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Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna O Waiwhetu 2009
Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna o Waiwhetu 2009 1 BULLETIN EDITOR Bulletin B.156 Autumn DAVID SIMPSON Christchurch Art Gallery March — May Te Puna o Waiwhetu 2009 GALLERY CONTRIBUTORS DIRECTOR: JENNY HARPER CURATORIAL TEAM: KEN HALL, JENNIFER HAY, FELICITY MILBURN, JUSTIN PATON, PETER VANGIONI PUBLIC PROGRAMMES: SARAH AMAZINNIA, LANA COLES PHOTOGRAPHERS: BRENDAN LEE, DAVID WATKINS OTHER CONTRIBUTORS ROBBIE DEANS, MARTIN EDMOND, GARTH GOULD, CHARLES JENCKS, BRIDIE LONIE, RICHARD MCGOWAN, ZINA SWANSON, DAVID TURNER TEL: (+64 3) 941 7300 FAX: (+64 3) 941 7301 EMAIL: [email protected], [email protected] PLEASE SEE THE BACK COVER FOR MORE DETAILS. WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. CURRENT SUPPORTERS OF THE GALLERY AALTO COLOUR CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST COFFEY PROJECTS CREATIVE NEW ZEALAND ERNST & YOUNG FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN HOLMES GROUP HOME NEW ZEALAND LUNEYS PHILIP CARTER PYNE GOULD CORPORATION SPECTRUM PRINT STRATEGY DESIGN & ADVERTISING THE PRESS THE WARREN TRUST UNIVERSITY OF CANTERBURY UNIVERSITY OF CANTERBURY FOUNDATION VBASE WARREN AND MAHONEY Visitors to the Gallery in front of Fiona Hall’s The Price is Right, installed as part of the exhibition Fiona Hall: Force Field. DESIGN AND PRODUCTION ART DIRECTOR: GUY PASK Front cover image: Rita Angus EDITORIAL DESIGN: ALEC BATHGATE, A Goddess of Mercy (detail) 1945–7. Oil on canvas. Collection CLAYTON DIXON of Christchurch Art Gallery Te PRODUCTION MANAGER: -
Fiona Clark Michael Lett 312 Karangahape Road Cnr K Rd
Fiona Clark Michael Lett 312 Karangahape Road Cnr K Rd & East St PO Box 68287 Newton Auckland 1145 New Zealand P+ 64 9 309 7848 [email protected] www.michaellett.com Fiona Clark Born in 1954, Inglewood, Taranaki, New Zealand Lives and works in Tikorangi, Taranaki, New Zealand Fiona Clark was born in Inglewood, Taranaki, in 1959, a rural background which formed the basis for her hands-on approach and direct attitude towards artistic practice, attributes which have aided her in the production of an expansive body of photographic work. While studying at the Elam School of Fine Arts between 1972-5, Clark began to develop a performance-based practice, before moving into photography in her final year. Performativity and the politics of identity would prove to be concepts which informed Clark’s later work, and these interests indirectly led her to document Auckland’s drag and transsexual community. These works provided the methodology for much of Clark’s later practice, especially in their emphasis on a collaborative approach and a sense of responsibility towards the images’ subjects, as seen in the then-controversial Dance Party series, which was subjected to censorship after being included in the Auckland Art Gallery’s 1977 group show The Active Eye. After returning to Taranaki, Clark embarked on a number of artistic projects encompassing a wide variety of subject matter: Maori fishing rights, body building, HIV-Aids and lesbian cultural histories. Recently, the shows Go Girl (2002-6) and For Fantastic Carmen (2016) represent a continuation of the documentary project which began with the Dance Party series, and which now spans four decades. -
University of Otago Magazine 44April 2017
