Auckland Art Gallery Toi o Tāmaki is delighted to announce the acquisition of Wastelands, 2024 by contemporary artist Brett Graham (Ngāti Korokī Kahukura, Tainui). The sculpture was commissioned for the International Art Exhibition of La Biennale di Venezia 2024. The Biennale Arte 2024 – the world’s leading exhibition of contemporary art – was curated by Adriano Pedrosa and titled Stranieri Ovunque – Foreigners Everywhere.
Wastelands is expected to go on display at the Gallery in May 2025.
Graham’s sculpture explores themes of colonial history, ecological concerns, and the ongoing relationship between Māori communities and the land – especially those stories rooted in his rohe of Waikato. The work challenges historical narratives, offering perspectives on cultural identity, environmental stewardship, and the enduring impact of colonial-era policies.
Brett Graham says: “I am thrilled that Auckland Art Gallery Toi o Tāmaki have acquired this work that was commissioned for the Venice Biennale, Wastelands. This work carries stories close to home so it is warming to know that it will remain in Aotearoa. I’d like to thank the Gallery and the Patrons of the Gallery for their generosity and faith in my practice.”
Tātaki Auckland Unlimited Director of Auckland Art Gallery, Kirsten Lacy, says: “This extraordinary artwork has already captured the attention of thousands of visitors to the Biennale, reflecting Graham’s exceptional skill in sculpture and storytelling. The acquisition of this nationally significant sculpture aligns with the Gallery’s mission to collect key works by leading Māori artists.”
The acquisition was made with funds from the Patrons of Auckland Art Gallery and the Gallery’s annual collection development budget. The Gallery contributed $217,500 towards the acquisition.
“Investing in this artwork enables New Zealanders to experience this powerful piece and its deep resonance with local histories and narratives, both now and in the future. We’re grateful to the Patrons for their generous and ongoing support, without which the acquisition of this work would not have been possible,” adds Lacy.
Established in 1987 by Dame Jenny Gibbs, the Patrons of Auckland Art Gallery was the first major philanthropic cultural support group in New Zealand. It is focused on the acquisition of artworks for the Gallery’s collection. Each year, the Patrons select a work from a shortlist recommended by the Gallery’s director and curatorial staff.
The work is a sculptural reinterpretation of a pātaka (Māori storehouse), adorned with carvings of tuna (eels) that reference Māori food economies and the environmental impact of colonial land policies.
Wastelands addresses the legacy of the 1858 Waste Lands Act, which impacted Māori land rights including the ecological and cultural significance of the Waikato River and wetlands. Graham blends traditional Māori carving styles with contemporary materials and conceptual frameworks, inviting viewers to confront New Zealand’s colonial past while proposing new ways of relating to land and the environment.
In addition to acquiring Wastelands, Auckland Art Gallery Toi o Tāmaki was proud to support Aotearoa New Zealand’s presence at the Biennale Arte 2024 by lending three key works from its collection to the International Art Exhibition Stranieri Ovunque – Foreigners Everywhere. These works were:
• Sandy Adsett, Waipuna (1978). Auckland Art Gallery Toi o Tāmaki, purchased 1995.
• Fred Graham, Whiti Te Ra (1966). Auckland Art Gallery Toi o Tāmaki, purchased 2008.
• Selwyn Te Ngareatua Wilson, Study of a Head (1948) Auckland Art Gallery Toi o Tāmaki, purchased 1948.
Brett Graham
Brett Graham is widely recognised as one of New Zealand’s preeminent contemporary artists. He has been a prominent figure within the contemporary Māori art movement since the early 1990s, exhibiting widely and attracting significant accolades. He is known for large-scale sculpture and installations that explore indigenous histories, politics, and philosophies. Viewing his own Māori whakapapa in relation to indigenous and non-Western identities around the world, Graham’s work often explores issues of cultural imperialism. His work engages with a broad range of materials and forms, blending traditional craft with contemporary themes. He is adept at creating artwork with a high level of technical finesse that engage a nuanced conceptual framework.
Graham has exhibited in a broad range of national and international contexts. He has exhibited twice at the Sydney Biennale, in 2006 and 2010, at the 52nd International Art Exhibition of La Biennale di Venezia in 2007, and at the 60th International Art Exhibition of La Biennale di Venezia alongside his father Fred Graham in 2024. He has been awarded a wide range of prestigious residencies throughout Te Moana-nui-a-Kiwa (the Pacific), North America, Asia and Europe. His work is included in collections such as Museum of New Zealand Te Papa Tongarewa, National Gallery of Canada, National Gallery of Australia, National Gallery of Victoria and Honolulu Museum of Art.
About Auckland Art Gallery Toi o Tāmaki
Auckland Art Gallery Toi o Tāmaki, part of Tātaki Auckland Unlimited, is the largest and most inspiring visual arts experience in New Zealand. Its collection and loan collections currently number over 18,000 artworks. They include major holdings of New Zealand historic, modern and contemporary art. Alongside outstanding works by Māori and Pacific artists, they represent significant international painting, sculpture and print collections.
About Tātaki Auckland Unlimited
Tātaki Auckland Unlimited is Tāmaki Makaurau Auckland’s cultural and economic agency committed to making our region a desirable place to live, work, visit, invest and do business. Auckland Art Gallery Toi o Tāmaki is one of the substantive cultural institutions that Tātaki Auckland Unlimited owns, operates and maintains for the benefit of Tāmaki Makaurau, Auckland.
Image: Brett Graham Wastelands, 2024. Installation: 60th International Art Exhibition – La Biennale di Venezia, Stranieri Ovunque – Foreigners Everywhere. Photo by Marco Zorzanello. Courtesy: La Biennale di Venezia