A photograph of Wayne Youle's mural, 'I seem to have temporarily misplaced my sense of humour'. The photograph is captioned by Paul Corliss, "Colombo Street Gap Filler".
A photograph of Wayne Youle's mural, 'I seem to have temporarily misplaced my sense of humour'. The photograph is captioned by Paul Corliss, "Colombo Street Gap Filler".
A photograph of Wayne Youle's mural, 'I seem to have temporarily misplaced my sense of humour'. The photograph is captioned by Paul Corliss, "Colombo Street Gap Filler".
A photograph of a crane on the site of Kloud. The crane is going to be used to hold up a large-scale installation for LUXCITY.
A PDF copy of pages 66-67 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Capitalism Has Collapsed'. Photo: Reuben Woods
A photograph of a man inflating one of the paper origami balloons of Halo. Halo is a temporary installation that is part of LUXCITY.
A PDF copy of pages 82-83 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Wonky Peterborough'. Photo: Reuben Woods
A photograph of a heart-shaped bag created by Jane Quigley. The bag is hanging from a post in the NG Gallery car park.
A PDF copy of pages 330-331 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Social Soup'. Photos: Joel Cocks
A photograph of Wayne Youle's mural, 'I seem to have temporarily misplaced my sense of humour'. The photograph is captioned by Paul Corliss, "Colombo Street Gap Filler".
A photograph of the site of the LUXCITY project Etch-A-Sketch on the corner of Gloucester Street and Colombo Street.
An artist's impression of the installation 'Tonic', created as part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson
A photograph of a vacant site on Gloucester Street. This is to be the location of Illusions, a large-scale installation which is part of LUXCITY.
A PDF copy of pages 190-191 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Gap Projects in Kaiapoi'. Photos: Gap Filler
An artist's impression of the installation 'In Your Face', created as part of the LUXCITY event. Tutor: Fraser Horton
A photograph of a performer using a large hoola hoop during a performance in the 'Sound Cone' space at LUXCITY.
A photograph of the site of the LUXCITY project Etch-A-Sketch on the corner of Gloucester Street and Colombo Street.
A photograph of Wayne Youle's mural, 'I seem to have temporarily misplaced my sense of humour'. The photograph is captioned by Paul Corliss, "Colombo Street Gap Filler".
A photograph of a performer using a large hoola hoop during a performance in the 'Sound Cone' space at LUXCITY.
The "Lyttelton Review" newsletter for 5 December 2011, produced by the Lyttelton Harbour Information Centre.
The "Lyttelton Review" newsletter for 6 February 2012, produced by the Lyttelton Harbour Information Centre.
The "Lyttelton Harbour Review" newsletter for 10 June 2013, produced by the Lyttelton Harbour Information Centre.
The "Lyttelton Review" newsletter for 19 March 2012, produced by the Lyttelton Harbour Information Centre.
The "Lyttelton Harbour Review" newsletter for 25 February 2013, produced by the Lyttelton Harbour Information Centre.
An entry from Deb Robertson's blog for 17 August 2014 entitled, "The 'Sure to Rise' quilt".The entry was downloaded on 3 November 2016.
None
None
A mural on the exposed wall of a building on Peterborough Street. This was a joint project between Gap Filler and the Flying Cup Cafe. The mural is a beach scene with a quote from Anne Frank, reading, "Isn't it wonderful that nobody need waste a single moment to improve the world", and incorporates pre-existing street art and posters.
This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.
A video about the restoration of the dome of the Isaac Theatre Royal. The video includes an interview with Vanessa Carswell, Associate at Warren and Mahoney, about the dimensions of the dome. Because the dome is not a perfect circle, the dome and the canvas that cover it have to be reinstalled in exactly the same way, and the dimensions have to be measured accurately so that the new steelwork fits correctly. The video also includes an interview with art restorer Carolina Izzo about restoring the canvas covering of the dome. Izzo says that the theatre lights have burnt the edges of the canvas, and some patches have been affected by mould. She also explains the process for cleaning the artwork.