Podcasts about auckland art gallery toi

Explore space, time, and technology in science fiction through indigenous lenses with award-winning author Dr Gina Cole (Black Ice Matter; Na Viro) and writer, critic and producer, Dan Taipua. Dr. Gina Cole is an award-winning author of Fijian, Scottish and Welsh descent. Her collection Black Ice Matter won the Hubert Church Prize for Best First Book Fiction in 2017. Her science fiction fantasy novel Na Viro (Huia, 2022) is a work of Pasifikafuturism following sisters wayfinding through sea and space. Awarded the 2023 Fulbright-Creative New Zealand Pacific Writer's Residency in 2023, she is currently working on the second book in her Turukawa Trilogy. Dan Taipua (Waikato-Tainui) is a writer and critic working in Tāmaki Makaurau. His interests cross through art history, popular culture and Te Ao Māori with a particular focus on futurism and imagined worlds. In 2015, Dan Taipua and Sophie Wilson produced the documentary Aotearoa Futurism for RNZ Music, interviewing Māori and Pasifika artists whose works explore the boundaries of technology and time. This work has inspired further study of indigenous futurisms by scholars and creators alike and continues to shape Taipua's own critical practice. This talk is in association with our sci-fi exhibition 'Other Worlds' and the 'Tāmaki Untold' series. Exhibition is open from 19 February to 2 August 2025 in the Heritage Gallery, Level 2, Central City Library / Tāmaki Pātaka Kōrero. Explore selected works by Dr Gina Cole and Dan Taipua along with some of the books, authors and works mentioned in this episode – all available either at Auckland Council Libraries or online. Na Viro by Gina Cole. Huia Publishers, 2022 Wayfinding Pasifikafuturism : an indigenous science fiction vision of the ocean in space : a thesis by Gina Cole. Massey University, Manawatu, New Zealand, 2020 https://mro.massey.ac.nz/items/21b05630-28b2-4d93-85e9-f7156be8f0d9 Aotearoa Futurism Part One: Space Maori and Astronesians - podcast by Dan Taipua and Sophie Wilson, RNZ Music, 2015 https://www.rnz.co.nz/national/programmes/nat-music/audio/201782605/aotearoa-futurism-part-one Aotearoa Futurism Part Two: South Pacific Futurists podcast by Dan Taipua and Sophie Wilson, RNZ Music, 2015 Remains to be Told: Dark Tales from Aotearoa edited by Lee Murray. Clan Destine Press, 2023 Walking the Stars: An Anthology of Indigenous Science Fiction edited by Grace Dillon Star Waka by Robert Sullivan Auckland University Press, 1999 The Routledge Book of CoFuturisms edited by Taryne Jade Taylor, Isiah Lavender III, Grace L. Dillon and Bodhisattva Chattopadhyay. 1st edition, 2023. Full text available via Open Access with Taylor and Francis under Creative Commons CC BY-NC-ND. How To Loiter in a Turf War by Coco Solid. Penguin Random House NZ, 2022 Island Time: South Pacific Futurism From a Contemporary Aotearoa Perspective by Jessica “Coco” Hansell published in The Funambulist, Issue 24: Futurisms, 2019 Navigator by Che Fu (Music CD) Sony, 2001 Lisa Reihana: Emissaries by Lisa Reihana. Auckland Art Gallery Toi o Tāmaki, 2017 Goddess Muscle by Dr Karlo Mila Huia Publishers, 2020 Waerea by Mokotron (Music LP). Stebbing Recording Studio, 2024 Terra Nullius by Claire G. Coleman. Hachette Australia, 2017 How Māui Defied the Goddess of Death by Peter Gossage. 3rd edition, Puffin Books, 2012 You Are Here by Peata Larkin and Whiti Hereaka. Massey University Press, 2025

Since its establishment in 1974, the Chartwell Project has championed the importance of creative visual thinking, shaping an expansive collection of contemporary art and an enduring programme of philanthropic and educational support. Being, Seeing, Making, Thinking is a new book celebrating 50 years of the project, featuring a preface by Chartwell's founder, Rob Gardiner, an essay by Chartwell's chair, Sue Gardiner, a Timeline by co-editor Megan Shaw, and 50 accompanying texts on artworks.  The book aligns with a new archival exhibition of the same name at Auckland Art Gallery Toi o Tāmaki curated by Megan Shaw with Freya Elmer and Philippa Robinson from the Gallery to celebrate the anniversary period until the 4th May.  Sofia spoke to co-director of the Chartwell Collection, Sue Gardiner, and Chartwell Anniversary Project Manager, Megan Shaw, about the book and the history of Chartwell.

Today on Various Artists! Sofia had a kōrero with Senior Curator of Global Contemporary Art at Auckland Art Gallery Toi o Tāmaki, Natasha Conland, about the gallery's newest exhibition - Olafur Eliasson: Your curious journey. Eliasson is an Icelandic–Danish world renowned artist known for sculptured and large-scaled installation art employing elemental materials such as light, water and air temperature to enhance the viewer's experience, often speaking to a broader reflection of the history of human interaction with the environment and its impact, raising awareness about the climate crisis and the climate's impacted state. Beth had a kōrero with artist Chloe Summerhayes about her exhibition of recent paintings at Suite Gallery. Summerhayes is a visual artist who often explores themes of the subconscious in her work. Sofia had a kōrero with fine art dealer and gallerist Charles Ninow about his new gallery which opened on Karangahape Road last week, and the current exhibition it's showing by Ralph Paine - Leaves from a Pillow Book. And for Stage Direction this week, Alice Canton joined us in the studio to give us her 2024 theatre round up of the year. Whakarongi mai!

