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CS A PREVIEW I OCT/NOV 1988 142 Ne w Zealan d Pos t Offic e Headquarters , Y MULMN t UAVI U / ur\^W !\ e M.^L/!« L . , j ~ The Journal of the Canterbury Society of Arts Gallery Hours A 66 Gloucester Street Christchurch, Monday-Friday 10am-4.30pm

• I New Zealand P.O. Box 772, Christchurch Saturday-Sunday 2pm-4.30pm | Phone 667-261,667-167. PREVIEW

SOCIETY Dr G W Rice Roto Art Exhibition Andrew Anderson Centreplace, Hamilton, November 20-26 1988 OFFICERS Mrs Lyndel Diedrichs Entry forms by 14 October Mark Steyn Apply to: Patron J D and A C Allan Roto Art '88 Patricia Wood His Excellency The Governor General P O Box 5083 Juliet Nicholas The Most Reverend Paul Reeves GCMG, DCL Frankton, Hamilton (Oxon) Mr and Mrs Cooke Mr and Mrs P M M Bradshaw NZ Academy of Fine Arts President Sue Syme Abstractions David Sheppard. A.N.Z.I.A.. M.N.Z.P.I. Jo Sutherland National Bank Art Award 1988 Pamela Jamieson Vice-Presidents Receiving days 7-8 November N A Holland and J L Whyte Bill Cumming Season 27 November-11 December Mary Bulow Mrs Doris Holland Dorset House Innovation in Craft Jewel Oliver Timothy Baigent National Provident Fund Art Award 1988 Michael Eaton, Dip. F.A., Dip. Tchg.. F.R.S.A. Jenny Murray Receiving days 26 and 27 September Nola Barron Robyn Watson Season 23 October-6 November John Coley, Dip. F.A., Dip. Tchg. Ailsa Demsem Entry forms available from: Tiffany Thornley Council NZ Academy of Fine Arts Karen Purchas Alison Ryde, T.T.C. P 0 Box 667 Perkins Hargreaves Co Josie Jay, Dip. Hon. Wellington W. J. Parson, B.Com. A.C.A. Awards: International John Mackintosh, L.LB. David Page, B.Sc. (Hons.) Art Horizons, NY — 1988 DIRECTOR'S lain Harvey, M.S.I.A.D. A leading international art competition open Grant Banbury, Dip. FA. (Hons.) COLUMN to all artists in all media. Simon Ogden, M.A.R.C.A. Information and ent7 forms from: Chris Taylor, Dip. F.A. (Hons.), Dip. Tchg. The previous issue of PREVIEW brought a Art Horizons Hon. Secretary number of letters to my desk about 'fringe' groups receiving too much attention. These Department R A Bruce Finnerty have not been printed as they were not P O Box 1091, Larchmont Hon. Treasurer addressed to the Editor. NY 10538, USA PREVIEW, like the C.S.A. Gallery reflects the Tel (914)633-6661 John Wilson, A.CA. diverse range of activities in the visual arts. It Auditor seems to me important that the C.S.A. should Tokoroa Art Award 1988 be at the forefront of reflecting change and revision of accepted conventions in the arts. NZFP Pulp & Paper Ltd John Midgley, B.Com. A.C.A. Sometimes these will be social issues addressed October 8-14 by artists in their work. At other times there Entry forms by 17 September GALLERY will be formal developments in the language PERSONNEL of art. Concurrently many artists will continue Correspondence to: to refine their art within genres and styles The Secretary Director already defined. Tokoroa Art Award Chris Taylor, Dip. FA. (Hons.), Dip. Tchg. At its heart, the C.S.A. is based on pluralism PO Box 162 and the celebration of independence and Consultant individuality. It is within this environment that Tokoroa Rona Rose excellence in the arts survives and grows. Tuition Enlightened critical response should address the Gallery Assistants lucidity of an artists work and the quality of Fine Arts Programme Joanna Braithwaite, B.F.A. its expression within a social context. At its Term III Natham Crossan worst, it is dense, pretentious and aids a process There are six courses available for tuition in Louise Johns, B. Mus. of mystification. Josie, our hard working editor will only be various aspects of drawing and painting. Accounts too happy to receive letters. Those addressed Apply to: Grania McKenzie, B.A. to her will be printed. I hope they pile up. Dept of Continuing Education PREVIEW is a great vehicle to talk about art. University of Canterbury Office Phone 667-001 Chris Taylor — Jane Macleod Drawing from the Figure Editor Tutor Josie Jay Josie Jay Thursdays 10-12 am MIXED Arts Centre NEW 8 week course, commencing 29 September MEDIA Fee: $72.00 MEMBERS Phone 252-467 Exhibitions and Awards Wendy Olivers Handcrafts in Wool Award 1989 David Cornwell Lindsay Muirhead For information and application form, write to: Shelagh Johnston The Handcrafts in Wool Award Kim Smith The Crafts Council of New Zealand Sabrina Malcolm P 0 Box 498 Peter Kundycki Wellington

