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Media Release: September, 2005. 

City Gallery Wellington is proud to present a tribute to one of Wellington’s foremost landscape artists of recent decades, Jane Pountney (1949-2004).

Born in Rotorua in 1949 and raised on the family farm at Galatea, Jane Pountney completed a Diploma of Education in 1968 and taught in both Australia and New Zealand. Pountney began painting part-time in the 1970s; her friend and fellow painter, Wellington artist Gerda Leenards, recalls venturing into the hills around the Hutt Valley with Pountney at this time, “laden with pastels and drawing boards and sometimes with our daughters in tow.”

Although Pountney continued to teach (most notably at the Correspondence School, from 1983 until her death in 2004) she also had an active career as an exhibiting artist. Pountney exhibited widely in New Zealand, with solo shows at a number of dealer galleries, and in the 1980s and 1990s her work was shown at the Dowse Art Gallery, Lower Hutt, City Gallery Wellington, the Govett-Brewster Art Gallery, New Plymouth, and the Auckland Art Gallery. Pountney’s work is held in several major New Zealand collections, and her drawings were published in two books of poems by Lindsay Rabbitt, On the Line (1985) and Thewayofit (1988). Pountney died in Wellington, of Waldenstom Disease, on 30 January 2004.

City Gallery Wellington’s exhibition Jane Pountney – Wade in the Water brings together a number of Pountney’s key works, several of which have never been publicly exhibited. The works chosen for the exhibition reflect a move in Pountney’s painting, from the operatic intensity of her large canvases of the 1980s and early 1990s to the smaller and more intimate beach paintings of recent years, when the artist became entranced by figures she observed at Eastbourne, Wellington.

Curator Gregory O’Brien says: “This exhibition gives Wellington audiences a rare chance to see an exciting range of Jane's paintings – from her marvellous, almost overwhelming large canvases to the small, miraculous works of her last few years. The paintings reflect Jane's energetic, independent temperament, her real audacity with the paintbrush, and her acute sensibility for the landscapes she loved, in the Wellington region and elsewhere.”

Floortalk: Rolling Thunder

Sunday 6 November, 2pm

Join curator Gregory O'Brien and Wellington artist Gerda Leenards as they discuss Jane Pountney's work in the context of contemporary landscape art, particularly that produced by New Zealand women artists.

Jane Pountney – Wade in the Water

City Gallery Wellington

25 September – 20 November 2005

Free entry

Media Release: August, 2005. 

A new exhibition at the Michael Hirschfeld Gallery will bring attention to three major architectural projects which have recently taken place, or are currently underway, in the Wellington region.

The Michael Hirschfeld Gallery, devoted to the work of Wellington artists, spans a wide range of creative practices, from painting to design to jewellery-making. This new exhibition at the Gallery – In the Neighbourhood – follows in the footsteps of the 2002 architecture exhibition Dreamhouse, which presented architects’ visions for a dream dwelling.

In the Neighbourhood moves from dreams to reality, by looking at new community spaces around Wellington and profiling three recent architectural projects in which utopian ideas for public spaces are matched to rigorous design principles, creating remarkable new urban landmarks.

The three projects are:

· The enhancement of Oriental Bay, carried out over 2001-04, which involved an overall design vision for the whole Oriental Bay area. Initiated by the Wellington City Council, the project was a collaboration between architectural firm Architecture Workshop, landscape architects and urban designers Isthmus Group and environmental and engineering consultants Tonkin and Taylor. The improvements to the area ranged from building a submerged reef to building a new amenities block. The developments have been described by architecture commentator Tommy Honey as ‘excellent improvements to one of Wellington’s greatest assets.’

· The new building for the inner-city church St Joseph’s Hato Hohepa. Architectural firm Studio of Pacific Architecture were challenged to create a building that not only met the liturgical requirements of the Catholic Church, but that would also be a multi-purpose space that could be used as a community facility for meetings, functions and as a civil defence centre.

· The development of a new cultural centre for Waiwhetu marae in Lower Hutt (construction to be completed by mid-2005). Commissioned by Te Ati Awa, Athfield Architects Ltd have designed a new cultural centre and waka house. Maori concepts drive the design of this new complex, which will be a focal point for the iwi and the wider community.

In the Neighbourhood is part of the celebrations for the Year of the Built Environment. The exhibition is also scheduled to coincide with the ‘Urbanism Down Under’ conference on urban design (18-20 August 2005).

