VOLUME ONE-SPRING/SUMMER 2009
BRINGING BACK THAT OLD SCHOOL STYLE
An interview with illustrator Kirsty Broatch
OVERSEAS EXTRA JON CONTINO
Interview with New York typographer Jon Contino
We interview creater and designer of Lowercase Industrys, Michael Latimer
Your guide for art events and galleries in your neighbourhood
SENSE OF PLAY
Auckland artist Darren Glass has fun pushing the subjectivity of photography to its limits.
BRINGING BACK THAT OLD SCHOOL STYLE Kirstin Broatch is a new up and comming Tauranga artist, with work that has a strong influence from the old salior jerry tattoo style artwork, her clean lines and interesting content creates works that are new and edgy despite having an old school style. We talk to her about life, inspiration and new up and comming works. LOCAL: Ok, please introduce yourself and tell us what you do? KB;My name is Kirstin Broatch, i’m an illustrator and graphic designer from Tauranga but I live and work in Hamilton. Tauranga is still my home though. LOCAL: When did you first start drawing and can you remember the moment in your life when you realized: that’s what I want to do! KB: I’ve been drawing for as long as I can remember, I never really thought of doing it as a career because my parents started out being those people who thought that art was a hobby but not really a job. I ended up going to see a careers councillor (at the time the only subjects I was taking at school were arts) and he pointed me
towards art and design as a career and showed me that there were good jobs out there. Ever since then i’ve never looked back. LOCAL: Do your parent’s still think that art is not a career? KB:No I think they realized it was a much bigger and more respectable industry to work in than they thought. Art is seen quite differently these days then it was, it’s actually considered a good career to have. My parents are fully behind me now, and always proud of everything I do! LOCAL: So what area of the arts do you like to work in the most? LOCAL 5
There’s more of a freedom to it I think, you can draw whatever comes to you and it always looks very human, you know, has that personal feel to it that you just cant replicate on computers.
Illustration mainly, there’s more of a freedom to it I think. You can draw whatever comes to you and it always looks very human, you know, has that person feel to it that you just can’t replicate on com puters. I prefer it more than computer generated stuff, although I do work in that medium too, my work generally still has elements that are hand drawn. LOCAL: When you create works do you sit and think about ideas or do they just come to you? KB: They just come to me. Usually if I try to think of an idea or something to draw or make it’s never as good as the work I
produce when the idea just pops into my head. Or I’ll just end up stressing about trying to produce work and end up with nothing. Actually the best ideas usually come to me just before I go to bed or first thing when I wake up! LOCAL: Do your drawings express your life experiences? Yes and no. I wouldn’t say I draw things that happen in my life but my works are defiantly determined by my moods or how I’m feeling at that particular point in time. I am also influenced by other work and artists that I see so I guess they would reflect a certain point in my life depending on what I’m into at the time. LOCAL: Finally, are you working on any new projects at the moment? KB: Yes. I’ve decided to make a tee-shirt range. The work is heavily influenced by the old sailor jerry tattoo style so we’ll see how that goes.
CONTINO Overseas Feature
on Contino has no hesitation when naming his biggest influence: It’s The City. New York City, a comforting presence, a constant source of inspiration.
“My whole life I’ve been surrounded by incredible design, architecture, fashion, and, most importantly, graffiti,” Contino says. “I don’t know how I’d ever be where I am today without it. “My environment definitely had a massive part in shaping me as an artist and I really can trace it back all the way to my very early childhood. I would have very little style if it wasn’t for New York and all the incredible people that live and work here.”
JC: I had been freelancing as a graphic designer for a while and in 2005, I finally got sick of working by myself and got a full-time job at a firm that did a lot of “cool” projects. The work wasn’t really that cool, but the people working there were actually creative and not corporate, which was completely mind-blowing to me. One guy who worked there was an ex-graffiti artist named Mike Bisesti and he would always bring up the topic of lettering and font design.
Two years ago, Contino left a full-time job to start his own design studio, Onetwentysix, based in New York. His clients include ESPN, The Brooklyn Circus, Russell Simmons, and Marc Ecko. New York
For some reason I never really thought too much to actually bring it up in conversation. I didn’t think many people around me would care very much about what I had to say when it came to drawing letters. Once he opened up the flood gates, we would sit down and do a lot of hand-drawn typography for clients and it really just started to blossom from there. Since then, it’s been my main focus in all my artwork and I don’t think I’ll ever look back from here.
