Visiting The New Zealand Portrait Gallery
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The Maori Portraits, Auckland Art Gallery
Auckland Art Gallery, New Zealand
We visited Auckland Art gallery, and very impressed with the exhibition of The Maori Portraits.
The information below is from website Auckland Art Gallery
Explore Aotearoa New Zealand’s rich history through more than 120 historical portraits of Māori and Pākehā by our most prolific professional colonial painter, Gottfried Lindauer.
Experience for yourself the power of Māori chiefs and leaders whose images are forever recorded in oil, and see how artist Gottfried Lindauer captured the practice of tā moko (facial tattoo). See up close ancestral figures painted in razor-sharp detail and view paintings depicting Māori life from the late 1800s to early 1900s New Zealand.
Through photographs, taonga (treasures) and keepsakes, discover Lindauer’s early art beginnings in Europe, as well as his life in New Zealand from his arrival in Wellington in 1874 until his death in Woodville in 1926. Learn about the artist’s early days in Bohemia, his artistic inventions in New Zealand, and the close relationships he built with patrons and those he photographed and painted. Discover how the artist contributed to the significance of portraiture in New Zealand and learn what his works mean for us today.
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Peter & Phillip
Auckland New Zealand
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Auckland Travel Guide, Auckland Art Gallery, New Zealand
Auckland Art Gallery, New Zealand
We visited Auckland Art gallery, and very impressed with the exhibition of The Maori Portraits, by which you can explore Aotearoa New Zealand’s rich history through more than 120 historical portraits of Māori and Pākehā.
The information below is from website Wikipedia, the free encyclopedia
Auckland Art Gallery Toi o Tāmaki is the principal public gallery in Auckland, New Zealand, and has the most extensive collection of national and international art in New Zealand. It frequently hosts travelling international exhibitions.
The expansion design by Australian architecture firm FJMT in partnership with Auckland-based Archimedia,[6] increased exhibition space by 50%, for up to 900 artworks,[4] and provided dedicated education, child and family spaces.[7] As part of the upgrade, existing parts of the structure were renovated and restored to its 1916 state - amongst other things ensuring that the 17 different floor levels in the building were reduced to just 6.[4] The redevelopment has to date received 17 architectural and 6 design-related awards,[8] including the World Architecture Festival's 2013 World Building of the Year.
The Background music is played by my son Phillip's own piece
Phillip's 8th composition, please see the link below
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Other people think, Auckland Art Gallery, New Zealand
Other people think, Auckland Art Gallery, New Zealand
We visited the Auckland Art gallery located in Auckland CBD. Currently there are a lot of exhibitions happening in the art gallery, such as the Maori portraits and Other People Think.
The information below is from the website
Other People Think: Auckland’s Contemporary International Collection vividly reflects a turn towards the Asia Pacific region, including South America, which respects the changing demographics of New Zealand’s largest and most diverse city. Taking its title from a light work by Chilean artist, architect and filmmaker Alfredo Jaar, the exhibition considers the importance of shared understandings and empathy in a complex and shifting world.
The exhibition features work in a variety of media including painting, photography, video, kinetic sculpture and installation by artists Nalini Malani, Hiroshi Sugimoto, Taryn Simon, Howard Hodgkins, Mit Jai Inn, María Nepomuceno, Emily Kame Kngwarreye, Claire Fontaine and more.
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Curator's talk from Colours of a Life: Douglas MacDiarmid exhibition | New Zealand Portrait Gallery
'Colours of a Life: Douglas MacDiarmid' is an exhibition which accompanied the launch of the New Zealand artist's biography.
Curated by NZPG director Jaenine Parkinson and biographer Anna Cahill, the exhibition features 16 works by and of Douglas MacDiarmid sourced from private and public collections around the Wellington region, including the Alexander Turnbull Library and NZPG.
The exhibition showed from 13 July to 23 September 2018 in the Deane Gallery at the New Zealand Portrait Gallery, Wellington, New Zealand.
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From NZPG website:
This exhibition celebrates the life and art of expatriate New Zealand artist Douglas MacDiarmid. The exhibition includes a survey of MacDiarmid’s portraits and figurative works that span from realist figuration through to geometric abstraction. Evident is his vibrant use of colour and the network of relationships the artist formed to places and people throughout his life and career.