Front Cover I Philip Trusttum "jewelled Horse" PR|"V||-W Purchased by the McDougall Art Gallery VIEWS/REVIEWS HOCKNEY Hockney Work Stays Afloat at JACK SMITH r> I*. n l Roosevelt Pool

y wife and I attended a cocktail party So it was a feather in the Roosevelt's cap of this victory. It was an affair that Hockney M the other afternoon at the Hollywood to have an original Hockney, so to speak, on himself might well have painted. Pretty women Roosevelt swimming pool to celebrate a minor the bottom of its pool, an ornament that in chic dresses; casual young men; movers and triumph of art over bureaucracy. More accu seemed to symbolize the hotel's recent shakers; Woo, Roos and of course, Hockney rately, it was a triumph of bureaucracy over modernization. himself, who wore a large polka-dot tie with itself. Joy soon turned to gloom when county a striped shirt. The issue was the bottom of the swimming officials noted that the painting violated state Waiters moved among these beautiful people pool, which had been decorated a few months safety rules, which require that the bottoms with trays of champagne in bubbling flutes; a ago by the British artist David Hockney. Being of pools be unadorned, and ordered the buffet table was loaded with hors d'oeuvres a Hollywood booster, Hockney had come to Hockney squiggles removed or painted over. and fruit; the sky was sunny and clear, and the pool one morning early with a few cans Paul Golis of Thousand Oaks memorialized nobody went in the water. of blue paint and a broom, or some similar the situation with an epic poem, from which Roos made a graceful speech, noting that kind of painting implement. I have this permission to quote: the Legislature, in its wisdom, had spared the In four hours, working at the bottom of the In California it was the written rule Hockney pool for Hollywood, the Roosevelt empty pool, he had covered it with symbols You cannot punctuate the bottom of a pool Hotel and posterity; Woo, wearing a necktie variously described as squiggles, caterpillars, With swimming parentheses that might have been painted by Hockney slugs, commas, apostrophes and parentheses. Or giant apostrophes himself, also spoke briefly and modestly of the Each was exactly like the other, and they Or posturing periods or carefree commas day's triumph, and Hockney was made to get covered the pool in an interconnected, basket Oh, no, no, not a single one if you please. down on his knees and plant his hands in a like pattern. But alas. square of wet cement. As Golis concludes: The result, when you looked into the filled It came to pass, So today because of Councilman Woo pool of still water, was a vast spread of large A talented Cockney, And State Assemblyman you-know-who blue parentheses, commas, or whatever. But Named David Hockney, You can swim at the Hollywood Roosevelt when someone dived in, disturbed the water, Innocently unaware. Hotel all the commas seemed to come to life, weaving Painted not one, not two, While admiring its beautiful art as well and dancing and shimmering. But several pair. So tie on your bikini; don your shorts Naturally, the Roosevelt was delighted to Fact is, his punctuation marks were every Forget life's worries and its warts have Hockney's work on the bottom of its where. And. as you hobnob with the high muck- pool, since he has suddenly become the darling An art dealer, however, pointed out to the a-mucks of two continents (at least), and his recent lawmakers that Hockney's underwater work, You can dive into a pool worth a million retrospective at the Los Angeles County if it could be sold, would be worth perhaps bucks! Museum of Art drew record crowds. $1 million. It was a galvanizing thought. City Hooray for Hollywood! ~ Hockney's work is not easy for a Philistine Councilman Michael Woo urged Assemblyman to describe: but it is fresh, bold, original, vivid, Mike Roos (D-Los Angeles) to use his influence imaginative, sometimes splashy, sometimes on the Legislature; Roos wrote a bill exempting abstract and usually very colorful. He seems the Roosevelt pool from the state law; it was to be crazy about the sunny LA. landscape, passed, and Gov. George Deukmejian signed This article on David Hockney by Jack Smith, and is especially good at painting swimming it into law. was first printed in the Los Angeles Times. pools. Friday afternoon's party was a celebration Contributed by Doris Holland.

What VIEWS/REVIEWS KOHLMEYER constitutes being an Artist Rewritten by Josie Jay — from notes taken JOSIE JAY and a tape during a slide lecture at the Vermont Studio School. U.S.A. 1987.

