Although Wayne Barrar’s ongoing exploration of the landscape is primarily executed through the lens of a camera, it is from the vantage point of both science and art that he pursues his ideas. Barrar first graduated with a Bachelor of Science from the University of Canterbury in 1979 before later completing a Postgraduate Diploma of Fine Arts at Elam School of Fine Arts in 1996 and an MDes (2005) from Massey University.
The unlikely pairing of wine and filament light bulbs has long been a recurring motif in the highly sociable work of Bill Culbert, as has the fluorescent tube, all of which act as metaphor and evidence of the ways we think about light, energy and materials.
In contrast to the cult of personality that surrounds many artists, the artist collective et al. (a Latin abbreviation for “and others”) operates as an anonymous group, avoiding the effect an artist’s biographical details can have on the way their work is read. In fact, so effective is this insistence on anonymity, and so embedded is it in their work, that any attempt at biographical explanation quickly becomes a consideration of what they do rather than who they are.
Décor often says a lot about people’s social position, their taste, their interests and perhaps what they do for a living. The creator of the Peanuts cartoons, Charles Schultz, once exhorted people to dress up their living spaces: “Decorate your home”, he said, “it gives the illusion that your life is more interesting than it really is.” Painter Graham Fletcher has chosen to explore the connotations of the use of South Pacific elements in interior decoration for his recent Doctorate in Fine Arts, and the Lounge Room Tribalism series is the result.
Challenged by Art Collection curator Michael Dunn to make his best work for the Engineering atrium in 2002, Elam-graduate Paul Hartigan surpassed his earlier, multicoloured forays into neon. Named the best public sculpture in Auckland in 2006, Colony has its origin in the artist’s memory of drifting in a long boat beneath the vaulted ceiling of glowworm lights on a childhood visit to Waitomo Caves. Despite the quotidian nature of the commission, Paul's sculpture still impresses with its energy and impact, the hectic squiggles of persimmon-coloured light miraculously produced by bent glass tubes mired in cement.
By the time Gavin Hipkins staged his exhibition The Colony at The Gus Fisher Gallery in 2002, he had become well-known for his distinctive technique of printing entire rolls of film uncut in continuous strips, known as falls, hung together to provide a dense grid of images.
In 1986, Merimeri Penfold, Senior Lecturer in Māori, had just published the groundbreaking Penguin book Women and the Arts in New Zealand with Elizabeth Eastmond in the Art History department. Reproducing works by forty women, of whom six were Māori, this influential book took an unashamedly feminist approach, redressing the absence of women (and Māori) artists from previous histories of New Zealand art. The authors’ statement on the imprint page stated the political intent of the project explicitly: “We should also like to acknowledge the crucial importance of the women’s movement for the basic conception of this book and for many of the perspectives adopted.”
As a teenager, Shigeyuki Kihara was sent in the late 1980s from the balmy climes of Samoa to the Marist school, St Patrick’s Silverstream in Upper Hutt, for secondary education.
The University of Auckland Art Collection was quick to take an interest in the work of Richard Killeen, purchasing two paintings from Barry Lett Galleries in 1969 and a monotype print-on-canvas from his first solo exhibition at Barry Lett the following year.
Deriving her name from the Korean word for a rabbit, TOKI is the creation of 49-year-old Elam graduate Hye Rim Lee. With her huge, limpid eyes and tiny mouth, TOKI borrows her looks from the world of cartoons and computer gaming, and is herself an animated creation. Despite her associations with Western bunnies, she is less Thumper than Bambi, suggesting not goofiness, but a cutesy innocence and vulnerability with her wide open gaze. The impression of sweetness in TOKI’s expression can be quickly dispelled by some of her behaviours, or by a cleverly subversive accompanying soundtrack. At the Gus Fisher Gallery in the exhibition Powder Room, for example, TOKI appeared in a short animation entitled Lash, blinking to the accompaniment of the sound of a whip cracking each time her lids closed.
Along with a substantial number of fellow art students such as Seung Yul Oh and Hye Rim Lee, Jae Hoon Lee (no relation) arrived in New Zealand to study at Elam School of Fine Arts as part of a new generation of South Koreans migrating to New Zealand in the late 1990s.
