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Videos, UC QuakeStudies

A video about the 2012 Ellerslie Flower Show in Hagley Park. The video includes an interview with Paul Roper-Gee, Exhibition Garden Gold Medal winner. It also includes an interview with Rachael Matthews, Emerging Designs Gold winner and Student Designer of the Year.

Images, UC QuakeStudies

A photograph of the As Far As Eye Can See exhibition. On the left is a crocheted image of an eye, created by a group of women from Adelaide, and on the right are woven fabric artworks created by Christchurch craft artists in response.

Audio, Radio New Zealand

Earthquakes are one of the few natural disasters Australia seldom experiences. We find out from curator Felicity Milburn how our neighbours have responded to an exhibition of earthquake related art direct from Christchurch. Tomorrow will be the same (but not as this is), on show in Mandurah in Western Australia.

Audio, Radio New Zealand

Lyttelton was hit harder than most by the Christchurch earthquakes - particularly the Lyttelton Museum. But now it's back - triumphantly, we may say! - with a little help from its friends, past and present. Key historical figures in Lyttelton's history are brought back to life in a new exhibition by Julia Holden - Lyttelton Redux - which has just opened at Canterbury Museum.

Videos, UC QuakeStudies

A video of an interview with Sean Duxfield, the exhibitions and collections team leader at the Christchurch Art Gallery, about installing Michael Parekowhai's bull sculpture, 'On First Looking into Chapman's Homer', in the Christchurch Arts Centre market square. The sculpture was installed in secret on a patch of grass.

Images, UC QuakeStudies

Copy of a file photograph captioned by Fairfax, "The New Zealand Express Company's new building, corner of Hereford Street and Manchester Street. Electric lighting, pumping, elevators, May & Otway's fire alarms, bells and telephones, supplied by Messrs Turnbull & Jones Ltd. Manchester courts MLC building from The Weekly Press 'New Zealand Exhibition Year Special Industrial & Commercial Number' December 1906".

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 16 December. This week .... This week...another housing boom as property prices increase, the current state of Maori journalism, two stories from Canterbury's earthquake - a victim's recovery and a musician's return, a look back at the life of an albatross genius, the DNA of food, performing Shakespeare in te reo Maori and 200 years of wedding fashion on exhibition at Te Papa.

Images, eqnz.chch.2010

20131231_8504_EOS M-22 Looking up Cashel Street Another city walk around, this time with my brother-in-law from Auckland. Also went to the Quake City exhibition in the city organised by the Canterbury Museum. First fine day for a while. For 36 years I worked in a now gone building where that red car is parked (on the left). and would have wa...

Images, eqnz.chch.2010

20131231_8513_EOS M-22 The chocolate double decker Another city walk around, this time with my brother-in-law from Auckland. Also went to the Quake City exhibition in the city organised by the Canterbury Museum. First fine day for a while. This bus is used as a chocolate restaurant, and is parked next to the Pallet Pavilion on the site of th...

Images, UC QuakeStudies

A man reads a sign posted on the door of the Christchurch Art Gallery, which reads "The gallery is currently closed to the public". The photographer comments, "Red Carded - A red-coloured card shown by a referee to a player, especially in soccer, to indicate that the player is being ejected from the pitch. The Christchurch Art Gallery has left the building. All the current and future exhibitions of the Art Gallery are being mainly held out of doors".

Audio, Radio New Zealand

The Logie Collection of Canterbury University is one of the small miracles of this country - treasures of the Ancient World from classical Greece and Rome, right back to the Bronze Age - 7000 BC. And when the first big earthquake struck Christchurch in September 2010, there were fears that the priceless collection - described as "one of Australasia's finest collections of classical art" would be utterly destroyed. Well it was and it wasn't. The Logie Collection has a brand-new home - the Teece Museum of Classical Antiquities - and last week it was proudly displayed in an exhibition called We Could Be Heroes. But it certainly didn't look like it at the time. Simon Morris is joined by Terri Elder and Penny Minchin-Garvin, the co-curators of the museum.

Research papers, University of Canterbury Library

This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.