These notes are Ida Kohlmeyer's personal rt is continually refining and redefining, buying public — what we create will be an discoveries, put together through her own Ain seach of fundamental truths. One of act of integrity, to abide by that moral code experience as an artist and refined and rewritten her few convictions is that men and women suffices for me as a good enough reason using over 20 years. I would like to share these with are equally blessed with natural gifts of up my life making art. you as I think they are relevant and interesting mentality, imagination and emotion. On Hans Hoffman — his importance lay in to anyone involved in any area of creative Social injustice and anger are usually convincing her a painting need not be a picture activity. destructive, but they can be sources of artistic of something — that it should be an invention, inspiration; for example Goya's disasters of war not an imitation. She came to realise that First, a little background on Ida Kohlmeyer. and Picasso's Guernica, immediately come to communication between painting and spectacle She was bom in New Orleans in 1912. M.F.A. mind. could be achieved through the painters creative at Newcombe Art School, Tulane University. Women's rights may be your trigger to urgency, and for her the results seemed to be Studied with Hans Hoffman. On the faculty creativity, a beer can for someone else — For pure aesthetic statement. at Newcombe and was associate professor of her it is the freedom and independence inherent With the first signs of maturity the artist Fine Arts at the University of New Orleans. in making art. She is convinced that art is the begins to struggle to be free of subservience She has exhibited widely and has had 50 solo only arena in which a person has complete to another artist's image. In the beginning to shows, including galleries in New York and freedom of thought and action — it takes be influenced by those who stand in authority London. She has work in collections of the courage to use this freedom, but artists are at that time, is all well and good, and even Brooklyn Museum, San Fransisco Museum, notoriously free thinkers, which implies courage. desirable up to a point. But admiration of Corcoran, Metropolitan and many others and As artists, we are answerable to ourselves alone, another artist's authority can turn into a yoke, recently a 30 year retrospective which travelled thats independence, and as long as we glorify which we may never gain courage enough to to seven museums. Ida Kohlmeyer was this independence by being our own judges, throw off, with the tragic result that we never influenced early in her career by Hans Hoffman not allowing ourselves to be led by the taste discover ourselves. and Mark Rothko, and has herself had an of others such as fashion, art critics, or the illustrious career as a painter and sculptor.

