Often using photographic processes to make her installations of images, Joyce Campbell has long been concerned with representing scientific knowledge in her art. While resident in Los Angeles in 2002, she made a series of images titled Marianas and Mindanao, referring to the submarine trenches situated in the north-west Pacific. Whereas the name Marianas derives from Queen Mariana of Austria, widow of Philip IV, as a reminder of the area’s seventeenth century Spanish colonists, Mindanao comes from Maguindanaons, the largest Sultanate historically.
As a young science teacher living and working on the Auckland volcanic field, Len Castle made great use of lava tubes and caves, and took field trips to Rangitoto. He was delighted when Ruapehu’s boisterous activity for several months in 1945 briefly eclipsed war reports from the Pacific theatre. Like the painter Colin McCahon who was studying the line drawings of landforms produced by Charles Cotton at this same time, Len married aesthetic sensibilities with an interest in geomorphology.
Lisa Crowley practises a peculiar type of landscape photography, one concerned with place, but place laden with human experience. She chooses politically charged sites with significant histories, yet her images offer little or no discernible evidence of locality, past events or current tension. Instead she invokes the conventions of romantic landscape painting and 19th century scenic photography, directly raising the question of the medium’s real ability to document a place and expose its history. A picture of a heap of felled trees can be simply a picture of piled natural debris; its significance can only be materialised by human experience, she suggests.
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.
Liverpudlian by birth, William Mathew Hodgkins followed the goldrush from Victoria to Otago in 1862. His marriage in Dunedin three years later produced six children, including a daughter, Frances, whose fame and artistic success have eclipsed her father’s accomplishment. Yet in nineteenth century New Zealand, Hodgkins senior was an artistic colossus, exhibiting widely at art societies throughout the country and publishing his lectures on art in the daily newspapers. As a self-taught watercolourist, his concern about his lack of drawing skills led him to concentrate on atmospheric effects, taking his cue from Joseph Mallord William Turner whose work in the National Gallery in London he described as “a mine of artistic wealth”.
Made out of bitumen-impregnated paper, this cruet set of concertina fans won’t cool anyone off. Hanging like three little piupiu on the wall, patterned by kowhaiwhai shapes and titled after an American torch song, the installed work gives a wave in the direction of the artist’s Ngai Tahu ancestry while fanning the flames of land loss grievance. Contributing to a content trickling down from the Māori love story explaining the origin of the Waiau and Clarence Rivers in the South Island, the artist works the construction association inherent in her material. Once called tar paper, the basic black builder’s paper cut-out is simultaneously doing steel-capped heavy duty and pirouetting as lightweight decoration. It is meant to form a waterproof membrane in a roof or walls but, carved up by a stanley knife, it makes an alluring play of light and shadows.
Painted the year after Douglas Robb was knighted for services to medicine, this work shows the maverick medico at ease in his study, surrounded by his precious book collection. Light falls on his facial features and creates a kind of halo effect behind his head. If the painter seems to have visualised this medical statesman as the patron saint of the New Zealand health system, it was with good cause – he had been campaigning for better public health for over 20 years.
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.
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.
Unlike with many of Alex Monteith’s other video projects, the critically slow pace of the event that forms the subject of her video work, 1020 metres in 26 minutes Waitangi Day Auckland Harbour Bridge Protest, grounds the viewer in familiar territory, allowing the location and the subject of the video to be immediately unravelled. Simultaneously however, the viewer is also drawn into the curious and somewhat dizzying landscape that is formed where the adjacent screens meet. Passages of the Harbour Bridge, segments of land, sky, clouds, sea and automobiles roll across two disparate yet intimately connected fields of vision.
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.”
Mixed media artist Alexis Neal is consistently drawn to depicting objects of taonga as she sees them possessing a wairua or spirit beyond their physical presence. The treasures included in the semi-circular mezzotint entitled Treasured (1997) include ear pendants, a carved piece of bone and a shell necklace. These are not cheap, throw-away items of jewellery purchased from a ubiquitous mall jewellery store but are objects to be worn, treasured and adored.
Back in June 1975, the University’s Works Committee resolved to provide for “fine arts embellishments of new buildings and their precinct” and allocated funds for the acquisition of art works as part of building contracts. The Council recommended the adoption of the Works Registrar’s policy that “a realistic allowance for such work would be one-half percent for Government buildings but that where buildings of national or prime community importance are involved allowance of up to one-and-a-half percent would be more appropriate”. Commissioning of fine art for specific sites around the University resulted in the Medical School Link building on the University’s Grafton Campus being the first to benefit from the new policy.
When Mäori-Chinese artist Buck Nin died aged only 54, the high-ranked turnout of representatives from many tribes, along with a who’s who of the contemporary Mäori art movement, was testament to the larger-than-life presence Nin had established in the community. Renowned as an artist, entrepreneur and teacher, he was not only among the first generation of Mäori artists to make their mark in the Western world of contemporary art; he actively nurtured the talent of many more who followed.
