Every now and then our local Aigantighe Art Gallery will promote paintings by a New Zealander in its main exhibition hall. As ‘textile’ exhibitions are few and far between where I live, I take every opportunity to visit and view what is on display. The series of paintings by Bob Kerr heralding the title of the display as “Hell Here Now” are a depiction of the First World War experiences of Archibald and Alfred Cameron. http://www.timaru.govt.nz/index.php
The Timaru Herald ran reviews in their daily papers entitled ‘Art of War’ and ‘Past Times’. Kerr’s paintings throw strong new light on our history and landscape. These were New Zealand citizens being punished by New Zealander officers. http://www.stuff.co.nz/timaru-herald/
This was a powerful narrative exhibition detailing one of the dark stories of New Zealand’s involvement in the First World War. Bob Kerr was born in Wellington, N.Z. and attended Elam School of Fine Arts where he taught Colin McCahon. He began painting full-time in 1998 and has many exhibitions throughout N.Z. He is also author of several children’s books including The Optimist which won the 1993 Best Children’s Book Award http://www.ubdercoatblog.blogspot.com
The gallery is entered directly from a main arterial road leading into Timaru City, not 2 km’s from the Central Business District. The public approach the two glass front doors by walking up a slight incline wheel chair ramp and have easy access to the foyer and reception desk. The vestibule area was aesthetically inviting, unsullied in atmosphere and directed and informed its visitors with adequate wall signage/paintings and notice board enlightenment.
The Edwardian House named Aigantighe (means ‘at home’ in Scottish Gaelic and is pronounced ‘egg and tie’) was built-in 1908 with the new wing and a sculpture garden added some 70 years later. Aigantighe was built as a retirement home for Alexander and Helen Grant and gifted to Timaru by Jame Grant as an Art Gallery. Promotional material refers to Aigantighe as “A Free Art Museum” collecting, researching, exhibiting and educating about art for the enjoyment of all its visitors. Currently Aigantighe owns the third largest public art museum collection in the South Island of New Zealand.
The main hall was spacious, spartan furnished and temperature controlled with its directional spot lighting allowing viewers to contemplate a selection of Bob Kerr’s oil on board paintings grouped thematically. Limited bench type seating was available for those viewers inclined to sit and ponder the intricacies of the artist’s portrait and figurative paintings.
Access to exhibits in adjoining rooms, mezzanine floors and areas outside the main building was made possible by internal/external ramps and an elevator. Visitors with special needs were directed to enquire at the receptionist’s desk as wheel chairs and visual/hearing aids were not generally available. Guided tours, times and dates were advertised either in the local newspapers, community message boards, on the notice board in or by arrangement withe the gallery staff.
The ‘Friends of the Gallery’ vigorously support staff, various gallery activities and run the special Art Car Project – an outreach vehicle appears at public festivals and special gallery events – as well they receive advance warning of forthcoming exhibitions. As a captured audience publicity is directed at encouraging their social and financial support. For the passer-by however they must keep their eye on the buildings street wall for details of the next exhibition. This is painted on the wall in extra-large and colourful lettering. Otherwise they need to go be alert to reading the public notices section in their local newspapers or make their own enquiries for ‘what’s happening at the Aigantighe’.
Special holiday programmes are run for school children and school groups so that the gallery is seen to be actively catering for all ages. These activities involve dressing up in period costume and searching the gallery for answers to quiz programmes given to them on clip boards. Suitable incentives applied such as literary prizes.. This is an innovative initiative by the local gallery as previous directors appear to have not been sufficiently focused or qualified to present community programs for the likes of primary and tertiary students.
Public announcements are aimed at reaching the readers of particular news media such as the daily papers whereas programs run for the students up to the tertiary level are couched in language to suit their age and stage of development omitting language for higher levels of academia. Once inside the various exhibitions the overall signage was minimal other than a general news-sheet which could be collected as viewers entered the exhibition hall giving them the background to the current paintings or artefacts being displayed.
More specific labels and narrative were placed alongside each exhibit so that the viewer was advised of the relevant information such as artist, date, name of the painting and the medium/material used. The headings were two to three times larger than the text which was on average 20mm high and in Times New Roman fonts. These labels were approximately one meter above ground level. All this information was in English except for Maori names and places.
Contextual and other printed information did not appear to be available neither was there any information technology such as computers, interactive screens or hard copy resources such as manuals or catalogues. The question would have to be asked of counter staff if researchers or students wanted to locate any other study material that was held in the galleries archives.
acreativeapproachtotextiles 