p h i: v 11 w A successful minimal statement, I think is from your own personal point of view. My point hazard the uncertainly of risks and change. a mystery, and a victory — because it gets is not to depreciate or disparage the value of Being an artist denotes a way of life, a way to the essence and rejects everything that is draughtsmanship, but we must not judge skill which seldom parallels a life of pleasure or decoration. as the principle measure of aesthetic validity financial success, the nagging compulsion to The evolution of a painter's style goes or mistake it for creativity. Technical achieve pretext is ever present. This continuous output through changes and often has sharp divisions, ment is not creativity, in fact the two are often constitutes art as a way of life. It is how you but the past keeps seeping back in, and in so at opposite ends of the pole. Creativity is will use yourself up. The creative person is on doing reaffirms the artists grass roots. ineffable, its origins are known, although we a continuous voyage through pergatory. He dies Mood swings affect composition and colour suspect there are times we know it only by and is reborn a thousand times during a days — Sometimes lyrical, violently expressive, its results, although we suspect there are times work, and so does the work. sometimes vulgar, or discordant, or elegant — we never seem to find where that hiding place Painting itself is a series of destructive acts, release and restraint result in different tempo's. is. Spirit of creativity enobles art so that it rises the first brushstroke violates the chastity of She deplored the term 'Feminist' art just as above taste and fashions; to endure over the the canvas, and the artist rarely comes close she does 'Feminine' art because both phrases ages. If you were able to draw like da Vinci, to satisfying his hypocritical nature. The artist attempt to describe something that is in truth, you wouldn't be adding anything, you would is wary when his work receives general incapable of being. Art is sexless, and is in no only be using up time, patience and practise. acceptance because then he doubts whether way dependent on the gender of the artist Skill and craftsmanship alone, lead to virtuosity he dares to explore the depths of his concepts, responsible for it. When art becomes what we which gives a work a professional look, a look or worse yet, he begins to doubt his concepts. call feminist, it often is not art, but propaganda. which often depends on surface effects. It takes a big risk commitment to stick to a When it looks feminine, it probably is not art When we look at a creative work of art; schedule of creative production when the cards at all. My premise is that men and women make how it came about is a wonder, an ineffability, don't seem to be coming your way, when you art which is indistinguishable as to the sex of it just seems to have happened. It is devoid feel as though you are working in a void, and the maker. of contrivance, prettiness, petty acts. It is no one gives a damn. You rationalise and say She is always searching for new ways to passionate, a wondrous muse. The compulsion you don't give a damn either, you might even express that visual idea — and dreads repeating that goes into the work thrives in the minds get yourself to believe this. All of which is herself in effortless duplication, losing the and hearts of the viewers. This force takes necessary self-protection. Who doesn't want fundamental reason for making art, which is infinite forms, Mondrian for instance is probably to be loved, and since your work is an extension the playback between the artist and his art. .just as compulsive a creative spirit as Jackson of yourself, you want it to be loved too. In This dialogue occurs when creativity is in action, Pollock. There is no skill per s'e involved in general the artists life is uncertainty, compulsion as opposed to when it is not. There is a danger either Pollocks or Mondrian's work. The skill or withdrawal from much that is pleasurable zone, it is when one feels safe. The work is involved is the distillation of their unique visions, in life; a need to work for which no other activity turned out, repetitive, done by a robot. There their invididuality is the regenerative power in can substitute and a constant search for self. is no sense of danger of losing the work. When their work. This is one of the fascinating aspects The following is a list of things, she feels art creativity is replaced by self imitation, the work of art, that it can and should have as many is. and what being an artist is all about. dies, or is still-born. One needs to stay on edge, faces as there are artists. but there are those blessed grand times when Teachers can teach you skills, give you 1. A willingness to use yourself to the fullest, one identifies so completely with the work in valuable technical information and the glory of both intellectually and emotionally. hand that one experiences an elevation of spirit, glories, a touch of inspiration. A good teacher 2. The conviction that skill and technical know almost a mystical happening — one no longer is a catalyst between you and your creative how are not the measure of creative seems to be painting the painting — it is almost possibilities. The rest is up to you. Hard and achievement. under its own mysterious power. long hours just thinking about your work when 3. The courage to put emphasis on the 'what' This unique experience, this exquisite state you aren't even doing it. If you don't devote you're saying, rather than the 'how' you of being is the thing that draws us back and yourself to doing it one lifetime wont' be enough say it. sets creative activity high upon the ladder of in which to achieve a fraction of your potential. 4. The acceptance of art as being a visual, human achievement. There will be lean years, fat years, times when aesthetic, spiritual communication, having If you are worth your salt, you have probably your work flows like a fresh morning stream, the capacity to compel contemplation and found out the only way to improve yourself other times will be sluggish, unproductive and to continuously renew itself. as a sculptor, painter, printmaker or whatever, frustrating. What one is willing to endure while 5. The search for a style evolves inevitably is by doing it. To make sculptures, make waiting for the rarified productive periods rather than sensationally. paintings, prints, and then make some more. constitutes the strength of one's commitment 6. A determination to perform forthrightness I think what is important for one to learn is to being an artist. Growth and change usually rather than fashion. where to put the stress — evetyone can learn occur during such stressfull periods, being alive 7. The importance of developing an unself- to draw or learn any other skills with practise. inevitably implies change, but change for the conscious approach to your work. If I were asked if I thought being able to draw sake of change, or for shock value, has no place 8. The knowledge that being an artist denotes academically well was a prerequisite for the in making art. a way of life, a way which seldom parallels coming of the artist, I'd probably say yes, but That becomes an immoral act, similarly a carefree life. for peripheral reasons. repeating a successful formula over and over 9. The need for a personal point of view. The discipline involved is good, also it's hard again, is an immoral act. The public's appetite 10. The obsession with the seach for self. to convince yourself that you have something for change makes it a very unrealiable monitor. By trying conscientiously to maintain the on the ball until you can draw accurately — The mad speed of todays living even seeps into search for self, the spirit remains young, vital but mainly learning to draw gives you the right the ivory tower of art. There are stars in the and changing. We need not stop reaching for and courage to reject such skill when the time art world, just as there are in Hollywood. If perfection just because we know it is comes that you no longer need to lean on one happens to be one of the chosen, to unobtainable. tradition. Furthermore, it will serve as a guide maintain that position, one may be sorely This is the artists way of life, and what sustains post to help you recognise the difference tempted to discontinue a sincere search for him through life as an artist. between sterile academicism and your own self fulfillment, making an effort simply to Amen! •• unique vision. That is when you begin to draw tittilate a shallow and fickle public, ceasing to

