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Philip Trusttum, Untitled (Toothbrushes), 1972. Collection of The Dowse Art Museum. Purchased 1978. It seems that whether the hand is holding a pencil, a loaded brush, a piece of modelling clay, or even a collage paper, it is not important. What

Our very own Huttette turns 30! You are invited to explore our collection and the world through the eyes of Huttette. As Huttette turns 30 we imagine the adventures she has had over the years learning about the world through our collection of

Huni Mancini, One Off, 2015. Image Courtesy of the Artist. HANA PERA AOAKE / CLARA CHON / HYE RIM LEE / HUNI MANCINI / NATASHA MATILA-SMITH / SORAWIT SONGSATAYA / JADE TOWNSEND. Tension, the new and the old, past and future, raw and cooked. Pressure

Becky Bliss, Paradoxical Pegs, 2017. Installation view. Courtesy of The Dowse Art Museum. Photographer Mark Tantrum. To ‘reflect’ can mean both to mirror or to cast back and respond. In this exhibition, 12 jewellers who are a part of

Crystal Chain Gang, Light at the End of the Tunnel, Installation Shot by Mark Tantrum. Solo is a biennial exhibition presented by The Dowse that showcases and supports local Wellington artists by actively commissioning and presenting new work. The

Over 2017 The Dowse Window will feature a series of graphic design projects that critically engage with this site as a point of communication and display. Ella Sutherland has worked with The Dowse Art Museum posters that were made between the 1970s

Raewyn Atkinson: I Too Am in Paradise, 2016. Photo by John Lake. I Too Am in Paradise is a series of unfired clay urns, each bearing the phrase "Et in Arcadia ego" and containing a young kowhai ngutukaka (kakabeak) plant. Using the title of this

Maureen Lander, Flat-Pack Whakapapa, 2017. Courtesy of The Dowse Art Museum. Photo by Shaun Matthews. Just as whakapapa (genealogy) reflects someone’s lineage and biology, the starting line of a kete determines how its patterning and size will

Philip Trusttum, Untitled (Toothbrushes), 1972. Collection of The Dowse Art Museum. Purchased 1978. It seems that whether the hand is holding a pencil, a loaded brush, a piece of modelling clay, or even a collage paper, it is not important. What is

Emma Fits, Sensory Ground at Isle of Harris, 2016. Fabric Installation, Courtesy of the Artist. In Living History, Wellington artist Richard Stratton presents a series of new work that continues his interest in bringing together ceramic decoration

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He Taonga Te Reo

Once...

Dark Objects

Handshake 3: Reflect

Solo 2016: Six Wellington Artists

Ella Sutherland: Slow Seeing and Attention to Make

Raewyn Atkinson: I Too Am in Paradise

Maureen Lander: Flat-Pack Whakapapa

The Mind in the Hand: Drawing from The Dowse Collection

Richard Stratton: Living History