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Sandro Botticelli and Workshop Madonna and Child with Six Angels (detail) circa 1500, Florence, Galleria Corsini


Exhibition organised by the Galleria Corsini, Florence; Auckland Art Gallery Toi o TÄ maki; Art Gallery of Western Australia, Perth; and MondoMostre, Rome.



The 26th Wallace Art Awards 2017 Winners and Travelling Finalists Exhibition Main Galleries, AV Gallery 5 September – 12 November

Salon des Refusés Long Gallery 5 September – 29 October

The Wallace Arts Trust Paramount Award 2017 Winner: Andy Leleisi’uao, Harmonic People, 2017, Acrylic on canvas, 1500 x 2400mm

Public Programme: 10 x 10 2017, Interactive Wallace Art Awards Event Thursday 21 September, 6:30-8:30pm, Tickets $10 from Eventbrite, Please visit our website for details on our exhibitions and events.

The Pah Homestead, TSB Bank Wallace Arts Centre 72 Hillsborough Rd, Hillsborough, Auckland Open Tuesday – Friday 10am-3pm, Saturday & Sunday 8am-5pm


27 AUG 2017– 22 JAN 2018

abdul abdullah / abdul rahman abdullah / khaled sabsabi

Abdul-Rahman Abdullah, The Dogs 2017 (detail) Courtesy of the artist

Over 100 contemporary art projects

Over 100 contemporary art projects

Over 100 contemporary art projects




Elam Artists Graduate Show

Elam Artists Graduate Show

1—3.12.2017 10am—5pm

1—3.12.2017 10am—5pm





5 Symonds St Auckland

25a Princes St Auckland

20 Whitaker Place Auckland Andrew Rankin, A door ajar. Installation view, 2016.

Chris Charteris | Te Itutu | Needlework 12 October - 30 November 2017 Tikeke, 2017, Whalebone, 1510 mm


Lily Hacking is a freelance writer and occasional designer who ceaselessly battles gale force winds and salty sea spray on Wellington’s south coast.

Editor: Alison Franks. Editorial Assistant: Craig Beardsworth. Contributors: Francesca Emms, Lily Hacking, Janet Hughes, John Bristed, Mary-Jane Duffy, Claudia Lee. Design: Shalee Fitzsimmons, Rhett Hornblow, Laura Pitcher. Distribution & Accounts: Tod Harfield. Advertising: Haleigh Trower. Email:

Sophie McKinnon is a prospective graduate student at Teachers College, Columbia University in New York. She became a Fellow at the Whitney Museum of American Art in 2015. Prior to New York Sophie was based in China for eight years, managing public programs at the Ullens Center for Contemporary Art in Beijing. She is from Wellington.

Michelle Duff’s writing has appeared in newspapers, magazines and news websites in New Zealand, Australia and the UK, including The Dominion Post, Sydney Morning Herald, The Melbourne Age and the Irish Independent. She is a threetime finalist in the New Zealand’s premier journalism awards, the Canon Media Awards.

Telephone: (04) 385 1426 Email: Website: Post: Box 9202, Marion Square, Wellington, 6141. Deliveries: 31–41 Pirie St, Mt Victoria, Wellington, 6011.

The opinions expressed in this magazine do not necessarily reflect those of the publisher. Although all material is checked for accuracy, no liability is assumed by the publisher for any losses due to the use of material in this magazine.

ISSN: 1176-3752

Copyright. © All rights reserved. No part of this publication may be reproduced, stored, or transmitted in any form without the prior written permission of Richfield Holdings Ltd

Produced by: Capital Publishing Ltd for Richfield Holdings Ltd


Conor Clarke in her studio. See page 27 for the story. Photograph by Piet Truhlar.

A few issues ago, we talked to a trio of Tylee Cottage residents (#66 p25) about the impact of their time in Whanganui. In this issue Lily Hacking talks to another artist about to embrace the benefits of the Tylee residency: photographer Conor Clark, who is usually resident in Berlin but is returning to New Zealand to take up her award. As we put this issue together, we noted the large number of public sculpture projects around the country. Projects in the north and the south, prizes won and announced. Has there been a flowering of interest in sculpture? Is there a groundswell that is beginning to peak? Or is it a tide that is not yet anywhere near full? Do let us know if you have any thoughts on this. Further to this topic, Beth Rose looks at the work of acclaimed sculptor Fred Graham (Ngāti Koroki Kahukura, Tainui) who received the top honour in this year’s Te Waka Toi Awards. He has been a highly influential figure in Māori art for more than five decades. She also looks at at the work of young photographer and visual artist Chevron TeWhetumatarau Hassett (Ngāti Porou, Ngāti Kahungunu, Rongomaiwahine) who was jointly awarded the Ngā Manu Pīrere Award, recognising emerging Māori artists, (see also AZ#69 which features Chev’s work). Michelle Duff asks Sophie Wallace what impelled her to start a gallery in the provinces and New York resident Sophie McKinnon tells us about an exhibition of a different sort, CONDO, which drew New Yorkers despite the steamy summer heat. I can’t say it’s been a breeze without Craig Beardsworth, our erstwhile assistant editor of 12 years‘ standing, and we miss his contribution, both editorially and personally. But change is to be welcomed. Haleigh Trower has leapt enthusiastically into the breach and I look forward to subsequently introducing you to some other new names. Alison Franks Managing editor



Perfect harmony


Andy Leleisi’uao jets off to New York after winning an award for Harmonic People.

Sleeping on the job


General Sleep share their sustainable vision for what you wear to bed.

Short reports

Passing the baton Te Waka Toi Award winners continue the legacy of Māori art excellence.



Come into the parlour


Parlour Projects owner and curator, Sophie Wallace, talks about regional success.

Human intervention


Conor Clarke’s lens captures the impact of industrialisation in New Zealand and Germany.



Drawing the line


A floor plan challenges typical drawing definitions and takes home the 2017 Parkin Drawing Prize.

Education special For our education issue we celebrate the success of students and graduates.


Quite literally Notepad

Decent exposure

42 44



Pooling in summer Sophie McKinnon reviews CONDO NY, a communal collab approach to art.

Listings Artist index

61 84

10 Perfect harmony Andy Leleisi’uao will be flying out to New York for a six-month residency at the International Studio and Curatorial Program, having won the Paramount Award in the 26th annual Wallace Art Awards (2017) for his acrylic on canvas, Harmonic People. Leleisi’uao says ‘Harmonic People is a universe that I’ve been exploring for a while. The ideas first started percolating in the early 2000s, but I take time off for other projects and then come back to it.’ The painted figures in the work have a spirit of cooperation, a relatively new theme for Leleisi’uao. ‘At times, my work has referenced social problems: migrant factory workers, corruption in churches and other issues with political undertones, but the style of Harmonic People focuses more on community, friendship and cooperative efforts.’ The trust included a new award this year, a three-month residency at the British School at Rome (BSR), Italy. Deborah Rundle’s looped audio installation, Chorus, won her the BSR Wallace New Zealand Residence. Harmonic People, Andy Leleisi’uao, 2017, acrylic on canvas, 1500 x 2400 mm


Short reports

100% Pure? A new permanent installation The Fall of Water by Regan Gentry has been unveiled at Wharepuke Sculpture Park in Kerikeri. Gentry has been working on his large-scale project in the sub-tropical gardens since July this year, so visitors have been able to witness his progress. The piece is a macrame-style waterfall made from polyester ropes. It’s 10m tall, 2.5m wide and mounted between two 150-year-old Sequoia trees. The Fall of Water is for Gentry a comment on the state of New Zealand’s natural water sources. ‘Heaps of waterways and harbours are undergoing massive human activity, creating degradation and leading to them being toxic to humans and animals. So that we’re basically killing our waterways,’ he says. This is the first of five Wharepuke/Dalton Trust artists in residence. Each year a new artist will complete a sculpture for permanent display, contributing to an everevolving exhibition of works on the trail. Gentry’s new work is expected to raise the profile of the Wharepuke Sculpture Park. In addition to the annual residence, proposals are sought yearly from artists looking to contribute work. Submissions for the spring season should be with Wharepuke by 29 September 2017.


Short reports

Matteo Rosselli, The Triumph of David 1610, oil on copper, Florence, Galleria Corsini

International draw The Corsini Collection: A Window on Renaissance Florence received 1746 visitors in its opening weekend at Auckland Art Gallery in September – attendance equal to the opening weekend of their The Body Laid Bare: Masterpieces from Tate exhibition, which overall welcomed well over 45,000 people through its doors, despite running during the quieter winter period. The Corsini Collection’s early numbers have the gallery hoping for total numbers comparable to The Body Laid Bare. The Corsini Collection runs until mid-January, overlapping with another international exhibition, The Obliteration Room by Yayoi Kusama, opening in December in the Creative Learning Centre. Kusama, a Japanese contemporary artist, is known for an obsession with obliterating the self in the many, as seen in her hallmark work Infinity Mirror Room (1965). Born in 1929 in Matsumoto City, Japan, she moved to New York in 1958, establishing herself as an artist alongside Andy Warhol, Claes Oldenburg and Eva Hesse. She currently lives and works in Tokyo.


Short reports

Georgia Glass, one of the 115+ participants

Mini thee Eight months ago, Massey Master of Fine Arts student Georgia Glass began a project of painting more than 100 strangers in miniature, including Art Zone staffers Haleigh Trower and Craig Beardsworth. The ambitious project will be Glass’s MFA final exposure exhibition stranger, stranger, opening Friday 3 November at Massey’s Wellington campus. ‘I invited strangers to submit a portrait photograph of themselves, with the promise that I would paint their image in miniature and then gift the final work back to them,’ says Glass who is interested in the idea of modern-day portrait exchange. Her paintings are roughly the size of an iPhone and while the idea is to stay analogue, Glass acknowledges that the paintings will inevitably become digital again, which has a satisfying irony. The mini crowd will be exhibited for two weeks and on the last two days, subjects can collect their portraits.

16 Feature

Photography by Heather Liddell

It’s been open for just over a year, but Hawkes Bay gallery Parlour Projects has already hosted some of New Zealand’s big names. Owner and curator Sophie Wallace talks to Michelle Duff about regional success, the importance of relationships and how optimism helps.

Come into my parlour As a young lawyer, Sophie Wallace was practicing at one of Auckland’s bestknown firms. But the highlight of her day wasn’t poring over litigation, or meeting clients. It was lunchtime, when every day she would walk the short distance from Shortland Street to the Auckland Art Gallery and spend an hour immersed in art, wandering past the McCahons, pausing at the Hodgkins and Hotere. So when an opportunity came up to apply for an internship at New York’s prestigious Pace Gallery, Wallace jumped at the chance. She abandoned her law career for a year in the States.