UNIVERSITY OF OTAGO MAGAZINE 44APRIL 2017 INSIDE Alumnus Professor Robert Webster Avian flu, ethics and the future Planning for the ‘Age of Ageing’ Politics and dignity Arts fellowship celebrates 50 years University of Otago Magazine A magazine for alumni and friends of the University of Otago Issue 44 APRIL 2017 ISSN - 1175-8147 Editor Karen Hogg Designer Peter Scott Writers Kevin Clements Kim Connelly Ian Dougherty Laura Hewson Karen Hogg The Amie Richardson Stephen Sowerby Sam Stevens University of Otago Fleur Templeton Kim Thomas Mark Wright Magazine Nigel Zega Photographers Sharron Bennett has its Alan Dove Sheena Haywood Michael Roberts own website Graham Warman Cover Professor Robert Webster Photo: Alan Dove Printing PMP Print Circulation Development and Alumni Relations Office otago.ac.nz/otagomagazine Email [email protected] • To update or change delivery address • To read the Magazine and other alumni communications electronically • To receive just one “household” postal copy of the Magazine Tel 64 3 479 4516 Editorial contact details University of Otago Magazine Marketing and Communications PO Box 56 Dunedin 9054 New Zealand Tel 64 3 479 8679 If you would prefer to read Email [email protected] the magazine online Web otago.ac.nz/otagomagazine and no longer receive a hard copy, Copyright please email You are welcome to reproduce material from the magazine after gaining permission from the editor. All reproduced material must be appropriately acknowledged. [email protected] The University of Otago Magazine is published by the Marketing and Communications Division of the University. The opinions expressed are not necessarily those of the University. -
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Ron Left Axial No. 9 Corner Painting acrylic on shaped board title inscribed, signed and dated 1985 1690 x 1100 x 700mm $2500 – $4000 Covers: Ann Shelton Frederick B. Butler Collection, Puke Ariki, New Plymouth, Scrapbooks from: Hawera 1949 December – 1950 March to Opunake 1952 August – 1953 February, No. 12 (detail) C type print, edition of 3 1370 x 930mm $3500 – $5000 Important Paintings & Contemporary Art Viewing: Friday 20 November – Thursday 26 November Auction: Thursday 26 November 2009 at 6.30pm Art + Object Telephone: +64 9 354 4646 3 Abbey Street, Newton, Freephone: 0 800 80 60 01 Auckland Facsimile: +64 9 354 4645 PO Box 68 345, Newton, [email protected] Auckland 1145 www.artandobject.co.nz Contents 2 24 74 Catalogue Introduction Photography section Works from the Celia Dunlop commences Collection – lots 84 to 99 6 Objects of Desire – Auction 33 86 Preview Recording artist – a collection This is no Shadowland by Dick of Julian Dashper vinyl records Frizzell – essay by Hamish 10 Coney Twisting the Void – A+O 36 advises NZI on a major Shane Cotton’s Gate (I – XII) sculptural installation to Nga Rangi Tuhaha – essay by celebrate 150 years in New Oliver Stead Zealand 46 15 Sculpture section commences Important Paintings and Contemporary Art (Viewing 56 Times) The Old Sentinel by Charles Goldie – essay by Ben Plumbly 20 Three major works by Peter 70 Robinson from the 1990s – Northland by Colin McCahon – essay by Rebecca Rice essay by Laurence Simmons Welcome to ART+OBJECT’s final major art auction for 2009. This catalogue is the largest and most varied assembled in the company’s history – testimony to the confidence of vendors and collectors in the ongoing performance of the market. -
ARTHROPODA Subphylum Hexapoda Protura, Springtails, Diplura, and Insects
NINE Phylum ARTHROPODA SUBPHYLUM HEXAPODA Protura, springtails, Diplura, and insects ROD P. MACFARLANE, PETER A. MADDISON, IAN G. ANDREW, JOCELYN A. BERRY, PETER M. JOHNS, ROBERT J. B. HOARE, MARIE-CLAUDE LARIVIÈRE, PENELOPE GREENSLADE, ROSA C. HENDERSON, COURTenaY N. SMITHERS, RicarDO L. PALMA, JOHN B. WARD, ROBERT L. C. PILGRIM, DaVID R. TOWNS, IAN McLELLAN, DAVID A. J. TEULON, TERRY R. HITCHINGS, VICTOR F. EASTOP, NICHOLAS A. MARTIN, MURRAY J. FLETCHER, MARLON A. W. STUFKENS, PAMELA J. DALE, Daniel BURCKHARDT, THOMAS R. BUCKLEY, STEVEN A. TREWICK defining feature of the Hexapoda, as the name suggests, is six legs. Also, the body comprises a head, thorax, and abdomen. The number A of abdominal segments varies, however; there are only six in the Collembola (springtails), 9–12 in the Protura, and 10 in the Diplura, whereas