Olafur Eliasson: Your curious journey is the newest exhibition at Auckland Art Gallery Toi o Tāmaki.  Eliasson is an Icelandic–Danish world renowned artist known for sculptured and large-scaled installation art employing elemental materials such as light, water, and air temperature to enhance the viewer's experience, often speaking to a broader reflection of the history of human interaction with the environment and its impact, raising awareness about the climate crisis and the climate's impacted state.  Sofia caught up with Senior Curator of Global Contemporary Art at Auckland Art Gallery Toi o Tāmaki, Natasha Conland, about Eliasson's practice and the significance of this exhibition.

 Last Friday, the winner of the Walters Prize for 2024 was announced, as chosen by this year's international judge Cameroonian Berlin-based Professor Bonaventure Soh Bejeng Ndikung.  The $50,000 Walters Prize - which is now awarded every three years - was decided this year between artists Owen Connors, Juliet Carpenter, Brett Graham and Ana Iti. On Friday, artist Ana Iti (Te Rarawa) was announced as the winner for her sculpture and sound installation entitled ‘A resilient heart like the mānawa', which is currently on display alongside the other candidate's works at Auckland Art Gallery Toi o Tāmaki.  Sofia caught up with Ana about celebrating the win, the creation process behind ‘A resilient heart like the mānawa', and what's next for her and her practic

A selection of works by the four artists nominated for Aotearoa's most prestigious art prize, The Walters, is currently being exhibited at Auckland Art Gallery Toi o Tāmaki.  The $50,000 Walters Prize - which is now awarded every three years - is being decided this year between artists Owen Connors, Juliet Carpenter, Brett Graham and Ana Iti.  Sofia spoke to Senior Curator of Global Contemporary Art at Auckland Art Gallery, Natasha Conland, about the prize and the candidates this year.  The winner will be announced in late September, so stay tuned for more coverage from us then! You can see the works of the finalists yourself at Auckland Art Gallery on until the 20th of October. 

Curator Emerita at Auckland Art Gallery Toi o Tamaki Mary Kisler joins us to answer your questions on art. Get them into afternoons@rnz.co.nz or from 1PM via text to 2101.

In this interview episode we speak to Sarah Hillary, a Fine Arts Conservator at the Conservation Research Centre at Auckland Art Gallery Toi o Tāmaki. We approached Sarah during our investigation to discuss what a forensic examination of an artwork might involve, and gained a fascinating outlook into her team's process and specialist skill-set (as well as some incredible stories about high-profile restorations). Find out more about the Conservation Research Centre on the Auckland Art Gallery Toi o Tāmaki website. Join the Prank of the Year discussion group on FacebookFollow Prank of the Year on InstagramEmail us: telecomsux1993@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Latai Taumoepeau is a multidisciplinary artist whose practice fuses ancient and everyday temporal practice using mediums like performance, dance, installation and social engagement. Her faivā (body-centred practice) is grounded in the traditions of her homelands, the Island Kingdom of Tonga and her birthplace Sydney, land of the Gadigal people. Latai joins us to discuss her work over the past decade exploring the impact of climate change in the Pacific and the threat of dispossession that many island communities face.Latai was a leading artist on Arts House Melbourne's five-year project, Refuge, an exploration of community preparedness in emergency management. She shares her insights on that process and how her collaboration with the SES on that project has continued to evolve.Latai was recently awarded Creative Australia's 2023 Award for Emerging and Experimental Arts and reflects on the meaning of that acknowledgement and some of the questions contemporary artists face surrounding the relevance and sustainability of their work. LinksABC Arts Week - Latai Taumoepeau: Creative Australia Award for Emerging and Experimental Arts https://www.youtube.com/watch?v=HKfKmtcergA Artist Profile / Repatriate at Auckland Art Gallery Toi o Tamakihttps://www.youtube.com/watch?v=13K2Gr-Od8w&t=9s Mass Movement, Refuge, Arts House Melbournehttps://www.artshouse.com.au/events/mass-movement/ Mass Movement, Documentary Short Film, Refuge 2021, Arts House https://www.artshouse.com.au/events/mass-movement-documentary-short-film/ The Last Resort: Biennale of Sydneyhttps://www.biennaleofsydney.art/participants/latai-taumoepeau/ Follow Latai on instagramhttps://www.instagram.com/latai101/?hl=en Hosted on Acast. See acast.com/privacy for more information.

In this episode I visit Imogen Taylor in her studio in Henderson, West Auckland.Imogen has a Bachelor of Fine Arts and a Post Graduate Diploma of Fine Arts from the Elam School of Arts at the University of Auckland. Her work is held in numerous public and private collections including the Christchurch Art Gallery Te Puna o Waiwhetu, The Fletcher Collection and The Auckland Art Gallery Toi o Tamaki. In 2017 Imogen was the artist in residence at McCahon House, and in 2019 was the recipient of the Frances Hodgkins Fellowship.There are images of the paintings we talk about on The Good Oil Imogen Taylor Instagram post for your reference.In this episode you'll hear Imogen talk about how she aspires to embody the same qualities that are reflected in the materials that she uses, her celebration of NZ regionalism in her practice by applying a drag sensibility to it, her clear appreciation for modernism, wanting to protect illegibility in painting, how heartbreaking she finds parting with work when it leaves the studio, she shamelessly reveals herself to be a colour nerd and not a very good painter.LinksImogen Taylor Instagram PageMicheal Lett Imogen Taylor Artist Web PageThe Good Oil Instagram Page

