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.
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.
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.
As a child, Julian Hooper spent nine months living on Fakaofo, the main atoll of the three that make up the tiny country of Tokelau. His parents, anthropologist Antony Hooper, and linguist Robin Hooper, took Julian and his brother Matthew with them while they worked on a study of Tokelauan health for Ian Prior, Director of Epidemiology at Wellington Hospital.
Teaching him at the Elam School of Fine Arts, Colin McCahon noticed that Richard Killeen’s compositions seemed assembled from separate parts, like jigsaw puzzle pieces. This one even takes its title from the three significant features in it, and orders them in a descending hierarchy of importance. Richard’s subject matter is both realistic and abstract, and his work allows a reading of both modes. Yet if painting in the Realist tradition was once considered a window onto the world, Richard is showing in this work that the opening is now closed. His stylised figure has become a flattened shape pasted over the background, casting little shadow. Is the Realist mode just the alibi for the investigation of figure and field with image and pattern, or does narrative linger on?
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.
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.
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.
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.
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.
Sited in the courtyard of the Population Health complex at Tāmaki campus are four bluestone basalt boulders with inscribed text. They originate from the Mount Wellington quarry, a 220-acre site in Lunn Avenue established by Winstones in 1936. Operating until 2001, it employed 120 people and was once the country’s main source for volcanic stones for roads and walls. Now G341, the ubiquitous Auckland kerbstone is quarried and manufactured in China, and mechanised, modern quarrying has shifted south to Bombay. A new residential suburb, Stonefields, has risen where stonecrushers once ruled.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.