Detail from: Anna Sanderson, Gavin Hipkins, Philip Kelly, ‘What Remains, The Karori Commission’, 2017, 30 archival pigment prints, framed, Victoria University of Wellington Art Collection, commissioned 2017  Detail from: Anna Sanderson, Gavin Hipkins, Philip Kelly, ‘What Remains, The Karori Commission’, 2017, 30 archival pigment prints, framed, Victoria University of Wellington Art Collection, commissioned 2017 Louise HENDERSON (b.1902, d.1994), Milking Stool, 1954, charcoal and oil pastel on paper, Victoria University of Wellington of Art Collection, previously Wellington College of Education Art Collection, accessioned 2009

What Remains, The Karori Commission
Anna Sanderson, Gavin Hipkins, Philip Kelly
14 October – 21 December 2017

From the College Collection
14 October – 21 December 2017

Writer Anna Sanderson and photographer Gavin Hipkins, together with designer Philip Kelly
have produced a suite of 30 new works based on the buildings, activities and history of the
Karori Campus. These works have been commissioned for the Victoria University of Wellington Art Collection to commemorate the site and its history. The exhibition presents this new body of work along with a selection of key items from the College of Education collections curated by Collection Manager Sophie Thorn, including examples of the ceramics collection that was amassed by past staff of the College.

What Remains has been made possible by the Victoria University of Wellington Art Collection Funding Trust.


Future Islands: The New Zealand Exhibition at the 2016 Venice Architecture Biennale
14 October – 17 December 2017

Future Islands was the New Zealand exhibition at the 2016 Venice Architecture Biennale. Drawing on narratives of islands as sites of possibility, or of other ways of living, Future Islands presents built, not-yet-built and speculative projects by fifty architectural practices from throughout New Zealand. Reconceived as models that perch on an archipelago of ‘island’ forms suspended to take full advantage of the Adam Art Gallery’s unusual spaces, the exhibition uses sophisticated yacht-building technology, recycled materials, audio-visuals and hand-crafted elements, to offer new, often-unsettling perspectives on architecture in Aotearoa New Zealand.

Conceived by Charles Walker and Kathy Waghorn, and executed by a creative team involving Jessica Barter, Stephen Brookbanks, Maggie Carroll, Bruce Ferguson, Minka Ip, Jon Rennie and the late Rewi Thompson, this exhibition is presented in association with the New Zealand Institute of Architects.


Leveillé (France), <em>Taha-Tahala + Heroua: Natif de Otago, ile Tavai-Pounamu, N[ouve]lle Zelande (Polynesie). Lith par Leveille d'apres les bustes moules sur nature photographie par Bisson d'apres la direction de Mr le Dr Doumoulier</em>. [Paris, 1842-1847], from Dumont d'Urville, <em>Voyage au pole sud et dans l'Oceanie</em>. Paris, Gide, 1842-1847. <em>Atlas. Anthropologie</em>. Plate 13 ink on paper lithograph taken from daguerreotypes by Bisson of plaster casts of life masks made during Dumont d'Urville's visit to Dunedin in 1840Photographer unknown (United States), <em>Daguerreotype of group of daguerreotype portraits</em>, c. 1855 half-plate daguerreotype in half-caseHenry Thomas Ryall (engraver), <em>Field Marshall The Duke of Wellington, K.G. etc; engraved from M. Claudet’s Daguerreotype Portrait for which His Grace sat May 1st 1844</em>, published by J. Watson, London, May 1, 1845 ink on paper stipple engraving after a daguerreotype by Claudet studio and a painting by Abraham Solomon Engravers unknown (England), ‘Panorama of The Great Exhibition', <em>The Illustrated London News</em> January 24, 1852: open to pages 80-81 ink on paper newsprint with wood engravings after daguerreotypes by the Beard studioPhotographer unknown (England), <em>Portrait of Colonel Hugh Morrieson</em>, c. 1855 hand-painted daguerreotype in leather caseRichard Beard studio (London), <em>Portrait bust of a man</em>, c. 1844 sixth-plate daguerreotype in leather case with Beard signature in blue ink underneathNoël Marie Paymal Lerebours (France), <em>Excursions daguerriennes, vues et monuments les plus remarquables du Globe</em> (Volume One, Paris: Rittner & Goupil, 1840-1842) Plate 6: <em>Egypte: Harem de Méhémet-Ali a Alexandre</em>, c. 1840 ink on paper engraving (by Weber) after daguerreotype by Horace Vernet and Frédéric Goupil-Fesquet taken on November 7, 1839

Apparitions: the photograph and its image
Curated by Geoffrey Batchen and his Honours students
14 October – 17 December 2017

Apparitions examines the dissemination of photographic images during photography’s earliest decades. Curated by Geoffrey Batchen and his 2017 Honours class, the show draws on both private and public collections (including Te Papa, the Turnbull Library and the Auckland Museum). Apparitions displays rare daguerreotypes from England, France, Germany, and the United States, calotypes by photography’s English inventor William Henry Fox Talbot, and lithographs, wood engravings, steel engravings and other illustrations based on early photographs. The focus is on the reproducibility and mobility of the photographic image.

Apparitions is supported by the Ronald Woolf Memorial Endowment.


Associated public programme events here.

For more information, please contact the gallery
04 463 6835