Tactile bronze forms lay at rest as potential sites of action. Hannah Valentine’s Flex engages with the zone of the gym and the way we construct and understand our bodies, using forms reminiscent of exercise equipment to explore modes of sensory engagement and haptic knowledge.
Learn some of the ways people sourced plentiful kaimoana and how they used Te Manukanuka o Hoturoa as a means of travel. View images and archives relating to the Manukau Harbour, loved and enjoyed by many.
The Asia-Pacific Century is an ongoing project prompted by the growth of Aotearoa New Zealand’s Maori, Asian, and Pacific populations, with Statistics New Zealand projecting that these groups are set to collectively make up 52% of the total population in 2038 (up from 35% in 2013). The first phase on the project — which took the form of an open research space at Enjoy Public Art Gallery in August 2016 — considered ‘Asia-Pacific’ as a lens to think through our changing national identity.
Oliver Perkins is the most recent McCahon House artist-in-residence. He produces works that are suggestive reminders of paintings' relationship to common objects, making reference to art histories, the potential of materials, and cognitive thought processes, all as prompts for an intensive studio practice.
Lois McIvor (1930-2017) was a significant force in the local West Auckland art community in many ways. She lived almost next door to the McCahon family for a number of years, later taking art lessons from Colin, and her book Memoir of the Sixties is an important document of the Auckland scene at that time. She was a founding member of the Association of Women Artists, Artists Alliance and the Titirangi Community Arts Council.
Sarah Smuts-Kennedy was artist-in-residence at McCahon House from September-November 2016 and will be returning to Titirangi to exhibit at Te Uru for the anniversary of that pariod.
Acclaimed Auckland-based artist Christine Hellyar has long been interested in how people see and depict the landscape. Working with a range of materials and formats, she presents here botanical drawings of a flooded Coastland Broadleaf Forest in the Waitakere Ranges, printed life-size onto silk alongside sculptural textile figures and upholstered furniture.
Robert George’s work is typified by his love of surrealist cinema, the materiality of film and a constant exploration of the human condition. Working within a strict lens-based practice, George weaves together an ethereal, dreamlike sensibility with the starkness of reality to consider the relationship between the outer world and the inner mind.
A featherweight parcel arrives from the north. In it is the entire Bloem en blad exhibition: green string, hatched eggs, seeds of the dandelion flower. This is a show about lightness in spring...
Fly the Flag for Gender Equality is a series of flag installations organised by GirlGuiding NZ to coincide with 'International Day of the Girl' on 11 October.
The arts and crafts movement in the early twentieth century was a vital moment in the education and uptake of ceramics in Aotearoa New Zealand. Though most histories of New Zealand studio pottery begin with the Anglo-Oriental movement in the mid-twentieth century — which features the emergence of key ceramic figures — the earlier arts and crafts movement holds many examples of sophisticated and serious pottery, often made by women.