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.
In 1986 Auckland University Press published (jointly with Oxford University Press) a collection of ten poems by Allen Curnow titled The Loop in Lone Kauri Road (poems 1983-5). The cover illustration echoes the title and features a circular gleam of blurred metal in motion. The image is in fact a photo of Len Lye’s kinetic sculpture Roundhead, which includes a whirling wedding band at the centre.
A childhood in Dunedin gave painter Frances Hodgkins a life-long aversion to cold weather. The south of France was her usual destination as soon as dreary English winters began to bite, but in the middle of the Depression she ventured instead to Baleares, the third largest of the Balearic Islands off the coast of the Spanish town of Valencia in the West Mediterranean. Better known now for the dance parties and rave culture that made it iconic in the late 1990s, the Balearic capital of Ibiza was fascinating to Hodgkins for its Roman, Phoenician and Carthiginian remains, and its famous whitewashed architecture.
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.
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.”
Established in 1998, the Elam International Artist in Residence programme has often chimed in with exhibitions and events around Auckland. The first Triennial, Bright Paradise, curated by Allan Smith, brought Justine Kurland to the city in 2001, and she made this art work during her stay.
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.
The success of Roy Alston Lippincott (1885-1969) and Edward Fielder Billson (1892-1986) in the competition to design Auckland University College’s Arts Building in 1920 was undoubtedly assisted by the contribution of Marion Mahony, one of the most gifted architectural renderers of the twentieth century.
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.
Google noted New Zealand artist Roger Mortimer’s name and you will disappear down a rabbit hole into a tale of medieval manoeuvering. His 14th century ancestor, Roger de Mortimer, was an English nobleman who was strategically married off at 14 to the equally youthful Joan de Geneville. She later had the good fortune to inherit property in the Welsh Marches and Ireland as well as the 11th century Ludlow Castle in Shropshire. With this wealth behind him, Baron Roger started the Despenser War, leading Marcher lords in a revolt against King Edward II. Unfortunately for him, the attempt to overthrow King Edward failed, and Baron Roger found himself chained up in the Tower of London. Helped by his mistress Isabella, King Edward’s queen consort, he managed to escape to France where he rallied troops to invade England and depose Edward, having him murdered at Berkeley Castle. Three years later in 1330, Edward’s eldest son got his revenge, and Roger de Mortimer was taken to Tyburn where he was hung without trial at the age of 43.
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.
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.
Pregnant with mystery, this huge image of a hei tiki glowing against a dark background is magnetically attractive. It is one of a range of Cinderella artefacts – those deemed by curators as too imperfect to exhibit – brought to light by Ngai Tahu photographer Fiona Pardington. Working towards her MFA at the Elam School of Fine Arts in 2002-2003, she trawled through collections of her iwi’s taonga at Auckland Museum and Okains Bay Mäori and Colonial Museum on Banks Peninsula. It took her up to 18 months to seek and obtain permission from each relevant hapu to photograph their taonga for this project.
Developing an abiding love for the natural and life sciences during two years of medical intermediate studies at Otago University in 1961 and 1962, Peter Peryer moved back to Auckland and finished his bachelor’s degree majoring in English and Education.
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.
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.
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.
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.
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.
Originary moments of modernism in New Zealand art are usually recounted anecdotally - Toss Woollaston in Nelson asking if he could copy Flora Scales’s notes taken in classes at the Hans Hofmann School in Munich or Colin McCahon encountering Mary CockburnMercer hobbling around on crutches in Melbourne in 1951.
Artist Robin White and poet Sam Hunt met in 1968 when they were both 22 years old. He was visiting Auckland to perform at the University Arts Festival and she had finished her Diploma of Fine Arts at Elam and was training to be a teacher. When Robin was offered a job at Mana College in Porirua in 1969, Sam found her a cottage to live in next to his at Bottle Creek on Paremata Harbour north of Wellington.