Helensville-born folk singer - and erstwhile editor of Craccum - Peter Cape was as famous for his beautifully produced art books as he was for the classic kiwiana songs “Taumarunui on the Main Trunk Line” and “All Black Jerseys”. In the last decade of his short life he published four surveys of New Zealand painting and crafts based on interviews done with artists as part of his job as arts and religion editor at Radio New Zealand. Prints and Printmakers in New Zealand was published in 1974, during the heyday of printmaking in New Zealand.
Born in Sydney in 1951, Auckland-based artist John Lyall became a New Zealand resident in 1983 after a three-year period in the late 1970s working on archaeological digs in the UK.
Square, triangular and rectangular units in sections of wood and chipboard are nailed and butted together in this relief sculpture, forming an integrated collection of diverse components. The artist Paratene Te Moko Puorongo Matchitt was raised in Tokomaru Bay and is of Whanau-a-Apanui, Ngati Porou and Whakatohea descent. At Edgecumbe, near Whakatane, he was taught to carve by his father and grandfather. After leaving the east coast, he attended Auckland Teachers’ College in the years 1955 and 1956 and then spent a year at the Training College in Dunedin where he became one of Gordon Tovey’s art advisors.
Andrew McLeod is renowned for his magpie eye with complex compositions combining eclectic images into detailed arrangements. It is the sort of eye that can be richly nourished in the digital era of Wikipedia and Google image search, where anyone can be an instant expert and new obsessions can be quickly sated with a wealth of visual material, although all this is little use without the finely honed sensibilities of a mature artist. Combined with this ease of information accessibility is the ability to cut-and-paste or manipulate a variety of sources using computer-aided design programmes. All this may make it easier to be an artist with an eclectic set of influences, from children’s book illustrations to the gothic visual culture of black metal music, although an everexpanding set of options does not necessarily make work any easier.
Thousands of renowned (and aspiring) artists, curators, writers, collectors, and anyone else significantly interested in contemporary art recently converged from around the world for the opening of the 53rd Venice Biennale. In addition to the main international exhibition, Making Worlds, which features 90 artists, there are 77 countries with their own pavilions and 44 collateral events from a range of organisations. Included in the collateral exhibition Glasstress is Elam School of Fine Arts graduate Hye Rim Lee, who appears alongside such international luminaries as Louise Bourgeois and Mona Hatoum. This year Creative New Zealand has selected two artists to represent New Zealand: Francis Upritchard and Judy Millar. Millar’s project Giraffe-Bottle-Gun will be installed in Santa Maria Maddalena, the only circular church in Venice, which has existed on the site in various forms since at least 1222. Giraffe-Bottle-Gun, named from oddly-shaped long-necked canvases leaning against the walls surrounding the large looping installation at the heart of the installation, interrupts the spaces between the viewer, the architecture and the art.
Creating her largest art work to date, a huge 104-part painting to cap off her survey show, a loop around a loop, at Christchurch Art Gallery in 2006, Julia Morison titled the behemoth “Gargantua’s petticoat” after the garments mentioned in Francois Rabelais’ 1534 novel. Rabelais describes how the men and women of the religious order Theleme were appareled: “next to their smock they put on the pretty kirtle or vasquin of pure silk camlet; above that went the taffety or tabby farthingale, of white, red, tawny, grey, or of any other colour.”
In June 1949, the School of Architecture hosted Milan Mrkusich’s first-ever public showing of paintings and drawings. Sixty years later The University of Auckland is again the venue for a new milestone in Mrkusich’s career. The exhibition Trans-Form: the abstract art of Milan Mrkusich has been curated for the Gus Fisher Gallery by Ed Hanfling and Alan Wright, research associates of the Art History Department, to mark the publication of their Auckland University Press book, Mrkusich: The Art of Transformation.
part of a BA at The University of Auckland, and published his first illustrations (done to accompany "Paris", a poem by C.K. Stead and published by Auckland University Press) in 1984. After graduation that year, he published his own poems in literary journals in Australia, including Meanjin and Scripsi, as well as in Island, Sport and Landfall in New Zealand. These poems were brought together with drawings in a single book, Location of the Least Person, which was published by Auckland University Press in 1987, and led to him winning the Frank Sargeson Fellowship the next year. This award brought with it residency in the flat above the George Fraser Gallery, and occasioned his first meeting with the Hungarian photographer Mari Mahr, who exhibited there in 1988.