in all other hexapods there are strictly 11. Insects are now regarded as comprising only those hexapods with 11 abdominal segments. Whereas crustaceans are the dominant group of arthropods in the sea, hexapods prevail on land, in numbers and biomass. Altogether, the Hexapoda constitutes the most diverse group of animals – the estimated number of described species worldwide is just over 900,000, with the beetles (order Coleoptera) comprising more than a third of these. Today, the Hexapoda is considered to contain four classes – the Insecta, and the Protura, Collembola, and Diplura. The latter three classes were formerly allied with the insect orders Archaeognatha (jumping bristletails) and Thysanura (silverfish) as the insect subclass Apterygota (‘wingless’). The Apterygota is now regarded as an artificial assemblage (Bitsch & Bitsch 2000). -
B.167 Bulletin Christchurch Art Gallery Te Puna O Waiwhetu Autumn March
bulletin Autumn Christchurch Art Gallery March—May b.167 Te Puna o Waiwhetu 2012 EDITOR THE GALLERY IS CURRENTLY CLOSED TO THE PUBLIC. Bulletin Autumn DAVID SIMPSON HOWEVER, THE GALLERY SHOP IS OPEN AS USUAL. Christchurch Art Gallery March—May Te Puna o Waiwhetu 2012 GALLERY CONTRIBUTORS CHRISTCHURCH ART GALLERY DIRECTOR: JENNY HARPER TE PUNA O WAIWHETU CURATORIAL TEAM: KEN HALL, FELICITY MILBURN, CNR WORCESTER BOULEVARD AND MONTREAL STREET, JUSTIN PATON, PETER VANGIONI PO BOX 2626, CHRISTCHURCH 8140, NEW ZEALAND PUBLIC PROGRAMMES: LANA COLES TEL: (+64 3) 941 7300 PHOTOGRAPHER: JOHN COLLIE FAX: (+64 3) 941 7301 WWW.CHRISTCHURCHARTGALLERY.ORG.NZ OTHER CONTRIBUTORS SALLY BLUNDELL, Katie Thomas, Coralie Winn GALLERY SHOP TEL: (+64 3) 941 7370 EMAIL: [email protected], [email protected] FORM GALLERY TEL: (+64 3) 377 1211; (+64) 21 776708 WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. EDUCATION BOOKINGS EMAIL: [email protected] FRIENDS OF CHRISTCHURCH ART GALLERY EMAIL: [email protected] CHRISTCHURCH ART GALLERY TRUST TEL: (+64 3) 353 4352 CURRENT DIRECT SPONSORS OF THE GALLERY CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST CREATIVE NEW ZEALAND DUX DE LUX FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN GIESEN WINES Mitsubishi ELECTRIC NEWSTALK ZB PHILIP CARTER SKY ARTS CHANNEL SPECTRUM PRINT STRATEGY DESIGN & ADVERTISING THE PRESS THE ROYAL NETHERLANDS EMBASSY THE NZ NETHERLANDS FOUNDATION DESIGN & ADVERTISING DESIGN AND PRODUCTION ART DIRECTOR: GUY PASK EDITORIAL DESIGN: Matt Kitto, LEON -
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COLLECTORS NEW ART ART+OBJECT 151 2020 ART + OBJECT 23.06.20 Front cover: Laurence Aberhart Taranaki, Midhurst, 11 July 1991 Back cover: Ann Verdcourt Untitled – Ladybird Figure Art+Object 3 Abbey Street Newton Auckland PO Box 68345 Wellesley Street Auckland 1141 Tel +64 9 354 4646 Free 0 800 80 60 01 Fax +64 9 354 4645 [email protected] www.artandobject.co.nz instagram: @artandobject facebook: Art+Object youtube: ArtandObject Photography: Sam Hartnett Design: Fount–via Print: Graeme Brazier Welcome to Art+Object’s third post-lockdown auction, an absorbing collection of art and decorative arts. In particular we are proud to offer an excellent collection of New Zealand photography from a private collector together with many other interesting consignments. Since returning to the office in May we have completed two auctions that had been on hold since April. Both of these events were remarkably successful and we would like to warmly thank our vendors who remained patient during the lockdown and all those who supported us at the viewings and attended the auctions, whether on-line at home or in person. It is extremely heartening to see that even in the most tumultuous of times, there is still a desire for art in our lives. During the recent lockdown period, like many I agreed with the slogans that suggested we should send 2020 back to where it came from. If only we could rewind and start again! The effect on businesses and families, the many disappointments of cancelled events and travel, will be felt for some time to come. -
