Tag Archives: contemporary art

Creating small worlds: Jim Allen at Te Papa

One of the highlights of the updated Collecting Contemporary exhibition is the inclusion of three important works by contemporary New Zealand artist Jim Allen (born 1922).

Artist Jim Allen with his work Tribute to Hone Tuwhare, 1969. Photo: Michael Hall, Te Papa

Artist Jim Allen with his work 'Tribute to Hone Tuwhare', 1969. Photo: Michael Hall, Te Papa

The three works – Small worlds, Tribute to Hone Tuwhare, and Space plane, environment no. 1 – were originally made for an exhibition at the Barry Lett Gallery, Auckland, in June 1969. This gallery was a hotbed of activity at the time: host to experimental art projects, poetry readings, and much besides.

Jim Allen’s 1969 exhibition Small Worlds: 5 Environmental Structures transformed the entire space into an immersive installation. While there were discrete works in the show, the overall intention was to creating a total, multi-sensory experience. Visitors to the exhibition were encouraged to walk through the works – to look, touch, listen, and read.

Archival photo showing the 1969 'Small Worlds: 5 Environmental Structures' exhibition at Barry Lett Gallery, Auckland. Photo courtesy of Jim Allen.

Archival photo showing the 1969 'Small Worlds: 5 Environmental Structures' exhibition at Barry Lett Gallery, Auckland. Photo courtesy of Jim Allen.

Archival photo showing the 1969 'Small Worlds: 5 Environmental Structures' exhibition at Barry Lett Gallery, Auckland. Photo courtesy of Jim Allen.

Archival photo showing the 1969 'Small Worlds: 5 Environmental Structures' exhibition at Barry Lett Gallery, Auckland. Photo courtesy of Jim Allen.

At the end of the 1969 exhibition, the works were dismantled and the various parts were destroyed. The exhibition has since come to assume an almost legendary status in the history of contemporary art practice in New Zealand. However, it escaped wider public recognition until Jim Allen made the decision to reconstruct the works in 2010.

The reconstructed works were shown in the exhibition Small Worlds at the commercial gallery Michael Lett (no relation to Barry), and in the Points of Contact exhibition organised by the Govett-Brewster Art Gallery in New Plymouth and the Adam Art Gallery in Wellington. In 2011, Te Papa acquired the full suite of works for its collection. Collecting Contemporary is our first opportunity to put the works on public display.

Collecting Contemporary exhibition

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On show now: The three works on display in the 'Collecting Contemporary' exhibition at Te Papa, March 2012. Photo: Michael Hall, Te Papa.

I could write many blogs about Jim Allen’s works (and, indeed, perhaps I will), but for now, I want to draw your attention to this video interview that Te Papa made with the artist, in which he discusses his original intention for the work.

Also worth checking out is a separate video in which Jim reads aloud the poem ‘Thine own hands have fashioned’ by New Zealand poet Hone Tuwhare (1922–2008). This poem features in Jim’s work Tribute to Hone Tuwhare. I’d like to thank the estate of Hone Tuwhare for permission to use the poem in this video.

See Jim Allen read ‘Thine own hands have fashioned’ by Hone Tuwhare

Sarah Farrar
Curator Contemporary Art

Behind the scenes: installing the Collecting Contemporary exhibition

Over the last couple of weeks, we have been busy installing an updated selection of works in the Collecting Contemporary exhibition on Level 5. Collecting Contemporary is an exhibition featuring some of the contemporary New Zealand art works that Te Papa acquired between 2006 and 2011.

Read more about Collecting Contemporary

As a curator, the installation period, or changeover, of exhibitions is always an exciting time – stressful, fun, tiring, and exhilarating. Other tasks have to be put on hold while the project team concentrates on getting the show ready to open.

In this blog post, I wanted to share some behind-the-scenes photos that were taken as we installed the exhibition. I always love seeing these sorts of images from other museums – to see the craft of skilled technicians carefully installing art works and to get a sneak preview of what’s going to be on show.

Watch this space. One of the rooms before the new works are installed. On the left are two paintings by Simon Morris, Pause 4.5 and Pause 5.5, 2006. Photo: Sarah Farrar, Te Papa

Watch this space. One of the rooms before the new works are installed. On the left are two paintings by Simon Morris, Pause 4.5 and Pause 5.5, 2006. Photo: Sarah Farrar, Te Papa

Leftovers after a work has been de-installed. Photo: Sarah Farrar, Te Papa

Leftovers after a work has been de-installed. Photo: Sarah Farrar, Te Papa

Te Papa installers patch up the gallery walls. Exhibitions Co-ordinator Hutch Wilco estimates there are probably about 60 layers of paint on this particular wall from different exhibitions over the years.