LOCAL: Do you remember when you first became obsessed with letters?
LOCAL: Has Mike seen your progression, and do you guys still talk about lettering?
JC: I remember I was always obsessed with letters, but didn’t realize it was an obsession until a few years ago. I dug up a few sketchbooks and drawing pads from my kindergarten days and found pages and pages of “my own alphabet” type things and Major League sport team typesets scribbled everywhere. That’s when it hit me that I had an obsession on my hands.
JC: Yeah, we actually get together every now and then to draw random lettering projects. The last one we worked on together was for a tattoo I planned on getting. I knew it had to be strictly lettering, but there was no way I could possibly draw something like that for myself. Mike helped me out with different variations and styles for it and helped me decide which direction was best. I think Mike has slowed down a bit in his drawing, but I think we both pushed each other’s styles a lot as we started to work together more and more. We learn a lot from each other.
LOCAL: What clicked a few years ago? What was the catalyst that led you down this lettering path?
could’ve gotten in there to be honest. I missed the boat on being a designer for the German government in the early 1900’s. LOCAL: You have some great Blackletter sketches. Any chance you might turn some of those into a font? JC: Thanks a lot! A font has actually been in the works in conjunction with my pal Ale Paul of Sudtipos for over a year, but unfortunately my day-job has put that in the backseat. Maybe one day! Nice, looking forward to it. Can you explain more about your process and the tools you use to do your lettering?
LOCAL: I saw that tattoo, that turned out nicely. JC: Thanks man. The final lettering design was actually done by Brian Paul at Lark Tattoo. He does fantastic lettering as well and I decided after hours and days and weeks of sketching that I could never have my own work on my skin. Brian really took it to the next level and made it fit perfectly on my arm. LOCAL: Besides Mike, who were your other influences? JC: I’m a huge Herb Lubalin fan. His career as a designer really helped me focus on being a great typographer. I think above anyone, he deserves the most credit in inspiring my love for letters. No one else has ever had that kind of impact on me in terms of my art. Actually, Ralph Steadman’s overall style has played a big part in the organic nature of my work as well. Lubalin and Steadman are the greatest. LOCAL: You have a lot of love for Blackletter. How did you end up working so much in that style? JC: That’s a really good question. I go through serious phases in my lettering styles and that blackletter phase lasted the longest I think. My love for metal band logos probably made that one sink into my subconscious. I don’t really know how the hell else that
Absolutely … My number one weapons of choice are a Staedtler HB pencil and a sheet of white printer paper. I kind of found out by trial and error that my best work comes on the cheapest white paper. Usually I will sketch out a baseline first or a shape that I want my letters to fall into, then I will draw a light skeleton of each form with a decent amount of space so I can give each letter a bit of depth. After that, I lightly draw in the first rough draft with a very soft mechanical pencil and then trace over it again with my HB a littler darker. Once I have that done, I’ll clean it up a bit with a Mars eraser pen and then trace over it again once more time with my HB. If the design doesn’t call for pencil strokes and something a littler cleaner, I’ll use a Micron, at the appropriate size, to trace over the design completely. After I’m pleased with the inking, I use a big fat kneaded to completely clear away all the pencil marks until only the ink is left. Then it’s just a matter of scanning or tracing in Illustrator. I usually do most of my coloring and shading on the computer strictly because it’s a huge time-saver. LOCAL: Lastly, what are five things that people don’t know about you? JC: Oh man, that’s a great question and very unexpected. I’m a pretty open guy so I feel like naming five things would be kind of tough, but I’d probably say my love of sports is the number one thing most people in the field don’t know about me. I’m a huge jock at heart and wish I could be playing shortstop for the Yankees instead of Jeter. I also have an insane amount of allergies and stomach problems that keep me from eating pretty much anything. My diet consists solely of water and turkey sandwiches. I grew up in the New York Hardcore scene playing drums in a lot of bands, I didn’t have a growth spurt until I was 17, and I kind of love the movie Miss Congeniality. Beejay
SENSE OF PLAY
Auckland artist Darren Glass has fun pushing the subjectivity of photography to its limits.
t’s a familiar sight
in any suburban park – a young man throws a Frisbee, runs after it and stoops to retrieve it from the ground. But then the sequence changes when our young man, artist Darren Glass, picks up the Frisbee and tucks it inside a black plastic bag. If you observed him in Woodhill Forest, say, you might see him walking through the trees with an innocuous looking pine log under his arm. But look closer and you’ll notice tiny holes piercing the bark and spiralling around the circumference of the log, which is actually a camera.
so the pinholes look down and spiral around the log. It’s a joke on what a log might see,” he says.