P BI VII W ANDRE VIEWS/REVIEWS BROOKE

JOHN COLEY

As the Society's manager for around eighteen met and married his wife, Barbara, a vivacious months in the early sixties, Andre breathed new and capable person who herself would make life into its attitudes and activities. The Society, important contributions to the visual arts in then at its old Durham Street address, projected Canterbury as manager of CS.A. and co- a fresh spring life mood under Andre's founder of the Brooke/Gifford Gallery. enthusiastic guidance. A trim, cultivated and Andre established a construction business in friendly man, with finely polished manners, the city, became a family man and in what time Andre Brooke introduced a degree of european he could make, painted abstract images clearly stylishness into Canterbury's art community. related in style in the school of Paris. Sometimes Raised with a love of music and himself a he attended life classes at the School of Art handy violinist, he was responsible for the to make figure studies. playing of recorded music in the gallery, a In 1958, the Brookes opened New Zealands practice still being carried on today, unique to first dealer gallery dealing in advanced contem the C.S.A. The society's "News" was begun porary art. Gallery 91 at 91 Cashel Street in Andre's time and many younger artists found showed McCahon, Woollaston, Gopas and the venerable C.S.A. a more accessible and many young artists had their first one-person congenial place because of his presence. shows there. Coffee and conversation about Andre Brooke was Hungarian; born in art was always available. The continental Budapest. As with many children bom late to tradition of vigorous discourse among friends older parents of a large family, he was a in galleries and coffee houses was a way of cherished child who was encouraged to develop life brought to Christchurch by Andre Brooke, his talents in music and art. Rudolf Gopas, Frank Gross and earlier Otto With the benefit of some studies in Frankel. engineering and architecture, he left Hungary Gallery 91 was also a place where life drawing as a young man to make his way in Paris. There classes were held and forums discussing the his talent for improvising practical solutions for merits of current exhibitions held. After a year, technical difficulties got him a job servicing the however, long hours and low commissions lighter than air dirigibles that travelled between forced the venture to close. the European capitals. In I960 Andre became the new manager of mongst the exceptional secretary- Later he put his taste and entrepreneurial the Society of Arts, following the resignation directors, the Canterbury Society of Arts A gifts to good use, establishing an interior of its long serving Secretary, Mr W S Baverstock, has been fortunate to have managing its affairs, decorating and furniture manufacturing who left to become the McDougall Gallery's was Andre Brooke, who died in Christchurch business. first director. Andre Brooke was secretary when in April this year. As a person with a sharp awareness of the the Society Council began to plan the renewal moods surrounding him, Andre Brooke would of the old gallery. He encouraged emerging no doubt have carried a sense of unease from artists to join the Society and presided over events racking Europe in 1939, as he stepped openings with dapper charm. into a Paris cinema one afternoon to see that The Brookes returned to Tahiti on holiday great escapist adventure, "Mutiny on the and Andre felt the tug of language and culture, Bounty". The patrons that day would leave the he had left some fifteen years before. He and theatre with their minds filled with the shining Barbara separated, Andre to return to Tahiti, vision of Tahiti as paradise, but one of them, she to take over his position at the C.S.A. Andre Andre Brooke, had made the decision to go Brooke's remaining years were spent in Tahiti. there. He sold his thriving business and shipped Late last year, he travelled to Christchurch to Tahiti. for treatment for a medical condition. To those There he became known for his ability to who had known him twenty-seven years before, solve problems. When the war was well he seemed little changed. The chivilrous underway on the Pacific and an American vessel manners, immaculate dress and apparent vitality lost its anchor in the harbour at Papeete, Andre were still there, but he required major surgery. masterminded its salvage. The operation he underwent was followed by In 1945, restless from the violation, he complications and he died in his 79th year, on travelled on a freighter to New Zealand alighting April 26. •• at Lyttelton to visit relatives who had come to Christchurch to settle. Within a year he had NATHAM CROSSAN 8-25 SEPTEMBER EXHIBITIONS LORRAINE de VORMS 8-25 SEPTEMBER PRESIDENTS EXHIBITION 8-25 SEPTEMBER RICHARD TARRANT 8-25 SEPTEMBER 8-25 SEPTEMBER CATHERINE BROUGH 8-25 SEPTEMBER PREVIEWS SEPTEMBER

Urban Landscape Under Change THE CITY

ach year the C.S.A. Gallery presents the E Presidents Exhibition, an exhibition curated around a theme. This year it is a response to the rapidly changing urban environment. Previous President's exhibitions have included Young Contemporaries 1987 and Big Paintings 1986. The 1988 President's Exhibition includes works by the following artists: skill? Can TV • Michael Armstrong* George Baloghy .Kill? inn IV. hill? Can TV's kill? Can TV • Derrick Cherrie • Paul Cullen • Robert I Ml TV .,11 CAN TVS hill I Hn TV- iN TVS KII.I.T I HI. IV. kill? i an TVS Ellis • John Hawkhead • Doris Lusk • an TVs kill? Can TV's kilif •VS kill? Can TVs kill? C Alan Pearson • Alison Ryde • Eion If CAN TVS KII.I.T I m Can TV* kill? Can TVs Stevens • Martin Whitworth • Paul l TV Woodruffe kii.i.t i m The exhibition will present a diverse view of the city as a psychological, intellectual, ill? Clin TV spiritual landscape as much as a physical one. Ian r ' Clin TV Kll.l.? i ,i, IV kill' Can Ml ? Can TVS kill? Can TVS kill? TVs kill ' CAN TVS Kll.l.? - , - kill? Can TV'S kill? Can TVS k