Bus tour of the three In the Neighbourhood architectural projects

Sunday 21 August, 1:30pm

Media Release: July, 2005. 

City Gallery Wellington is proud to announce an upcoming solo project by Sydney-based artist Noel McKenna. Noel McKenna – Sheltered Life will be on show at City Gallery Wellington from 10 July to 18 September 2005.

Noel McKenna’s intriguing narrative paintings have been widely exhibited in Australia over the past two decades. A genuinely trans-Tasman artist, McKenna has strong ties with New Zealand: he has held three solo exhibitions in Wellington, produced a series of works about the Southland region, illustrated books by New Zealand poets and had work included in Parihaka: The Art of Passive Resistance at City Gallery Wellington in 2000.

Noel McKenna’s art is triggered by the everyday world around us and the poetry that can sometimes be found in ordinary situations. He says "I have a general philosophy that the things that I do just come from everyday life and you do find strange things in everyday life."

McKenna’s past works have included paintings of racehorses, of key cricketing moments, of tourist monuments (the gigantic pineapples and galahs that are the Australian equivalent of Ohakune’s giant carrot) and painted reproductions of lost pet posters. His work shows a wry and subtle sense of humour, often tinged with a sense of pathos.

For his exhibition at City Gallery Wellington, McKenna explores various notions of home: 'home town', 'home away from home', 'homelessness', the 'homing' impulse. In addition to a number of his characteristic paintings, ‘Sheltered Life’ will also include several of McKenna’s sculptural works – enigmatic constructions which play with scale and incorporate found objects.

Noel McKenna’s art has an affinity with the written word. Text often appears in his work, and, as New Zealand writer Damien Wilkins has said: “Writers love his stuff. Is it because his paintings often have a discrete narrative force? They seem to come from a larger story that is always on the point of being told, and they have an off-hand charm that flatters …” Appropriately then, Sheltered Life includes a series of McKenna’s ceramic vases featuring texts by New Zealand writer Jenny Bornholdt.

Noel McKenna was born in Brisbane in 1956. Currently he lives and works in Sydney. He has been exhibiting since the early 1980s and has had numerous solo exhibitions in both Australia and New Zealand. Work by McKenna is also included in the National Gallery of Australia touring exhibition, Home Sweet Home: Works from the Peter Fay Collection, which will be on show at Dunedin Public Art Gallery this winter (9 July - 18 September).

Noel McKenna – Sheltered Life 

City Gallery Wellington 

10 July – 18 September 

Free entry

Media Release: July, 2005. 

City Gallery Wellington, in association with law firm Simpson Grierson, is proud to announce Small World, Big Town: Contemporary Art from Te Papa, an exhibition in partnership with the Museum of New Zealand Te Papa Tongarewa.

This partnership will give audiences an opportunity to see an exciting and diverse range of contemporary New Zealand art. Small World, Big Town has been jointly curated City Gallery Wellington and Te Papa, and includes work by 28 New Zealand artists, drawn from the Te Papa visual art collections.

Small World, Big Town takes as its theme a shift in artists’ thinking in recent decades, from concerns about national identity and nationhood to the ideas and impacts of globalisation, a would-be regionalism and the importance of individual experience.

The works selected for Small World, Big Town focus both on the local and the immediate, as well as our growing sense of belonging to a global community. Now, as the world appears to shrink in scale, artists get their bearings from all over the globe. Small World, Big Town offers audiences an affectionate look at ourselves as a big town on the periphery of an increasingly smaller world; remote, yet globally connected.

The works included in the exhibition range from iconic pieces by well-known artists, such as Peter Robinson’s My marae, my Methven, the centre piece of the 1995 international touring exhibition Cultural Safety, to recent acquisitions by emerging artists such as Peter Stichbury and Mladen Bizumic.

Small World, Big Town will present an exciting array of artworks, from Ani O’Neill’s six-metre long weaving made of florist’s ribbon and thread, to moving image work by Yuk King Tan, paintings by Michael Harrison and Bill Hammond, photographs by Fiona Pardington and Yvonne Todd, sculpture by Michael Parekowhai and Richard Reddaway and page works by cartoonist Dylan Horrocks.

A significant element of Small World, Big Town will be the first New Zealand showing of Michael Stevenson’s This is the Trekka, made possible by its recent acquisition for Te Papa’s collections. This is the Trekka was New Zealand’s presentation at the 50thVenice Biennale of International Art 2003.