Resolutely self-taught, MacDiarmid began painting as the youngest of the Christchurch art phenomenon, The Group—mentored and encouraged by the likes of Evelyn Page, Rita Angus, Leo Bensmann and Theo Schoon. He has lived in France permanently since 1951 and forged a successful international career, continuing into his 90s to paint, exhibit and push new boundaries. Having outlived his contemporaries, he remains the epitome of a luminous creative spirit.
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#DouglasMacDiarmid #NZarthistory #NZartist
Air New Zealand d Wellington to christchurch nz
See spectacular international art at City Gallery Wellington
This winter, City Gallery Wellington is serving up a piping-hot helping spectacular international art. Don't miss your chance to see sculptures by leading Irish artist Eva Rothschild and mesmerising moving image art by UK artist duo Semiconductor. For more: wellingtonnz.com/discover/events/city-gallery-wellingtons-autumnwinter-2019/
Portrait of NZ artist Douglas MacDiarmid (1950) by John Drawbridge, and biographer Anna Cahill
Here is a portrait of Douglas MacDiarmid from a lifetime ago, sketched by fellow New Zealand artist John Drawbridge in Wellington in 1950.
Throughout his career, Douglas MacDiarmid has spent comparatively little time in the company of other artists, preferring to let their work do the talking rather than engage in relationships and creative alliances. There were exceptions of course and the late, multi-talented John Drawbridge was one of them, in their early days in Wellington. This was in the period 1949-50 when MacDiarmid returned to New Zealand for a year, and found himself working in the capital.
Always a ball of energy, around archival duties at Alexander Turnbull Library and doing news and voice over work on Radio 2YA, 27-year-old MacDiarmid gathered a close group of talented contemporaries together for weekly drawing sessions at his flat in Wadestown. The circle included Drawbridge; Helen Hitchings (who was Douglas’ constant companion at the time); printmaker, potter and painter Juliet Peter, and sometimes the older modernist painter Helen Stewart.
In his choice to return abroad, Douglas was the only one able to make a living entirely from his brushes…even if it was years before he enjoyed any level of comfort.
Some of the results of these happy sessions are still treasured in private collections in New Zealand, including John Drawbridge’s take on Douglas as a young man on the threshold of his chosen career, which was part of the Colours of a Life: Douglas MacDiarmid exhibition at the New Zealand Portrait Gallery in Wellington from July to September 2018, supporting the release of his biography of the same name.
MacDiarmid remembers it as being a very harmonious group, they all got along well without any disagreements. Mostly they sketched themselves but sometimes one of the group recruited a couple of Samoan girls as live models. There is also fine legacy of their drawing circle housed in the Alexander Turnbull Library art archives, a number o which are reproduced in his book.
There was another drawing group in Wellington that some of them also frequented, a salon type arrangement run by much the older Helen Crabb, who preferred to be known as Barc. Although Douglas admired her work, he had no interest in being part of her coterie.
In 1949-50, Douglas’ address was 7 Grosvenor Terrace, Wadestown, Wellington. A recent drive around the neighbourhood showed the old house is still there. The house at Grosvenor Terrace is the probable location of Drawbridge’s 1950 portrait of Douglas MacDiarmid
A diary entry by MacDiarmid for 30 August 1949 records:
“Last night, the first in this room…listening to a howling wind, and the drifting wallpaper, and the trains hissing below. Looking for a job.”
MacDiarmid painted a number of memorable cityscapes from this flat – the railway yards, Mount Victoria, the harbour framed in a window – two of which appear in his biography. He also painted the faces he saw while walking home, including a portrait of a young Chinese girl, the daughter of a greengrocer he passed on his way home.
Read more: douglasmacdiarmid.com/portrait-by-john-drawbridge/
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Credit: Douglas MacDiarmid 1950, pastel by John Drawbridge. Private collection, Wellington.
#DouglasMacDiarmid #NZart #NZportrait
NZ's Mighty Mongrel Mob g ang in haunting portraits
Staring death in the face: Haunting portraits of
Mighty Mongrel Mob gang members by photographer who
spent eight years gaining their trust - and access to
their ultra-violent world.It is New Zealand's most notorious gang whose members operate in a criminal world of violence that is usually shut off to the outside world.But one photographer managed to gain their trust - and in turn rare access - resulting in haunting images of some of the key members of the Mighty Mongrel Mob. Since 2007 Wellington-born Jono Rotman has spent nearly eight years embedded with the Mob, gaining a unique glimpse of their culture, customs and even a bloody clash with rival group the Black Power.