Walking around with these unusual cameras prompts a lot of attention and questions from passers-by, something Glass would rather avoid.
This is fine with Glass, who is committed to pursuing unexpected views of the world and building pinhole cameras that push the subjectivity of photography to its limits.
“I wanted to be able to photograph in an unusual way but not feel self-conscious about it. The log camera has twisted film inside it,
This single-minded search for new ways of seeing plays out in unexpected ways. His latest show at Auckland gallery Anna Miles
Though Glass describes himself as a landscape photographer, when you look at the eerie, beautiful images taken with his ingenious Frisbee pinhole camera, you won’t recognise any elements of landscape – at least not as you know it. These photos look more like pictures of distant planets taken through a telescope or meteoric events searing the black background of space.
“It’s hard to say anything new with photography – a sense of magic or mystery is really important to me.”
in June included several bizarre objects, including the log camera, coastline camera and Lemniscate camera, which is shaped like a very large infinity symbol. He wanted to show the cameras alongside his photographs so people would understand how the photographs are made, and the result was an exhibition that was sculptural as well as photographic. The cameras became art objects in themselves. It’s interesting that on one hand Glass exercises strict, almost obsessive control over the image-making process, investing a huge amount of effort developing and building his curious array of cameras. On the other he introduces elements of accident and chance into the project by rolling a camera down the crater of a volcano or tossing a Frisbee into the sky. Some of these cameras are more outlandish than others and destined to stay on the drawing board – for example the enormous camera that circles the summit of Mt Ruapehu. In building those that do make it off the drawing board, Glass leaves little to chance, so thoroughly does he understand the technology after years of working with it. A pinhole camera can be any lightproof container or object with a very small hole or aperture opposite light-sensitive photographic paper or film. Glass made his first one in 1990, while studying at Elam, and this marked the beginning of an enduring love affair. His Multiple Aperture Pinhole Camera, for example, was used to make the 1999 work Waitin’ for my train, also shown at Anna Miles. Glass built the camera to take one 75m-long strip of film and then used it to make one continuous recording of a four-
month road trip through the North Island. In the exhibition the unedited strip of black and white images was wrapped around a 2.4 metre-tall pine and plywood drum. Because of its large scale the work encouraged the viewer to circle it and experience the surreal images in an almost filmic way. Though Glass spent a long time building the camera, which has 37 apertures, he didn’t test it before the four-month trip. It was only when he processed the film afterwards that he realised his experiment was a success. A sense of experimentation and play runs strongly through his practice and Glass says he enjoys looking at scientific photography – perhaps because it is full of mystery, existing in an ambiguous zone between art and science. “It’s hard to say anything new with photography – a sense of magic or mystery is really important to me.” He also loves historical photographs and there are parallels. Old film was much less light-sensitive than it is today. Pinhole photographs too need long exposures – from one second in bright sunlight to 12 hours in subdued or artificial light. Glass began his ongoing series of Frisbee pinhole photographs in 1999 while completing his Masters at Elam. He intends to make 365 images – one for each day of the year so they read like a diary. Looking at them, he can tell you the time of day and what the weather was like, sunny or overcast, when the image was taken. They show the passage of the sun and each revolution of the Frisbee, either wonky or symmetrical depending on the throw, over
of investing is building the camera, going out and shooting the photographs, processing and printing the images myself.”
20 to 30 seconds while it was in flight. Though he has been making them for over five years, these sublime images continue to surprise him. The first exhibition of the series was titled Belly to the ground, in honour of photographer Eadweard Muybridge who was the first to freeze the movement of a galloping horse in his quasi-scientific black and white photographs. The French term ‘belly to the ground’ was used to describe the tradition of painting galloping horses with their legs spread-eagled. Muybridge was the first to prove how a horse really moves. Glass’s title refers to the underside of the Frisbee and signals his interest in time and motion, in teasing out the mysteries of the everyday world in his photographs.