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.
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.
There is a lot that is familiar in Peter Siddell’s landscape paintings. Long horizons, Victorian architecture, waterways and volcanic cones. They all look like bits of Auckland we know, although you can’t quite finger where. Probably not the suburb you grew up in but possibly one you visited a few times. Perhaps it was before the old mansion was pulled down, or the new tower went up? Even the way the light plays across the landscape. This is the artist’s city and his scenes have become so familiar that the real Auckland sometimes looks a lot like his paintings.
Fearing Russian repression after the Hungarian revolt, Marté Szirmay’s parents emigrated, arriving in New Zealand in 1957. Her stepfather, Frank Szirmay, was a figurative sculptor in the academic tradition, but her own interests were in abstraction. Study at Elam School of Fine Arts in the 1960s brought an appreciation of the Russian constructivist brothers, Naum Gabo and Antoine Pevsner, and their engineering aesthetic but not their literalism. In her own work she sought to naturalise manufactured materials including steel and resin, deploying them to describe shapes derived from nature such as the koru as well as to make purely abstract geometrical forms.
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.
DISTURBING AND ALLURING "Envy Log" is example of the way Yvonne Todd's photography can draw you in with the promise of a scandalous story but leave you with nothing more than unresolved plot twists. Here she presents us with a young girl sitting slumped and resigned in a wheelchair, looking towards us with an inquisitive, rather sullen gaze. Behind her stands a woman whose eyes we cannot meet, her face veiled in dark shadow.
With a background as a commercial photographer and shop assistant in a wig salon, Yvonne Todd is well versed in artifice and masquerade. She completed her BFA at Elam School of Fine Arts in 2001, the year before she won New Zealand’s art world’s highest art accolade, the Walters Prize, awarded to her by Venice Biennale curator Harald Szeeman. Her Sea of Tranquility series from that year posed beauty consultants collected up from Auckland department stores against black backgrounds like so many Stepford Wives. She has continued to foreground the performance of femininity ever since, although her practice is centred more generally on the business of image-making itself.
Two Auckland brothers, John and Charles Tole, are the northern equivalent of Rita Angus. Neither of them had any formal art school training although they both associated with the Elam painter John Weeks (1886-1975). The Tole brothers lived together at 12 Seaview Road in Remuera and developed their own credo in art which they revealed to University of Auckland’s Kurt von Meier in 1964: “We have always been intensely interested in modern developments in style and technique, yet we think these elements should not be arbitrarily or consciously striven for but should emerge and flow freely from the subject matter and from the artist’s creative intuition towards the expression and communication of his message.”
The iconic upturned boat form of the Fale Pasifika is a landmark on campus. Designed by Ivan Mercep of Jasmax Architects at a cost of $6 million in 2004, the Fale has won several architectural awards. Collaboration with architectural theorist Albert Refiti ensured that Pasifika artists were involved in its construction adding layers of cultural meaning. Traditional Tongan lashings in brown and black coconut coir from Fiji by Filipe Tohi conceal steel plates and bolts at the main intersections of the roof structure on the interior. Outside the building, the work of Tongan artist, Tumoi Kaloni, forms a high archway entrance to the malae or greeting area, which is paved with a grid of tiles with applied arrows by Tania Euruatua Short to form a work entitled Accidental and Deliberate Voyages in the South Pacific. Described as a cartographically inspired pattern, this treatment of the malae’s surface was intended to evoke the presence of the ocean connecting Pacific peoples.
The emergence in the 1950s of Gordon Walters as one of our most important pioneers of abstract art, along with the likes of Don Peebles and Milan Mrkusich, signalled an important cultural transition in New Zealand. As critic Francis Pound has argued, it was a shift away from the literary influences of the nationalist landscape painters towards the flat planes of architecture and design, from the rustic countryside to urban modernism.
Winning a national art award in 2003, the year he completed his MFA at Elam, brought Rohan Wealleans instant notoriety. The judge described the winning work as a huge bright vagina that he wanted to crawl inside, ensuring that the sponsors, a Waikato electricity supply company, immediately turned it down for acquisition. Since then, Rohan Wealleans has carved out his own special place in the pantheon of male artists with dodgy sexual politics. The consensus, even amongst curators who like his work, is that the artist “flays his surfaces and opens them in a labial way”. Writers shudder at his “invasive, violent even misogynistic” incisions into acrylic paint as if it was flesh. Blade Healers 2008, recently purchased for The University of Auckland Art Collection, shows Wealleans five years on, still unrepentant in his wielding of the craft knife, apparently now ready to construe the cutting itself as therapeutic.
As part of the third Auckland Triennial, Chinese art collective the Long March Project has raised questions around the importance of having a Chinatown to create a sense of community and identity for a growing community of Chinese migrants living in Auckland. But New Zealand also has a significant community of Chinese people who were born here and for artists such as Wong Sing Tai (aka Harry Wong) and his younger brother Brent Wong, cultural identity never played an obvious role in their work.
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.