Walter Reseme
LAYLA WALTER Born 1975, Wellington, New Zealand. EDUCATION 1998 Bachelor of Design 3D-Glass. Unitec Institute of Technology, Auckland, NZ 1995 Introduction to Maori Fibre Weaving, UIT, NZ PUBLIC COLLECTIONS Auckland Museum, New Zealand, Kimono Vase Department of Foreign Affairs, NZ Embassy Washington DC, USA, Woven Rimmed Bowl Department of Foreign Affairs, NZ Embassy in Tehran, Small Woven Rimmed Bowl Department of Foreign Affairs, NZ Embassy in Cairo, Egypt, Water Lily Vessel Department of Foreign Affairs, NZ Embassy, France, Tui For Geoff Department of Foreign Affairs, Wellington, NZ Camellia For Kate Department of Foreign Affairs, Wellington, NZ Mistral's Camellia Glasmuseet Ebletoft, Ebletoft, Denmark, Open Bowl – Woven Interior Museum of New Zealand Te Papa Tongarewa, Wellington, NZ, Open Bowl - Woven Interior, Lucospermum Vase, Emily’s Hydrangea SELECT PRIVATE COLLECTIONS Sir Elton John Sir Peter Jackson and Fran Walsh Peter Gordon, for The Sugar Club, NZ Nigel Brown, NZ artist Stanley Palmer, NZ artist Sandy Adset, Australian collector Bettina Meyer, Dutch collector SOLO EXHIBITIONS 2015 Conversations exhibition of cast glass vessels with New Zealand bird, plant and woven detail, covering 21 years of practice. Milford Galleries, Queenstown, NZ Pacific Light flowers from NZ and the Pacific with NZ birds and woven work, AVID Dealers in Applied Arts, Wellington, NZ 2014 Pacific Flower pacific flower vessels, Corban Estate Arts Centre, Auckland 2010 Second Harvest William Traver Gallery, Seattle, USA Harvest AVID Dealers in Applied -
13 1 a R T + O B Je C T 20 18
NEW A RT + O B J E C T COLLECTORS ART + OBJECT 131 ART 2018 TWENTIETH CENTURY DESIGN & STUDIO CERAMICS 24 –25 JULY AO1281FA Cat 131 cover.indd 1 10/07/18 3:01 PM 1 THE LES AND AUCTION MILLY PARIS HIGHLIGHTS COLLECTION 28 JUNE PART 2 Part II of the Paris Collection realised a sale The record price for a Tony Fomison was total of $2 000 000 and witnessed high also bettered by nearly $200 000 when clearance rates and close to 100% sales by Ah South Island, Your Music Remembers value, with strength displayed throughout Me made $321 000 hammer ($385 585) the lower, mid and top end of the market. against an estimate of $180 000 – The previous record price for a Philip $250 000. Illustrated above left: Clairmont was more than quadrupled Tony Fomison Ah South Island, Your Music when his magnificent Scarred Couch II Remembers Me was hammered down for $276 000 oil on hessian laid onto board ($331 530) against an estimate of 760 x 1200mm $160 000 – $240 000. A new record price realised for the artist at auction: $385 585 2 Colin McCahon Philip Clairmont A new record price Scarred Couch II realised for the artist North Shore Landscape at auction: oil on canvas, 1954 mixed media 563 x 462mm and collage on $331 530 unstretched jute Milan Mrkusich Price realised: $156 155 1755 x 2270mm Painting No. II (Trees) oil on board, 1959 857 x 596mm Price realised: $90 090 John Tole Gordon Walters Timber Mill near Rotorua Blue Centre oil on board PVA and acrylic on 445 x 535mm Ralph Hotere canvas, 1970 A new record price realised Black Window: Towards Aramoana 458 x 458mm for the artist at auction: acrylic on board in colonial sash Price realised: $73 270 $37 235 window frame 1130 x 915mm Price realised: $168 165 Peter Peryer A new record price realised Jam Rolls, Neenish Tarts, Doughnuts for the artist at auction: gelatin silver print, three parts, 1983 $21 620 255 x 380mm: each print 3 RARE BOOKS, 22 AUG MANUSCRIPTS, George O’Brien Otago Harbour from Waverley DOCUMENTS A large watercolour of Otago Harbour from Waverley. -
Cimam 2019 Annual Conference the 21St Century Art Museum: Is Context Every Thing ?