Natham Crossan

Jewellery Prints / Drawings Paintings "Northward Direction' LORRAINE CATHERINE 'A New Brooch Series' DE VORMS BROUGH RICHARD TARRANT orraine de Vorms is completing her final These works are landscapes experienced Lyear at Ham School of Fine Arts. Tand painted within the year. Not linked ewellery is not miniature sculpture. It is too Lorraine will be exhibiting large multi geographically, they relate eitheras an extension personal to be comparable and is only coloured woodcuts and lino-prints and large to or as a reaction to the last one in terms Jactivated when in direct relationship with the charcoal life drawings. This will be her third of contrasting colour schemes, a close-up or human body. It demonstrates not only the ideas exhibition. distant perspective, a greater or lesser degree and aspirations of the artist, but maybe even of abstraction. They represent a search for more importantly, those of the wearer. essential forms, and the brush stroke that represents but also has its own identity. The This brooch series is intimately involved with way in which a painting is made matters and my move to Whangarei to take up the position I would identify with William Scott's statement: of Jewellery design tutor at the Northland Polytechnic. Although my pre-occupation with "I feel constricted if I become too much strong lines softened by using surface texture aware of the act of making . .. what and colour is continuing to develop; the matters to me in a picture is the conceptual ideas are becoming more indefinable." a. sophisticated. This series has developed from an idea which can be expressed as the "Letter/Envelope" or 'Pocket Handkerchief concept. Each piece is constructed using three separate components fitted together. The 'Handkerchief is a flat cutout shape of darkly patinated copper peeping flirtatiously from and partly obscured by its box-like housing or 'pocket'. The stainless steel pin not only secures the brooch to the wearer's clothing but also locks the two other components together. As an afterthought and with further devel opment in mind I have realised that the series has been strongly influenced by the stark volcanic outcrops surrounded by dense lush bush which I find such a strong visual and almost mystical pressure in this area. ~

Catherine Brough ROBIN ROYDS 28 SEPTEMBER- 9 OCTOBER EXHIBITIONS NOEL GREGG 28 SEPTEMBER- 9 OCTOBER I LAM SCULPTURE 28 SEPTEMBER- 9 OCTOBER MARIE ROSS 28 SEPTEMBER- 9 OCTOBER 28 SEPTEMBER-9 OCTOBER PARKER GUY CLEVELAND 28 SEPTEMBER 9 OCTOBER PREVIEW 27 SEPTEMBER ANGELABURNS-BREMSELL 28 SEPTEMBER- 9 OCTOBER

Ceramics MARIE ROS

"TjBwirh the aim of successfully combinii dimensional form with two dimensional More simply, large decorated bowls and do not consider my work to be craft. The fact is, I have chosen to express myself through

a series of carefully resolved images which happen to be depicted using cerami technique^.Q>V\\ "i^— V \ Ws hjmo^w1 W'H be the continuing evolution of my thoughts by means of l»rge bowls and plates weaving symbolic images coloured bright for Hope. I will also include number of woodcuts to indicate the link between form and design. Last year I completed

a Diploma of Fine Arts at Otago Polytechnic " hooi of A", in D in am In the third year

I majored in ceramics with Michael Trumic as my tutor. It is there that I have done the bulk of my glazing during holidays from teachers Fabrics liege this year: With their support, this ibition was made possible. HHr /** ROBU4/ ROYDS oundry and Objects found' Sculpture ANGELA NOEL BURNS THREE GRE< BR EMSSEL PAINTERS his exhibition is about contrasts between 1^1 y recent work is based on a theme used Tfemale/male, soft/hard, coloured/black, Margaret Parker I I in the exhibition 'Foundry and Objects fabric/metal, art/craft. Ceilia Guy found', which I mounted jointly with sculptures This is the fifth time Robin Royds and Noel Julia Cleveland and assemblages by my husband, in the Gregg have exhibited together. - Cargnegie Centre, Dunedin in July '88. argaret, Celia and Julia are all regular This series of work came about after the M exhibitors of their paintings in exhibi discovery of an old pattern-makers workshop tions throughout NZ. They have combined their which was full of kauri and cedar wood patterns talents in this exhibition of their local strewn about unused. They were seen not only environment, North and South, with no new as functional objects, but interesting forms and approach except with an enthusiasm they want shapes with unique artistic merit. This led to to share. ~ the foundry itself and became the base for work which reflected the casting, the flow of molten metals with the furnace seen as a symbol of power and creation, thus the cell series acrylics on paper arose. The larger oils are based on that same theme of the furnace, energy and creation. I have exhibited at the CSA. for a number of years now and hope with this exhibition that my work has become more selective, energies having been concentrated on one theme with a combination of various materials. The paintings presented at the C.S.A. in October are an expansion of the work shown at the Carnegie Centre and show a completion of that theme. — Angela Burns-Bremsell I Sphere

ILAM SCULPTURE

orks by final year students from the WUniversity School of Fine Arts Sculp ture Department. n Margaret Parker

p 11 n i: • KATH von TUNZELMANN 12-23 OCTOBER EXHIBITIONS ALISON RYDE 12-23 OCTOBER SPINNERS AND WEAVERS 12-23 OCTOBER MARIE LENIHAN 12-23 OCTOBER 12-23 OCTOBER URSULA BULLARD 12-23 OCTOBER PREVIEW II OCTOBER HEATHER LOMAS 12-23 OCTOBER LARENCE SHUSTAK 12-23 OCTOBER