His most ambitious camera to date is the Lemniscate (infinity symbol) camera, which has multiple apertures and loops back on itself, photographing its own body as well as the landscape in a weirdly self-reflexive gesture. He plans to use it in November during his Wild Creations residency in the Central Plateau where he will spend six weeks based at Whakapapa Village, walking and documenting tracks in the area. As always he plans a highly systematic approach, taking photographs of the mountains at regular distances along each track to create a chronological sequence of images. Like his previous series, the mountain photographs will be shown in chronological order. For Glass, who doesn’t edit his work, there is no such thing as a ‘bad’ photograph; they are all documents of an event or a place, he says. Rather than trapping the harsh glare of a single, dramatic instant in time – Cartier Bresson’s ‘decisive moment’, Glass tracks the slow, unsteady passage of time. Virginia Were
“I like the aesthetic look of old photographs. It seems the photographers spent a lot more time making them. I have a problem with the snap-happy digital way of working. Some people don’t invest enough in their images. For me that process LOCAL 15
LOWERCASE Cover Feature
INDUSTRY An Interview With Michael Latimer
Although Lowercase Industry sell clothes, It is not about fashion for them, Lowercase Industry sits firmly and happily on the underground, Their product will never sit in every shop or store you come across, they wouldn’t want them to. Instead, they aim to provide limited run art based products for people that appreciate unique things. We interview creater and designer of Lowercase Industrys, Michael Latimer LOCAL: Tell us a bit about yourself: where did you learn how to draw like that? Was it god’s given talent or did you have to take classes for it? When did you start drawing and when did you realize that you could make moolah from it? ML: No, I’ve never had any real drawing lessons as such, I am not a brilliant drawer to be honest, I think the tightly interwoven bundles of monsters I do stems from the fact that I probably wouldn’t do a brilliant job of drawing one big detailed thing, so I am almost trying to make up for it by drawing lots of little things to make up one big piece, if that makes sense! I’ve always drawn stuff for as long as I can remember really,I think the fact I haven’t been taught art except for at school has helped me a lot, because if you are not surrounded by other people’s art then you cant really try and ape other peoples styles, I’m not saying that art education is a bad thing, don’t get me wrong, I think developing styles in isolation works out better for me personally. LOCAL: Looking at your stuff, especially aesthetically, I would think that you started off with a bit of stencilling. Then again, I see doodles all over the place as well. You’ve got a really great mixture of mediums and genre’s. What would be your main
cuppa tea? ML: You are right, I do a lot of different styles yes, I think there are a few different artists in me fighting for attention! The thing is, I would get bored doing the same style over and over again, it keeps me exited about art trying new techniques styles. Its kind of like a cycle really, I will work in one style for a few pieces, then I will be ready to move on to another style for the next few, it works well for me as when I come back to a style, I am really pumped for it, glad for a change, so I am always exited about what I’m working on. LOCAL: You’ve done some tees for Lowercase Industry, which are really cool… Come to think about it, it looks like you may have more involvement in Lowercase other than just being a designer, is this true? [ This just came to me... call it insight, if you will!] ML: Yeah I run Lowercase Industry, I set it up about two years ago and it’s gone really well so far. I decided to launch something like this because then I can design whatever I like, then try and sell it. It’s nice not working to anyone’s briefs. I’m not trying to run it like a brand or anything, it’s almost an anti-brand, I’m not
slapping logos on stuff and trying to sell it, it’s not what its about, it’s all about really low run tees and one off artwork. It gives me the chance to put out stuff by other artists and designers I admire as well, I just wish I could afford to put out more from guest artists. As I stated earlier, I tend to work in a lot of different styles so this works well because it can appear the designs are by different artists but most are just done by me. LOCAL: Do you screen-print your tees or are they out sourced? What’s your advice for budding wannabe’s like me that are interested in the independent tee design/production scene? ML: I don’t screen-print my own tees no, I outsource that job to someone else, someone who screens each tee by hand, I hate the idea of designs being fed into an automated system and just left to make themselves, I appreciate the craft and skill of old school screen printing and its defiantly something I want to get into in the future, I think people nowadays really appreciate prints made by a human hand rather than a soulless machine. LOCAL: That is true.