Upon her return, there seemed to be a logical next step – to open her own art gallery, Parlour Projects, in Hastings. ‘It’s not something that I planned to do throughout school and university, but I quickly figured out that I wanted to do my own thing,’ Sophie laughs down the phone. She’s in her gallery today, and our conversation is occasionally interrupted when someone wanders in. ‘Working at the Pace Gallery made me realise that I really wanted to devote the rest of my life to the arts.’ In the 16 months since Parlour Projects has been open, it has made some major inroads. The first exhibition, in April last year, held in collaboration with Wellington’s Suite Gallery, featured Ans Westra and Wayne Youle. Since

then, the roll-call of artists would be the envy of larger and more established galleries; it has included sculptor Brett Graham, photographer Jono Rotman and Venice Biennale star Lisa Reihana. This is, I say, an impressive lineup of artists. ‘I’d met a lot of the artists who have had shows here before I opened the gallery, so we already had a friendship or trust and were familiar with one another,’ Sophie explains. ‘But there have been artists I’ve just met in the last six months. So much of it is based on conversations and trust, and the general sort of feeling you get from one another. ‘And I think because the space is isolated from other cities, artists see it as an opportunity to be a bit more experimental.’

18 Feature

TOP: Billie Culy’s exhibition, 2017

BOTTOM LEFT: The gallery

BOTTOM RIGHT: Ed Bats exhibition, 2017

When we talk, Sophie is preparing for the opening of an exhibition of new work by Palmerston North artist Shane Cotton, New Heads. It’s a continuation of his work with toi moko, or preserved Maori heads, and promises to be darkly spiritual and thought-provoking. She met Cotton by arranging a visit to his studio, and they hit it off. ‘I feel lucky that he trusts me enough to show in a relatively new gallery,’ Sophie says. BORN in Palmerston North, Sophie was raised in Hawkes Bay and went to high school at Woodford House. She studied humanities and law at Otago University, before heading to Auckland and her first job in law. After her three-month internship at Pace Gallery, she picked

up a full-time position in the marketing and communications team there. This allowed her to soak up skills that would prove invaluable for her business. ‘I was working on shows by major artists that I’d always sort of read about – people like David Hockney and James Turrell – and it was a lesson on how galleries are run but on the other end of the scale because they have hundreds of employees. I learned so much.’ Back in New Zealand, Sophie spent six months working for the Auckland Art Fair and quickly realised there was no way she was returning to law. ‘Working for the fair gave me a really good understanding of the New Zealand art scene and what was happening,’ she explains. ‘It opened

my eyes to regional galleries and what they were doing. It made me think about the Hawkes Bay a lot, and every time I came back here I noticed that there was a real gap here, and a need for a contemporary art gallery.’ She began looking for a space, and soon stumbled upon Parlour Projects‘ new home – a large, airy building, with high ceilings, a massive 11-by sixmetre feature wall, and a mezzanine floor perfect for viewing. Using her savings, and living with her parents to save money, the 27-year-old flung herself into her new work. ‘I started planning the first couple of shows, got the website up and running, started building a database, and then once I got the doors open I started to trying to figure out what

21 Feature

Big Purple, Ed Bats, enamel and acrylic on canvas, 1600 x 1880mm

kind of gallery I wanted us to be,’ Sophie says. ‘I think it’s good that I was a bit naive, because if I’d thought about it anymore and what had to go into it I don’t think I would have done it. I would have felt too intimidated.’ As it is, Sophie is pretty much a onewoman band. A typical day might see her rise at 5am to write a press release, head into the gallery, meet an artist, update social media and the website, and liaise with visitors. She has one other staff member to help on the gallery floor. Parlour Projects has a prominent social media presence on Instagram and Facebook. Sophie says this is an important way to engage a younger audience, and give the gallery relevance outside of the region. She has also begun an art-collecting initiative, Cultivate, as a way to

immerse locals in contemporary art appreciation. The programme signs on ten people at a time. Each novice collector receives a new artwork every six months for two years. Each work comes with an academic essay and explanation, which Sophie hopes will empower people to feel confident establishing their own collections. She has also launched an artist-inresidency programme, of which young Elam graduate Grace Wright was the first recipient. ‘Art and art galleries are vital to the fabric of any city, however small, I think especially in this day and age. It’s easy to overlook arts and culture but I think it’s important to have a space people can come to learn about contemporary art.’ In the immediate future Sophie is focused on Cotton’s exhibition. She admits working on it is ‘kind of surreal,’

as Cotton was one of the first artists she studied at school. ‘I’m in complete awe of him and his practice. I always have been. I studied his early grid paintings and I remember it so clearly, so it’s amazing now to be showing his work, and it’s all new work.’ If you weren’t already interested in visiting, Sophie is happy to sing the praises of Hawkes Bay and its rising art scene in general. ‘People are continuously getting pushed out of the cities into these smaller places so they are getting more and more creative by the day. The Hawkes Bay is really exciting – there are galleries, wineries, beaches, climate, cool little digital agencies, and events. It’s just a really good time to be here.’ New Heads features small and largescale paintings, works on paper and a site-specific wall painting. It opens on 25 September.



In the world of design, seismic shifts have been occurring with up-and-coming designers working across multiple mediums and platforms. Lily Hacking chats to two new designers.

Sleeping on the job General Sleep is a new sleepwear label with a conscience. It’s the brainchild of Bailey Meredith and Greta van der Star, two friends who share a love of ethical fashion and lazy Sundays spent in their pyjamas. There’s more to General Sleep than a well-cut pair of pyjamas. Using collaborative work processes, and with a strong environmental and social conscience, the sleepwear label represents something of the integrity and authenticity of today’s young designers and makers. Swimming against an endless tide of cheap, fast, disposable brands, this new generation is committed to creating quality products that are well made in every sense. With an emphasis on the handmade and on natural fabrics and materials, there is a prevailing desire to reconnect people with the

manufacturing process — to consider how and where their own clothes and products are made. It’s taken a couple of years and a lot of hard work from design duo Meredith and van der Star for it all to bed in. They knew that if they were going to put something out into the world it needed to be made with minimal impact upon the environment. “It’s taken a lot longer than we initially thought. The biggest time consumer was finding a factory that met our requirements in terms of sustainability and accreditation that could also produce the fabric we envisaged,” says Meredith. Made in the south of India, in Tamil Nadu, the fabric is woven on handlooms, before being naturally dyed, hand-cut and sewn. The cotton is grown locally, while the linen is sourced elsewhere, as it is not grown in the area. “The company we work with started as a way to preserve hand-looming techniques unique to the area, as well as provide jobs in the community,” says van der Star.

Van der Star is a freelance photographer and stylist, and co-founder of The Periodic, a seasonally themed journal celebrating local people and products. Living in Auckland, she met her future business partner while Meredith was working as Business & Operations Manager for clothing designer Kate Sylvester. The two became friends and one night, over a glass of wine, the idea for General Sleep was born. “We work together on design ideas, and then each have our own strengths which takes care of the rest” says van der Star. “We bring completely different skills to the table and have a genuine respect for each others’ strengths, while also sharing a similar aesthetic. It’s the perfect partnership,” agrees Meredith. While Meredith has recently moved to Melbourne, the pair is in touch on a daily basis, and they’re in the midst of designing a new range of General Sleep products to launch later this year.

24 Mei and Ming, Never fade away: Māoritanga in the city, Chevron Te-Whetumatarau Hassett, 2017

Artists old and new continue the legacy of Māori art excellence. Beth Rose explains.

Passing the baton Acclaimed sculptor Fred Graham (Ngāti Koroki Kahukura, Tainui) has received the top honour in this year’s Te Waka Toi Awards, recognising excellence in Māori art. Te Tohu mō Te Arikinui Dame Te Atairangikaahu (the Supreme Award) in recognition of leadership, excellence and outstanding contribution to Māori arts went to Graham, who has been one of the most influential figures in Māori art over more than five decades. He began the Māori contemporary art movement in the 1960s with friends and other Māori art luminaries including the late Dr Cliff Whiting and Ralph Hotere. Since then his work has kept a strong connection to Te Ao Māori (the Māori world) through themes inspired by Māori traditions and legends and Treaty of Waitangi issues, such as the loss of land. Eighty-eight years old, he lives in Waiuku, near Auckland, where he continues to make art addressing contemporary and historic issues,

something he attributes to helping maintain his good health. ‘It is an honour to receive this award, which is in the name of Dame Te Atairangikaahu, whom I knew and had a long professional and personal association with. I am also very grateful that I’ve had the opportunity to express ideas through my art over so many years,’ said Graham. Te Waka Toi Awards showcase legendary artists like Graham, but also those whose legacies are beginning to emerge. Ngā Manu Pīrere Award, recognising emerging Māori artists, was jointly awarded to photographer and visual artist Chevron Te-Whetumatarau Hassett (Ngāti Porou, Ngāti Kahungunu, Rongomaiwahine) and playwright Turene Huiarau Jones (Rongowhakaata, Ngāti Whakaue).

Hassett – who graduates this year with a Bachelor of Design, majoring in photography, from Massey University – has been working with Radio New Zealand’s The Wireless on photojournalism projects. ‘A recent project was the whakapapa of Australian-born Māori and how their culture is changing due to their environment.’ Hassett’s documentation of the whakapapa of Australian-born Māori was included in this year’s Māori language week. ‘I am also on a few community mural projects,’ he says, ‘working with local youth from my home neighbourhoods in Lower Hutt and it’s an awesome experience to work with kids who have a lot to say, who want a change and are open to growth.’ Hassett received a Creative New Zealand grant last year for emerg-

ing Māori artists, which gave him the opportunity to start his first personal research project outside of university. ‘I am working towards my first major gallery show. I’ve spent many hours working on it and I know it will take maybe one more year until I can show anything. It is about my tribe Ngāti Porou and our whakapapa, our relationship with the past, present, and future, and how we take the belief of existence on this land from our Tupuna Māui.’ Since 1986, the awards have recognised excellence and achievement in all artforms including marae arts (traditional, marae-based artforms such as carving, and weaving) as well as contemporary artforms such as theatre, literature, film, photography, sculpture and visual arts. This year had a total of 11 winners in seven categories.


