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.
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.
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.
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.
Cutting out photographed sets of printer’s type with embroidery scissors to form the names of New Zealand’s biggest corporations in 1986, Megan Jenkinson presciently depicted the flimsy basis for the sharemarket speculation which would lead to the crash of October 1987. As Brett Wilkinson, a young executive with Rainbow Corporation, would later explain, “The listed companies [were] geared up and reported valuations largely based on dubious valuations. It was one giant pyramid game.”
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.
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.
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.
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.”
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.
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.
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.
After two years in New York, preceded by study at Carnegie Mellon University in Pittsburgh, Richard Orjis returned to New Zealand in 2004 and began a Master of Fine Arts at Elam School of Fine Arts. Flower Idol featured in his 2006 graduate exhibition but was already familiar, having appeared on the invitation card for that year’s postgraduate information evenings. Purchased for The University of Auckland Art Collection in 2008, Flower Idol continues its close association with the University, hanging prominently in the NICAI Student Centre.
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.
The daughter of a realist painter, Jude Rae was enrolled in art classes at the Julian Ashton Art School in Sydney at the age of 11 years. Despite the school being located in The Rocks, near the Museum of Contemporary Art, the Julian Ashton approach to art education is traditional, with strong emphasis on drawing skills. Introduced to the work of the Old Masters there, Jude Rae went on to study for a degree in Art History at Sydney University which she completed in 1981. Soon after, she returned to painting, working in a style influenced by the artists of the Northern European Renaissance and seventeenth century French still life painting, as well as by the French philosopher Maurice Merleau-Ponty’s ideas about the phenomenology of perception.
Lisa Reihana is a New Zealand pioneer of media art, utilising technology to create new ways to explore Mäori culture. Reihana graduated from Elam in 1987. Her practice has encompassed video, animation, storytelling, sculpture, textiles, performance, sound and photography, increasingly with a digital emphasis. In 1997 she created Native Portraits n.19897, a large gateway comprising 11 video monitors, commissioned for the opening of Te Papa Tongarewa and forming the waharoa of her ongoing Digital Marae project. From these 11 videos, Reihana created five projected dramas and six granite portraits, which form part of her Memoranda project, first shown at the Singapore Art Museum in 2003.
Printed by Theo Schoon in Kees Hos’s studio in Auckland in 1965, this collograph was made by gluing the cut-out patterns onto wood, and then applying ink with a paintbrush before pressing paper down on top. Captured by Bauhaus ideas which emphasised the equality of art and craft, Schoon had studied only briefly at the Rotterdam Art Academy and Canterbury College School of Art, before beginning his own journey of intrepid exploration of artistic media.
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.
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.
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.
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.”
It was in the mid-1960s that Barbara Tuck studied at the University’s Elam School of Fine Arts. And during her time at art school, Tuck developed her skills and stylistic approach to art. Fifty years on, this style combines multiple narratives, aerial perspectives and eye-catching, dreamy colours. Her heady landscapes are magically mystical, glinting at magpie onlookers.
Variations of the curving stem and bulb form of the koru made their earliest appearances in Gordon Walters’ work in the mid-1950s. Joining the Government Printing Office in Wellington in 1954, he prepared gouache studies after work and at weekends. A decade earlier, Dutch Indonesian artist Theo Schoon (1915-1985) had introduced him to Ngai Tahu rock art and invited him to South Canterbury to view the drawings in Weka Pass. What he saw there inspired the later Mäori designs in Walters’ work.
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.