During 2006, Edith Amituanai visited France and Italy as part of a Creative New Zealandfunded five-week project to photograph professional rugby players. Each of her subjects had a Pasifika background, and many of them were her relatives or friends. The theme for her work at that time was “third wave” migration, as the children or grandchildren of people who emigrated from the Pacific Islands to New Zealand in the twentieth century, started to move back out into the world to seek new opportunities.
After studying at the Elam School of Fine Arts in the 1970s, Stephen Bambury travelled to North America. There he encountered paintings by the Russian artist Kazimir Malevich who had undertaken “a desperate struggle to free art from the ballast of the objective world” by using basic motifs: the square, the circle and the cross. This last shape was a loaded sign but also an exercise in pure geometry, dividing the canvas into nine squares. As many geometrical abstractionists have observed, the cross is the mother of all grids.
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.
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.
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.
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.
McCahon’s left-handed writing wins no prizes for neatness. In Let us possess one world, lower case letters crowd together, shuffled by punctuation into a tripartite scheme so that one world is hoisted proudly on a stem above the mirrored halves below. Whereas the staid pronouncements of his earlier word paintings (I Am and I and Thou) were freighted with significance by the use of cubist capitals, this looping script dips into the sensuality of the source, John Donne’s seventeenth century love poem.
Thousands of renowned (and aspiring) artists, curators, writers, collectors, and anyone else significantly interested in contemporary art recently converged from around the world for the opening of the 53rd Venice Biennale. In addition to the main international exhibition, Making Worlds, which features 90 artists, there are 77 countries with their own pavilions and 44 collateral events from a range of organisations. Included in the collateral exhibition Glasstress is Elam School of Fine Arts graduate Hye Rim Lee, who appears alongside such international luminaries as Louise Bourgeois and Mona Hatoum. This year Creative New Zealand has selected two artists to represent New Zealand: Francis Upritchard and Judy Millar. Millar’s project Giraffe-Bottle-Gun will be installed in Santa Maria Maddalena, the only circular church in Venice, which has existed on the site in various forms since at least 1222. Giraffe-Bottle-Gun, named from oddly-shaped long-necked canvases leaning against the walls surrounding the large looping installation at the heart of the installation, interrupts the spaces between the viewer, the architecture and the art.
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.
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.
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.
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.
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.”
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.
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.
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.
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.
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.