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Barry Lett studied art with Paul Olds in Wellington 1961-63 and then briefly attended the Elam School of Fine Art in Auckland in 1964. During the years 1965-1974 he worked as a pioneer art dealer, helping establish an emerging art scene in Auckland. During the 1960s this situation satisfied him and he is proud of the role he played in this development. But as the years rolled over, the desire to make his own art re-emerged as a powerful calling and it grew to dominate his thinking. In 1974, with the Barry Lett Galleries financially secure, he decided it was time to go and he resigned as a dealer to return to his studies as a painter. Since then he has worked full time making paintings, sculpture and drawings. While he is probably best known for sculpture in recent years he has concentrated on painting, developing techniques and subject matter that are uniquely his.Find out more »
Cruising Wonderland is a body of work concerned with articulating new queer perspectives.It invites the converted and unconverted to cruise at leisure through an installation of staged photography and diorama which focuses on sites of homophobic violence in New Zealand and Australia.Find out more »
With the series of photographs taken for Royal Tour, Boreham invites us to reflect on New Zealand’s political history as part of the British Royalty, and what role the monarch still plays in our society today. By documenting the seemingly out-of-place positioning of royal portraits, we are taken on a royal tour of a different kind.Find out more »
Mairi Gunn's film Common Ground reflects upon the lived experiences of New Zealand Maori and Scottish Highlanders, and their unique relationship to the land of their ancestors.Find out more »
A Smuggler’s Trade, your skins and fat for my marching armies fuses imagined sites and actual places with notions of success and failure, un/healthy competition, and survival.Find out more »
For the Pah Homestead Veronica Herber is looking at creating a ‘swathe’ of tape fabric running from the upstairs landing through to the Boardroom, the tape will encounter a multitude of surfaces/angles and at times be hanging in mid-air.Find out more »
A. Lois White has a unique place in New Zealand art of the 20th Century. She followed a path of her own with a particular sensibility and subject matter, appearing disinterested in the directions taken by her peers. Her paintings are primarily figurative, often as narratives that encompass further meaning through the use of allegory. Social comment is imperative.Find out more »
Vanished Delft: Handmade Material Culture at The Pah Homestead is an exhibition of contemporary objectmaking within rooms that were once home to one of New Zealand’s most extravagant collections of furniture and fittings.Find out more »
Portraits by and of Leo Bensemann are foremost among 50 outstanding examples created by the Christchurch-based artists known as The Group, in the middle decades of last century. Drawn from private and public collections, names such as Evelyn Page, Olivia Spencer Bower, Rita Angus, Toss Woollaston, Doris Lusk and Colin McCahon come to life as both subjects and artists.Find out more »
The exhibition EVENTS GROWING FROM THE EDGE OF SPACES is staging recent works by the artist duo EDWARDS+JOHANN.
Edwards and Johann's collaborative work interweaves drawing, painting, performative activities, video and installation with photography. A connecting thread in their visual storytelling is the use of the obsessive line drawing over an existing object as motif for the tensions and dichotomies inherent in life.