief: Project