In this episode I visit Kirstin Carlin in her studio in Mt Roskill, Auckland.Kirstin has a Master of Fine Arts from the Glasgow School of Art.Her work is held in numerous public and private collections, and she has exhibited widely locally and internationally, including at the Auckland Art Gallery Toi o Tamaki and the Dunedin Public Art Gallery.She is represented in NZ by Melanie Roger Gallery in Auckland, and regularly exhibits with The Central Art Gallery in Christchurch.There are images of the works we talk about on The Good Oil Kirstin Carlin Instagram post for your to reference.In this episode you'll hear Kirstin speak about how she is influenced by slightly obscure Scottish painters, how much work never makes it out of the studio, how a throw away exercise in problem solving opened up unexpected new approaches to painting, a constant awareness of colour combinations the world presents, obsessing over Matisse… and some of her unlikely reference material.LinksKirstin Carlin Instagram PageMelanie Roger Gallery Kirstin Carlin Artist Web PageThe Central Art Gallery Kirstin Carlin Artist Web PageThe Good Oil Instagram Page

In this episode I visit Dick Frizzell in his home and studio in Mt Eden, Auckland.Dick is some six decades into a practice that is as diverse in output as it is long. He is responsible for some of the most iconic contemporary images of NZ art that reflect a drive of restless creativity that embraces artistic impression and applied art.Dick holds a Diploma of Fine Art from the Ilam School of Fine Arts at the University of Canterbury. He has had countless exhibitions in the last 50 years and has also authored or illustrated several books. His work is held in numerous public and private collections including The Auckland Art Gallery Toi o Tamaki, the Christchurch Art Gallery Te Puna o Waiwhetu, Te Papa, The Fletcher Collection, The Ballin Collection and at your cousins house.Dick is represented by Gow Langsford in Auckland, Page Galleries in Wellington, The Central Art Gallery in Ototahi and Milford Galleries in Dunedin and Queenstown.In this episode you'll hear Dick talk about how landscape painting offered a new subject and important salvation at a critical point in his life and practice, how his time at Ilam in the early 1960's intersected with some of Aotearoa's most influential painters… the steady flow of cease and desist letters arriving in his letterbox, the presence of Colin McCahon in his paintings… his fear of professionalism and how dumb the word ‘cauli' is.LinksDick Frizzell InstagramGow Langsford Dick Frizzell Artist WebPageMilford Galleries Dick Frizzell Artist Web PageThe Central Art Gallery Dick Frizzell Artist Web PageIt's All About The Image bookThe Good Oil Instagram Page

Tomorrow, Auckland Art Gallery Toi o Tāmaki will be opening Ever Present: First Peoples Art Of Australia.  This exhibition has travelled from National Gallery of Australia and The Wesfarmers Collection of Australian Art to bring art of Australia's first peoples from 1890 till today, showcasing over 160 artists.  This will be open from Saturday 29 July – Sunday 29 October 2023. I had a yarn with Toi o Tāmaki's senior curator of Māori Art, Nathan Pōhio, about the exhibition. 

In this episode I visit Stanley Palmer in his home and studio in Mt Eden, Auckland.Stanley has established one of the most enduring practices in NZ, now into his 7th decade of painting and print making. He has been exhibiting regularly since 1958 including in NZ, Australia, Italy, Japan and India. In 2002 he was appointed an Officer of the New Zealand Order of Merit for his services to fine art.His work is held in countless public and private collections including Te Papa, The University of Auckland art collection, the Auckland Art Gallery Toi o Tamaki, the Christchurch Art Gallery Te Puna o Waiwhetu and the The Govett Brewster Art GalleryStanley is represented by Melanie Roger Gallery in Auckland, Solander Gallery in Wellington and The Central Gallery in ChristchurchIn this episode you'll hear Stanley talk about the influence of writing in his practice, the inspiration of encountering tapa cloths at the Auckland Museum early in his career, his distrust of commercially manufactured paints and painting water colours for his aunts to get out of having to instead mow their lawns.Stanley Palmer Wikipedia WebPageMelanie Roger Gallery Stanley Palmer Artist Web PageSolander Gallery Stanley Palmer Artist Web PageThe Central Gallery Stanley Palmer Artist Web PageThe Good Oil Instagram Page

Matariki is next Friday and there's celebrations all across Tāmaki Makaurau. If you're in the CBD, feel free to head over to the Auckland Art Gallery Toi o Tāmaki, where there's plenty going on! They have a free event going on where you can purchase kai, shop at te mākete (market), and keep the tamariki busy making crafts inspired by Matariki, as well as performances from Taane Mete and Grammy Award Winner Jerome Kavanagh. Joe spoke to Krissy Taylor, the Senior Manager for Public Programmes at the Auckland Art Gallery about the event.