Human intervention

Conor Clarke lives and works between Auckland and Berlin, and traces of her dual existence are evident in much of her photographic practice. She talks to Lily Hacking about her work. As Clarke moves between the distinct landscapes of New Zealand and Germany, she documents the impact of industrialisation and human intervention upon the natural environment, creating images that oscillate between an astonishing beauty and an acute sense of unease. Clarke grew up in Clarks Beach in south Auckland in the 1980s, and graduated with a Bachelor of Fine Arts from Elam School of Fine Arts at the University of Auckland in 2005, before leaving New Zealand and eventually settling in Berlin. The unique history and distinctive landscape of this once divided, highly industrialised city is a strong influence in her work, and is a visible presence in many of her photographs. An emerging curiosity in Berlin’s industrial history is evident in Clarke’s early series Viewing Stations Around Rummelsberger Bucht (2010). Set against the backdrop of a former factory and industrial area, Clarke employs traditional techniques to construct an image, playing out the tension between the picturesque qualities of this scene and its subject. The viewer looks out through a clearing across a body of water. In the darkened foregrounds of these im-


Human intervention

LEFT: Prospect 2: View towards Industry with an Island, Viewing Stations Around Rummelsburger Bucht series, Conor Clarke, 2010

PAGE 30: Conor Clarke in her studio, photo by Piet Truhlar

PAGE 31: In Pursuit of the Object, at a Proper Distance – Schkopau, Conor Clarke, 2014

ages people are engaged in leisurely pursuits. Behind them, across the water, a pair of tall towers and a collection of factory buildings stand prominently in brilliant sunlight. In 2014 Clarke travelled through Germany with a list of pre-planned locations in mind. In Pursuit of the Object, at a Proper Distance (2014) is a series of beautiful photographs of ethereal cloud-like forms billowing from industrial chimneys or smokestacks. In Clarke’s words they are ‘a series of isolated encounters between the by-product of industry and nature, between steam and cloud, land and sky.’ While the photographs conjure recollections of Constable’s cloud studies, unlike those depicted in the nineteenthcentury paintings, these clouds are man-made. This realisation undercuts the beauty of these images, relocating them in a realm Clarke likes to describe as ‘deliciously scary.’ These photographs are a record of

an unconventional road trip, tracing Clarke’s movements through the landscape as she pursues her chosen subject, albeit at a proper distance. Other works emerge from engagement with Clarke’s immediate surroundings. As she walks or cycles through the familiar streets of her neighbourhood of Kreuzberg, she documents everyday sites and subjects. ‘I am indebted to the work of Bernd and Hiller Becher, the German photographer-duo who dedicated their practice to creating typologies of functional architecture,’ says Clarke. ‘I always used to think I had to travel in order to find that which is worthy of photographic documentation. But what happens when you exoticise the objects and places that you encounter on a daily basis? That’s what excites me at the moment.’ Clarke was recently awarded Best Series at the Renaissance Photography Awards in London for


Human intervention

Scenic Potential, Conor Clarke, 2015

Scenic Potential (2015), in which she transformed muddy Berlin building sites into monumental landscapes. One could be forgiven for thinking that these images depict some remote part of New Zealand. It’s as if we are looking at two places at once; one landscape transposed onto another. Here, in these miraculous mountain ranges made from small mounds of dirt and rubble, Aotearoa and Deutschland are present simultaneously in the imagination. While on an Auckland Council artist residency at Waitawa Regional Park, Clarke worked exclusively with analogue photography and set up a small darkroom in a disused bunk-room in the small bach that was her temporary home. She learned about the particular history of the area and documented the marks it had left on the landscape in a series of black and white images permeated with a sense of desolation and disquiet. At Waitawa she saw evidence of early Māori occupation in the traces of terraces and defensive ditches of Pawhetau Pa, one of Auckland’s most significant pa sites. She saw the damage left behind from a hole blown, many

years ago, through the pa to provide access between the wharf and a nearby explosives factory. And looking out across the water, from the north-facing slopes of the park, she saw Kāramuramu Island, home to one of the longest-running quarries in the Auckland region and known for its rare, reddish-brown mudstone. Clark found herself particularly interested in the gorse plant that covered the surrounding hills in full yellow bloom, releasing a scent she describes as ‘a kind of rich, sort of sweet coconut.’ She read about the history of gardening in New Zealand, and the nineteenth-century introduction of the now notoriously noxious weed. In one image taken during this time, we see a hand holding up a cutting of the prickly plant; its thorny leaves and delicate blooms transformed here into a beautiful bouquet. When they carried those first gorse seedlings to New Zealand, no doubt those early colonial settlers had hoped that by bringing with them something from home, they might make this new and unfamiliar land a little more familiar. But this addition to the environment had unforeseen consequences. The gorse plant took a

Envy the envoy


Human intervention

PAGE 34 Scenic Potential, Conor Clarke, 2015

PAGE 35: In Pursuit of the Object, at a Proper Distance – Rummelsburg, Conor Clarke, 2014

liking to its new home, and now covers five percent of the country‘s arable land. Ground Water Mirror is a continuing current series looking at our relationship with the natural environment, and water in particular. Made up of photographs taken in Germany and New Zealand, Clarke says ‘the project is a response to urban living, about the western notion of human domination over water and the way this has changed our relationship to it since the industrial revolution.’ Amidst photographs of waterfalls and whirlpools, there are traces of the human body — a hand holds an icecream cone topped with blue icecream, a bare and bloodied thigh is revealed beneath the folds of a striped beach towel. In a text she wrote about the series, Clarke makes reference to environmental historian William Cronon, who writes: ‘As we gaze into the mirror it holds up for us, we too easily imagine that what we behold is Nature when in fact we see the reflection of our own unex-

amined longings and desires.’ (William Cronon (ed.), Uncommon Ground: Rethinking the Human Place in Nature, New York: W. W. Norton & Co., 1995). Living in Berlin, far from the sea, has no doubt contributed to Clarke’s fascination with water as both subject and as potential site of refuge. ‘My studio is around seven kilometres from home and my favourite route leads me twice across the river Spree and once around the Rummelsburg bay (a main reason why I chose the studio location). Berlin’s high water table means there is no shortage of canals, rivers and lakes, which is so important when living in a landlocked city.’ This month Clarke returns home to take up the Tylee residency. She’ll spend five months in Whanganui as artist-in-residence, supported by Whanganui District Council and the Sarjeant Gallery Te Whare o Rehua Whanganui. Here she plans new work that is likely to become part of the Ground Water Mirror series, this time looking at the Whanganui River.

Do what you love Apply now to study fine arts, photography, fashion or textile design, visual communication, industrial or spatial design, MÄ ori visual arts, creative media production or commercial music. Massey University Wellington College of Creative Arts

Jessica Adlam



The World of Wearable Art event returns to Wellington again this month so it seemed a good time to offer this lucky last book. This reissue from 2013 expands on earlier editions of Wearable books and has been revised in a lavish large format. This book is a celebration of the diversity and creativity of wearable art.

All subscriptions received by 20 November go into the draw to win a copy.

Enjoy Art Zone delivered to your door. Five issues a year will keep you up to date with galleries and exhibitions all around New Zealand. Subscribe online now at New Zealand 1 year / $30.50 / five issues 2 years / $61 / 11 issues / one issue free Asia / Pacific 1 year / $65.60 Rest of the world 1 year / $83

Hibiscus & Bays Art Awards 2017

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40 Drawing the line A floor plan of a 1940s high-density block of flats, drawn and cut into salvaged carpet and hung on a cable so that the rigid lines become fluid, has won the 2017 Parkin Drawing Prize for Kirsty Lillico. Her work State Block has challenged perceptions of what constitutes a drawing and raised a good amount of discussion for the awards and her work. ‘It’s not a traditional drawing,’ admits Lillico, who is both delighted and surprised to have got the top honour. ‘The drawing is the positive part of the plan. I scooped the negative spaces of the building onto the cable so the carpet slumps and swings. Gravity creates the form.’ Back in 2013 that Lillico began considering the legacy of modernism, architecture and how apartment-living organises people into spaces. She says, ’Human beings are chaotic and messy and don’t conform to this.’ Her studio in Lyall Bay, Wellington was near a carpet warehouse and their skip provided all the materials she needed to start work on Machine for Living, her first piece in a series that would lead to this year’s accolade. The winning work and the 40 other finalists were shown at the New Zealand Academy of Fine Arts in Wellington. Kirsty Lillico, State Block

42 Quite literally

‘As far as we can tell, nobody has yet used this type of thing as a sculpture.’ Scott Kelly and Ben Polkinghorne have created a series of installations that act as recommendations for tourists, similar to online algorithms. Each sign, located around New Zealand’s tourist attractions state ‘People who liked this also liked…’ with images of other recommended locations. Lonely Planet, 31 August 2017

‘In spite of the efforts of the institutions to say we are not, I think the public are fairly disenchanted with what I would call official art. Pretty much everything is fairly middle of the road and hardly interesting...’

‘As far as displaying Nick’s genitals to the world, perhaps the (Ecan) CEO Bill Bayfield has never entered a gallery or visited the Vatican City and cast his gaze on the multitudinous penises in bronze and marble that swarm around the square, much to the delight of children, the pope and one or two extraordinary cardinals.’

Andrew Drummond reflects on his struggle with bureaucracy during his career and the growing chasm between institutions and public opinion.

Sculptor Sam Mahon replies to criticism that his sculpture of Environment Minister Nick Smith with his pants down is crass. (see also #68 p40 for a previous discussion)

The Press, August 2017

Newstalk ZB, 4 September 2017

needs replacing

9 Sept – 6 Oct Free entry

ART AWARDS 2017 Exhibition, Sir Howard Morrison Performing Arts Centre Salon des Refusés, 14 Sept – 8 Oct 2017, Rotorua Library The 2017 Rotorua Museum Art Awards are generously supported by

Vote online and in gallery for your favourite in the More FM People’s Choice Award @RotoruaMuseum

P: 07 350 1814

44 Notepad

Let there be light

For ten days, ten Auckland precincts will host various artworks in public and private spaces, pop-ups, streets and everything in between, for Artweek. Popular outdoor exhibit GLOW returns to Devonport, with teams of students from Unitec School of Architecture putting up their light installations in Windsor Reserve, and the the Speaker Series creates discourse on contemporary art in New Zealand. The festival runs from 7–15 October.

Forming a journey

The dates are out for the 2018 Whangarei Sculpture Symposium, the theme of which is ‘Journey’ – taking in first encounters, exploring and navigating. The topic was selected partly to mark the Sestercentennial (250th anniversary) of the voyage of the Endeavour and Cook’s exploration of New Zealand’s coast. Artists’ interpretations of the theme will be displayed on Hihiaua Peninsula during March next year.

Labour of love

Get to Helensville for a three-day art festival over Labour weekend. Painters, fibre artists, hat-makers and sculptors will be talking about their art and selling work from their studio spaces and pop-up exhibitions. There will also be opportunities to try your hand at various interactive displays. Arts in the Ville is happening throughout Helensville township from 21 to 23 October.

45 Notepad

Owl about town

TAG 10

Trail trailer

Flox, Dick Frizzell, Jeff Thompson, Peata Larkin and Jessica Pearless are among the 40 artists taking part in the return of the Haier Big Hoot. Each will be given a 1.65m owl sculpture to turn into a work of art to be exhibited on the streets of Auckland and auctioned in March 2018 to raise money for the Child Cancer Foundation. The Hoot is mooted to be New Zealand’s biggest charity art exhibition.

Tauranga Art Gallery Toi Tauranga is celebrating its tenth anniversary. A family fun day to mark the TAG’s major milestone will be held on Saturday 14 October. Visitors are invited to create an artwork at one of the creation stations, attend storytelling sessions and experience a diverse group exhibition, The Future Machine, with works by Douglas Stichbury, Richard Malloy and Chris Carson-Scott.