All in all, you’ve got some pretty amaz-
ing designs on your personal site, but why do I get the feeling that there’s more to you than meets the eye? ML: Thanks man, I don’t know why you get that feeling to be honest! LOCAL: What have you been up to lately? Working on any projects? What’s the next big thing happening in your ever evolving life? ML: Well some board designs for Enjin Skateboards I did last year have just come out, so that’s exiting. I’m working on a series of paintings on paper at the minute which use solvent transfers, quite a bit, its my new favourite technique, there’s a useful link here. The main goal at the minute for me is get more exhibitions and to try and end up in a position where I can do my own thing full time. I’m not very good at self promotion though. LOCAL: Any last words? ML: Thanks for the interview!
ART EVENTS/ EXHIBITIONS
will focus on the colour blue. These colour-themed exhibitions follow the successful Ape to Zip and Art Detective, both interactive exhibitions aimed at younger visitors. CURATOR: Ken Hall. ORGANIZATION: Christchurch Art Gallery Te Puna o Waiwhetu COST: tbc FEATURING: Sean Kerr, Steve Carr, Scott Eady, Simon Shepheard, Niki Hastings-Mcfall, Gregor Kregar, Eileen Mayo, Ando Hiroshige, Peter Robinson, Jude Rae DATES: Sun 23 Nov 08 - Mon 23 Nov 09, on Wed, 10:00am - 9:00pm Sun 23 Nov 08 - Mon 23 Nov 09, on Mon, Tue, Thu, Fri, Sat, Sun, 10:00am - 5:00pm VENUE: Christchurch Art Gallery, Corner Worcester Boulevard and Montreal Street, Christchurch REGION: Canterbury, New Zealand
MILFORD GALLERIES DUNEDIN A prominent dealer art gallery specialising in outstanding New Zealand contemporary and investment art, the Milford Galleries offer a comprehensive exhibition programme of paintings, sculpture, glass and ceramics plus a large stock holding. ORGANIZATION: Milford Galleries Dunedin COST: Free DATES: Mon 07 Apr 08 - Wed 07 Apr 10, on Mon, Tue, Wed, Thu, Fri, 8:30am - 5:00pm On Sat, 10:00am - 4:00pm VENUE: Milford Galleries Dunedin, 18 Dowling Street, Dunedin REGION: Otago, New Zealand WHITE ON WHITE Following childrenâ€™s exhibition I See Red, White on White is an exhibition brimming with the imaginative possibilities of white. It includes new or recent works by artists including Sean Kerr, Steve Carr, Scott Eady, Simon Shepheard, Niki Hastings-McFall and Gregor Kregar, with highlights from the collection by Eileen Mayo, Ando Hiroshige, Peter Robinson and Jude Rae. There are also interactive exhibits to keep younger visitors entertained - a scientific machine investigating the nature of white light, an artwork in fake fur by Simon Shepheard and a miniature photo booth that allows visitors to make and email their own creations inspired by Steve Carrâ€™s photography. Families are welcome to the official opening of the exhibition complete with free entertainment from Morris & Morris, giveaways and Mr Whippy ice cream - on Sunday 23 November from 11am to 3pm. I See Red and White on White are the first two in a series of three exhibitions that are intended to encourage young audiences to consider the use of colour in art. The third exhibition in the series
SCULPTURE TERRACE - TE PAPA The Sculpture Terrace is a special outdoor exhibition site. This courtyard and the balcony beyond, with its spectacular views, offer an exceptional vantage point for experiencing contemporary sculpture. Works presented here are specially commissioned by Te Papa, and integrate with the environment in a unique way. The visitor walks through and within the artwork, so that the artwork becomes the site. The Sculpture Terrace is designed to present visitors with fresh and engaging ideas about sculpture. It features a regularly changing programme of artworks. ORGANIZATION: LOCAL 21
Te Papa (Museum of New Zealand Te Papa Tongarewa) COST: Free FEATURING: Ronnie Van Hout, Seung Yul Oh DATES: Mon 26 Jan 09 - Tue 01 Jun 10, on Mon, Tue, Wed, Fri, Sat, Sun, 10:00am - 6:00pm Mon 26 Jan 09 - Tue 01 Jun 10, on Thu, 10:00am - 9:00pm VENUE: Te Papa, Cable Street, Wellington REGION: Wellington, New Zealand