In this episode I visit John Walsh in his Wellington home and studio to sit by the fire and drink tea… and talk about his practice.John is of Aitanga Hauiti and New Zealand Irish descent. His work is held in numerous public and private collections including Te Papa and Sargeant Gallery Collection, he has exhibited widely including at City Gallery Wellington, Auckland Art Gallery Toi o Tamaki, at the Dowse Art Museum and Pataka at Porirua. He is represented by Gow Langsford in Auckland, Paul Nache gallery in Gisborne. Page Galleries in Wellington, the Diversion Gallery in Picton and Central Art Gallery in Christchurch.In this episode you'll hear John talk about how painting portraits of his community elders allowed him an unexpected opportunity to learn about his whakapapa, how he learned more about what paint can do from house paint and painting houses than he did at art school, the creative license he applies to mythologies to bridge cultural gaps, his occupation of the twilight zone, the deliberate variation of surface of a support he prepares to paint on… and how he is an intuitive abstract painter, accidentally making representational paintings.Page Galleries John Walsh Web PageGow Langsford John Walsh Web PagePaul Nash Gallery John Walsh PageThe Central Art Gallery John Walsh Web PageJohn Walsh Wikipedia Web PageJohn Walsh InstagramThe Good Oil Instagram

In this episode I travel to Otorohanga to visit Hiria Anderson-Mit-ah at her home and studio. Hiria is Ngāti Maniapoto, Ngāti Apakura, Rereahu.Hiria graduated from Whitecliffe Collage of Design & Arts with an MFA, first class honours. Her work is held in numerous public and private collections, including the University of Auckland Art Collection, the Auckland Art Gallery Toi o Tāmaki and The Waikato Museum. She is represented by Tim Melville in Auckland and Page Galleries in Wellington.Sitting down to speak with Hiria was entertaining, fascinating, funny and disarming. You'll hear her speak with a comfortable frankness about challenges that she has faced personally and those that still exist for her community. She talks about what is and isn't tapu to paint for her, why cooking pots are an important subject in her practice… and about the pivotal role a naked man jumping out of a birthday cake has played in her career.I started by asking about her childhood and first encounters with art.Tim Melville Hiria Anderson-Mita PagePage Galleries Hiria Anderson-Mita PageHiria Anderson-Mita InstagramThe Good Oil Instagram

Welcome to episode two and three of The Good Oil, conversations with Aotearoa painters. In this episode (part one of a two part interview) I visit Sir Grahame Sydney at his home and studio in the Cambrian Valley in the Maniototo, Central Otago. In over 50yrs of practice Grahame has made a huge contribution to NZ art, receiving a knighthood in 2021 for services to art. His work is held widely in public and private collections including Te Papa, Auckland Art Gallery Toi o Taamaki, Christchurch Art Gallery Te Puna o Waiwhetu, Dunedin Public Art Gallery and the Ballin Collection.I know this is a bit presumptuous doing this so early in the life of this podcast, but the conversation with Grahame was a long one, with it being so entertaining and interesting I've decided to present all of it, but split it into two episodes.In this, part one, you'll hear Grahame talk about his early years and discovering Central Otago, his miserable move to London, establishing his practice, agonising over if $200 was too much to try to sell a painting for, his close proximity to so much of New Zealand contemporary art history including encounters with Derek Ball, Ralph Hotere, Jeffery Harris, Brent Wong, Colin MacCahon, Michael Smither and Peter Webb, and the bewildering experience of security not letting him into his first Auckland exhibition because he didn't have a ticket.Sir Grahame Sydney Web Page

Controversial friar Girolamo Savonarola supervised the mass destruction of Renaissance art, literature and other priceless items he deemed as ‘fripperies' on 7th February, 1497 - an event that became known as ‘The Bonfire of the Vanities'. The Dominican cleric - eventually ex-communicated by the Pope for calling the Catholic Church ‘a whore' - commandeered a large following of adolescents, who went door-to-door in Florence demanding items to be chucked on to the pyre. Ironically, Savonarola was ultimately executed the following year… by being chucked into a fire. In this episode, Arion, Rebecca and Olly ask whether Savonarola's objections to Renaissance-era portraiture had any legitimacy; explain how he leveraged his ‘prophecies' to give him greater control of the City; and consider why he selected Shrove Tuesday, of all days, to build his famous bonfire…  Further Reading: ‘A big day in history: Florence's bonfire of the vanities' (HistoryExtra, 2012): https://www.historyextra.com/period/renaissance/a-big-day-in-history-florences-bonfire-of-the-vanities/ • ‘The friar who ignited the first bonfire of vanities in Florence' (The Washington Post, 2006): https://www.washingtonpost.com/archive/entertainment/books/2006/04/02/the-friar-who-ignited-the-first-bonfire-of-vanities-in-florence-span-classbankheadthe-friar-who-ignited-the-first-bonfire-of-vanities-in-florence-span/f2de7781-44e6-4a86-a076-6d7f5b2e9854/ • ‘Who was Savonarola?' (Auckland Art Gallery Toi o Tāmaki, 2017): https://www.youtube.com/watch?v=xMS_JEQgSrY #1400s #Arts #Religion #Italy Love the show? Join 

Breathtaking in scope, ambition and artistry, Auckland Art Gallery Toi o Tāmaki's' 2020-2021 survey exhibition of Māori contemporary art from 1950s to present day, Toi Tu- Toi Ora broke all attendance records and forged new ways of presenting and understanding Māori art. It was also the touchpoint for a critical conversation about who should lead and author such projects. Curated by artist and curator Nigel Borell (Pirirākau, Ngāi Te Rangi, Ngāti Ranginui, Te Whakatōhea), the exhibition was framed by the Māori creation narrative, unfolding an artistic journey from Te Kore (The Empty Void) to Te Po (The Great Darkness) through to Te Ao Marama (The World of Light and Life). Now celebrated in the book Toi Tu- Toi Ora, it is a gateway to a Māori lens on knowledge, identity, place and cultural history – highlighting some of the best artists working today, and an essential conversation about cultural practice in this country. Borell speaks with Deidre Brown. Supported by NZ Contemporary Art Trust. AUCKLAND WRITERS FESTIVAL WAITUHI O TĀMAKI SATURDAY 27 AUGUST 2022 – 2.00-3.00PM KIRI TE KANAWA THEATRE, AOTEA CENTRE

Anne Else reviews Robin White, Something is Happening Here Edited by Sarah Farrar, Nina Tonga and Jill Trevelyan, published by Te Papa Press and and Auckland Art Gallery Toi o Tamaki. The book was published to accompany the major retrospective exhibition featuring more than 70 works from across Robin White's 50-year career - Robin White: Te Whanaketanga Something is Happening Here - which will open at Te Papa on 4 June, followed by Auckland Art Gallery in late-October 2022.

