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.
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.
Although Wayne Barrar’s ongoing exploration of the landscape is primarily executed through the lens of a camera, it is from the vantage point of both science and art that he pursues his ideas. Barrar first graduated with a Bachelor of Science from the University of Canterbury in 1979 before later completing a Postgraduate Diploma of Fine Arts at Elam School of Fine Arts in 1996 and an MDes (2005) from Massey University.
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.
New Zealand painter Max Gimblett, based in New York since 1972, spent his childhood living above a shop in Grafton and exploring the paths and gullies at the bottom of the Auckland Domain. The site of many of those boyhood haunts is now the home of The University of Auckland’s Owen G Glenn Building where a magnificent mural by Gimblett was completed in January.
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.
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.
Along with a substantial number of fellow art students such as Seung Yul Oh and Hye Rim Lee, Jae Hoon Lee (no relation) arrived in New Zealand to study at Elam School of Fine Arts as part of a new generation of South Koreans migrating to New Zealand in the late 1990s.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.