City Gallery Wellington Director Paula Savage says: “We are thrilled to have worked with Te Papa on this exhibition. I know the curators at City Gallery Wellington have really enjoyed working with a collection of such high calibre, and we are very much looking forward to presenting the results of our combined work to the public. We are sure that visitors will find Small World, Big Town a fresh and engaging look at the fantastic work produced by New Zealand artists over the past 20 years.”

Seddon Bennington, Chief Executive, Te Papa, says: "Te Papa is extremely pleased to be working with City Gallery Wellington to develop an exhibition of works from our collections for the people of Wellington and visitors to the region. Small World, Big Town complements the many works on display at Te Papa, and builds on our long term strategy to increase access to the treasures in our collections through our loans programme with New Zealand's public galleries and museums."

City Gallery Wellington is also very pleased to announce that the exhibition Small World, Big Town will inaugurate a new sponsor-relationship with law firm Simpson Grierson.

City Gallery Wellington director Paula Savage says: “Partnerships with businesses like Simpson Grierson play a vital role in assisting City Gallery Wellington to achieve its mission of bringing the best of contemporary art to a wide public audience. We are proud to welcome Simpson Grierson as supporters of City Gallery Wellington, and moreover, as supporters of the arts in New Zealand.”

Simpson Grierson Chairman Rob Fisher says: “We are delighted to come on board as sponsors of City Gallery Wellington, and to play a part in the presentation of such an exciting range of contemporary New Zealand art. We look forward to our involvement in further similarly stimulating exhibitions at the Gallery.”

The artists featured in Small World, Big Town are:

Mladen Bizumic; Derrick Cherrie; Margaret Dawson; Bill Hammond; Michael Harrison; Gavin Hipkins; Saskia Leek; Lauren Lysaght; Andrew McLeod; Anne Noble; Ani O’Neill; Fiona Pardington; Michael Parekowhai; John Pule; Richard Reddaway; Peter Robinson; Ava Seymour; Marie Shannon; Michael Shepherd; Michael Stevenson; Peter Stichbury; Yuk King Tan; Yvonne Todd; Ronnie van Hout; John Walsh; Ruth Watson; Boyd Webb; Brendan Wilkinson.

Also opening 10 July, Noel McKenna – Sheltered Life (10 July – 18 September).

Small Town, Big World: Contemporary Art from Te Papa is a partnership exhibition between City Gallery Wellington and the Museum of New Zealand Te Papa Tongarewa

Media Release: June, 2005. 

Wellington artist David Cross’s solo show in the Michael Hirschfeld Gallery brings together a video projection, photographs and a seven-hour long performance which collectively explore ideas about beauty (especially male beauty) and the grotesque, horror and humour, intimacy and endurance.

Cross’s practice is based in performance art, and he takes as his own body as a starting point in much of his work. Cross has a physical condition whereby his eyes continuously leak tears and it is this “difference” and “abnormality” that he explores in his work. As Cross says: ‘I want to use my body and its difference to tease out broader issues: about aesthetics, about beauty, about the function of the grotesque in our culture.’

The video work in Closer mixes Cross’s own "flawed" body into a line-up of male models, chosen to epitomise male beauty. The suite of photographs in the exhibition show the artist’s eye peering out at us from behind cheap Halloween masks, as Cross plays off jokey cartoon-style horror against his own body, which he says has ‘an element of real horror about it’.

Cross says: ‘I guess a term that’s very important to me is “the uncanny” – the point where something familiar becomes unfamiliar. For me, that moment of uncertainity is what my work is about.’

Closer exposes viewers to a range of these uncanny experiences, particularly with Bounce, Cross’s one day performance event to be held on Saturday 16 July, from 10am to 5pm.

For Bounce, Cross will install a huge red inflatable structure in City Gallery Wellington’s main foyer, and invite visitors to the Gallery to climb and jump on it. Cross says of this event: ‘I want people to think: “Yay, a bouncy castle in the gallery, let’s go and play, let’s go jump all over it!” Yet at a crucial point the audience response will change, as they fully understand what is actually taking place within the work.’

Join David Cross as he discusses his exhibition with Massey University lecturer and arts commentator Aaron Kreisler. Thursday 21 July at 5.30pm, in the Michael Hirschfeld Gallery. Free entry.

