A Question of Faith. The major survey exhibition which has seen our leading artist described controversially as the 'Van Gogh of Australasia', opens at City Gallery Wellington.
A Question of Faith
Colin McCahon: A Question of Faith, the major survey exhibition which has seen
our leading artist described controversially as the 'Van Gogh of Australasia',
opens at City Gallery Wellington. Wellingtonians and
visitors to the capital will be the first to see this exhibition, which is the
largest touring exhibition ever of McCahon's work.
A Question of Faith arrives in Wellington direct from the prestigious
Stedelijk Museum Amsterdam, where large audiences experienced the New Zealand
artist's work, often for the first time. "We are very proud that City Gallery
Wellington is the first venue on the exhibition's Australasian tour," says
Paula Savage, Director of the Gallery. "The Stedelijk Museum presented Colin
McCahon as a major 20th century painter on the international scene. He was
compared in Europe to visionary artists such as Jackson Pollock and Edvard
Munch." The principal sponsor of the New Zealand presentation of Colin
McCahon: A Question of Faith is Ernst & Young.
Ms Savage describes the exhibition as the most important visual arts event of
the summer, and a drawcard for visitors from throughout New Zealand. "There
will only be one other chance to see A Question of Faith in New Zealand at
Auckland Art Gallery from 29 March to 15 June 2003 before it is toured to
Australia. Colin McCahon was born in Timaru, and visitors from the South
Island will see the influence of the land and colours of this region in his
work."
"Although most New Zealanders have heard of Colin McCahon, many are not really
familiar with his work," she says. "This exhibition, which spans four decades
of his work, is therefore an ideal opportunity to understand why he is now
considered such an important artist, not just in New Zealand but
internationally."
The exhibition, which is free to the public, features 78 works from throughout
Colin McCahon's (1919-1987) career. It was curated and organised by the
Stedelijk Museum with the organisational support of the Auckland Art Gallery
Toi o Tamaki. Set out chronologically, it enables visitors to follow McCahon's
development from the early figurative styles of the 1940s to the later
abstract works. Works have been drawn from public and private collections in
Europe and Australasia. A number have particular resonance for New Zealand
audiences, for example, the imposing Victory over Death 2 (1970), which was
gifted to the Australian government, and Storm Warning (1980-1981), which was
originally part of Victoria University of Wellington's collection. Other major
works include Here I give thanks to Mondrian (1961); Numerals (1965); The
Lark's Song (a poem by Matire Kereama) (1969); Necessary Protection (1972);
and significant series such as Elias, Gate and Scared.
Curated by Marja Bloem, Senior Curator at the Stedelijk Museum, the exhibition
focuses on a central aspect of McCahon's practice the artist's spiritual
quest, demonstrating how he explored questions of faith, doubt, hope and
eventually despair. In this way Ms Bloem has brought a fresh new dimension to
the understanding of the artist's work.
The exhibition is accompanied by a 270 page publication of the same name, the
first major book about McCahon published for many years. Described by Parson's
Bookshop in Auckland as "the most important New Zealand art book for over 12
years", it contains essays by writers and experts on McCahon, including his
son William. Also featured are colour plates of all the paintings in the
exhibition, along with many other photographs and paintings of his life and
career, some never before published.
Writing in Colin McCahon: A Question of Faith, Stedelijk Museum Director Rudi
Fuchs' says: "McCahon was the artist who gave New Zealand a powerful visual
identity and for that he is revered in his homeland. That he went further, to
explore and communicate through the medium of painting the universal questions
and concerns of humanity, is why we, in other parts of the world, must
recognise him as a great modern master."
City Gallery Wellington, 360-Michael Hirschfeld Gallery
Wellington, NZ