This week's show starts with Tendai Mutambu in conversation about Notes for tomorrow, a Te Uru exhibition conceived by Independent Curators International. Theo checks in with Oddly gallerist Lexi Kerr about their Boosted Campaign. Finally, Ane Tonga discusses curating Declaration: A Pacific Feminist Agenda at Auckland Art Gallery Toi o Tāmaki.

In this excerpt from the 3 April 2022 Artbank, Curator of Pacific Art Ane Tonga discusses Declaration: A Pacific Feminist Agenda at Auckland Art Gallery Toi o Tāmaki.

From its beginnings in the Mechanics Institute to installation in the present art gallery building (pictured) and now on Lorne Street, find out how Auckland got its free public library. Sir George Grey's donation of his substantial private collection provided the core of the initial library collection. Rare books specialist Georgia Prince describes the nature of that initial donation and discusses possible drivers behind Grey's desire to provide Auckland with a public library. Also former manager Geoff Chamberlain shares his memories of the "Grey Annexe" - a less than ideal space used to store special collections in the old library building. And Rob Eruera, Poukokiri Taonga Tuku Iho Maori, discusses the complexities of keeping taonga Maori collections items within a European oriented public library system. Image Credit: Tibor Donner, Auckland Public Library, Auckland Art Gallery Toi o Tāmaki, 1950/12 (1933) Music credit: Run Come - Shaolin Dub Produced by Mark Gosper - 2019-2020

Beatriz Bustos Oyanedel is a Chilean curator residing in Santiago, Chile. She has produced and curated different cultural initiatives in museums and cultural centers in South America, Asia and Europe. She worked as Director of Art and Education for the Mar Adentro Foundation. She is currently the director of Centro Cultural La Moneda, the main space for the arts in Chile. Under her direction, relevant exhibitions have been exhibited, such as Obra Viva by Joaquín Torres García and J. M. W. Turner. Watercolors Tate Collection. And recently, in 2020, Soplo by Ernesto Neto, among others. Her investigative and curatorial work is oriented towards the search for meaning and the activation of critical thinking, through artistic and cultural instances related to the context. In 2021, under an intercultural methodology that involved joint work with representatives of the Selk'Nam, Kawésqar and Yagán First Nations communities, she directed the curatorship of El Ancho Mundo. Aproximaciones a Magallanes. She developed the production in Chile for the Tomie Ohtake Institute, Brazil, for the exhibition Yayoi Kusama: Infinite Obsession. Between October 2014 and January 2015 she curated the Christian Boltanski project in Chile at the National Museum of Fine Arts, Santiago, and the Animitas installation in the Atacama desert, which was later exhibited in the All the World's Futures exhibition at the Venice Biennale whose General curator was Okwui Enwezor. Together with Zara Stanhope, she co-curated the exhibition Space to Dream: Recent art from South America, held in 2016 at the Auckland Art Gallery Toi o Tamaki Museum, New Zealand, highlighted by the local press as the best exhibition of the last thirty years. Curator of the exhibition Our Site, South American Artists for the Niteroi Contemporary Art Museum in Rio de Janeiro, Brazil, and for the Visual Arts Museum, Santiago, Chile. Curator and co-producer of the exhibition Umbraculum, by Belgian artist Jan Fabre, at the Tomie Ohtake Institute, Sao Paulo, Brazil, the Museum of Modern Art in Medellín, Colombia, and the Tambo Quirquincho Museum, La Paz, Bolivia. During 2005 and 2008 she was Coordinator of the Production and Programming Unit at the Museum of Contemporary Art (MAC) in Chile. She also participated as co-curator and general producer of the exhibition Desde el Otro Sitio/Lugar at National Museum of Contemporary Art, Seoul, Korea (2005); co-curator and producer of Correspondencias, at the Haus am Kleistpark, Berlin, Germany (2002). And from 2010 to date, she is a member of the advisory board of Key Performance, in Sweden. The book mentioned in the interview is Violeta Parra en el Wallmapu. Su encuentro con el mundo mapuche by Paula Miranda, Elisa Loncon, Allison Ramay.

The country's biggest art award, the bienniel Walters Prize, marks its 20th year in 2021. It's undoubtedly had a powerful influence on the landscape of contemporary art in Aotearoa. Now the four finalists over the past two years are about to go on show at Auckland Art Gallery Toi o Tamaki There's a real international feel to the works, which tell stories from Japan, London and Bali as well as Aotearoa. To talk about them, Lynn Freeman is joined by the Gallery's Curator, Contemporary Art, Natasha Conland. The Walters Prize 2021 finalists' work goes on show at the Auckland Art Gallery on the 15th of May.