John Gibb - Lyttelton Harbour, N.Z. Inside the breakwater (1886)
Rugby player and coach Robbie Deans describes his first encounter with John Gibb's painting of Lyttelton.
John Gibb
New Zealander, b.1831, d.1909
Lyttelton Harbour, N.Z. Inside the breakwater
Presented by the Lyttelton Harbour Board, 1989
Oil on canvas
1080 x 1590mm
89/209
1886
Portrait of an artist - New Zealand painter Nicky Foreman
Mini documentary about New Zealand painter - NIcky Foreman - and the lead up to her 2017 art show Minutiae at Artis gallery, Auckland.
Nicky's art is heavily based on the European renaissance period, and heavily influenced by french artists, and European culture.
Her show at Artis gallery in Parnell - Auckland - is a once a year exhibition, and the end result of 12 months of work.
Produced by Vogel Media
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Artist Patrick Pound at City Gallery Wellington
New Zealand-born, Melbourne-based artist Patrick Pound merges high low to create wondrous 'museums of things'. In this video, he discusses the making of his City Gallery exhibition 'On Reflection' —a magnificent palindrome—where he has shuffled thousands of items from his private collection with items from Te Papa.
City Gallery Wellington
Civic Square
11 August - 4 November 2018
Free entry
Kate Middleton and Prince William unveil new portrait of the Queen in New Zealand
The Duke and Duchess of Cambridge arrived at the Government House in Wellington, New Zealand, for a state reception where they unveiled a new portrait of the Queen.
Prince William Kate unveiled Queen's portrait in New Zealand
Prince William has unveiled a new portrait of his grandmother, the Queen, tonight.
The unveiling took place at a State reception at Government House in Wellington.
The painting, commissioned specially for the New Zealand Portrait Gallery, is by young Kiwi Nick Cuthell, a regular finalist in the biennial Adam Portrait Award, who spends his time between New Zealand and London
Portrait of an artist - Nicky Foreman - New Zealand painter
Mini documentary about New Zealand painter - NIcky Foreman - and the lead up to her 2017 art show Minutiae at Artis gallery, Auckland.
Nicky's art is heavily based on the European renaissance period, and heavily influenced by french artists, and European culture.
Her show at Artis gallery in Parnell - Auckland - is a once a year exhibition, and the end result of 12 months of work.
Produced by Vogel Media
For more info, or to book your next video, contact Kirk Vogel:
kirk@vogelmedia.co.nz
+64 021 449-580
Insta: @vogelmedia
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Meditation Impromptu 02 by Kevin MacLeod is licensed under a Creative Commons Attribution license (
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John Stezaker: Lost World exhibition video at City Gallery Wellington (2017)
British artist John Stezaker is known for his distinctive, often deceptively simple, collages.
He has been making art since the 1970s, but achieved prominence relatively recently. In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.
Stezaker says collage is about ‘stuff that has lost its immediate relationship with the world’ and involves ‘a yearning for a lost world’. A collector, he works from an archive of out-of-date images—mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised—all variations on themes. Critic David Campany says, Stezaker ‘is drawn to that very slim space between convention and idiosyncrasy.’
Collage involves taking existing images and materials, decontextualising them, reorienting them, cutting them, pasting them. But Stezaker’s collages often only do one or two of these things. Sometimes he cuts and pastes, sometimes just cuts or just pastes. Indeed, sometimes he just selects, presenting a found image more or less as is. (He calls such ‘collages’ readymades, as a nod to Marcel Duchamp.) Highlighting the different contributions these distinct processes can make, Stezaker foregrounds the grammar and logic of collage.
In this time of Photoshop, which makes melding images a breeze, Stezaker prefers to make collages the old way, working with his source materials as is, exploiting the ways they fit and don’t fit together. In his Masks, he lays scenic postcards on top of head shots so that the forms line up, uncannily—we want to read them as one. He makes rock faces, wave faces, arched bridge faces, and buildings-with-windows faces. In his Marriages and Betrayals, he grafts head shots together, creating more-or-less convincing gender-and genre-blending hybrids. Faces wear other faces, as masks.