Two free workshops are being run by the Taranaki Arts Trail Committee to encourage artists to participate in the 2018 Trail. Taking place in Hawera and New Plymouth, the workshops will offer mentors to newcomers, and give advice to new and existing trail members on studio presentation, being a host and marketing. There’s also a chance to throw questions or suggestions at the committee.


Foreign assessment

Bridget Donahue hosts Project Native Informant: Harumi Yamaguchi

Pooling in Summer CONDO NY June 29 - July 28, 2017 By Sophie McKinnon For one of New York’s soupiest summer months, CONDO came to town, along with 20 non-New York galleries and a handful of artists. A project founded by the London dealer Vanessa Carlos, led in New York by Simone Subal and Nicole Russo, the CONDO mission is a noble one—to challenge existing models while ‘pooling resources and acting communally.’ In concrete terms, this means New York galleries approached by the CONDO team make room for exhibitions curated by participating galleries from around the world for

a month. Essentially, a commercial gallery residency program. Following the map online (it resembled a kind of nuclear-fallout-zone diagram), through 16 New York galleries clustered in Chelsea, Tribeca, and the Lower East Side, emphasised the presence of galleries spaces in neighborhoods, and their distance from one another. This system, lacking the clinical regularity of art fairs, made for more considered and rewarding seeking and looking. In fact, the initiative glows with so much good-will I wonder what use anyone gets out of it. The 16 New York galleries do not profit from sales by galleries they host, but add some hands-free global cachet to their summer rota, and those being hosted cover the costs of shipping and installation. In the end, it appears they break even. It is also a refreshingly new formula. Some galleries made efforts to integrate guest exhibitors into their

summer shows—for instance, Bridget Donahue hosting Project Native Informant’s airbrush artist Harumi Yamaguchi alongside the pastel washed works of Satoshi Kojima—while others simply provided space on a less obvious upstairs or downstairs level. Thematically, the works were at ease in Bridget Donahue, but Yamaguchi’s work seemed to be located in the gallery office antechamber, where staff sat around a table going about their business, and a dog snoozed on a blanket under one of Yamaguchi’s dewy pink pinups. Host galleries were obliging enough to physically host, but the commitment felt loose, and seemed to stop at the stairs or upstairs room where most of the visiting works were shown. As collaborations on paper, this still served a number of mutual ends, but in reality was more like a cousin had showed up from


Foreign assessment

out of town to hang out but was left to their own devices. The comparison of CONDO to an alternative art fair is somewhat misguided, as it is missing the obvious benefits of access, hyper-concentration of galleries, and temporarily carpeted VIP areas. It does however, give galleries some presence beyond fair season. And while art fairs capitalise on seasonal buying and the tides of the art market, CONDO unassumingly targets the slower mid-year months. The program had a slight air of musical chairs: Callicoon Fine Arts for example, hosting Mother’s Tankstation Limited in the 2017 New York iteration, having itself been hosted by Rodeo during CONDO London 2016. As befits July, gallery hours were odd, staff were sparse, and info on the CONDO collaboration was on a kind of needto-know basis. Still, it felt like an art world “buddy system”, where New

York galleries become participants in an unlikely collective of like-minded global dealers great and small, drawing visitors who might not ordinarily make an effort to chart gallery territory in the summer. Queer Thoughts, a tiny gallery in an aging Tribeca office building, explained that the majority of their July traffic had been through CONDO (despite their not including the visiting artist Deborah Schamoni in their A4 gallery guide). Chatting to another participant gallery, we discovered a surprising degree of openness about the work on view, and a willingness to embrace the ad hoc nature of the collaboration without commercial responsibility. Whatever its merits, the model appears to be working, with CONDO slated to expand to Mexico City and Shanghai 2018. Many participating galleries build on relationships generated through the fair scene, with CONDO also

working the economies of scale to suggest pairings where appropriate. This requires precise knowledge of geographically specific art scenes, and understanding of counterparts and cousins elsewhere. Leo Xu’s understated yet challenging curation in the upstairs of Chelsea’s Metro Pictures felt like a perfect union, and made as much of a statement about the symbiotic relationship between the two galleries as it did about any of the work on view. This dynamic lent the whole experience a distinctively meta feel, with artists featured by galleries imbedded in other galleries who spoke to their artists. But with lower stakes, the visitor entry points were refreshingly without strings attached, and CONDO should be commended for stripping the art world down to its summer skin.

49 Heading

Born in Christchurch, 1982 0800 PHANTOM

Billsticker Eil Wright wears a Matt Couper limited edition Phantom T Shirt



51 Education special Art courses range from evening classes or weekend retreats to post-graduate opportunities. Here not only are multi-level courses offered but specialisation also. Photography, sculpture, electronic arts, jewellery, design and conceptual art tuition are on offer.

Read on to find out about the success of some students and graduates.

52 Cloud-based business By Beth Rose High in the mist of the Andean mountains, Otago Polytechnic alumna and former photography lecturer Emily Hlavac Green has been focusing her lens on the traditional crafts of Peruvian women. Working with Photographers Without Borders, she’s documenting Awamaki, a non-profit co-operative programme that empowers Andean women to start and run their own businesses creating artisan products using alpaca wool. As a woman working in a creative industry herself, Hlavac Green quickly identified with Awamaki’s philosophy. In the vast, unforgiving landscape of the Sacred Valley, red, pink and orange textiles blazed in a sparse landscape. ‘In Kelkanka I documented a quality workshop with the cooperative where I saw the women spin alpaca wool into yarn, build looms

on the bare earth and set up pieces of intricate weaving,’ Hlavac Green recalls. ‘I saw something created from what felt like nothing. I saw the effort and the craftsmanship which is so often forgotten when it comes to buying a final product.’ Awamaki invests in women’s skills, connects them to global markets and supports their leadership so they can increase their income and lead their communities out of poverty. Formed in 2009, Awamaki set out to help a cooperative of 10 women weavers from Patacancha, a rural Quechua community in the Andes. Since then it has created programs in health, education and sustainable tourism, but its primary focus remains on fair trade artisan co-operatives. Hlavac Green set out to photograph the whole creative process – from shearing the alpacas, to spinning the wool and weaving the threads into the final textiles – and spent three days documenting a natural dye workshop on a sustainable culture experience in Parobamba, where the Andean mountains meet the Amazon. ‘I got

to experience and capture what it felt like to live remotely. Self-sufficiency is crucial to life up in this region and the Master Dyer, Daniel Soncco, taught us the ways in which he and his family live from the land, creating dyes and medical remedies from plants and minerals, and growing or cultivating everything needed for survival. ‘It was a very moving experience. On one hand I saw beauty in a life of simplicity, but I saw this through my eyes as someone with the ability to travel. Travel is a luxury that affords contrast and that experience of the ‘other,‘ and even when done sustainably always has an impact on a culture.’ Since returning home to New York, Hlavac Green says she is acutely aware of the importance of investing in and supporting sustainable businesses, and is especially interested in looking at natural dyeing processes locally, and especially the connections between food and fashion. ‘It is a really fascinating intersection between science and art that a few people in New York are exploring.’


Education briefs

Creative expansion

The Miramar Creative Centre has opened as a new Victoria University of Wellington campus. Master of Design Technology students have already moved in and, by November, students from the film and music streams of the university’s Master of Fine Arts (Creative Practice) will join them. Victoria has always had a close connection with Weta Digital and Weta Workshop, and the centre marks a new partnership with Miramar Creative Ltd whose directors Jamie Selkirk and Kristy Grant have supported the hightech teaching centre.

Lusk’s legacy

Award-winning Waitati ceramicist and Dunedin School of Art (DSA) graduate, Kate Fitzharris, has won the 2017 Doris Lusk Ceramics Residency – a two-week teaching residency at Risingholme Community College in Christchurch. The biannual residency is named for painter and ceramicist, Doris Lusk, who grew up in Dunedin, studied at the DSA and taught pottery at Risingholme Community College. “Teachers often say they learn from their students, and I am looking forward to enquiry and open dialogue,” says Fitzharris.

Currency exchange

Matt Arbuckle is the winner of this year’s Wallace Arts Trust Vermont Award with Mining for Bitcoins. The prize is a threemonth residency at the Vermont Studio Centre in the USA. Arbuckle described his work as referring to the practice of earning cryptocurrency by verifying transactions and adding them to the public ledger. Designed to secure the network, the process requires immense computing power. “I read an article on Bitcoin mining while making this painting and became fascinated,” he said. Arbuckle graduated from Unitec in Auckland in 2009 with a Bachelor of Visual Communication.

Performance by ‘The Yellow Men’

The Dunedin School of Art offers hands-on studio learning within a vibrant community, teaching transferable skills preparing students for a wide range of careers. Drawing, Digital Literacy, and Art History and Theory are core components of all our programmes. 0800 762 786

Our studios include: > Ceramics > Electronic Arts > Jewellery and Metalsmithing > Painting > Photography > Printmaking > Sculpture > Textiles

Our programmes include: > Bachelor of Visual Arts > Bachelor of Visual Arts (Honours) > Graduate Diploma in Visual Arts > Diploma in Ceramic Arts – by distance > Postgraduate Certificate in Visual Arts > Postgraduate Diploma in Visual Arts > Master of Visual Arts > Master of Fine Arts > Certificate in Digital Photography > Diploma in Digital Photography > Certificate in Film and Television J03042


Scaling new heights Oils, thickly spread and whipped into peaks, raise these New Zealand landscapes from their canvases. Holly Zandbergen uses impasto to depict the Southern Alps physically and energetically in her exhibition I Sit in the Blue of the Hills. She drew inspiration from New Zealand photographer and environmentalist Craig Potton for the 10 major works, which are on display

at the Rebecca Hossack Art Gallery in London during September. The exhibition was opened by New Zealand High Commissioner Sir Jerry Mateparae. For a 25-year-old contemporary artist who graduated from Dunedin School of Art in 2013, this represents lightning progress. Originally from Timaru, Zandbergen is accumulating national accolades and gaining international exposure for her paintings of New Zealand. She was shortlisted for the New Zealand Art Show Emerging Artist Award in 2013, and went

on to exhibit at the National Open Art Competition at London’s Royal College of Art in 2015, where she was selected for the Prudential Best Young Artist Award. In 2016, one of her works was selected for the Columbia Threadneedle Exhibition, and toured to Florence’s Palazzo Strozzi. Despite her achievements, Zandbergen hadn’t always imagined herself as an artist. ‘It was while I was painting in London that I felt I could do it. You’ve got to have faith – and work really hard.’