Start your day the right way, with a stimulating discussion of the latest news headlines and hot button topics from The Advertiser and Sunday Mail. Today, hear from Rhana Devenport, Greg Mackie and Lauren Novak  Rhana Devenport Rhana Devenport ONZM is the Director of the Art Gallery of South Australia and the first woman to hold this position. She is a museum director, curator, editor, and cultural producer whose career spans art museums, biennials and arts festivals.  As former Director of Auckland Art Gallery Toi o Tāmaki she, in 2017, curated the work of Lisa Reihana for the New Zealand Pavilion at the Venice Biennale. Prior to that she was Director of the Govett-Brewster Art Gallery in New Plymouth, leading to the development of the Len Lye Centre. In Australia she worked on the first four Asia Pacific Triennials at Queensland Art Gallery. Her curatorial interests include contemporary art of Asia and the Pacific, time-based media and social practice. Greg Mackie Greg Mackie is CEO at The History Trust of SA, and is an Adelaide City Councilor, with an abundance of cultural service to his credit. As co-founder of the iconic Imprints Booksellers, Greg served many years as Chair of Adelaide Writers' Week and founded the Adelaide Festival of Ideas in 1999. He headed up Arts SA for many years and was Deputy CE in the Premier's Department and SA's ‘Ageing Provocateur' before a successful consultancy practice. Greg received an OAM in 2002, the Dame Elizabeth Murdoch Cultural Leadership Award and the Bettison James Award in 2016.   Lauren Novak  Lauren Novak is Social Policy Editor for The Advertiser and Sunday Mail, where she began her career as a cadet in 2005.  Lauren spent more than seven years as a State Political Reporter before specialising in her current role in coverage of child protection and domestic violence policy, for which she has won state and national awards.  She is also an Our Watch Walkley Foundation Fellow and a Board Director with Zahra Foundation Australia, which helps victims of domestic violence gain financial independence. See omnystudio.com/listener for privacy information.

Nigel Borell is of Pirirakau, Ngāti Ranginui, Ngāi Te Rangi, Te Whakatōhea tribal descent. He is a curator, writer, educator and artist specialising in Māori art in both customary and contemporary fields of research.  Recent curatorial projects include co-curating with Zara Stanhope Moa Hunter Fashions by Areta Wilkinson, for 9th Asia Pacific Triennial, QAGOMA, Brisbane (2018) and The Māori Portraits: Gottfried Lindauer’s New Zealand, to deYoung Fine Arts Museum, San Francisco (2017).   Current projects include the curatorium to Histōrias Indīgenas- Indigenous Histories at Museu de Art de (MASP), São Paulo, Brazil (2023).  And the large survey exhibition and publication Toi Tū Toi Ora: Contemporary Māori Art currently on display at Auckland Art Gallery Toi o Tāmaki (2021), where he was the Curator Māori art from 2015-2020. See omnystudio.com/listener for privacy information.

Start your day the right way, with a stimulating discussion of the latest news headlines and hot button topics from The Advertiser and Sunday Mail. Today, hear from John Spoehr (Pro-Vice Chancellor, Research Impact at Flinders University), Rhana Devenport (Director of the Art Gallery of South Australia), Tory Shepherd (State Editor of The Advertiser). ABOUT TODAY'S PANEL John Spoehr Professor John Spoehr is Pro-Vice Chancellor - Research Impact at Flinders University and Director of the Australian Industrial Transformation Institute. He has over 25 years' experience as a social and economic analyst focussing on employment and industry policy, inequality and social justice. He is actively involved in the development of industry, government and community research partnerships at a local, national and international level. John's major publications include 'The Engaging State - South Australia's engagement with the Asia Pacific Region' with Purnendra Jain, 'State of South Australia - from crisis to prosperity?' and 'Power Politics - the electricity crisis and you'. His latest edited book is 'State of South Australia - turbulent times'.  Rhana Devonport Rhana Devenport ONZM is the Director of the Art Gallery of South Australia and the first woman to hold this position. She is a museum director, curator, editor, and cultural producer whose career spans art museums, biennials and arts festivals. As former Director of Auckland Art Gallery Toi o Tāmaki she, in 2017, curated the work of Lisa Reihana for the New Zealand Pavilion at the Venice Biennale. Prior to that she was Director of the Govett-Brewster Art Gallery in New Plymouth, leading to the development of the Len Lye Centre. In Australia she worked on the first four APTs at QAGOMA. Her curatorial interests include contemporary art of Asia and the Pacific, time-based media and social practice. Tory Shepherd Tory is the Advertiser's State Editor and a senior columnist, and covers defence and space among other topics. She is a Walkley Awards judge, a Churchill fellow, and the author of On Freedom. Tory is a regular panel member of ABC radio and television shows including Sunrise, The Project and The Drum.   See omnystudio.com/listener for privacy information.

