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Research papers, University of Canterbury Library

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.

Audio, Radio New Zealand

It's hoped a new art installation in Ōtautahi Christchurch can help people talk their worries away through a series of telephones by the riverside. Twelve telephones have popped up across sites commemorating the city's devastating 2011 earthquakes. The group behind the project is Flourish Kia Puawai. Its associate director Sharon Torstonson spoke to Corin Dann.

Images, UC QuakeStudies

A digitally manipulated image of a statue of the Virgin Mary in a broken window of the Cathedral of the Blessed Sacrament. The photographer comments, "Before the February 2011 earthquake the statue above was facing into the Cathedral looking down a corridor, but after it had turned 180 degrees to point towards the window. The statue of Mary turning like this gave a sign of hope for the people of Christchurch. It was amongst one of the most photographed things after the earthquake until it was removed".

Images, UC QuakeStudies

The clock tower of the former Railway Station, encased in plywood to prevent further damage. A banner sponsored by The Press hangs below the clock, covered with words which symbolise the September earthquake. The photographer comments, "After the September earthquake the clocked stopped at 04:35 and everyone campaigned to have this clock left as it was. At that time the building was believed to be OK. Two more earthquakes later and the possible memorial will probably end up like a lot of Christchurch's heritage buildings on a huge pile of stone and bricks in Bottle Lake Forest".

Articles, Christchurch uncovered

Today, art is my inspiration, at least as a starting point. The title of this blog post may seem whimsical, but it is both a practical description of our subject today and a reference to the art of centuries past. … Continue reading →