David Cross – Closer

Michael Hirschfeld Gallery at City Gallery Wellington 

24 June – 31 July 2005

Free entry, open every day 10am – 5pm

David Cross – Bounce

A one day performance event

16 July 2005, 10am – 5pm

Free entry

………………………………………………

David Cross was born in Melbourne in 1968. He has a Masters degree in Visual Arts from Monash University and is currently completing a PhD through Queensland University of Technology, Brisbane. He has been exhibiting regularly since the early 1990s. His work has been included in Perspecta 1999, Sydney, and he has presented performances at the Australian Centre for Contemporary Art, Melbourne and 2003 Interactions5, Poland. He has also presented performances locally at The Physics Room, Christchurch, the Adam Art Gallery, Wellington, and Enjoy Public Art Gallery, Wellington. David Cross is a senior lecturer in the School of Fine Arts at Massey University, Wellington, and a regular contributor to Australian and New Zealand arts publications.

Media Release: May, 2005. 

Lucien Rizos’s living room in suburban Wellington is a laboratory where artistic formulae are developed and tested. On the north-facing wall of his living room Rizos arranges and rearranges photographs, drawings, photocopies and other materials. Rizos’s solo exhibition project, … where I find myself, sees this wall transplanted into the main area of the Michael Hirschfeld Gallery.

For the past two decades, Rizos’s living room wall has been his way of thinking over and engaging with photography in its many guises: at times he has rephotographed famous images by photographers such as Henri Cartier-Bresson and cut out nondescript details from the backgrounds of famous images. Inspired by Robert Frank, he has taken photographs from speeding cars or while standing on street corners.

Rizos’s ‘private’ career as a photographer exists side by side with his ‘public’ career as a violinist in the New Zealand Symphony Orchestra. Rizos practises in his living room, facing the wall on which his photographs are pinned. While Rizos’s musical career is predicated on discipline, rigor and technique, his approach to photography and other art-making is characterised by relentless curiosity, experimentation and an at times anarchic spirit. Yet while Rizos’s installation is full of surprising juxtapositions and unusual contrasts, there are also discernible linkages and visual and verbal puns.

The smaller space of the Michael Hirschfeld Gallery contains another ‘wall’ of photographs, this time drawing on snapshots and portraits Rizos has gathered from the homes of his family. Like his work in the main gallery space, the ‘family room’ is also rich in echoes and reiterations: people disappear and reappear, family resemblances emerge, Europe merges with New Zealand.

…where I find myself is not so much about the differences between two kinds of photography – the family snapshot and the image taken for ‘artistic’ purposes – as about the dialogue that exists between them. The exhibition is a conversation between the two rooms in the Michael Hirschfeld Gallery, neither of which is, as the artist says, ‘exactly public or private’.

Lucien Rizos was born in Wellington in 1953. Although he has been taking photographs for many years and has amassed a vast body of work (much of which is housed in the National Library archives), he seldom shows his work. Rizos currently lives in Hataitai and has been an orchestral violinist in the New Zealand Symphony Orchestra since 1974.

Lucien Rizos … where I find myself 

Michael Hirschfeld Gallery at City Gallery Wellington 

20 May – 19 June 2005

Free entry, open every day 10am to 5pm.

Media Release: April, 2005. 

A new exhibition at the Michael Hirschfeld Gallery celebrates the vibrancy of contemporary Māori art.

Manawa taki brings together a group of contemporary Māori artists from the Wellington region or with affiliations to Wellington iwi, showcasing recent work by Chelsea Gough, Hemi Macgregor, Matthew McIntyre-Wilson, Rachael Rakena, Ngataiharuru Taepa, Taika Waititi and Wayne Youle.

Artwork in the show ranges from short film to woven metal sculptures, demonstrating the diversity and energy of contemporary Māori visual culture.

In Walters Park, Wellington, Wayne Youle offers a proposal for a public sculpture. In his diorama, miniature figures can be seen strolling around or contemplating a massive rendition of an abstracted koru shape, of the type made famous by modernist New Zealand artist Gordon Walters, whose paintings Youle often references. Youle says of his work: “Quite simply, I thought it would be great to sit under a one hundred and sixty foot Walters’ koru and eat fish 'n' chips.”

For Manawa taki, Matthew McIntyre-Wilson has made a selection of new works which extend his jewellery-making practice. McIntyre-Wilson’s small, delicately-tough sculptures are constructed out of woven copper strands: he has made three kete (a bag, normally woven out of flax) and a hïnaki (a traditional woven eel-trap) for the exhibition.