Seung Yul Oh graduated Master of Fine Arts from Elam School of Fine Arts in 2005, one of a new generation of migrants drawn to study in New Zealand from South Korea, also including Jeena Shin, Hye Rim Lee and Jae Hoon Lee (no relation). Oh moved to New Zealand in 1997 and, at time of writing, has just opened his first solo exhibition in his home town of Seoul, where he is currently undertaking a residency in an artist-run space founded and managed by well-known artist Choi Jeong Hwa, who shares Oh’s playful sensibility.
Journeys have been a constant theme in the work of John Pule, who arrived in New Zealand at the age of two from the village of Liku, Niue, and has gone on to exhibit extensively around the world. A self-taught artist, Pule draws his influence as much from poetry as art history and a variety of Pacific traditions, partly due to his parallel practice as an accomplished writer with three published novels and much poetry to his name. Painting grew out of his practice as a writer and language continues to play an important role in his art, which is often interwoven with his own autobiographical texts.
Constituting a system that became a style, Ian Scott’s lattices remain his signature works. His “basic over-and-under pattern” paintings went into production in 1976, after a decade of Girlie paintings. Like an industrial product, each lattice suggests a limitless number of colour ways, but Scott drew the line on the series in 1982 after making over 200 sequentially numbered variations on the idea. Now that he is again investigating the pictorial possibilities of scantily-clad girls, Scott rarely makes a lattice painting. When he does, the resulting interlace is like a puzzle solved: a two-dimensional Rubik’s cube. The compositions are tricky but seem deceptively simple: a few bands of pure acrylic colour laid down over a square white canvas ground.
Drawn from material gathered over 14 months between 10 January 2004 and 4 February 2005, the snowflakes in Overcast are digital collages. There are 15 in total, and each one is made up of images harvested from the newspaper on a particular day.
Recalling Stephen Spielberg’s 1977 science fiction blockbuster Close Encounters of the Third Kind with its title, this large acrylic painting in ice-cream colours seems spookily familiar Maybe it is the vapid expression of the neatly coiffed fellow at centre? Resplendent in his walk Denys Watkins, Encounter of the Third Kind 2008, acrylic on linen, 1825 x 1525mm, The University of Auckland Art Collection shorts, sweatshirt and oversized sneakers, he seems proud to show off his hosing styles in the foreground. With his oversized head and tiny arms, he seems an earthly manifestation of something weird and otherworldly. He is way too alien to belong to the same species as the legions of smiling Dads who deploy garden equipment in the hardware store catalogues that populate the mailbox around Father’s Day. Despite his attempt to win us over with a grin, we can only pity him his lack of water pressure, as the thick sinuous snake of green that he grips overpromises and underdelivers.
Dame Robin White’s portrayals of New Zealand and the Pacific are instantly recognisable. Although the word is often overused, these are iconic images, especially because her subject matter is usually anything but. Rather than grand buildings and sweeping landscapes, she prefers quiet unassuming structures like the Maketu Fish’n Chip Shop or the Portobello Pub; simple architecture that is ubiquitous. But they’re always specific settings that bring a personal response to a place, usually including a local occupant, such as the painting of Sam Hunt at Bottle Creek that hangs in the General Library, or the more autobiographical This is me at Kaitangata. They remind us that these are social places used by people and bring a human scale to the landscape. Mana Railway Station continues in this vein and perhaps pays homage to the famous painting of Cass railway station by Rita Angus, an artist whose clarity of depiction was an important influence on White.
Established in 1964 by Auckland gallerist Kees Hos and philanthropist Dr Walter Auburn, the New Zealand Print Council flourished for over a decade before slowly going into eclipse. Guaranteed exhibitions in the nation’s major public galleries as members, artists quickly joined. Mervyn Williams, a Whakatane-born artist who had studied painting at Elam part-time in 1957 and 1958, but who never completed his diploma, was one of the first to take up membership. Working as a dinnerware designer for Crown Lynn in West Auckland alongside Frank Carpay, he had met immigrant artist Ted Dutch who taught him how to make serigraphs or silkscreen prints.
Living and working in Italy for six months in 1984 immersed Jane Zusters in the NeoExpressionist works of the Italian artists of the Transavant-guardia as well as the triptych format of the Renaissance altar painting. In particular she admired the success that Mimmo Paladino had in establishing the connections between disparate elements in the same painting.