LEGENDARY OBSCURITY The working life ofMalcolm Ross Matt Plummer A thesis submitted to Victoria University ofWellington infidfilment ()fthe requirementsfor the degree ()fMaster ofArts in Art Histoly Victoria University ofWellington 2010 CONTENTS ABSTRACT iii ACKNOWLDEGEMENTS IV LIST OFILLUSTRATIONS V CHAPTER ONE 1 'Legendry obscurity ': Introducing Malcolm Ross CHAPTER TWO 41 'My native suburb goodnight ': Malcolm Ross and New Zealand CHAPTER THREE 71 'Duchamp foundation ': the conceptual underpinnings ofMalcolm Ross's practice CONCLUSION 81 'I II still be here when you re gone ': Malcolm Ross's archival legacy APPENDIX 84 'Long may your remains ': The Malcolm Ross Archive at the E.H.McCormick Research Library BIBLIOGRAPHY -ll- _4BSTRACT Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety ofhis career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one ofNew Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki. -lll- A CKNOWLEDGEMENTS Researching Malcolm Ross has been a challenging task, and I have been extremely fortunate to receive assistance from a number ofpeople in this process. First of all I wish to acknowledge the incredible generosity shown to me by Douglas Wright, the executor ofthe Malcolm Ross Estate, whose support has made this project possible. I am grateful to Roger Peters (who first introduced me to the legendary obscurity ofMalcolm Ross in 2003) and Paul Hartigan for their engaging discussions and friendship. Ron Brownson provided important insights into Ross's archival process at an early stage in my research, as did Mark Baldwin, who supplied key pieces ofthe 'puzzle' at pivotal moments. Additionally my knowledge ofthe working life ofMalcolm Ross has been invaluably aided by his friends and peers who so generously gave up their time to talk to me: Jim Allen, Tony Green, Vicky Hamill, Bronwen Muir, Glenn White and Richard Wolfe have my sincere gratitude for this. An archive-based project such as this has required much institutional support. In particular I would like to acknowledge the assistance ofCatherine Hammond and Caroline McBride at the E. H. McConnick Research Libraty, Auckland Art Gallely Toi 0 Tamaki, and also Martin Collett at the Auckland War Memorial Research Library. I have received much support from the Art History programme at Victoria University of Wellington over a number ofyears. I wish to thank my supervisor Tina Batton for her patience and editorial acumen, Roger Blackley for going above and beyond the call ofduty, and Peter Brunt for his input in the early stages ofmy research. Additionally David Maskill, Pippa Wisheatt and Annie Mercer have helped in a variety ways, all ofwhich are much appreciated. Finally, I wish to express thanks to Jo Whalley, whose editorial assistance and general encouragement were instrumental in enabling me to get over the finish line. -IV- LIST OF ILLUSTRA: TIOIVS Fig. 1 Malcolm Ross, Untitled [Elam Studio Self-portrait}, 1971 Black and white photograph E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Fig. 2 Diego Velazquez, Las Meninas [detail], 1656 Oil on canvas. Prado, Madrid Page 6 Fig. 3 Richard Wolfe, Have you read Malcolm Ross's thesis yet? Printed in Elam S(p)eed, no 2, 1972 Page 15 Fig. 4 Malcolm Ross, Grades, 1971 'Feasibility', from Untitled (or A ++) Fig. 5 Malcolm Ross, Untitled [Bull/bullshit}, undated Ink on photocopied image. E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Page 26 Fig. 6 Malcolm Ross, De Chirico versus/ish and chips, undated. Stamped ink on paper Douglas Wright collection Fig. 7 Malcolm Ross, In the beginning was Jackson Pollock, undated. Ink on paper . E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Page 36 Fig. 8 Malcolm Ross, In the beginning was Jackson Pollock / Jackson Pollock alcoholic, undated Stamped ink on paper Douglas Wright collection Page 37 Fig. 9 Malcolm Ross, Crucified DirectOly, 1971 'Fact', from Untitled (or A++) Page 46 Fig. 10 Malcolm Ross, Inside Out-house [interior}, 1971 Fig. 11 Malcolm Ross, Inside Out-house [exterior}. 1971 'Facts', from Untitled (or A++) Page 49 -v- Fig. 12 Jim Allen, New Zealand Environment No 5, 1969 Mixed media installation Govel!