Paintings MARGERY URSULA BLACKMAN

BULLARD I have been weaving for over 25 years and I since 1976 have concentrated on woven MARIE tapestry. I have exhibited widely throughout LENIHAN New Zealand and have had work accepted for international exhibitions. My work is repres HEATHER ented in a number of New Zealand Art LOMAS Galleries, New Zealand Embassies and in several Dunedin Public Buildings. Over the years, I have received a number of weaving awards and a These three painters were students at the Alison Ryde I Summer Waters QEII Arts Council study/travel grant. I was the C.U.C. School of Art from 1941-46. first president of the Dunedin Spinners and Watercolours arie has shown her work in Canterbury, Weavers Guild and have been active at M Gisborne, and Hamilton. She won a executive level in the Crafts Council of New ALISON National Bank Portrait Award in 1981, a Zealand. Waimairi County Council Award in 1984, had RYDE I am deeply interested in the history of a one-person show at the CSA. in 1982. textiles and have travelled widely to study both y exhibition in the Mair Gallery this year historical and contemporary tapestries. I M under the title 'Summer Waters' is recently attended the International Tapest7 mainly watercolours, with a few surprises, all Symposium in Melbourne where 250 tapestry going well. weavers met, discussed and viewed current The title and theme relate to the two distinct developments in this art form. subject matters I am going to present. For a number of years I have been studying Partly, there will be a series of paintings which New Zealand and overseas museum collections draw on the inspiration I find at my studio of Maori cloaks with taniko borders. While at Sumner Beach, near Cave Rock, and all the these are made by a weft twining technique summer enthusiasm of sun, water, and people. the borders have a number of similarities with The other part of the exhibition will be the woven tapestry. I am currently writing up the watercolours produced recently in the summer results of this study for publication. •• around the Mediterranean. These will be shown more or less as done, on location, executed PIPPA with great delight and against all odds! Some DAVIES are from the Algarve, Portugal, various parts of Spain, including gardens in Seville, and in I was given my attachment to fabric and Provence, France. I thread by my mother but formal embroidery I have enjoyed finding a connection between began at Otago Girls High School in the 1940s. the vast Mediterranean coast and our little local I joined the Canterbury Embroiderer's Guild one — I hope you can, too. ~ Marie Lenihan / 'Tia Moa' in 1980 amd through the stimulation this provided have come to appreciate my skills and Watercolours Ursula Bullard went to England in 1948. expand them. The latest challenge has been She attended classes at the Central School of the two and a half year study course of the KATHLEEN Arts and Crafts in London. She later lived in City and Guilds of London Institute Embroidery VON Thailand and Malaya, and returned to England Certificate, Part I which I have just completed. in I960. In 1974 she went to live in La jolla, I feel strongly that embroidery is a legitimate TUNZELMANN California where she painted and exhibited. She medium for artistic expression but also that has work in private collections in Sweden, it has a long tradition of domestic application. I have been painting for many years and Washington D.C., California, and New Zealand. At its best it can span both craft and art. I latterly, almost full-time. I am interested in Since her return to New Zealand in 1986, she As a New Zealander I like my work to reflect all aspects of art and have painted in all has been painting the craters of Mt Tarawera, my environment and work towards a New mediums. I am captivated by water-colour and and the winter terraces and geysers of Orakei- Zealand style of embroidery. ~ never cease to find subjects that interest me. Korako. I have a love affair with the garden and also Heather Lomas, born and educated in the Still-life; enjoy landscape and life studies. Have Waikato, came to Canterbury in 1943. Gained had one-person exhibitions in Christchurch, Diploma in Fine Arts in 1946. During 2'/i years Timaru, Wellington, Auckland and Nelson, and in London she studied lithography, and later have been a guest artist four times. etching in New Zealand. She has taught drawing Involved in the Ashburton Society of Arts and painting at the Waikato Art Society and since its inception in 1964 and have lived there provided and purchased pictures for the for nearly forty years. ~ Waikato Hospital. She has exhibited in group shows in Hamilton, Palmerston North, Hastings, and in Christchurch in 1984 and 1986. ••

CHRISTCHURCH GUILD OF SPINNERS AND WEAVERS

he exhibition this year has two guest Texhibitors; Margery Blackman and Pippa Kath von Tunzelmann / Watercolour Davies. Margery Blackman / Tapestry 1987