HERE AND NOW Tori Ferguson, Ayesha Green, Zainab Hikmet and Anh Tran 18 September to 28 October 2017 Opening Saturday 16 September, 2.30pm (09) 535 6467

35 Uxbridge Road, Howick, Auckland

Mon - Sat 10am - 4pm, Thu until 8pm


Sealed with a Kiss Gill Gatfield, LLB and MFA graduate from the University of Auckland, has won the Landscape category at the international CODA awards for her sculpture The Kiss, a work that took two years to complete, and involved a team working across three time zones and in three languages

– Hindi, Danish and English. To create the sculpture, Gatfield searched internationally for a single block of pure black granite, eventually quarrying an outsized block in India where the stone was cut and polished, then shipped to Denmark for display at the Sculpture by the Sea exhibition, where it was visited by over 500,000 people. ‘This was a challenging and complex

project,’ says Gatfield. ‘We constructed The Kiss on a beach in Aarhus, Denmark in 2015, during the centenary of women’s right to vote in that country. It is a symbol of equality in both form and concept.’ From Denmark to New Zealand; The Kiss has been seen in Christchurch as part of the last SCAPE Public Art exhibition. It has since been acquired by a private collector.


Education briefs

Forging a career

Sculptural artist Simon Allison graduated with a Diploma in Fine Arts from Ilam School of Art nearly 40 years ago. Since then, he’s forged a career on the other side of the world. Moving to England in 1984, he set up Red Bronze Studio fine arts casting foundry in London. In 1993 Allison moved to Oxfordshire and started Lockbund Sculpture fine art bronze casting, which expanded into large studios and gallery exhibition space, now known as Lockbund Gallery. Allison works with a variety of materials including stone, wood, bronze, and glass, often in combination. He returned to New Zealand in September for his exhibition Shift at Orexart in Auckland,– a body of new works exhibiting varied use of cast lead and wood.

London calling

Tusi Tamasese’s One Thousand Ropes will screen in October’s BFI London Film Festival. One Thousand Ropes, written and directed by Tusi Tamasese and produced by Catherine Fitzgerald, is the story of a father re-connecting with his youngest daughter and putting to rest the ghosts that haunt them. It is Tamasese’s follow up to his muchawarded feature debut, The Orator. The film stars Uelese Petaia, Frankie Adams, Beulah Koale and Sima Urale. It is funded by the New Zealand Film Commission and Fulcrum Media Finance. Tamasese spent 18 years in his native Samoa, before moving to New Zealand and completing a double major in film and political science at the University of Waikato in Hamilton.

Coming to eden

The Eden Arts Trust has celebrated 30 years of supporting the arts in Mt Eden and their Young Artists Awards is one of their longeststanding events. Epsom Girls Grammar student Shoal Makata with Trampoline, a photograph, won the overall award and a prize total of $3000. Guest judge artist Peata Larkin awarded a total of $7,000 in prizes. The Eden Arts Community Arts Trust was formed in 1987 for the purpose of promoting the arts in the greater Mt Eden area. The annual Young Artists Awards are open to 16–25-year-olds either living or studying in the designated Mt Eden area.

60 Decent exposure

For your own good, Abdul Abdullah, resin and enamel on linen, 2016, 1000mm x 1000mm

Magnolias, Melanie Mills, 2014, oil on found board

Dark Horizons

Hymn to the Sun

Muslim-Australian artists, Abdul Abdullah, Abdul-Rahman Abdullah and Khaled Sabsabi, showcase three interconnected solo exhibitions in Pataka’s Dark Horizons – Fear of an Imagined Threat. The exhibitions explore the artists’ take on the themes of migration and multiculturalism. How fear manifests itself into the thoughts and actions of society is a recurrent theme throughout the exhibitions, which include a room of glass chandeliers, a three-channel video installation and a series of paintings and embroidered fabric works.

Wellington painter Melanie Mills brings her second show of flower-based work, Hymn to the Sun, to FHE Galleries. Her first show, at the same gallery, saw the pieces immediately selling out before the exhibition had opened. Kathlene Fogarty, curator at FHE Galleries, says the last time that had happened was in the 1960s. Mills is a painter who works off the grid, with no cell-phone. It often took months for Fogarty to gain contact with her, which she said made Mills’s work that much more alluring for this second show.

27 August – 22 January 2018, Pataka, Porirua

1 September – 7 October, FHE Galleries, Auckland

61 61 Region

Maps / Listings North Island

South Island

Northland 66

Picton 79

Auckland 66

Blenheim 79

Waiheke Island


Nelson 79

The Coromandel


Christchurch 79

Bay of Plenty


Canterbury 81

Rotorua 72

Geraldine 81

Hamilton 72

Timaru 81

Waikato 72

Oamaru 82

Hawke’s Bay


Dunedin 82

Taranaki 73

Cromwell 83



Southland 83

Mangaweka 74

Invercargill 83

Whanganui 74

Artist list

Manawatu 75 Wairarapa 75 Horowhenua 75 Kapiti 75 Hutt Valley


Wellington 76


Auckland - Newton Anna Miles –10/30 Upper Queen St Artspace – 300 Karangahape Rd Endemicworld – 62 Ponsonby Rd FHE – 221 Ponsonby Rd Michael Lett – 312 Karangahape Rd Studio One – 1 Ponsonby Rd

Auckland - City Gus Fisher Gallery – 74 Shortland St Fingers – 2 Kitchener St NZ Maritime Museum – cnr Quay & Hobson St Kura Gallery – 95a Customs St West

Auckland - Newmarket Auckland Museum – Domain Dr Sanderson – Osborne Lane 2 Kent St The Poi Room – 17 Osborne St

Auckland - Parnell Antoinette Godkin – APT Y32, 30 York St Artis – 280 Parnell Rd Jonathan Grant – 280 Parnell Rd

Wellington Academy Galleries – 1 Queens Wharf Adam Art Gallery – Victoria University, Gate 3, Kelburn Pde Art Walrus – 111 Taranaki St Avid – 48 Victoria St Bartley + Co – 56A Ghuznee St Bowen – 41 Ghuznee St City Gallery – Civic Square Exhibitions – 20 Brandon St Hamish McKay – First Floor, 39 Ghuznee St Jane Hyder – Studio 21, Toi Pōneke Art Centre, 61 Abel Smith St Kiwi Art House – 288 Cuba St Kura Gallery – 19 Allen St Millwood – 291b Tinakori Rd New Zealand Portrait Gallery – Shed 11, Queens Wharf Ora Design Gallery – 23 Allen St Quoil – 149 Willis St Suite – 241 Cuba St Te Papa – Cable St Toi Pōneke – 61 Abel Smith St Turnbull Gallery – National library Molesworth St Vessel – 87 Victoria St

Christchurch Canterbury Museum – Rolleston Ave Chambers Art Gallery – 241 Moorhouse Ave Christchurch Art Gallery – 49 Worcester Ave Form Gallery – 468 Colombo Street Ilam Campus Gallery – Block 2 School of Fine Arts, Arts Road PG Gallery 192 – 192 Bealey Avenue The National – 241 Moorhouse Ave The Physics Room – 209 Tuam Street Windsor Gallery – 386 St Asaph St

Dunedin Hocken Collection – 90 Anzac Ave Mint Gallery – 32 Moray Pl Moray – 55 Princes St Otago Arts Society – 22 Anzac Ave

66 Region Northland–Auckland Northland ART AT WHAREPUKE 190 Kerikeri Road, Kerikeri Ph: 09 407 8933 Hours: Open 7 days 10am–5pm` Gallery & Sculpture Park. BURNING ISSUES GALLERY 8 Quay Side, Town Basin, Whangarei Ph: 09 438 3108 Hours: Open 7 days 10am–5pm The finest contemporary object art gallery in Northland. Showcasing the best of local and national artists for over 20 years. REYBURN HOUSE (NORTHLAND SOC. OF ARTS) Reyburn House Lane, Town Basin, Whangarei Ph: 09 438 3074 Hours: Tues–Fri 10am–4pm, Sat–Sun 1pm–4pm, closed Monday Gallery has an active exhibition programme changing monthly. Also a gallery shop for a fine selection of painting, jewellery, pottery, hand blown glass and much more.

THE SHUTTER ROOM 7 Rust Avenue (opp public library entrance), Whangarei Hours: Wed–Fri 12–4pm and Sat 10am–1pm A gallery committed to supporting and extending photography in Northland. Monthly exhibition turn around with group and solo exhibitors. VILLAGE ARTS 1376 Kohukohu Road, North Hokianga Ph: 09 405 5827 Hours: Open 7 days 10am–4pm Showcasing Hokianga's richly diverse arts community.

Hours: Tue–Fri 11am–4pm, Sat 12pm–3pm or by appointment. ART INDUSTRY theblackshed, 37 Papakura Clevedon Rd, Clevedon Village. Ph: 021 238 2382 Hours: Thurs–Sun 9am–4pm An artist's space run by James & Cheryl Wright. Unique works by established and emerging artists.

Auckland ANNA MILES GALLERY 10/30 Upper Queen Street Ph: 021 471 047 ANTOINETTE GODKIN GALLERY APT Y32, 30 York Street, Parnell Ph: 09 309 9468

Plainsong: Oceanic, J S Parker.

ARTIS GALLERY 280 Parnell Road, Parnell Ph: 09 303 1090 Hours: Mon–Fri 9.30am–5.30pm, Sat 10am–4pm, Sun 11am–4pm JS PARKER, BRIDGET BIDWILL,

67 67 Auckland Region BRONWYNNE CORNISH Three Part Harmony 12 Sep–2 Oct, PAMELA WOLFE Fugitive 17 Oct–5 Nov. ARTSPACE Level 1, 300 Karangahape Rd,Newton Ph: 09 303 4965 Hours: Tues–Fri 10am–6pm, Sat 11am–4pm.

New Zealand holding 6 major exhibitions a year. Special exhibitions on now at Auckland Musum include Being Chinese in Aotearoa, a photographic exhibition exploring 175 years of Chinese life in New Zealand, and the ever-popular Wildlife Photographer of the Year, direct from the Natural History Museum, London. Summon, Georgie Malyon.

Untitled (2015), Courtesy Louisa Afoa.

Appo Hocton, WE Brown Collection, Nelson Provincial Museum.

AUCKLAND MUSEUM Domain Drive, Parnell, Auckland Ph: 09 306 7067 Hours: 10am–5pm, seven days (closed Christmas Day) The oldest art society in

CORBAN ESTATE ARTS CENTRE 2 Mt Lebanon Lane, Henderson Ph: 09 838 4455 Hours: Open 10am–4.30pm daily Free entry. For information on exhibitions, art classes, artist's studios and events visit

ENDEMICWORLD 62 Ponsonby Road, Grey Lynn Ph: 09 378 9823, Mob: +64 21 996 722 Hours: Mon–Sat 10–5, Sun 11–3 endemicworld was founded in 2007 by Elliot Alexander. 120+ NZ and international artists exhibit at our Ponsonby Road gallery. Features in The New York Times and other international media.

68 Auckland FINGERS 2 Kitchener Street, Auckland 1010 Ph: 09 373 3974, Hours: Mon–Fri 10am–5.30pm, Sat & Sun 11am–4.30pm Alumni update Selected Artists 10–26 Oct. Annual Group Show 29 Oct–30 Nov.