Stezaker conjures with seeing and blindness, the visible and invisible, presence and absence. He slices strips off film stills, recalibrating and reorienting the drama. Sometimes he cuts out shapes from stills, directing our attention both to what has been removed and what remains. In some works, he cuts the figures out of stills and lays these stills over other stills where the figures remain, catching figures and figure-shaped absences in a dance. It’s all very Rene Magritte.
In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There’s also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.
His source images come from a pre-feminist age, when men were men and women were women, when gender was more defined and constrained—especially in the movies. Stezaker both revels in and queers stereotypes, making them dance to his own tune.
Lost World will travel to:
Govett-Brewster Art Gallery: 09 December 2017 – 04 March 2018
Christchurch Art Gallery: 23 March 2018 – 22 July 2018
Centre for Contemporary Photography, Melbourne Fri 21 Sept—Sun 4 Nov 2018
The exhibition will be accompanied by a catalogue featuring an essay by curator Robert Leonard and an interview with the artist by David Campany.
Susan Wilson's Katherine Mansfield Exhibtion at McAtamney Gallery, Geraldine NZ
In this interview, Susan Wilson talks about her Katherine Mansfield Exhibition at McAtamney Gallery, Geraldine, New Zealand.
Curator Sarah Farrar on Rita Angus' Rutu
Contemporary art curator Sarah Farrar on New Zealand painter Rita Angus' Rutu -- a self-portrait in which the artist imagines herself as a Pacific goddess.
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Thames photographer captures Kiwi's working lives in Wellington exhibition
In one of Peter James Quinn's photographs, a woman in a white beanie sits crouched on the pavement along Karangahape Rd in Auckland. In another, a farm-hand from the East Cape who just finished castrating a sheep has a face splashed with blood and a cigarette between his lips. Though contrasting in subtlety and subject, Quinn's images depict the working life in New Zealand across 30 years. That is the theme of his exhibition held at the New Zealand Portrait Gallery in Wellington, opening on Saturday. READ MORE: * Photographer dies knowing work will show * In photos: Celebrating our visual storytellers * Photographer of the year expresses 'foundations of life' in NZ From covering coal mining on the West Coast, to commercial fishing, to following a forestry gang in the Raukumara Range, the Thames photographer's exhibition is a culmination of decades of work and tens of thousands of photographs, reduced to 40 prints for the display. It all started when Quinn became a documentary photographer for New Zealand Geographic magazine. During the course of that career, I covered a lot of stories that took me into situations where people were working. I covered off all of these primary industries as I was doing my travels, and compiled photographs that documented New Zealand at work. For some of Quinn's pieces, it can be like looking back in time. Many of his photographs depict bygone or historical scenes, like his documentary project of life along Auckland's Great South Road. The nature of work has changed. There's more automation, and there's a real discussion about what will constitute work in the future and how people will work. As I was doing it, I was quite conscious that things were changing in New Zealand and a lot of the things I was photographing was the 'last of'. The independent pioneering spirit of New Zealand had been surpassed by a big corporate take-over, he said. Quinn was named New Zealand Geographic's Photographer of the Year in 2014. He has also printed numerous books. And Quinn has seen first-hand how working life in New Zealand has changed. He began his career carrying rolls of film and developing negatives. The thing about photography then was that there weren't very many people doing it. No one had a camera in their back pocket on their phone. But I'm more interested in recording what's happened in time, and not necessarily big events like cyclones or earthquakes and things like that, but more the nuances of what society is about, he said. I think people assume that because everyone has a phone, they are going to do that as well, and it will be the public that supply this record. But a lot of what people are doing are looking at their photos and hitting delete. To me, that is an anatoma of what photography is about: recording a memory, not hitting a delete button. Working Life: Photographs by Peter James Quinn, opens at the New Zealand Portrait Gallery in Wellington on Saturday, June 15. The exhibition runs until Septe
New Zealand artist Douglas MacDiarmid talking about his biography Colours of a Life
A message from Douglas MacDiarmid about the process of writing his biography Colours of a Life with his biographer and niece Anna Cahill.
Recorded in Douglas' home in Paris in May 2018 at the age of 95.
This clip aired at the book launch at the New Zealand Portrait Gallery in Wellington on 12 July 2018 and again at the Pah Homestead in Auckland on 18 July 2018.