Max Gimblett was born in 1935 in New Zealand and moved to New York City in the 1970s where he’s maintained a studio ever since. He is one of New Zealand’s most recognized painters and continues to exhibit regularly in the US and throughout New Zealand.He is well represented in major collections around the world, most significantly in the permanent collection of the Guggenheim and Museum of Modern Art and the Whitney Museum of Modern Art in New York, the National Galleries in Washington D.C. and Melbourne Australia, Auckland Art Gallery Toi o Tāmaki, Museum of New Zealand, Wellington Te Papa Tongarewa, Christchurch Art Gallery Te Puna o Waiwhetū.Max is known for his vibrant gestural style, influenced by zen calligraphy and painters like William De Kooning and for his unconventional canvases, particularly his signature quatrefoil shape which has eastern and western spiritual significance. A longtime buddhist practitioner, Max took his vows as a Rinzai Zen priest in 2006.Max’s website: http://maxgimblett.comNeed support on your medicine path?1-to-1 yoga, plant medicine integration and transformative coaching with Brian Jameshttp://brianjames.caSupport the Podcast!1. Leave a review on iTunes, or share with your friends on social media2. Become a Patreon supporter at http://patreon.com/medicinepath and gain access to podcast extras and hours of yoga practice resources including vinyasa sequences, breathwork, chanting and guided meditations.3. Leave a one-time donation at http://paypal.me/medicinepathyoga4. Purchase a print or Kindle version of my new book, Yoga & Plant Medicine: https://amzn.to/2mv3i36About Brian JamesBrian James is a yoga teacher, transformational coach and psychedelic integration counselor currently living in Montréal, Canada with his wife, astrologer Debbie Stapleton and their Boston Terrier Kingston. He has been exploring the intersection of yoga and shamanism for over 25 years.medicinepathpodcast.cominstagram.com/brianjames.medicinepathtags: brian james, max gimblett, art, painting, zen, spirituality

Zara StanhopeCuratorial ManagerAsian and Pacific Art As a curator practising within institutions and independently Zara Stanhope focuses on expanding engagement with contemporary art across the Global South. She is currently the Lead Curator for Post hoc by Dane Mitchell, New Zealand’s pavilion at the 58th Venice Biennale. Currently Curatorial Manager, Asian and Pacific Art at Queensland Art Gallery|Gallery of Modern Art (QAGOMA), Stanhope is the lead curator on the 10th Asia Pacific Triennial (APT) for 2021 and led the 9th Asia Pacific Triennial in 2018. Other recently curated exhibitions and collaborations include Dane Mitchell’s Iris, Iris, Iris (Mori Art Museum, Tokyo and Auckland Art Gallery Toi o Tāmaki, New Zealand, 2017–18, co-curator Mami Kataoka); Ann Shelton: Dark Matter (Auckland Art Gallery 2016–17); Out of Office, Public Share collective, RMIT Project Space, Melbourne 2017); Space to Dream: Recent Art from South America (Auckland Art Gallery, 2016, co-curator Beatriz Bustos);  Yang Fudong: Filmscapes (Centre for the Moving Image and Auckland Art Gallery, 2014–15, co-curator Ulanda Blair), and TransVersa: Artists from Australia and New Zealand (Museo de Arte Contemporáneo, Santiago, Chile, 2006, co-curator Danae Mossman). Stanhope is commissioning editor of and has contributor to: Ann Shelton: Dark Matter, Auckland Art Gallery (2016); The Māori Portraits: Gottfried Lindauer’s New Zealand, co-edited with Ngahiraka Mason, Auckland University Press and Auckland Art Gallery (2016); and collected symposium papers Artmatter 01: Engaging Publics/Public Engagement, Auckland Art Gallery and AUT University, 2014 and Artmatter 2: Agency and Aesthetics, co-edited with Ann Shelton, Auckland Art Gallery and Massey University (2018). Her other recent publications include: ‘Living in These Times’ in Gregor Kregar, Gow Langsford Gallery and Gregor Kregar, Auckland (2018); ‘Everything Now’ in Us V Them: Tony de Lautour, Christchurch Art Gallery Te Puna o Waiwhetū (2018); ‘We Journey on through These Rough Waters’ in APT9, Queensland Art Gallery|Gallery of Modern Art (2018), Found in Translation (for Richard Maloy: Things I Have Seen) Youkobo Art Space, Tokyo (2017). She is a regular contributor to art magazines and journals, recently publishing: ‘Curating APT9: Staying with the Questions’, Art Monthly Australasia, iss 313, Summer 2018–19: 34–39 and ‘Home Truths: The Politics of Debility in Recent Projects by Shannon Novak’, Art New Zealand, iss 68, Summer 2018–19: 62–65. Institutional roles Stanhope has held include: Deputy Director and Senior Curator at Heide Museum of Modern Art, Melbourne, Australia (2002−08); inaugural Director of Adam Art Gallery, Victoria University of Wellington, New Zealand (1999–2002); and Assistant Director, Monash University Gallery, Melbourne, Australia (1993–99). She is an Adjunct Professor in the School of Art and Design at AUT University, Auckland and at RMIT University, Melbourne, and holds a PhD from the School of Arts and Social Sciences at the Australian National University, Canberra which focused on the international development of socially engaged art practices. Dancers, part of Women's Wealth' in The 9th Asia Pacific Triennial of Contemporary Art (APT9)Queensland Art Gallery | Gallery of Modern Art (QAGOMA)Start date 24 November 2018End Date 28 April 2019OPENING WEEKEND Vuth Lyno, 'House-Spirit' 2018, installation viewThe 9th Asia Pacific Triennial of Contemporary Art (APT9)Queensland Art Gallery | Gallery of Modern Art (QAGOMA)Start date 24 November 2018End Date 28 April 2019OPENING WEEKEND

What’s the difference between a cave in Sydney and the Auckland Art Gallery? Joyce Campbell discusses her Walters prize-nominated project Flightdream and her working relationships with site and technology. Campbell also discusses Te Taniwha, an ongoing photographic project drawing on the mythology, history and ecology of Waikaremoana and its many tributaries and outlets. Image: Joyce Campbell, Flightdream II (video still) 2016, three-channel HD video installation, 30:00 min looped, colour, sound by Peter Kolovos, text by Mark von Schlegel narrated by Andrew Maxwell, courtesy of the artist and Two Rooms, Auckland, (installation view), Auckland Art Gallery Toi o Tamaki, 2016.