KURA GALLERY, AOTEAROA ART + DESIGN 95A Customs St West Ph: 09 302 1151 Hours: Open 7 days From Maori carving to unique NZ art, sculpture, jewellery....

Tread softly as you tread on my dreams, Carol Dewe.

ESTUARY ARTS CENTRE 214B Hibiscus Coast Highway, Orewa Ph: 09 426 5570 Hours: 7 Days 9am–4pm Gallery, classes, cafe. Photo: Sam Hartnett.

FHE GALLERIES 221 Ponsonby Rd, Ponsonby 1011, Auckland Ph: 09 306 0293 Hours: Mon 10am–4pm, Tue–Fri 10am– 5pm, Sat 11am–3pm (or by appointment). The gallery presents individual works of excellence from New Zealand, the Pacific, and other cultures. FHE Galleries also offer services in informed design, for private and corporate interiors. MELANIE MILLS, Hymn to the Sun begins 1 Sep.

JONATHAN GRANT GALLERIES 280 Parnell Road, Parnell, Ph: 64 308 9125,,, Hours: Mon–Fri 9.30am–5.30pm, Sat 10am–4pm, Sun 11am–4pm. JAN NIGRO 75 Years of Painting 10 Oct–5 Nov, Our People Our Land 14 Nov–4 Dec.

GUS FISHER GALLERY 74 Shortland Street Ph: 09 923 6646 Hours: Tue–Fri 10am–5pm, Sat 12pm–4pm.

LAKE HOUSE ARTS CENTRE 37 Fred Thomas Drive, Takapuna, North Shore City Ph: 09 486 4877 Hours: Mon–Fri 9.30am–4pm, Sat–Sun 10am–3pm Exhibitions, art classes for children and adults, venue hire, artists studios, events and café.

69 69 Auckland Region MAIRANGI ARTS CENTRE 20 Hastings Road, Mairangi Bay Ph: 09 478 2237 Hours: Gallery open from 9.30am–4pm Mon–Fri & 10am–2pm Sat/Sun (unless otherwise stated). Studios open for classes 7 days (unless otherwise stated) We, the Youth! artworks created by Mairangi Arts Centre's after school art classes 13 Sep–1 Oct, First Impressions III national printmaking exhibition 4–20 Oct, Spectrum Hearts Korean artists living with diverse intellectual abilities 25–31 Oct, Hibiscus & Bays Arts Awards nationwide competition exhibition 9 Nov–10 Dec. MALCOLM SMITH GALLERY UXBRIDGE Arts and Culture, 35 Uxbridge Road, Howick Ph: 09 535 6467 Hours: Mon–Sat 10am–4pm, Thur until 8pm. Here and now TORI FERGUSON, AYESHA GREEN , ZAINAB HIKMET & ANH TRAN.

MCCAHON HOUSE MUSEUM 67 Otitori Bay Road, French Bay, Titirangi Ph: 09 817 6148 or 09 817 7200 Hours: Wed – Sun 1pm–4pm (except for public holidays) The House today operates as a vibrant insight into Colin McCahon's significant Titirangi Years (1953-1959) and provides a window into the era of Titirangi during the 1950s. Koha Admission suggested $5 per adult. MICHAEL LETT 312 Karangahape Road, Cnr K Rd & East St, Auckland 1145 Mob: +64 9 309 7848 Hours: Tue–Fri 11am–5pm Sat 11am–3pm

Water II, Emma Rogan.

MONTEREY GALLERY 5 Cook Street, Howick, Auckland, 2014 Ph: 09 532 9022 Hours: Mon–Wed 10am–4pm, Thur–Fri 10am–5pm, Sat 9am–4pm EMMA ROGAN & ISAAC KATSOFF 16–30 Sep, It's in The Bag 7–14 Oct, MO STEWART & KIYA NANCARROW 4–17 Nov, RACHEL ERRINGTON 18–30 Nov.

70 Auckland NATHAN HOMESTEAD GALLERY 70 Hill Road, Manurewa Ph: 09 267 0180 Hours: Mon–Thur 9am–7pm, Fri 9am– 5pm, Sat 1pm–3pm. Closed Sunday. Nathan Homestead Gallery offers a wide range of exhibition programming with local, emerging and internationally recognised artists on display throughout the year. NORTHART Norman King Square, Ernie Mays St, Northcote Shopping Centre Ph: 09 480 9633 Hours: Open daily 10am–4pm. NZ MARITIME MUSEUM, EDMISTON GALLERY Cnr Quay & Hobson Street, Viaduct Habour Ph: 09 3730800

STUDIO ONE TOI TŪ 1 Ponsonby Road, Ponsonby Ph: 09 376 3221 Hours: Mon–Thu 9am–7pm, Fri 9am–5pm, Sat 9am–4pm. Studio One Toi Tū is a community arts centre in the heart of Auckland. It is a hub for creatives and offers a wide programme of exhibitions, courses, events and studio hire options. TE TUHI 13 Reeves Rd, Pakuranga Ph: 09 577 0138 Hours: 9am–5pm daily (closed on public holidays) LISA CROWLEY: The Incandescents until 22 Oct; JEREMY LEATINU'U: Earthpushers; BRUCE BARBER: I Swear, until 28 Oct; YONA LEE: In Transit (Arrival), until 19 Nov.

Looking XIII, Christine Hellyar.

TE URU WAITAKERE CONTEMPORARY GALLERY 420 Titirangi Rd, Titirangi Ph: 09 817 8087 Mon–Sun 10am–4.30pm ROBERT GEORGE: a memoir for falling light until 19 Nov, CHRISTINE HELLYAR: Looking, Seeing, Thinking until 5 Nov, SARAH SMUTSKENNEDY: Light Language until 29 Oct, Leading Ladies 7 Oct–28 Jan, LOUISE MENZIES: Gorgon Malkin Witch 14 Oct–28 Jan.

71 71 Auckland –The Coromandel Region Waiheke Island

30 Nights on Queen Street 2017, Shannon Novak.

THE PAH HOMESTEAD, TSB BANK WALLACE ARTS CENTRE 72 Hillsborough Road, Hillsborough Ph: 09 639 2010 Tue–Fri 10am–3pm, Sat–Sun 8am–5pm The 26th Wallace Art Awards 2017, Winners and travelling Finalists Exhibition. Lower Level and AV Galleries, until 29 Oct. MISH O'NEILL, Looking Beyond. Photography Gallery, 12 Sep–12 Nov. The 6th Wallace Secondary School Awards, and Perch Project: 'T as in "Tea"'. First Floor Galleries, 12 Sep–5 Nov. JOHN BROWN: Stations. Master Bedroom. 12 Sep–12 Nov.

THE VIVIAN GALLERY 39 Omaha Valley Rd, Matakana, RD 5, Warkworth 0985 Ph: +6494229995 Hours: Daily Wed–Mon 11am–5pm, Closed Tuesdays Discover and explore outstanding contemporary art from many of New Zealand's top artists – and see what makes The Vivian Gallery such a wellloved destination. out our website to see what's going on, and don't forget to sign up to our mailing list to receive invites to the show openings and artist talks! WEST COAST GALLERY Seaview Road, Piha Ph: 09 812 8029 Hours: Wed–Sun 10am–4pm Comprehensive range of West Auckland artists. Monthly exhibitions.

WAIHEKE COMMUNITY ART GALLERY – TE WHARE TAONGA O WAIHEKE 2 Korora Road, Oneroa, Waiheke Island 1081 Ph: 09 372 9907 Hours: 10am–4pm 7 days. Waiheke Community Art Gallery's range of exhibitions inspires and delights, bringing the best of New Zealand art to the Island and offering the best of Waiheke art to the world.

The Coromandel BREAD AND BUTTER GALLERY 26 Albert St, Whitianga, 3510 Ph: 07 866 4927 Hours: 10am–4.30pm Mon–Fri, 10am–4pm Sat, 10am–2pm Sun.

72 Bay of Plenty–Waikato Bay of Plenty

Hours: Mon–Fri 9am–5pm, Sat–Sun 10am–2pm. Closed public holidays. Museum display and three gallery spaces showcasing work by local and national artists.

Rotorua Waves of your Breath, Jae Kang.

TAURANGA ART GALLERY Cnr of Wharf & Willow Streets, Tauranga CBD Ph: 07 578 7933 Hours: Open daily 10am–4.30pm Willow: an installation by SARA HUGHES until 27 Oct, JAE KANG Waves of your Breath until 29 Oct, BOB JAHNKE ATA: a third reflection, BRIDGET REWETI Irihanga KEREAMA TAEPA Insert Coin until Jan 2018. WHAKATĀNE MUSEUM AND ARTS TE KŌPUTU A TE WHANGA A TOI Whakatāne Library and Exhibition Centre, Esplanade Mall, Kākahoroa Drive, Whakatāne Ph: 07 306 0505

ROTORUA MUSEUM Oruawhata Drive, Government Gardens Ph: 07 350 1814 Hours: Closed for earthquake strengthening 2017 Rotorua Museum Art Awards exhibition of finalists Sir Howard Morrison Performing Arts Centre 9 Sep–6 Oct. Salon des Refuss 14 Sep–7 Oct. Free entry.

CALDER & LAWSON GALLERY Gallagher Academy of Performing Arts, University of Waikato Ph: 07 858 5100 Visit our website for more details. WAIKATO MUSEUM, TE WHARE TAONGA O WAIKATO 1 Grantham St Ph: 07 838 6606 Our exhibitions bring you the stories of our arts, history, culture and science. Find us on Facebook waikatomuseum.


Hamilton ARTSPOST GALLERIES AND SHOP 120 Victoria Street Ph: 07 838 6928 www.waikatomuseum/artspost, facebook. com/artspost Hours: Daily 10am–5pm, free entry Three galleries and retail store showcasing the best of New Zealand art and design.

WALLACE GALLERY, MORRINSVILLE 167 Thames Street, Morrisville Ph: 07 889 7791 Hours: Tue–Sun 10am–4pm. Free entry – donations greatly appreciated.

73 73 Region Hawke's Bay–Taranaki Hawke's Bay ELECTRA GALLERY Ruataniwha Street, Waipukurau Ph: 06 858 8388 HASTINGS CITY ART GALLERY 201 Eastbourne Street East Ph: 06 871 5095 Hours: Open 7 days, 10am–4.30pm FREE ENTRY. HASTINGS COMMUNITY ARTS CENTRE 106 Russell Street South, Hastings Ph: 06 878 9447 Hours: Weekdays 9.30am–4pm, Sat 10am–2pm Showcasing Hawke's Bay Artists.