-Brewster Art Gallery collection Page 50 Fig. 13 Malcolm Ross, New Plymouth topographical inch to mile sheet, 1971 'Fact', from Untitled (or A++) Page 55 Fig. 14 Malcolm Ross, Untitled [Hollywood McCahan], undated Ink on paper E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Fig. 15 Ronnie van Hout, Dead artists, 1992 Black and white photograph Private collection, Wellington Page 63 Fig. 16 Malcolm Ross, Near Miss, 1992 Oil on board Douglas Wright collection Fig. 17 Colin McCahon, Crucifixion with lamp (detail), 1947 Oil on canvas Hocken Library, Dunedin Page 64 Fig. 18 Malcolm Ross, Duchamp Foundation, c. 1980 Black and white photograph E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Page 73 Fig. 19 Malcolm Ross, Untitled [High-heeled pipe], undated Ink on paper E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Page 75 Fig. 20 Malcolm Ross, Pegged-out books, 1971 'Fact', from Untitled (or A++) Fig. 21 Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even [detail] 1915-23 Oil, varnish, lead foil and lead wire on two glass panels Philadelphia Museum ofArt Page 79 -VI- Fig. 22 Malcolm Ross, Selected self-portraits, cl97l-1980 Black and white photographs from Untitled (or A++) and The Malcolm Ross Archive E.H. McCormick Research Library, Auckland Art Gallery Toi 0 Tamaki Page 83 -VB- 'LEGENDRY OBSCURITY' Introducing Malcolm Ross People tend to focus on the figureheads ofthe time, but it's not necessariZv thefigureheads who are going to tell the story. - Jim Alieni I think that he is absoluteZv unique, and that his work, as it comes to light, will be understood as prophetic. It will change our perception of late twentieth-centlllY art in New Zealand. It will add another dimension to it. - Douglas Wright on Malcolm Ross2 To the people who knew him well, Malcolm Ross is legendary. Within this circle offriends he is commonly acknowledged as one ofNew Zealand's most talented and prescient artists, yet outside it his work remains largely unknown. 3 Whilst there is little novel about an artist who fails to gain a public reputation, Ross's case is more interesting - rather than struggling for recognition, he struggled with and against it. After achieving notoriety as a talented yet unconventional student at Auckland's Elam School ofFine Arts in the late 1960s and early 1970s, Ross was encouraged to exhibit his work by a number ofwell-regarded peers. Yet despite compulsively creating art right up to his death (in 2003), his end-of-year exhibition at Elam in 1971 proved to be his last; operating at one-remove from the art world for the remainder of his life, Ross bypassed the conventional avenues for artistic reception. Instead he chose to deposit a range ofmaterial in several archival repositories throughout New Zealand. While a large portion ofthis material stems from Ross's idiosyncratic research on local history, his most significant deposit (totalling 18 storage cartons, housed at the E.H. McCormick Research Library I Jim Allen, interview with the author, 8 February 2006. 2 Douglas Wright, interview with the author, 6 November 2006. .3 Both Ross and his art do feature prominently in Douglas Wright's memoir Ghost Dance, Penguin: Auckland, 2004, and to a lesser extent its sequel Terra 1cognita, Penguin: Auckland, 2006, and thus he will be familiar to those who have read these books. Ross was also the subject of my article 'I'll still be here when you're gone: the archival strategy of Malcolm Ross'. Reading Room I, 2007, pp 175-180, and is briefly mentioned in Peter Wells' 'A singular bliss', The Bulletin, Winter June-Augnst 2009, pp 28-29. - I- at the Auckland Art Gallery) includes a sizable selection ofnotes, sketches, paintings and photographs from his artistic oeuvre.4 Utilising this archival material in combination with an analysis ofworks in private collections and the recollections ofthose who knew him, this thesis is an attempt to unearth and illuminate aspects of Malcolm Ross's working life. In it I will examine the extent to which Ross might be considered a key practitioner of conceptual art in a local context, whilst highlighting how his work provides a foil to existing accounts ofcontemporary art practice in New Zealand. What will emerge is· a story focussed not on a recognised figurehead, but rather on a unique character at the margins, and in the footnotes, ofthis history. Due to the nature ofhis work and personality, the task ofintroducing Malcolm Ross as an art-historical subject is not easy. His archival material is at once voluminous and fragmentary; his extant work presents intriguing insights into his working methods, yet frustratingly there are relatively few examples of these ideas being cohesively assimilated into "finished" works. Due to Ross's frequent refusal to follow art-historical conventions such as signing and dating pieces it is difficult to place much ofhis work within a chronological narrative, and the recurrent absence oftitles often makes discussion of it problematic and cumbersome. Nevertheless it is a central contention ofthis thesis that these elliptic, partial remnants - the survivors of an intense and unrelenting destructive drive - can amount to an oeuvre wOlihy of analysis, pmiicularly when viewed in light of art-historical trends emerging over the past four decades.