MCCAHON HOUSE RESIDENT LUISE FONG EXHIBITION Urban artist Luise Fong who has been resident at the McCahon House since December last year has learnt how to “talk tree” She is holding her post residency exhibition at Lopdell House Gallery and her beautiful, textural works are inspired by the Kauris that tower above the residency. The beautifully worked surfaces have taken on the colours of the bush which surrounds the purpose built award winning ‘tree house’ residency and they exhibit a peace and contemplation which has been a big part of her residency. Luise will be talking about her work at the gallery at 10 am on Friday 13th of February. ORGANIZATION: McCahon Trust COST: Free FEATURING: Luise Fong DATES: Thu 12 Feb 09 - Sat 13 Apr 13, every day, All day event VENUE: Lopdell House Gallery, 418 Titirangi Rd, Titirangi, Auckland
REGION: Auckland, New Zealand
PICTURING HISTORY: GOLDIE TO COTTON The Auckland Art Gallery invites you to explore a collection of New Zealand art works on display from April 25th 2009 - February 21st 2010. Stories of origin and arrival, significant events, and the transformation of the land of New Zealand are just some of the themes explored in this collection exhibition. Drawing from across the historic, modern and contemporary New Zealand collections this exhibition considers how artists have responded to and interpreted our history through their work. A special focus within the exhibition is the eruption of Mt Tarawera in 1886, and the impact the devastation it wrought had on the country. The exhibition features works by Charles Goldie, Gottfried Lindauer, Colin McCahon and Shane Cotton, some of New Zealand’s most celebrated artists of the past and present, amongst others. Families can discover art together with Auckland Art Gallery’s free Family Guide, filled with creative activities for kids aged 6 to 12. ORGANISATION: Auckland Art Gallery Toi o Tāmaki COST: Free FEATURING: charles goldie, gottfried lindauer, colin mccahon, shane cotton DATES: Sat 25 Apr 09 - Sun 21 Feb 10, every day, 10:00am - 5:00pm VENUE: Auckland Art Gallery, New Gallery, Cnr Wellesley and Lorne Street, CBD, Auckland REGION: Auckland, New Zealand Auckland, New Zealand
AUCKLAND FESTIVAL OF PHOTOGRAPHY: WILL’S WAITAMATA The Ocean Gallery presents an exhibition of nautical photos byWill Calver, on display as a part of the sixth Auckland Festival of Photography. Will Calver’s work captures the nautical essence that makes Auckland the ‘City of Sails’. Images in both colour and black and white make up a unique collection of life out on the harbour. From Classic sailing yachts to harbour board tugs. The treatment of each photograph allows the viewer an insight into the working harbour. Images are simply framed and available to purchase as limited edition prints. The Auckland Festival of Photography is a city-wide celebration of culture, identity, art and participation which takes place within Auckland’s major galleries, project spaces, non-gallery venues and public sites. The 2009 Festival will run from the 29th May - 21st June and will include 64 exhibitions spread around the Auckland region. Visit the website for more information. www.photographyfestival.org.nz ORGANIZATION: Auckland Festival of Photography COST: Free FEATURING: Will Calver DATES: Fri 01 May 09 - Thu 31 Dec 09, on Mon, Tue, Wed, Thu, Fri, Sat, 10:00am - 4:00pm VENUE: Ocean Gallery, Corner Quay Street and Hobson Street, The Viaduct Basin, Auckland City REGION: Auckland, New Zealand
LOOK SOUTH - TEXTILES BY CLARE PLUG Clare Plug is one of New Zealand’s leading applied artists. She approaches her quilts in a way that responds to the world of contemporary art, rather than to traditional quilting or embroidery. In 2006 Clare’s innovations were recognised through the award of an important residency – the Antarctica New Zealand / Creative New Zealand Artists in Antarctica programme. This saw Clare travel to Antarctica, returning to New Zealand to create new work engaged with the experience. Clare has described Antarctica as ‘a time capsule, an ark and an early warning station’, themes which find resonance amid the typically dark, sombre and poetic handling of surface and texture in her works. Look South is Clare’s response to Antarctica, presenting a series of around 15 quilts which tease out the different relationships between human culture and this continent. 8 May – 1 November 2009 Exhibition Opening: Thursday 7 May 2009 at 5.30pm ORGANIZATION: Hawke’s Bay Museum and Art Gallery COST: Adults/Seniors $10, Children 5-15 $5, Family Pass $20 DATES: Fri 08 May 09 - Sun 01 Nov 09, every day, 10:00am - 6:00pm VENUE: Hawke’s Bay Museum and Art Gallery, 65 Marine Parade, Napier REGION: Hawke’s Bay, New Zealand