MTG HAWKE'S BAY 1 Tennyson Street, Napier Ph: 06 835 7781 PAPER-WORKS 268 Clifton Road, Te Awanga Mob: 027 450 7517 Hours: Thur–Sun 11am–3pm, or by appointment. Original Works on Paper – paintings, etchings, lithographs, screenprints, photography, art books and more... THE RABBIT ROOM 29A Hastings Street, Napier Hours: Tue–Thu 1–4pm


Patea Museum facade, Richard Wotton.

AOTEA UTANGANUI MUSEUM OF SOUTH TARANAKI 127 Egmont St, Patea 4250 Ph: 0800 111 323 Hours: Mon–Sat 10am–4pm, closed Sundays, Christmas Day and Good Friday. Aotea Utanganui is a purpose-built museum that embodies the spirit and energy of the South Taranaki region. The museum plays an active role within our community both today and for the future. A museum that is welcoming and inspirational while striving toward excellence in research, curatorship, preservation and educational engagement. A modern museum with ambitious future plans, prepared to embrace the digital age. We achieve this through: collaboration, creativity, innovation & flexibility.

74 Waiouru–Whanganui overlooked, unseen and imagined. ERICA VAN ZON Opal Moon, Local Lime to 19 Nov. A post-Tylee exhibition inspired by objects, locations and historical events relating to the residency’s inaugural year, 1986. The Jar Room to 3 Dec. Upstairs at the I-Site, 31 Taupo Quay. A collaborative community art installation led by artist LAUREN JOAN LYSAGHT .

Waiouru NATIONAL ARMY MUSEUM State Highway I, Waiouru Open daily 9am to 4.30pm Discover NZ's military history, stories of courage, honour and sacrifice. Guided tours, Research Library, Kidz HQ , Home Fires Café, Gift Shop.

Mangaweka YELLOW CHURCH GALLERY State Highway 1, Rangitikei Ph: 06 382 5774, Mob: 0275266612 Hours: Open most days 10am - 5pm RICHARD ASLETT, plus other local and funky International artists.

Whanganui RAYNER BROTHERS GALLERY 85 Glasgow Street, Whanganui Mob: 027 270 9497 Hours: Wed–Fri 12pm–4pm, Sat 10am– 1pm. Blue 15 Sep–14 Oct, In the Round 20 Oct–18 Nov, Elephant in the Room GROUP SHOW OF 50 ARTISTS opens Nov 24.

Canyon from Nankoweap, Timon Maxey.

GALLERY 85 85 Glasgow St, Whanganui, 4500 Ph: 027 270 9497 Hours: Wed–Fri 12–4pm, Sat 10am–1pm SU HENDELES, Daddy Fly 15 Sep–14 Oct, WAIHEKE/WHANGANUI ART TALK GROUP dis-locate 20 Oct–17 Nov, TIMON MAXEY Land Shapes opens 24 Nov. SARJEANT GALLERY 38 Taupo Quay, Whanganui Ph: 06 349 0506 Mon–Sun 10.30am–4.30pm. Interior Worlds WAYNE BARRAR , PIP CULBERT , LYNN HURST , JULIA MORISON , ANNE NOBLE & PETER TREVELYAN to 19 Nov. Investigations of the microscopic,

Hello Hello, Philip Trusttrum.

WH MILBANK GALLERY 1B Bell Street, Whanganui Mob: 027 628 6877 Hours: 11am–5pm all days except Mon. If travelling a call or text will ensure I am here. We hold NZs largest stock of PHILIP TRUSTTUM'S paintings & drawings and a showroom dedicated to presenting changing aspects of his work. As well, I curate exhibitions with local and national content and stock work by artists from Whanganui, around New Zealand and beyond.

75 75 Manawatu–Kapiti Region Manawatu

TE MANAWA MUSEUM/GALLERY/ SCIENCE CENTRE 326 Main Street, Palmerston North Ph: 06 355 5000 Hours: Open daily from 10am.

Wairarapa ARATOI MUSEUM OF ART AND HISTORY 12 Bruce Street, Masterton Ph: 06 370 0001 10am–4.30pm. Until 8 Oct: HÉLÈNE CARROLL – Recent Works, Until 26 Nov: Print Council Aotearoa NZ: Boundless – printmaking beyond the frame, Gifted – Recent Acquisitions, An Ornament to the Town: The Band Rotunda in NZ – Turnbull Library 13–22 Oct Kokomai – Creative Festival Wairarapa.


Stuart Robertson

TE TAKERE CULTURE AND COMMUNITY CENTRE 10 Bath Street, Levin 06 368 1953 In Winter 2017 a selection of iconic photographs from STUART ROBERTSON’s Peace in 10,000 hands exhibition will be auctioned for charities working in the space of domestic violence. A catalogue and schedule are available on our website.

Kapiti ARTEL GALLERY + STORE 9 Mahara Place, Waikanae Ph: 04 297 0937 Facebook/ArtelGallery Hours: Mon–Sat 9am–5pm, Sun 10am–4pm We're a large gallery showcasing works by NZ artists and makers; with original art and prints, ceramics and glass, pounamu and jewellery. AUGUSTIN GALLERY STUDIO 37 Kensington Dr, RD1, Waikanae Ph: 04 293 5956 Hours: Studio open by appointment. Works by PETER AUGUSTIN. MAHARA GALLERY 20 Mahara Place, Waikanae, 5036 Ph: 04 902 6242 Hours: Tue–Sat 10am–4pm, Sun 1–4pm. Free entry. 17 Sep–22 Oct FRANCES HODGKINS & THE FIELD FAMILY Art at Home , NZ EMBROIDERER'S GUILD EXTENSION GROUP Creative Embroidery, Searching for Ground, 29 Oct–26 Nov VALERIE BOS Transitional states: image and objects, LUKE KELLY Navigators.

76 The Hutt Valley–Wellington The Hutt Valley

THE DOWSE ART MUSEUM 45 Laings Road, Lower Hutt Ph: 04 570 6500 Hours: Open daily 10am–5pm.


No 8 Wire, Nigel Brown.

EXPRESSIONS WHIRINAKI ARTS AND ENTERTAINMENT CENTRE 836 Fergusson Drive, Upper Hutt Ph: 04 527 2168 Hours: Open every day 9am–4pm, free entry. NIGEL BROWN, I AM / We Are until 5 Nov. HUTT ART GALLERY Hutt Art Centre, 9–11 Myrtle St, Lower Hutt Hours: Open daily 10am–4pm

ACADEMY GALLERIES NZ ACADEMY OF FINE ARTS, 1 Queens Wharf Ph: 04 499 8807 Hours: Daily 10am–5pm, free entry. ADAM ART GALLERY Victoria University of Wellington, Gate 3, Kelburn Parade Ph: 04 463 6835 Hours: Tue–Sun 11am–5pm Free entry. ART WALRUS 111 Taranaki St Ph: 04 382 8383 Hours: Mon–Sat 9am–5pm, closed Sun.

AVID GALLERY 48 Victoria Street Ph: 04 472 7703 Hours: Tue–Fri 10am–6pm, Sat 10am– 4pm, Mon by appointment Exquisite hand-crafted jewellery and art objects from New Zealand's leading artists. BOWEN GALLERIES 41 Ghuznee Street Ph: 04 381 0351, Mob: 021 472 640 Hours: Mon–Fri 10am–5.30pm, Sat 10am–3pm. DIANE PRINCE, until 23 Sep, KERRIE HUGHES 25 Sep–14 Oct, JOANNA BRAITHWAITE 16 Oct–4 Nov, SHONA RAPIRA DAVIES 6–26 Nov. EXHIBITIONS GALLERY OF FINE ART 20 Brandon Street Ph: 04 499 6356, Mob: 021 062 2072 Hours: Mon–Sat 10.30am–4.30pm

77 77 Wellington Region HAMISH MCKAY First Floor, 39 Ghuznee Street Ph: 04 384 7140 Hours: Fri–Sat 11am–5pm or by appointment.

KURA 19 Allen Street Ph: 04 802 4934 Hours: Open 7 days

NEW ZEALAND PORTRAIT GALLERY Shed 11, Queen's Wharf, Wellington Waterfront Ph: 04 472 2298 Hours: Open daily 10.30am–4.30pm. Admission Free. Exhibitions on now. ORA GALLERY & CAFE 23 Allen Street, Te Aro, Wellington Ph: 04 384 4157 Facebook - ORA Gallery and Café NZ Art, Design & Gifts.

Rainy Bay (Blue), Nic Dempster. Fiesole, Jane Hyder.

JANE HYDER STUDIO GALLERY Studio 21, Toi Poneke Art Centre, 61 Abel Smith Street Ph: 027 920 0337 Hours: Open by appointment for art. Resident artist and art tutor JANE HYDER. KIWI ART HOUSE GALLERY 288 Cuba St, Te Aro Ph: 04 385 3083 Hours: Tues–Sun 10.30am–5.30pm

MILLWOOD GALLERY 291b Tinakori Road, Thorndon Ph: 04 473 5178 Hours: Mon–Fri 9am–5.30pm, Sat 10am–4pm NIC DEMPSTER, Little Boxes on The Hillside... 20 Sep–1 Oct. An extensive selection of original prints and paintings by over 30 contemporary NZ artists including a wide range of Wellington images.

PETONE SETTLERS MUSEUM The Esplanade, Petone Ph: 04 568 8373 Hours: Wed–Sun 10am–4pm Free entry.

78 Wellington–Nelson Region VESSEL 87 Victoria Street, Wellington Ph: 04 499 2321 Hours: Open 7 days Look - Love - Shop.

Hoop bangle, Phillipa Gee.

Light – Space – Modulator, 2016, Tyler Jackson.

QUOIL NEW ZEALAND CONTEMPORARY JEWELLERY GALLERY 149 Willis Street, Wellington Ph: 04 384 1499 Hours: Mon–Fri 10am–5.30pm, Sat and Sun 10am–4pm QUOIL now represents jewellery artists from around the world. Browse the current show or peruse the drawers for a treasuretrove of wearable pieces.

TOI PŌNEKE ARTS CENTRE 61 Abel Smith Street Ph: 04 385 1929 Hours: 10am–8pm Mon–Fri, 10am–4pm Sat–Sun

SUITE GALLERY 241–243 Cuba Street, Wellington Ph: 04 976 7663 Tue–Fri 11am–6pm, Sat 11am–4pm. ROB MCLEOD 20 Sep–7 Oct, JEFFREY HARRIS 11 Oct–4 Nov, DANIEL UNVERRICHT 8–24 Nov, ANS WESTRA 25 Nov–14 Dec.

TURNBULL GALLERY Level 1, National Library of New Zealand, Molesworth Street, Wellington Hours: Mon–Sat 10am–5pm See for more information including related events.The Turnbull Gallery showcases the collections of the Alexander Turnbull Library.

VINCENTS GALLERY Vincents Art Workshop, 5/148 Willis St Ph: 04 499 1030 Hours: Mon 11 - 4, Tue 1.30 - 6.30, Wed 11 - 5, Thurs (Women's day) 11 - 4, Fri 10 - 4 Solo and group shows featuring emerging artists at affordable prices.

