Art writer and former gallerist Sarah Hopkinson attempts to understand the contradictory values that produced the People of Colour exhibition, and what the tumult means for the future of the industry.
Wrapping everyone in a blanket of love, whakapapa and mauri: the brave, exuberant and generous fabric art of Maungarongo Te Kawa
Artist John Ward Knox introduces his Karitane home and garden, and various projects – bees, pond, a portrait on silk of the prime minister from a live sitting.
An even more substantial investment in the creative arts will help drive our post-Covid recovery.
From a Ronnie Van Hout take on The Breakfast Club to James Oram carving a rendition of his own face out of soap, Christchurch Art Gallery’s show of new video art in response to Covid-19 isolation is worth championing.
New Te Papa CEO Courtney Johnston on her vision for the museum, the impact of the pandemic, the return of taonga and making good on the Treaty.
There is art at the hospital, even in intensive care – but the price of seeing it is everything.
What makes Zoom so exhausting? And where to for art? For Auckland artist Cushla Donaldson it’s about work that embraces the social and physical in new ways. Increasingly in Zoom meetings, …
Mark Amery shares words and images with Auckland artist Meg Porteous across bubbles, via screens.
Questions are being asked about the judging process for New Zealand’s most prestigious art prize, the Walters Prize.
Today, the best art is coming not from our museums or galleries, but from bedrooms, garages and kitchen tables.
Nirin, the 22nd Biennale of Sydney, remained open in March while many other exhibitions closed. Now one of Australasia’s most important art events is going online.
Writer Samuel Te Kani tracks the issues and digs into the complications below the surface of the erasures of a queer NZ art history.
Go on, imagine your lockdown without art. Just try.
'It seems like someone else’s dream of my past.' For Emma Neale, the painting ‘Wanderlust’ by Dunedin artist Sharon Singer stirs memories of her childhood.
New Zealand's museums and galleries are still open, despite similar spaces closing in cities across the world.
Imogen Taylor's sumptuous exhibition Sapphic Fragments is informed by art historical understandings of queer pleasure, and in particular, women’s love for women.