CIMAM 2019 Annual Conference Proceedings November 15-17, Sydney, Australia CIMAM 2019 ANNUAL CONFERENCE THE 21 ST CENTURY ART MUSEUM: IS CONTEXT EVERY THING ? 1 CIMAM 2019 Annual Conference Proceedings Day 1, Friday November 15 3 Day 3: Sunday November 17 52 Challenging the Narrative: Indigenous Perspectives Beyond the Walls Keynote 1 4 Keynote 3 53 Wesley Enoch Sally Tallant Artistic Director, Sydney Festival, Director, The Queens Museum, Sydney, Australia New York, USA Perspective 1 10 Perspective 5 57 Wanda Nanibush Anne Loxley and Tony Albert Curator of Indigenous Art, Art Gallery Senior Curator, C3West, Museum of of Ontario (AGO), Toronto, Canada Contemporary Art Australia, Sydney, Australia Kuku Yalanji artist, Sydney, Australia Perspective 2 22 Ngahiraka Mason Perspective 6 64 Independent Indigenous Curator & Visual Lara Strongman Historian, Hira, Honolulu, Hawaii Director, Curatorial and Digital, Museum of Contemporary Art, Sydney, Australia Conclusions Panel Discussion 1 26 Moderated by Stephen Gilchrist Conclusions Panel Discussion 3 69 Associate Lecturer, University of Sydney, Moderated by Lee Weng Choy Sydney, Australia Art critic, writer, president AICA Singapore, Kuala Lumpur, Malaysia Day 2: Saturday November 16 28 Workshop conclusions 71 The Future of Collections Colophon 75 Keynote 2 29 Franklin Sirmans Director, Pérez Art Museum Miami, USA Perspective 3 36 Lisa Reihana Ngāpuhi artist, Tāmaki Makaurau, Aotearoa, New Zealand Perspective 4 41 Hannah Mathews Senior Curator, Monash University Museum of Art, Melbourne, Australia Conclusions Panel Discussion 2 50 Moderated by Suhanya Raffel Director, M+ Museum, Hong Kong, China Note: Click on any of the items above to jump to the corresponding page. Throughout the document, click on any of the page numbers to return to the table of contents. -
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ART + OBJECT 2017 has undoubtedly been a dynamic year at Art+Object, as well as for the wider New Zealand art world. We are fortunate to be part of a healthy, thriving arts community that really does offer something for everyone, across a variety of art forms. This year, along with our usual catalogues of Important Paintings and Contemporary Art, New Collectors, Decorative Arts and Rare Books, we have been favoured with the sale of some fabulous private collections. Visionary collectors like Anne Coney and Glenn Schaeffer, in taking the brave decision to sell their collections at auction, provide viewers with a wonderful opportunity to admire and acquire. Thank you to everyone who has taken part in our auction program this year, we put real effort into making our auction videos, organising talks and events and we love it when you watch on-line, or come along to viewings and auctions. Our talk with collector Glenn Schaeffer in October was given to a packed house, with a large number of interested collectors attending to hear from Mr Schaeffer, a significant international art collector. The year cannot pass without making mention of the wonderful success of the Estate of Michael Illingworth auction. The enthusiasm shown by the market for work by this legendary artist was unprecedented, resulting in one of the most successful auctions in our ten year history. We have enjoyed working with a number of brand partners this year. We’ve been serving freshly brewed Allpress coffee at our weekend viewings, which was particularly well-received on cold wintry viewing days, and it certainly feels like we’ve had plenty of those this year. -
A Critical Evaluation of New Zealand's Antactic Art Programmes
A critical evaluation of New Zealand’s Antarctic art programmes, 1957-2011 ANTA 604 Tim Jones February 2011 1 Table of Conents Table of Conents................................................................................................................... 2 Abstract ................................................................................................................................. 3 Introduction ........................................................................................................................... 4 Part one – the artists ............................................................................................................ 5 Part two – the programmes................................................................................................ 51 Part three – the art .............................................................................................................. 58 Conclusions ........................................................................................................................ 66 Acknowledgments .............................................................................................................. 67 2 Abstract The author considers the programmes that have enabled artists to travel to Antarctica as part of the New Zealand Antarctic programme between 1957 and 2011. Details of artists and their visits are given, followed by a descriptive history of the artist programme itself, outlining its origins, development and current status. Finally the artists’ opinions