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The Fox and the Stork
Graham Percy
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04. Letter I, Exercise I: Try to fill in that square with crossed lines""
Stephen Farthing
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Black double ended series 280/36
John Lethbridge
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Conversation VIII
Douglas Macdiarmid
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The Hostage Unity Theatre
Raymond Boyce
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07. Letter I, Exercise IV: You cannot get the same dark power with pencil as with ink""
Stephen Farthing
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Dream Construction
Philippa Blair
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12. Letter I, Exercise VII: When you have done one square proceed to do another""
Stephen Farthing
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08. Letter I, Exercise V: To be able to draw any form at once""
Stephen Farthing
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Within a Rachel Whiteread installation
Graham Percy
-
15. Letter I, Exercise VIII: Following the spots which fall into the folds of the skin""
Stephen Farthing
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Points of View: The Given as an Art-Political Statement
Billy Apple
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Perspective View of Arts Building and Student Club from Symonds Street
LIPPINCOTT & BILLSON
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22. Letter II, 104: Foliage for two reasons... always accesible... leading or governing lines""
Stephen Farthing
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Untitled
Jeffrey Harris
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Untitled (from the Energy Diagrams series)
Kathy Barry
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21. Letter I, Exercise X, continued: A perfect artist habitually sees masses not edges""
Stephen Farthing
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11. Letter I, Exercise VI, continued: You cannot do too many of these""
Stephen Farthing
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Soundtrack 5
Phil Dadson
-
Creatures in Space XIII
Douglas Macdiarmid
-
03. From the preface: I do not think that figures, as chief subjects can be drawn to any good purpose by an amateur""
Stephen Farthing
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Return to the Land - two kiwis, two huts and two silos
Graham Percy
-
Arthur Sandall
Paul Beadle
-
18. Letter I, Exercise X, continued: And some leaves seen with the edge turned towards you""
Stephen Farthing
-
Toka Toka from Te Maire
Don Binney
-
06. Letter I, Exercise III: When your eye gets keen and true - you will see gradation in everything in nature""
Stephen Farthing
-
17. Letter I, Exercise X: Draw first only two or three leaves""
Stephen Farthing
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And this also is the Point of Saying Goodbye
Gregory O'brien
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24. Letter II, 108: That leaf is the main one that bough is the guilding one""
Stephen Farthing
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14. Letter I, Exercise VIII: Spots that follow the folds of printed stuff""
Stephen Farthing
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Study for Sculpture
Jim Allen
-
10. Letter I, Exercise VI, continued: The brush is often more convenient for laying on masses of tints and shades""
Stephen Farthing
-
Black double ended series 280/35
John Lethbridge
-
13. Letter I, Exercise VIII: If you can draw a stone, you can draw anything""
Stephen Farthing
-
The Politics of Geometry
Richard Killeen
-
Hobson Street
James Boswell
-
Taurus
Philippa Blair
-
Portrait of Mary Stanley
Una Platts
-
31. Letter III, 210: Rembrandt's elephant""
Stephen Farthing
-
Untitled
Michael Dell
-
09. Letter I, Exercise VI: Consider the dark boughs of the tree as dark rivers""
Stephen Farthing
-
25. Letter II, 112: Copying photographs and unpacking nudes""
Stephen Farthing
-
Surasundari 1
Neville Campbell
-
19. Letter I, Exercise X: You need not copy touch for touch... Rembrandt is often too loose and vague""
Stephen Farthing
-
Blue Paper - Panel 2
Glenys Brookbanks
Artist
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FARTHING, Stephen 31
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PERCY, Graham 6
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MACDIARMID, Douglas 5
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BEADLE, Paul 3
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BLAIR, Philippa 3
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BOSWELL, James 3
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DADSON, Phil 3
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APPLE, Billy 2
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BINNEY, Don 2
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BROWN, David 2