For artist Billy Apple® (born Barrie Bates in Auckland) the mechanics of art, usually kept behind the scenes, have long been a focus for his work. Throughout the 1970s he executed activity and installation works that highlighted the significance of exhibition spaces to the work exhibited, cleaning windows, painting walls, adjusting lights. In contrast to the grandiose paintings made prior to the pop art movement, Billy Apple was more interested in everyday things and activities, such as shaving. He was particularly interested in the fact that it is the artist’s role in the work that gives it value, just like a brand name. In 1962, while studying at the Royal College of Art in London, he changed his name to Billy Apple, effectively making his own life a work of art, undertaking a re-branding that included bleaching his hair, eyebrows and eyelashes. In 2007 Billy Apple became a registered trademark and then a registered brand in 2008.
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.
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 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.
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.”
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.
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.
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.
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.
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.
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.
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.
Artist and 2017 Distinguished Alumna Lisa Reihana is currently representing New Zealand at the 57th Venice Biennale in Italy with a panoramic video installation entitled Emissaries. It is her most ambitious project in a long, illustrious and innovative career with digital media. Ten years in the making, Emissaries is a remarkably complex digital animation that has undergone a number of modifications for the Biennale since it was last shown in Auckland, including incorporating Aboriginal figures.
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.
At first blush, this painting from Ian Scott’s Authentic Traditions appears to be textbook postmodernism. Combine “low” art (beer advertising) with “high” art (a photograph of Colin McCahon, twentieth century New Zealand art’s biggest gun) with a conventional painting of iconic South Island scenery and a cluster of punga trees for ironic effect.
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.
As well as meaning a destroyer of religious images or sacred images, the word “iconoclast” can be used to describe a person who contravenes established or traditional principles and laws. A champion of vernacular design in architecture who has lived in Massachusetts since 1958, Maurice Smith has been described as “too radical for [New Zealand’s] conservative establishment” by his former colleague Tony Watkins.
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.
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.