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Images for quake art; more images...

Images, UC QuakeStudies

A photograph of a paste-up depicting Roger Sutton, the CEO of CERA, with a band-aid over his mouth; Warwick Isaacs, the Deputy Chief Executive of CERA, with hearing protection over his ears; and Jerry Brownlee, Minister for Canterbury Earthquake Recovery, with a blindfold over his eyes. The paste-up has been stuck on a wall.

Images, UC QuakeStudies

A photograph taken near the intersection of Manchester Street, Lichfield Street and High Street. The old Post Office building, now housing C1 Espresso, can be seen in the distance with Ronnie Van Hout's sculpture on the roof. Coloured shipping containers support the remaining front facade of the Excelsior Hotel building.

Images, UC QuakeStudies

Moira Fraser in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A photograph of staff from Abseil Access in the car park outside their office on Quakers Quay in Woolston. The staff are standing next to a trailer full of rocks which they have gathered from the Port Hills. The rocks will be painted and used to define the boundaries of Rock on Eastside, an outdoor lounge and art space on the corner of Linwood Avenue and Aldwins Road.

Images, UC QuakeStudies

Moira Fraser standing in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

Moira Fraser standing in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A plaque on the ground in front of the 'Passing Time' sculpture on the corner of Madras Street and St Asaph Street. The 'Passing Time' sculpture was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A photograph of a paste-up depicting Roger Sutton, the CEO of CERA, with a band-aid over his mouth; Warwick Isaacs, the Deputy Chief Executive of CERA, with hearing protection over his ears; and Jerry Brownlee, Minister for Canterbury Earthquake Recovery, with a blindfold over his eyes. The paste-up has been stuck on a sign board attached to a cordon fence.

Images, UC QuakeStudies

A photograph captioned by BeckerFraserPhotos, "Peter Majendie, in the middle of his installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The chairs are different so that you can find a chair to remind you in some way of the people who died. Peter told me about the important paintings of chairs, such as Van Gogh and Gaugin's paintings of chairs and the drawing of Dickens's Chair published above his obituary that influenced his decision to remember the lost lives with chairs".

Images, UC QuakeStudies

A photograph of the launch event for Australian artist collective Field Theory's project The Stadium Broadcast. The launch is being held on the rooftop of C1 Espresso. The Stadium Broadcast was a 72-hour non-stop performance of personal tributes to Lancaster Park. The performance ran from 14 to 17 November. The launch event was part of FESTA 2014.

Images, UC QuakeStudies

A photograph of the public launch event for The Wet Issue by Freerange Press. The journal is being 'launched' with an elastic tie by Freerange Press director Barnaby Bennett. The event was held at Space Academy as part of FESTA 2014. It was accompanied by a water-inspired visual and sonic artwork by Olivia Webb and Noel Meek.

Images, UC QuakeStudies

A photograph of Freerange Press director Barnaby Bennett standing on a chair to give a speech at the public launch event for The Wet Issue by Freerange Press. The event was held at Space Academy as part of FESTA 2014. It was accompanied by a water-inspired visual and sonic artwork by Olivia Webb and Noel Meek.

Images, UC QuakeStudies

A photograph of Jason Maling from the Australian artist collective Field Theory. Maling is on the roof of C1 Espresso for the launch event of The Stadium Broadcast - a 72-hour non-stop performance of personal tributes to Lancaster Park. The performance ran from 14 to 17 November. The launch event was part of FESTA 2014.

Images, UC QuakeStudies

A photograph of the launch event for Australian artist collective Field Theory's project The Stadium Broadcast. The launch is being held on the rooftop of C1 Espresso. The Stadium Broadcast was a 72-hour non-stop performance of personal tributes to Lancaster Park. The performace ran from 14 to 17 November. The launch event was part of FESTA 2014.

Images, UC QuakeStudies

A photograph of the launch event for Australian artist collective Field Theory's project The Stadium Broadcast. The launch is being held on the rooftop of C1 Espresso. The Stadium Broadcast was a 72-hour non-stop performance of personal tributes to Lancaster Park. The performance ran from 14 to 17 November. The launch event was part of FESTA 2014.

Images, UC QuakeStudies

A photograph of footage of Cathedral Square playing on a number of computer monitors as part of Gap Filler's ninth project, Thinking Outside the Square. The footage was sourced from the Christchurch community and cut into an hour-long video spanning 100 years. The monitors are placed amongst wooden pallets, an excavator, and other building material.

Images, UC QuakeStudies

A photograph of members of the Australian artist collective Field Theory. They are on the roof of C1 Espresso for the launch event of The Stadium Broadcast - a 72-hour non-stop performance of personal tributes to Lancaster Park. The performance ran from from 14 to 17 November. The launch event was part of FESTA 2014.

Audio, UC QuakeStudies

Part three of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins on Madras Street and includes commentary on the clothing industry in Christchurch before reaching Tuam Street. On Tuam Street, the tour includes commentary on the C1 cafe in the former Post Office building. The tour then moves up High Street to Cashel Street and on to Re:Start Mall.

Research papers, Victoria University of Wellington

This dissertation explores the advocacy for the Christchurch Town Hall that occurred in 2012-2015 after the Canterbury Earthquakes. It frames this advocacy as an instance of collective-action community participation in a heritage decision, and explores the types of heritage values it expressed, particularly social values. The analysis contextualises the advocacy in post-quake Christchurch, and considers its relationship with other developments in local politics, heritage advocacy, and urban activism. In doing so, this dissertation considers how collective action operates as a form of public participation, and the practical implications for understanding and recognising social value.  This research draws on studies of practices that underpin social value recognition in formal heritage management. Social value is held by communities outside institutions. Engaging with communities enables institutions to explore the values of specific places, and to realise the potential of activating local connections with heritage places. Such projects can be seen as participatory practices. However, these processes require skills and resources, and may not be appropriate for all places, communities and institutions. However, literature has understudied collective action as a form of community participation in heritage management. All participation processes have nuances of communities, processes, and context, and this dissertation analyses these in one case. The research specifically asked what heritage values (especially social values) were expressed through collective action, what the relationship was with the participation processes, communities, and wider situation that produced them, and the impact on institutional rhetoric and decisions. The research analysed values expressed in representations made to council in support of the Town Hall. It also used documentary sources and interviews with key informants to analyse the advocacy and decision-making processes and their relationships with the wider context and other grassroots activities. The analysis concluded that the values expressed intertwined social and professional values. They were related to the communities and circumstance that produced them, as an advocacy campaign for a civic heritage building from a Western architectural tradition. The advocacy value arguments were one of several factors that impacted the decision. They have had a lasting impact on rhetoric around the Town Hall, as was a heritage-making practice in its own right. This dissertation makes a number of contributions to the discussion of social value and community in heritage. It suggests connections between advocacy and participation perspectives in heritage. It recommends consideration of nuances of communities, context, and place meanings when using heritage advocacy campaigns as evidence of social value. It adds to the literature on heritage advocacy, and offers a focused analysis of one of many heritage debates that occurred in post-quake Christchurch. Ultimately, it encourages practice to actively integrate social and community values and to develop self-reflexive engagement and valuation processes. Despite inherent challenges, participatory processes offer opportunities to diversify understandings of value, co-produce heritage meanings with communities, and empower citizens in democratic processes around the places they live with and love.