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Audio, Radio New Zealand

Little is known about The Wizard of New Zealand who took centre stage in Christchurch's Cathedral Square from the 70s until the Christchurch earthquakes in 2011, which saw the city in a state of disrepair. A man who challenged political, social and cultural ideology, The Wizard posed provocative questions in this public space, much to the delight, and sometimes dismay, of passersby. But the background to why The Wizard was there in the first place has been something of a mystery... until now. Sonia Yee finds out more in this episode of Eyewitness.

Audio, Radio New Zealand

Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.

Audio, Radio New Zealand

Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.

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.

Audio, Radio New Zealand

Since Standing Room Only started some of the biggest changes we've seen in attitudes towards art and artists has happened in Otautahi Christchurch. How much artists contributed to the city's emotional recovery from the earthquakes through projects like Gap Filler, but also how many individual people created and shared their work. Before the quakes, Neil Dawson's monumental sculpture The Challice in the Square was initially criticised, but within days of its unveiling it became an impromptu shrine for the New York victims of 9/11. Back in 1998, the SCAPE Public Art started commissioning large outdoor works by international and Kiwi sculptors and artists. Some stayed but most of them were temporary. Some attracted criticism but they certainly got people talking. As SCAPE reaches its quarter century, its founder and Executive Director Deborah McCormick is standing down in March next year. Deborah's last SCAPE will see her tick off one of her long held ambitions - to secure a permanent sculpture for Christchurch by Auckland-based artist Dr Brett Graham. Lynn Freeman talks with Deborah and Brett, first asking Deborah to take us back to the lightbulb moment that led to SCAPE public art event.

Other, National Library of New Zealand

An intermittent collaboration between the Centre of Contemporary Art and a series of local artists looking to present new work which explores the realities of the post-earthquake cultural landscape in Christchurch. The artworks by Ed Lust, Sam Eng, and Robyn Wester each utilise the empty window space of the window and carport of the damaged COCA building which is awaiting repair.

Images, UC QuakeStudies

A digitally manipulated image of liquefaction around a house in Avondale. The photographer comments, "The bottom of the gates were swallowed up by liquefaction, but the house still looked in good condition, which was confirmed by builders just going in to work on the property. It is in the Christchurch red zone, which after testing has been deemed unsuitable for houses to be built on. All the land will be bought by the Government and they would also buy any properties that could be repaired. The remaining insured property owners will get a payment from the insurance company. All the buildings are condemned to be knocked down".

Images, Alexander Turnbull Library

Shows a throng of sex workers rushing back following the announcement that 'Manchester Street's open!'. Prior to the Christchurch earthquake in February 2011 Manchester Street was the focus of street prostitution. On 13 April 2013 the Canterbury Earthquake Recovery Authority (CERA) announced: 'A temporary change to the cordon tonight sees Manchester Street open all the way through for the first time in over two years'. Quantity: 1 digital cartoon(s).

Images, UC QuakeStudies

Demolition site and street art on a wall on Colombo Street, Sydenham. The work on the left is a Gap Filler project, Wayne Youle's "I seem to have temporarily misplaced my sense of humour " (2011), a shadow-board mural which depicts things lost during the earthquake.

Images, UC QuakeStudies

Various walls on the street of Christchurch have become public art spaces. This work, "The Phoenix", by professional graffiti artists, Jacob, aka Yikes, Nick, aka Icarus and Wongi includes a fire Phoenix and the words "Christchurch destined to rise". Above it is an advertisement for Phonequip.

Audio, Radio New Zealand

A scheme called Crack'd for Christchurch wants to make a beautiful memorial out of the fine china broken in the earthquake. Jenny Cooper is one of a group of people who plan to create an inner-city mosaic that is an art work in its own right, but also acts as a memorial to old Christchurch.

Audio, Radio New Zealand

When the new Canterbury Earthquake Memorial was revealed last month, something unusual happened for a work of public art. It was universally appreciated! Christchurch filmmaker Rick Harvie has documented the two year long project from seeking submissions though to the official ceremony. Rick tells Lynn Freeman he's about to put his now finished documentary, including footage of the ceremony and feedback from a range of people, online.

Images, UC QuakeStudies

A digitally manipulated image of Michael Parekowhai's sculpture 'On First Looking into Chapman's Homer' on Madras Street. The photographer comments, "This is the work of New Zealand artist Michael Parekowhai titled 'On First Looking into Chapman's Homer'. There are two bronze pianos and a very dominant looking bronze bull on each".

Images, Alexander Turnbull Library

The cartoon shows Prime Minister John Key as a surgeon in a blood-spattered white coat; he has just created a Frankenstein monster which has resulted in the Minister for Earthquake Recovery Gerry Brownlee and Mayor of Christchurch Bob Parker joined together in a single body named 'CERA". Gerry Brownlee clutches a huge spiked mallet and Bob Parker a paintbrush. Context - a new bill is being rushed through parliament to establish the Canterbury Earthquake Recovery Authority (Cera); it empowers it to lead reconstruction efforts in Christchurch. It gives Cera specific powers to get information from any source, to requisition and build on land and to carry out demolitions. It can also take over local authorities if they are not working effectively on recovery work. The monster suggests distinctly differing philosophies on how the work of rebuilding Christchurch should proceed. Quantity: 1 digital cartoon(s).

Research papers, University of Canterbury Library

This article reports on research conducted in Christchurch, New Zealand, after the 22 February 2011 earthquake. This quake and thousands of subsequent aftershocks have left the city of Christchurch with serious infrastructure damage to roads, sewage supply, housing and commercial buildings. The emergence of a vibrant art and craft movement in the Christchurch region post earthquake has been an unexpected aspect of the recovery process. The article begins with a review of the literature on traditional responses to disaster recovery illustrating how more contemporary approaches are community-focused. We review the links between crafting and well-being, and report on qualitative research conducted with five focus groups and nine individuals who have contributed to this movement in Christchurch. The findings illustrate the role crafting has played post earthquake, in terms of processing key elements of the disaster for healing and recovery, creating opportunities for social support; giving to others; generating learning and meaning making and developing a vision for the future. The data analysis is underpinned by theory related to post-traumatic growth and ecological concerns. The role of social work in promoting low-cost initiatives such as craft groups to foster social resilience and aid in the recovery from disaster trauma is explored. This discussion considers why such approaches are rare in social work.

Images, Alexander Turnbull Library

Text reads 'Bad news for Christchurch playing fields'. On the left is a man wearing the Canterbury colours and carrying a flag; he looks most upset about the 'AMI Stadium' being red stickered. On the right is a woman of the night in fishnet stockings and a very short skirt who looks very upset as she hears that 'Manchester Street' has been red stickered. The little Evans man in the corner says 'Red light, red carded, from the red zone'. Context - The AMI Stadium was supposed to be the venue for the Rugby World Cup in Christchurch - a decision made on 16 March was made that Christchurch was not in a position to host the RWC. With Manchester St on the city side of Bealey Ave cordoned off, street workers have been working from the residential area between Bealey and Purchas St. and residents are furious. Colour and black and white versions of this cartoon are available Quantity: 2 digital cartoon(s).