Te Pātaka Toi Adam Art Gallery — Image Gallery — Tēnei Ao Tūroa

Mark Adams, 13.11.2000. Hinemihi. Clandon Park. Surrey, England, 2000, C-type prints from 10 x 8 inch C41 negatives. Courtesy of the artist and Two Rooms, Auckland

Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery. Photo: Ted Whitaker

Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2022. Photo: Ted Whitaker

Mark Adams, 13.11.2000. Hinemihi interior. Clandon Park, Surrey, England. Nga Tohunga; Wero Taroi, Tene Waitere, C type print from 10 x 8 inch C41 negative, 1330 x 1065 mm, private collection, Auckland

Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2022. Photo: Ted Whitaker

Wero Tāroi (circa 1810–1880, Ngāti Tarāwhai), Houmaitawhiti tekoteko, circa 1870s, wood, paint, 2331 (h) × 400 (w) × 300 (d) mm, on loan to Rotorua Museum Te Whare Taonga o Te Arawa, courtesy of the Houmaitawhiti Marae Trust. Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2022. Photo: Ted Whitaker

Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2022. Photo: Ted Whitaker

Tene Waitere (1853–1931, Ngāti Tarāwhai), Tā Moko Panel, 1896–99, wood, paint, 780 (h) × 560 (w) × 150 (d) mm, collection of Te Papa Tongarewa, Museum of New Zealand. Installation view, Mark Adams, Hinemihi: Te Hokinga-The Return, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, A Red Tipped Dawn – Pōhautea at Waiapu Ngutu Awa (7th August 2020), 2020, C-type gloss photographic print. Courtesy of the artist.

Natalie Robertson, Camera on the deck – the first known photographs of Port Awanui, 1897/2020, inkjet print, silver gloss paper, reprinted from the original glass plate negative by William Fitzgerald Crawford (1844–1915), courtesy of the artist and Tairāwhiti Museum, Gisborne. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, Te Puna o Rangitauāki, Te Rimu, 2018, 4 × 5 transparency in lightbox, 790 × 1000 mm, courtesy of the artist and Waikato Museum Te Whare Taonga o Waikato, Hamilton. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, Te Puna o Te Ao Te Huinga and kahikatea trees, Tīkapa-a-Hinekōpeka I–III, 2018, photographic print on polyester fabric, aluminium poles, 3010 × 3750 mm each, courtesy of the artist. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, Waiapu River at the base of Kai Inanga Hill, 2020 inkjet prints, gloss paper, 500 × 600 mm each, two parts, courtesy of the artist. Installation view, Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Victoria University Wellington. Photo: Ted Whitaker

Natalie Robertson, Waiapu River at the base of Kai Inanga Hill, 2020 inkjet prints, gloss paper, 500 × 600 mm each, two parts. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, Waiapu Bridge pier, ki uta, 2020, C-type gloss photographic print, 667 × 1000 mm; and Waiapu Bridge pier, ki tai, 2020, C-type gloss photographic print, 667 × 1000 mm. Courtesy of the artist. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Natalie Robertson, Tera te haeata e takiri ana mai! Behold the first light of dawn! (Waiapu Ngutu Awa triptych, 7th August 2020), 2020, C-type gloss photographic prints; and Buried house – Barton’s Gully (Mangarārā stream flowing into Waiorongomai river) , 2018, C-type gloss photographic print. Courtesy of the artist. Installation view, Natalie Robertson, Tātara E Maru Ana – The Sacred Rain Cape of Waiapu, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Chris Corson-Scott, A Poet Writing before the Falls and Freezing Work, Mataura, 2016, archival pigment print. Courtesy of the artist and Trish Clark Gallery, Auckland

Chris Corson Scott, Mark Adams Before Cliffs and Rockfalls, Awhitu Peninsula, 2015, archival pigment print, courtesy of the artist and Trish Clark Gallery, Auckland. Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Chris Corson Scott, Mark Adams Before Cliffs and Rockfalls, Awhitu Peninsula, 2015, archival pigment print, 1100 × 1350 mm. Courtesy of the artist and Trish Clark Gallery, Auckland

Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Victoria University Wellington. Photo: Ted Whitaker

Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

John Kinder (1819–1903), Cliffs, Whangaparaoa, near Auckland, 1868, albumen print, P1922-001-053, 235 × 315 mm, Hocken Collections Uare Taoka o Hākena, University of Otago. Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

John Kinder (1819–1903), Bush Scene, Coromandel, 1866, albumen print, P1922-001-065, 220 × 285 mm, Hocken Collections Uare Taoka o Hākena, University of Otago; and Coromandel, Gold Field, 1866, albumen print, P1922-001-010, 195 × 275 mm, Hocken Collections Uare Taoka o Hākena, University of Otago. Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Chris Corson Scott, Winter Morning, Remains of the Coal Barge SS Lawrence, Mokihinui, 2016, archival pigment print. Courtesy of the artist and Trish Clark Gallery, Auckland. Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Chris Corson-Scott, A Poet Writing before the Falls and Freezing Work, Mataura, 2016, archival pigment print, 1400 × 1700mm; and Wildflowers in a Housing Development, Katikati, Bay of Plenty, 2015, archival pigment print, 1100 × 1350mm. Courtesy of the artist and Trish Clark Gallery, Auckland. Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Installation view, Chris Corson-Scott, Landscape Photographs 2013-2018, in Tēnei Ao Tūroa – This Enduring World, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University Wellington, 2022. Photo: Ted Whitaker

Tēnei Ao Tūroa – This Enduring World

Mark Adams

Natalie Robertson

Chris Corson-Scott

09 April – 26 June 2022