Chris Saines, Director of the Queensland Art Gallery | Gallery of Modern Art, presents the second of a series of talks titled 'What Can Art Institutions Do?', followed by a conversation with Johan Lundh, Co-Director of the IMA. Saines has 30 years’ experience in Australian and New Zealand galleries as a director, curatorial and collection manager, educator and curator. He commenced as Director of the Queensland Art Gallery | Gallery of Modern (QAGOMA) in April 2013, having previously been Director of Auckland Art Gallery Toi o Tāmaki from 1996–2013. He led that institution’s $125 million redevelopment, which opened in 2011 and won World Building of the Year 2013. Previously, Mr Saines spent 11 years at Queensland Art Gallery, eight of them as Manager of Curatorial Services. He re-joined QAGOMA as Director with a commitment to internally curating major exhibitions both from the Collection and with leading international artists, and to touring Collection exhibitions nationally and internationally. His vision is for QAGOMA to be the leading museum for the contemporary art of Australia, Asia and the Pacific.

“I wanted to be very ambitious at a time when it looked like the economy was collapsing”. In this pod Lisa Reihana discusses her installation in Pursuit of Venus (infected) at Auckland Art Gallery Toi o Tāmaki. Based on 19th century wallpaper, Reihana’s scrolling video installation addresses a moment of early colonial contact between European and South Pacific peoples. Part 1 (0-8.22) The genesis of the project, links between the historical figures depicted and contemporary culture, and the critical nuances in the work. The making of another video Tai Whetuki/House of Death as a means to work through historical events. Part 2 (8.30-15.00) Technical challenges and ethical conundrums. Lisa concludes by talking about her digital stills of Captain Cook, Joseph Banks, Omai and Tupaia at the National Portrait Gallery, the revisiting of historical figures and play with gender. “It’s all about representation and ways of looking”.

Von Guérard sailed into Milford Sound on the SS Otago on the evening of Monday 24 January 1876. The passengers on the eagerly anticipated four-and-a-half day voyage from Melbourne were not disappointed. Myriad waterfalls dashed down the steep sides of the granite peaks, following recent rain, and the clouds lifted to reveal Mitre Peak and Mt Pembroke – their towering forms reflected in the mirror-like surface of the fiord. The Otago dropped anchor by Bowen Falls at 7 pm. Von Guérard ‘at once had himself conveyed to an island’ where he executed sketches, and three drawings documented with notes on colour and vegetation, before the midsummer sun finally set.1From his chosen viewpoint he developed a panoramic composition of a series of pyramidal forms that stretch across the canvas, rising above the line of the water and reflected in it. Through the power and austerity of the composition, von Guérard communicates the monumental scale and geological age of the dark, angular rocky peaks, the depths of the fiord and the haunting silence of the Sound. His own personal experience is registered in the vignette of tiny figures seen disembarking from their rowboat. Their exhilaration at finding themselves in a place described by a journalist on the Otago as ‘unsurpassed, if equalled, by any cynosure of beauty on the earth’s surface’, is palpable.2 The intensity of von Guérard’s response to Milford Sound was informed by his scientific interest in its geology and vegetation.3 Contemporary reviewers, such as the writer for the Argus, who referred to ‘the steamer, floating like a child’s toy at the foot of one of the “awful cliffs”’, responded to Milford Sound in terms of the British Sublime.4 The Sublime played a part in von Guérard’s vision, but a more revealing context for understanding his portrayal of the subject is the scientific and specifically geological direction taken by German landscape painting in the early nineteenth century. Carus, in his Nine letters on landscape painting, argued for a new type of landscape art, one that revealed the history of the Earth’s formation through a scientifically accurate portrayal of its geology. In Milford Sound von Guérard observed and portrayed the hard, erosion-resistant character of the granite, gneiss and diorite rock formations and the vertical ridges of their foliated geological structure. The glacier at the top of Mt Pembroke – a flash of white in a predominantly dark composition – is a reminder of the glacial activity that shaped this landscape over six million years ago. Von Guérard’s New Zealand journey was the last of his many expeditions in the southern hemisphere. The two major works from this trip, Milford Sound and Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand 1877–79, were immediately acclaimed by contemporary reviewers.5Milford Sound was exhibited at the Exposition Universelle de Paris in 1878, and won a ‘First degree of Merit Special for Landscape Painting’ at the Sydney International Exhibition in 1879. Ruth Pullin 1 ‘The Otago’s Trip to Milford Sound’, Otago Witness, Issue 1262, 5 February 1876, p. 7. 2 Otago Witness, p. 7. 3 Von Guérard’s scientific accuracy is also evident in his portrayal of the plants found at Milford Sound. It is probable that the feathery flowered grasses in the foreground are the species richardii, a member of the Cortaderia genus. It is known by the Maori as toe toe. My thanks to Richard Neville, Conservation Botanist, Royal Botanic Gardens, Melbourne, for identifying this plant species. 4 Argus (Melbourne), 2 January 1877, p. 4. 5 Collection of the Auckland Art Gallery Toi o Tamaki.

Imants TILLERS, Hiatus 1987, oilstick,gouache,synthetic polymer paint, 190 canvas boards, nos. 14278 - 14466, 254.0 (h) x 723.9 (w) cm, Auckland Art Gallery Toi o Tamaki, purchased 1988, Auckland