Te Papa installers patch up the gallery walls. Exhibitions Co-ordinator Hutch Wilco estimates there are probably about 60 layers of paint on this particular wall from different exhibitions over the years.

Getting the equipment ready to show Lisa Reihana’s video installation Groundswell, 2005. Photo: Sarah Farrar, Te Papa

Getting the equipment ready to show Lisa Reihana’s video installation Groundswell, 2005. Photo: Sarah Farrar, Te Papa

Te Papa installer Callum prepares the gallery for a selection of works from Gesamtkunsthandwerk, a collaborative work by Karl Fritsch, Martino Gamper, and Francis Upritchard. Photo: Sarah Farrar, Te Papa

Te Papa installer Callum prepares the gallery for a selection of works from Gesamtkunsthandwerk, a collaborative work by Karl Fritsch, Martino Gamper, and Francis Upritchard. Photo: Sarah Farrar, Te Papa

Te Papa installer Sam installs a suite of works by Wellington photographer Anne Noble, Ruby’s room, 1998–2007. Photo: Sarah Farrar, Te Papa

Te Papa installer Sam installs a suite of works by Wellington photographer Anne Noble, Ruby’s room, 1998–2007. Photo: Sarah Farrar, Te Papa

Te Papa installers Brad and Callum install the suspension rig for Jim Allen’s works. Photo: Te Papa

Te Papa installers Brad and Callum install the suspension rig for Jim Allen’s works. Photo: Te Papa

It’s a team effort. Art Collection Managers Lucy and Frances lend a hand. Photo: Te Papa

It’s a team effort. Art Collection Managers Lucy and Frances lend a hand. Photo: Te Papa

Thank you to all the crew who worked on getting this show ready and, especially, a heartfelt thank you to each of the exhibiting artists.

If you happen to be in Wellington, please pop in and visit the exhibition. It’s free and on Level 5.

Out-of-towners, check out the show online

See video interviews with some of the artists

Sarah Farrar

Curator, Contemporary Art

Vivian Lynn talks about her work Guarden gates, 1982

Senior artist Vivian Lynn has for over sixty years been making critical and enquiring work. The recent selective survey I, HERE, NOW Vivian Lynn at the Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington (25 October 2008-15 March 2009) curated by Christina Barton, offered a rich selection of over seventy works dating from 1950-2008.

A book, of the same title, has just been published and makes fascinating reading, with essays by Christina Barton and Anna Smith, and short texts on specific works by Ian Wedde, Brian Easton, Pamela Gerrish Nunn, Priscilla Pitts, Charlotte Huddleston, Anne Kirker, Sarah Treadwell and Guyon Neutze.

Guarden gates, a significant work from 1982, is part of Te Papa’s collection. It comprises seven wall mounted sculptural forms made from cyclone gates, human hair and ribbon, and was a key focal point of the Te Papa exhibition We are unsuitable for framing, curated by Charlotte Huddleston which overlapped with the Adam Art Gallery exhibition (28 December 2008-26 July 2009).

Guarden gates, 1982, Vivian Lynn (1931– ), New Zealand. Purchased 1993 with Elise Mourant Collection funds. Te Papa.

Guarden gates, 1982, Vivian Lynn (1931– ), New Zealand. Purchased 1993 with Elise Mourant Collection funds. Te Papa.

Each of the seven structures has its own title: Matrix; Daughter of the father; Sacrifice; Processual ground; Differentiation; Rebirth and Eyes of life, eyes of death. The combination of materials is evocative and visceral, and the formal arrangement of the suite of works heightens their arresting qualities.

As Christina Barton comments in her introductory essay ‘Entwined with hair and other substances, Guarden gates demonstrates Lynn’s treatment of materials as generators of meaning. Together and singly the seven gates establish a complex interplay of opposites (organic and manufactured, structural and ornamental, inside and outside) that engage and contest the politics associated with her chosen materials’ cultural coding and which set out a poetic narrative referencing Jungian concepts of the unconscious. Though not an illustration (Lynn only encountered the story after the work was completed), the installation can be read through the 5000-year-old legend of Inanna, a Sumerian fertility deity representing eros, who sets out on a journey to meet her sister Ereshkigal, queen of the underworld, and has to pass through seven gates, giving up her different powers at each to surrender herself to death, who is later rescued in a symbolic gesture that affirms the cycle of life.’[1]

During the exhibition at Te Papa Vivian Lynn spoke about Guarden gates, how the work evolved and the range of social, political and mythological associations it draws upon. You can see this footage here:

Heather Galbraith
Senior Curator Art


[1] Barton, Christina, I, HERE, NOW Vivian Lynn – an introduction, I, HERE, NOW Vivian Lynn, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, Wellington, p.16-17.

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