P R I: I I I * Photographs From the very earliest record, all true art is University of Canterbury Treasures on Earth a religious manifestation, a gift. In approximately 1955, I began to use "77ie Artist appeals to that part of our being The transient relationships of life in flux photography as a means of personal expression. .... which is a gift, and not an acquisition — One project has been, and still is, to make LARENCE and therefore, more permanently enduring." available small portfolios of original photo SHUSTAK — Joseph Conrad graphic prints. 11 is an extraordinary paradox of modern I have an insatiable curiosity and I am an I expression that photography, seemingly omnivorous reader. the most earthly and the most realistic of the Prior to coming to NZ, I was at the Southern arts, has been used by devoted camera/ Illinois University, Department of Design, photographic workers as a way towards the teaching classes in Photography, Film Produc discovery of the mysterious, the spiritual, and tion, and media relating to the logic and culture the divine. of our time. My aim is here to record treasures of the I have had numerous shows and exhibitions environment unadorned; for the benefit of ours from 1959 to the present. •» and future generations, photography is a new Interface road from a different direction, but moving towards the common goal, which is understand MICHAEL ing life and the growth of consciousness. O'DONNELL The photographer interprets by spontaneity of judgment and geometry of the eye. A kind his collection of photographic figures of zen seeing. We take pictures, the way the Tstudies explores the relationship between hunter takes game. two surfaces, abstracting the body against the Photography for me is the faithful witness empirical world. Similarities and contrasts are / or the mirror with a memory — explorations both found as figures are viewed beside the of the familiar as an emotional force. weathered Cantabrian terrain. Larence N. Shustak This is Christchurch photographer Michael Born New York City O'Donnell's third exhibition and is also running Living in Christchurch since 1973 in Timaru and Dunedin. The exhibition will run Larence Shustak I Boot Bay Punk Senior Lecturer, Design for one week only at the CSA. ••

PERSIAN CARPETS 20-23 OCTOBER EXHIBITIONS ORIENTAL RUGS 27-30 OCTOBER WOODWORKERS GUILD 27 OCTOBER-6 NOVEMBER ROSS RICHARDS 27 OCTOBER-6 NOVEMBER 20-23 OCTOBER YOUTH EXHIBITION 27 OCTOBER-6 NOVEMBER 27-30 OCTOBER HELEN ROCKEL 27 OCTOBER-6 NOVEMBER 27 OCTOBERS NOVEMBER BRIAN MORRIS 27 OCTOBER-6 NOVEMBER PREVIEW 26 OCTOBER

ORIENTAL Ceramics Artists may obtain submission forms at the ROSS Christchurch City Council Building from the CARPETS Community Services Division on the second RICHARDS floor. Artists will have until October 10 to different Exhibition this year. . . submit their work. All participating artists are A Inexpensive handknotted Ethnic rugs, ecent ceramics by this noted Nelson cordially invited to the preview night on 26 bags, trappings from Afghanistan and Turkey. R potter. Richard's iast exhibition at the October. Invitations will be distributed. These pieces add interest and pleasure to any C.S.A. in 1987 was almost a sell out. His work The exhibition is being organised by the home. has received acclaim in many awards and Christchurch Secondary Schools Youth Council, To Compliment. . . exhibitions. the exhibition is the fourth of its kind, all of A collection of unusual handmade wood and which have been a great success to promote brass toys, ornaments, objets d'arts from Painting youth art. Rajasthan & Thailand. BRIAN For further information, write to: Anne Presland will be in attendance in the Christchurch Youth Council Print Room to answer any queries. MORRIS Art Exhibition PO Box 237 his young Dunedin artist returns with an GUILD OF exhibition of his subtle, accomplished T Christchurch. ~ WOODWORKERS paintings. n CANTERBURY Group Show HELEN he finest local woodwork will be displayed Youth Council Art Exhibition ROCKEL Tby The Guild of Woodworkers at their eople have always played an important annual exhibition to be held from the 26th ILLUSIONS part in my work, sometimes as a com October to the 6th November. P mentary on such things as states of being, The Guild's aim of promoting excellence to nce again artists between the ages of sometimes as simple delight in shapes, texture its 180 members will be evident at this popular O 15-25 are invited to contribute work and colour. This exhibition will include drawings, showing. to the Youth Art Exhibition. The event will prints and paintings. — The diverse membership of the group will be held at the C.S.A. Gallery between October mean a range of pieces from furniture through 25-November 13. It is held to give the public to fine jewellery, all in the finest of Exotic and a chance to view the art of youth and give Native timbers. young artists the chance to exhibit and offer This years exhibition, which celebrates the their work for sale in a professional environ Guild's I Oth Anniversary will be judged by world ment. No charge will be made to the artist. renowned woodturner Vic Wood. The theme for the exhibition is 'Illusions' which leaves the field wide open for exploration and expression. Artists are encouraged to explore as many facets of art as possible. For example: Printmaking, photography, sculpture, pottery and jewellery. Helen Rockef / Woman in the Desert

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