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Images for quake art; more images...

Images, UC QuakeStudies

A digital copy of a painting by Hamish Allan. The painting is titled, 'Garden City II, Ticketyboo' and was painted in 2013. The original painting is acrylic on linen and measures 400mm in diameter.

Images, UC QuakeStudies

A photograph of Gaby Montejo's Milk Fight - a dairy-fuelled urban food fight, which was part of FESTA 2014. Milk Fight was held on the former Convention Centre site at 100 Peterborough Street.

Images, UC QuakeStudies

A photograph of Gaby Montejo's Milk Fight - a dairy-fuelled urban food fight, which was part of FESTA 2014. Milk Fight was held on the former Convention Centre site at 100 Peterborough Street.

Audio, UC QuakeStudies

Part four of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins in the Re:Start Mall on Cashel Street and includes commentary on the performance Last Day of Mankind at the Bridge of Remembrance. The tour then moves up Oxford Terrace, along the banks of the Avon River, until it reaches Worcester Boulevard. Turning left, it travels down Worcester Boulevard, past the Christchurch Art Gallery, providing commentary on the new and old art in the area, and the Christchurch Arts Centre. Lastly, it moves up Montreal towards Cranmer Square.

Images, UC QuakeStudies

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.

Images, UC QuakeStudies

Deputy Administrator for Protection and National Preparedness at the Federal Emergency Management Agency, Tim Manning, and Michael Layne from the US Embassy in Wellington, speaking to Ray Kennedy, an Area Manager from the New Zealand Fire Service, in the Christchurch Art Gallery about the 22 February 2011 earthquake.

Images, UC QuakeStudies

A view across Montreal Street to the Christchurch Art Gallery. The building was used as the headquarters for Civil Defence in the aftermath of the 22 February 2011 earthquake, and large white marquees have been set up in its forecourt to accommodate extra personnel. The site is surrounded by a safety fence. On the left is a sign advertising the "Van der Velden: Otira" exhibition, which was cut short by the earthquake.

Videos, UC QuakeStudies

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."

Images, UC QuakeStudies

A photograph of a crowd watching Struan Ashby from Tape Art NZ create the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40 foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of Erica Duthy and Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

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".

Images, UC QuakeStudies

A photograph of a panaroma of Christchurch with Spencer Park, Parklands Library, QEII Park, Bottle Lake Forest, Cowles Stadium, Animal Control, and the Waste Water Treatment Plant labelled. The panaroma is on the wall of the temporary Civil Defence headquarters set up at the Christchurch Art Gallery after the 4 September 2010 earthquake.

Images, UC QuakeStudies

A photograph of students from the University of Canterbury Student Volunteer Army at Rock on Eastside. Rock on Eastside was an outdoor lounge and art space facilitated by Gap Filler and Youthtown. The students helped other students from local high schools to build the site, which was on the corner of Aldwins Road and Linwood Avenue.

Images, UC QuakeStudies

A photograph of students in Eastgate Mall with a trolley full of painted rocks. The students are participating in a workshop facilitated by Gap Filler and Youthtown where they painted these rocks. The rocks will be used to create Rock on Eastside, an outdoor lounge and art space on the corner of Aldwins Road and Linwood Avenue.

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.