A highlight of ‘Manawa taki’ is the inclusion of Taika Waititi’s Oscar-nominated short film Two Cars, One Night. In this tale of first love, two boys and a girl meet while waiting for their parents in the carpark of a rural pub. As what at first seems to be rivalry develops into close friendship, we discover that love can be found in the most unlikely of places. Waititi says of his film: “There are a few moments in childhood that have a lasting impact. Not because they change the course of your life, or because they arrive with any great fanfare, in fact quite the opposite. Those are moments where an unexpected joy is found in the everyday, a moment of beauty in the ordinary. Two Cars, One Night captures one of those brief moments.”

Manawa taki also features a sleeping bag reconstructed by Chelsea Gough out of old world maps; a painting by Hemi McGregor that references both the ‘black monk’ of American modernism, Ad Reinhardt, and tiki figures; a still photograph from a recent work by moving-image artist Rachael Rakena and a painted pou (post) by Ngataiharuru Taepa.

Media Release: March, 2005. 

Next March, City Gallery Wellington offers New Zealanders the rare opportunity to see a rich and comprehensive collection of work by one of the world’s truly great artists.

Since the 1960s, when she burst onto the international art scene with her visually-charged black and white paintings, Bridget Riley has consistently produced work which has entranced viewers and kept her at the forefront of contemporary painting.

City Gallery Wellington director Paula Savage says: “Elizabeth Ann McGregor, Director of the Museum of Contemporary Art, Sydney, and myself have worked closely over the past two years with the British Council, London, to bring an exhibition of Bridget Riley’s work to the Southern Hemisphere. We are honoured that Sydney and Wellington are the sole venues in Australia and New Zealand for this Bridget Riley retrospective.”

Riley has the distinction of being a senior contemporary artist whose painting continues to develop in new directions, and whose work is still keenly tracked by younger artists. In 2003 Riley was the subject of a major retrospective at the Tate Britain, London. Critics described the exhibition as “electrifying” and as “One of the most coherent, individual and powerful bodies of work in contemporary art.”

Working with a simple vocabulary of colours and abstract shapes, often on a massive scale (the largest work in Bridget Riley: Paintings 1961-2004 is more than 5 metres long), Riley produces paintings that shimmer and dance, generating sensations of light, movement and space, and creating emotional and physical experiences for viewers. As Riley has written: ‘The eye … should feel caressed and soothed, experience frictions and ruptures, glide and drift.’

Bridget Riley: Paintings 1961-2004 features 35 paintings and 70 works on paper, drawn from across the four decades of her career. The exhibition reveals Riley’s ongoing investigation of the possibilities of colour and form, from the blazing black and white paintings of the 1960s to the softer and more lyrical colour works of recent years.

City Gallery Wellington is also pleased to announce Ernst & Young’s involvement as principal sponsor of Bridget Riley: Paintings 1961-2004.  Ernst & Young CEO John Judge says: “Ernst & Young are delighted to join once again with City Gallery Wellington to make the best of international contemporary art available to New Zealand audiences.”

Media Release: February, 2005. 

Beverly Rhodes’ solo exhibition project at the Michael Hirschfeld Gallery draws on the body of work she developed for her recently-completed Master of Fine Arts degree at RMIT, Melbourne.

In ‘Home is where we start from’ Rhodes explores ideas about childhood, motherhood and the process of growing up and discovering oneself as an individual. Rhodes’ work is nostalgic without being sentimental, and has a strong aesthetic, with bold use of colour (particularly deep reds and clean whites) and texture, especially in her use of lacquer-like enamel paint and woollen fabrics.

‘Home is where we start from’ is made up of three components that when brought together reveal the connections between the states of childhood and motherhood as experienced over a lifetime by one person.

For one work, Rhodes has taken the kitchen shelving units she grew up with, and mixed them with other familiar objects, including chairs, drawers and a school desk, all of which she has swaddled and stitched into scarlet woollen fabric. Rhodes will panel the walls of the smaller exhibition space in the Michael Hirschfeld Gallery with lengths of scarlet-painted plywood and then arrange the fabric-wrapped objects within the space, creating an immersive environment full of evocative colours and textures.

