A PDF copy of pages 254-255 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Three Wise Men'. Photos: Trent Hiles
A PDF copy of pages 60-61 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Port-A-Loos Sumner'. Photos: Katherine C'Ailceta
A PDF copy of pages 84-85 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'I Am...'. Photo: Harry Tranter
An artist's impression of the installation 'Etch-a-Sketch', created as part of the LUXCITY event. Tutors: Anna Tong, Chris Holmes
The "Lyttelton Review" newsletter for 21 November 2011, produced by the Lyttelton Harbour Information Centre.
A photograph of Doug Sexton holding a memento of his house at 378 Oxford Terrace. The memento was created by artist Sarah Brown for the Shared Lines Sendai/Christchurch Art Exchange. Brown used found objects from Doug Sexton's house to create this artwork in a tobacco tin.
A video of a presentation by Grant Wilkinson, Senior Engineer for Ruamoko Solutions, at the 2016 Seismics in the City Conference. The presentation is titled, "Engineering Regeneration, Collaboration and Innovation ".The abstract for the presentation reads, "Applying some seismic lessons learnt to saving several heritage gems and collaborating on the Christchurch Art Gallery Base Isolation retrofit project."
A PDF copy of pages 116-117 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'I Seem to Have Temporarily Misplaced My Sense of Humour'. Photos with permission: Gap Filler
Broken windows on the Orion building on Manchester Street. The photographer comments, "Bob Brown's Hi-Fi was damaged, as you can see, in the Christchurch earthquake on the 22 February 2011. At lot of buildings in the area have been demolished, but this art deco style structure might have not have been put on the demolition list yet".
This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.
A man reads a newspaper report about dung beetles being imported to process organic waste. In the second frame someone in one of a row of three portaloos wonders whether dung beetles would be better at it than the Council. Refers to the need for portaloos in the Canterbury region after the 4th September earthquake that damaged much plumbing infrastructure. Quantity: 2 digital cartoon(s).
Several 'quake victims' dive into a fissure and zip it up as Santa Claus in the form of a malignant '$' symbol leaps towards them yelling 'Ho! Ho! Ho!' One of the quake victims shouts 'Quick Hide! Christmas is getting closer!!' Context; the Christchurch earthquake on 4th September and all the subsequent aftershocks have cost many people a great deal of money. Quantity: 1 digital cartoon(s).
A video about the government's financial aid plan for workers affected by the 4 September 2010 earthquake. Prime Minister John Key has travelled to Christchurch to announce the plan. This video includes footage of a press conference with John Key at the Christchurch Art Gallery. It also includes footage of John Key meeting residents at the Civil Defence Centre at Addington Raceway.
A video of an interview with Mayor Bob Parker, recorded at the Civil Defence Headquarters in the Christchurch Art Gallery on the evening of the 22 February 2011. Parker talks about the fatalities and damage caused by the 22 February 2011 earthquake.
A digger demolishing the Ozone Dressing Sheds building. The photographer comments, "This is the end of the Ozone Dressing Sheds built in 1914. The two storey Ozone Cafe, which was a hotel, will be given it's coup de grace on Friday. They were gutted in a spectacular fire in 1922, but were unable to be saved after the Christchurch earthquake on 22 February 2011".
A PDF copy of pages 354-355 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'End of the Line'. Photos: Gaby Montejo
A montage of photographs of the creation of the installation 'Tonic'. The installation is part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson
A photograph of an installation that forms part of the '60 Lights Market' at the LUXCITY event. Coordinators: Jeongbin Ok, Tiago Rorke, Jonathan Coates; student: Tom Hall
A PDF copy of pages 108-109 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'The Silver Bulletin'. Photo: Matthew Galloway
A PDF copy of pages 260-261 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Light Inspiration for Lyttelton'. Photos: Alan Povall
A PDF copy of pages 68-69 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Why is This Real Not That?'. Photo: Reuben Woods
A PDF copy of pages 356-357 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Kissing Booth'. Photos: Audrey Baldwin
A photograph of crowds at the LUXCITY event. The photograph shows an installation on Worcester Street, with the new Press building in the background. The installation is titled "Murmur".
A PDF copy of pages 76-77 of the book Christchurch: The Transitional City Pt IV. The pages document the transitional project 'Bag-O-Love'. Photo: Reuben Woods
A photograph of the 'End of the Line' performance artwork. One of the artists is pushing a trolley along the tram lines in Cashel Mall, while two others string 'red tape' in front of it.
A photograph of the 'End of the Line' performance artwork. One of the artists is pushing a trolley along the tram lines in Cashel Mall, while two others string 'red tape' in front of it.
A photograph of the 'End of the Line' performance artwork. One of the artists is pushing a trolley along the tram lines in Cashel Mall, while two others string 'red tape' in front of it.
A photograph of the 'End of the Line' performance artwork. One of the artists is pushing a trolley along the tram lines in Cashel Mall, while two others string 'red tape' in front of it.
A photograph of an installation on the corner of Gloucester Street and Colombo Street. The installation is titled "Etch-a-Sketch", and is part of the LUXCITY event.
The "Lyttelton Review" newsletter for 16 January 2012, produced by the Lyttelton Harbour Information Centre.