WELLINGTON MUSEUM Queens Wharf, Wellington Waterfront Ph: 04 472 8904 Hours: Open daily 10am–5pm except Christmas Day.

79 79 Region Picton –Christchurch Picton


THE DIVERSION GALLERY 10 London Quay, Picton Waterfront Mob: 027 4408 121 Hours: Wed–Sat 12pm–5pm or by appointment.

BRYCE GALLERY Cnr Riccarton Road & Paeroa Street Ph: 03 348 0064 Hours: Mon–Fri 10am–5pm, Sat 10am– 4pm, Sun 11am–4pm.

Blenheim MILLENNIUM PUBLIC ART GALLERY Seymour Square Ph: 03 579 2001 Hours: 10.30am–4.30pm weekdays, 1pm–4pm weekends.

Nelson CRAIG POTTON GALLERY + STORE 255 Hardy Street Ph: 03 548 9554 Hours: Mon–Fri 10am–5pm, Sat 10am–2pm.

Dancing Days, Deb Fuller.

RED ART GALLERY 1 Bridge Street Ph: 03 548 2170 Art Gallery - Design Store - Café. THE SUTER ART GALLERY TE ARATOI O WHAKATŪ 208 Bridge Street, Nelson Ph: 03 548 4699 Hours: Open daily 9.30am–4.30pm Art Gallery – Café – Shop – Theatre.

Late 19th century vase, Unknown.

CANTERBURY MUSEUM Rolleston Avenue Ph: 03 366 5000, Fax: 03 366 5622 Hours: Open every day April–Sep 9am– 5pm, Oct–Mar 9am–5.30pm Natural and human history are joined by fine and decorative art. Rare Maori artefacts, Antarctic Gallery, Heritage Street, Asian Art. Frequent temporary art exhibitions.

80 Christchurch Region ILAM CAMPUS GALLERY Block 2, School of Fine Arts, Arts Rd, University of Canterbury Ph: 03 364 2159 Hours: 9am–4pm Mon–Fri.

On the Seam of Things - Constellations #4 (detail), Edwards + Johann.

CHAMBERS ART GALLERY 241 Moorhouse Avenue, Christchurch CBD Ph: 022 677 2810 Hours: Tue–Thu 11.30am–5.30pm, Fri 11am–5pm & Sat 11am–3pm. FORM GALLERY 468 Colombo Street, Sydenham Ph: 03 377 1211, Mob: 021 513 323 Tue–Sat 10am–5pm Object art, jewellery, retail & exhibition space. See us on Facebook and Instagram.

STAINED SILENCES Installation, Pauline Rhodes.

PG GALLERY192 192 Bealey Ave, Christchurch 8013 Ph: 03 366 8487 Hours: Tues–Fri 10.30am–5pm Sat 10.30am–2pm. PAULINE RHODES until 6 Oct, HAMISH COLEMAN /ANYA SINCLAIR 10 Oct–3 Nov, NIC MOON 6 Nov–1 Dec.

THE PHYSICS ROOM Level 3, 209 Tuam Street, Christchurch Central Ph: 03 379 5583 Tue–Fri 10am–5pm, Sat & Sun 11am–4pm. Current: Share / Cheat / Unite. An exhibition developed in conversation with Te Tuhi. Closes 8 Oct. THE NATIONAL 241 Moorhouse Ave, Christchurch Ph: 03 366 3893 Hours: Tue–Fri 10.30am–5.30pm, Sat 10.30am–4pm Sep 11–18 Anna Miles Gallery At Large – ALLAN MCDONALD, ADRIENNE VAUGHAN, RICHARD STRATTON; Oct 4–28 CHLOE ROSE TAYLOR Super Value.

81 81 Christchurch–Timaru Region ASHBURTON ART GALLERY Level 1, 327 West Street, Ashburton Ph: 03 308 1133 Hours: Open daily 10am–4pm, Wednesday 10am–7pm. See our website for current exhibitions and events.

SUSAN BADCOCK STUDIO Back of Old Post Office, 47 Talbot St Mob: 021 175 2853 Hours: Tue–Sat 10–2pm or by appointment. Find us on Facebook and Instagram.



Abstract, John Burns.

WINDSOR GALLERY 386 St Asaph St, East of Fitzgerald Ave Ph: 03 366 0724 Hours: Mon–Fri 9am–5pm, Sat 10am–1pm We have over 15 Artists Exhibiting. Off street parking.

Canterbury ARTS IN OXFORD 72 Main Street, Oxford Ph: 03 312 1639 Hours: Tues–Sun 10am–4pm Find us on Facebook or visit our website for current exhibitions and workshops.

Sheep Paddock No1, Trevor Moffitt.

MCATAMNEY GALLERY AND DESIGN STORE Upstairs Old Post Office Building, 47 Talbot St Ph: 027 305 3000, Mob: A/H 027 305 3000 Hours: Sat–Wed 11am–3pm, Thur, Fri and all other times by arrangement. Modern and Contemporary Art. BERNADETTE PARSONS, SUSANNA IZARD, RICHARD BOLTON, A.A. DEANS.

AIGANTIGHE ART GALLERY 49 Wai-iti Road Ph: 03 688 4424 Hours: Tue–Fri 10am–4pm, weekends & public holidays 12–4pm.

82 Oamaru –Dunedin Region Oamaru THE FORRESTER GALLERY 9 Thames Street, Oamaru, 9400 Hours: Open daily. Free entry, donations welcome.

Dunedin Dreams, Debbie Templeton-Page.

YORK STREET GALLERY OF FINE ART 21 York Street Ph: 03 684 4795 Hours: Open Thurs, Fri and Saturday 11am–3pm or 24/7 at yorkstreetgallery. com and Sculptor DEBBIE TEMPLETON-PAGE Studio at back of the gallery. Contemporary traditional art works by renowned artists are featured throughout the year. Artists including - MARILYNN WEBB, LLEW SUMMERS, A.A. DEANS.

Combobulator 2017, Miranda Parkes.

HOCKEN GALLERY Hocken Collection, Te Uare Taoka o Hākena, University of Otago, 90 Anzac Avenue, Dunedin Ph: 03 479 8871 Hours: Mon–Sat 10am–5pm. MIRANDA PARKES, the merrier 22 Jul–28 Oct. Continuity and change, the Hoken's art across time 9 Dec –27 Jan 2018

MINT GALLERY 32 Moray Place Ph: 03 477 1763, Mob: 021 0255 9998 Hours: Tue–Fri 10am–5pm, Sat 10am–4pm MORAY GALLERY 55 Princes Street Ph: 03 477 8060 Hours: Mon–Fri 10am–4.30pm Sat 11am–2pm. OTAGO ART SOCIETY 1st Floor, Dunedin Railway Station, 22 Anzac Ave, Dunedin, 9016 Ph: 03 477 9465 Hours: Open daily 10am–4pm New Zealand's oldest and most active art society, operating out of the iconic Dunedin Railway Station. Regular exhibitions, classes, workshops, demonstration days and other activities on offer.

83 83 Region Cromwell –Southland


SOUTHLAND MUSEUM & ART GALLERY NIHO O TE TANIWHA 108 Gala St, Invercargill Ph: 03 219 9069 Hours: Mon–Fri 9am–5pm, Sat–Sun 10am–5pm. Worlds largest indoor display of live Tuatara. Regularly changing art exhibitions and ongoing historical exhibitions of Southland's past.

ArtZone List with Artzone

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300 DPI + 1Mb +

48 mm

GALLERY NAME Physical Address: Phone Number: Email Address: Website Address: Mon–Fri 10am–4.30pm Description: This could include what activities and services you offer and a list of the artists and shows that will be held at your gallery for the next 10 weeks.

Mataura Valley Suite #4, Marilyn Webb.

EASTERN SOUTHLAND GALLERY 14 Hokonui Drive, Gore Ph: 03 208 9907

NB Exhibitions are italicised and artist Names are Capitalised. For more information contact

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OCTA GALLERY AND WORKSHOP 71 Melmore Terrace, Cromwell 9310 Ph: 03 445 1594, Mob: 027 231 7502 Hours: 10am–4pm daily Chris and Gail de Jong's long time passion with the Arts is evident at OCTA, where they represent selected well known New Zealand contemporary Artists. The gallery also stocks an eclectic mix of limited edition prints by renowned 20th Century European artists. We also sell on behalf so 'expect the unexpected.'

Hours: Mon–Fri 10am–4.30pm Weekends & public holidays 1pm–4pm Permanent exhibitions feature the JOHN MONEY WING and RALPH HOTERE GALLERY. MARILYNN WEBB Five Decades in Murihiku 17 Sep–3 Dec.

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84 Region Artist List


Yellow Church Mangaweka Augustin G Te Tuhi

Kapiti Auckland

Sarjeant Gallery Whanganui



McAtamney G



Tauranga AG

Bay of P


Tauranga AG

Bay of P


The National


Tauranga AG

Bay of P






Mahara G



Bowen G



Pah Homestead




Hutt Valley




Mahara G


Malcolm Smith




Sarjeant Gallery




Te Uru




Te Tuhi




Te Tuhi






The National



York Street



Eastern Southland




PG Gallery










Sarjeant Gallery Gallery 85 The National




Artis Gallery




Sarjeant Gallery

FHE Galleries

McAtamney G



Sarjeant Gallery



York Street



Jonathan Grant


PG Gallery


Milwood G



Sarjeant Gallery



Malcolm Smith



Pah Homestead



Te Uru



York Street

Malcolm Smith





Te Uru



Gallery 85 Malcolm Smith

Whanganui Auckland


Mahara G



Bowen G











Kapiti Wellington



Artis Gallery

Timaru Auckland

Hocken G


McAtamney G


Bowen G



Tauranga AG

Bay of P


PG Gallery



PG Gallery



Mahara G

Te Uru

Bowen G







York Street

Artis Gallery

Sarjeant Gallery Whanganui

The National


McAtamney G






Bay of P

Sarjeant Gallery


Te Tuhi

Tauranga AG




THE ADAM PORTRAITURE AWARD CALL FOR ENTRIES First prize: Runner up: People’s Choice:

$20,000 $2,500 $2,500

Enter online now at

Entries close 8 December 2017 New Zealand Portrait Gallery Shed 11, Queens Wharf (04) 472 2298 Wellington Waterfront Wellington 6146 Open daily 10.30 - 4.30

PASSIONATE ABOUT WORKING IN THE CREATIVE INDUSTRIES? Study for your Master of Fine Arts (Creative Practice) at Victoria in 2018. Choose from theatre, film, music or design Complete the qualification in a single year Learn through internships with industry partners Gain workplace contacts and hands-on experience Ask about scholarships for this programme Film and Music programmes are taught in part at the Miramar Creative Centre in the heart of Wellington’s film industry.

Capital thinking. Globally minded.

Artzone 71  
Artzone 71