In another work, a wall hanging is made up of fabric strips embroidered with the phrases ‘blood sweat tears’ and ‘you are my sunshine’. In a third installation, piles of freshly-laundered sheets are neatly lined up along the gallery wall. A video projection plays over the sheets, showing Rhodes and her daughter folding linen, turning this household chore into a graceful, choreographed performance.

Through the three installations, Rhodes transforms the Gallery into a meditative space for visitors to ponder and enjoy.

Beverly Rhodes is of Kai Tahu and Scottish descent and was born in Methven, Canterbury, in 1941. She has exhibited throughout New Zealand since the early 1990s and her work has been recently seen in the exhibitions BlanketStitch at Objectspace, Auckland, and The New Alchemists at the Dowse Art Museum, Lower Hutt.

Beverly Rhodes: Home is where we start from 

Michael Hirschfeld Gallery at City Gallery Wellington 

25 February – 3 April 2005

Free entry, open every day 10am to 5pm.

Artist and curator’s floortalk – Thursday 3 March 2005, 5.30pm. All welcome

MEDIA ENQUIRIES:

Courtney Johnston, Publicist, City Gallery Wellington

T: 04 801 3959 E: courtney.johnston@wcc.govt.nz

Designworks Enterprise IG are proud sponsors of the Michael Hirschfeld Gallery. Thanks also to Colourcraft; and Publication & Design, Wellington City Council. City Gallery Wellington is managed by the Wellington Museums Trust with major funding from the Wellington City Council. 

Media Release: January, 2005. 

Wellington artist Gabby O’Connor’s collaborative exhibition at the Michael Hirschfeld Gallery reflects the adventures of a craftcamper who has toured foreign lands. This exciting and playful new project opens on 22 January.

O’Connor’s work will be familiar to many Wellingtonians: she is one of the co-founders of the collective CRAFTCAMP, whose ‘crafty’ and ‘cunning’ knickers, badges and other items are regular sights at the Dowse Art Museum shop and design store Artikel.

O’Connor came up with the concept of Postmark before embarking overseas in June 2004. She sees the exhibition both as a way of continuing to produce artworks while travelling, and of staying in touch with friends and fellow-artists in Wellington.

While travelling throughout Europe and the United Kingdom, O’Connor treated hostels, trains and transit lounges as her art studios, making works that responded to new places, sights and experiences. Once every two weeks, O’Connor would package up a work and post it back to one of her collaborators in Wellington: Katharine Allard, Vanessa Crowe, Diana Goodwin, Chelsea Gough, Georgiana Morison, Lisa Munnelly, Genevieve Packer, Sarah Jane Parton, Pippa Sanderson, Sandra Schmidt and Leanne Williams. Each artist was asked to produce a work for the exhibition that takes the work sent to them by O’Connor as a starting point, either incorporating it into a new work, or using it as inspiration.

For example, O’Connor sent Chelsea Gough “how big is the sky?”, a long piece of pink ribbon on which she hand-embroidered a question sent by a reader to the ‘Guardian’ newspaper, and the answer that the paper provided. Gough in turn has created a landscape diorama work whose kiddy-craft surface belies the serious questions it raises about our use of natural resources. O’Connor’s ribbon floats above the landscape on a sheet of Perspex.

Other works sent back by O’Connor included “doily forest” – 60 trees cut out from paper doilies with a scalpel – and “craft terrorist”, images and lettering that were embroidered and beaded onto denim, inspired by O’Connor’s attempts to take contraband items which are also the tools of her craft, such as knitting needles, onto airplanes. (O’Connor slipped her knitting needles onto the plane by bending them into bangles).

On Thursday 10 February at 5.30pm, O’Connor and many of the artists featured in ‘Postmark’ will give a free talk in the exhibition space, describing the exhibition project and the way in which works were conceived and constructed.

Postmark: an artist’s project by Gabby O’Connor

Michael Hirschfeld Gallery at City Gallery Wellington

22 January – 20 February 2005

Free entry, open every day 10am to 5pm.

Artists’ floortalk – 10 February 2005, 5.30pm. All welcome

MEDIA ENQUIRIES:

Courtney Johnston, Publicist, City Gallery Wellington

T: 04 801 3959 E: courtney.johnston@wcc.govt.nz

Designworks Enterprise IG are proud sponsors of the Michael Hirschfeld Gallery. Thanks also to Colourcraft; and Publication & Design, Wellington City Council. City Gallery Wellington is managed by the Wellington Museums Trust with major funding from the Wellington City Council. 

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