The Wallace Arts Trust Opening Exhibition at the Pah Homestead
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The Wallace Arts Trust Opening Exhibition at the Pah Homestead 15 August to 1 September 2010 The Wallace Arts Trust PO Box 5508 Wellesley Street Auckland 1141 T: 09 302 5271 F: 09 302 5272 E: [email protected] www.wallaceartstrust.org.nz Published on the occasion of the opening exhibition The Wallace Arts Trust Opening Exhibition at the Pah Homestead 15 August to 1 September 2010 72 Hillsborough Road, Hillsborough, Auckland www.tsbwallaceartscentre.org.nz © 2010 by Wallace Arts Trust, Auckland, New Zealand All works are published courtesy of The Wallace Arts Trust, except for p.76 Jae Hoon Lee, A Leaf, 2005, courtesy of Starkwhite Gallery; p.76 Richard Maloy, New Work/OldWork, 1998-2008, courtesy of Sue Crockford Gallery; p.94 Peter Panyoczki, What comes around goes around, 2007, courtesy of the artist. All rights reserved. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system, without prior permission in writing from the publisher. Exhibition curator: James Wallace Special thanks to Ronald Winstone for his photography Design and production: Jill Segedin Printed and bound in New Zealand by McCollams Print Director’s Welcome 5 James Wallace Arts Trust and its Collection 6 TSB Bank Wallace Arts Centre 7 A Venue with a History 8 The Galleries: Entrance Gallery 9 Ballroom 15 Little Drawing Room 21 Drawing Room 25 Morning Room 33 Gallery Shop 37 Dining Room 40 Long Gallery 42 Stairway 57 Upper Lobby 60 Little Gallery 68 Boardroom 70 AV Room 75 Photography Gallery 78 Recent Acquisitions and Commissions 83 Sculpture Garden 92 Acknowledgements 96 contents Director’s Welcome On behalf of The Wallace Arts Trust it is my pleasure to welcome you to the Pah Homestead. It is tremendously exciting and challenging to have this beautifully restored building in the magnificent setting of the Monte Cecilia Park as the permanent home for the Trust and Collection. The opening exhibition is a sort of survey of the Collection but is not intended to be definitive in any way. Among other things, certain important artists and works have been left out as they are intended for future exhibitions. Looking to the future, this is not just a gallery for the visual arts; it is also an arts and function centre, so there will be such events as concerts, lectures, conferences and educational programmes. This will also be the venue for an array of functions such as weddings. I would like to thank everyone who has been involved in this project. James Wallace page 5 The James Wallace Arts Trust and its Collection James Wallace began collecting New Zealand art in the mid-1960s, with a particular focus on the work of emerging artists. In 1992 he transferred his Collection to a newly formed Charitable Trust, which he proceeded to fund so that it could continue to add to the Collection and provide support for the arts in New Zealand in general. His original aim was to assist emerging artists through both patronage and promotion through exhibitions. However, as the Trust became more established it broadened its scope to include the acquisition of works by artists as they continued to develop, so creating a ‘diary collection’. Gaps have often been filled through collaborations with artists and their dealers. Nothing is ever sold so that the body of works, now numbering over 5,000, will remain in its entirety as a cultural resource for present and future generations. The Trust owns the strongest collection in any hands of a number of senior artists such as Sir Toss Woollaston and Philip Trusttum, and also of many emerging and mid-career artists, and has significant holdings of many other well-known artists. In addition, the Trust has initiated over 80 commissions ranging from Pat Hanly stained glass windows to Terry Stringer sculptures. The James Wallace Arts Trust Collection can be accessed through The Wallace Arts Trust website: www.wallaceartstrust.org.nz page 6 The TSB Bank Wallace Arts Centre The TSB Bank Wallace Arts Centre is Auckland’s exciting new cultural destination. Located in the historic Pah Homestead in Monte Cecilia Park, Hillsborough, the arts centre opened to the public in August 2010. The Pah Homestead was fully restored by the Auckland City Council together with the support of TSB Bank from 2009 to 2010 as the permanent home of the James Wallace Arts Trust and its Collection. The Arts Centre hosts a changing programme of exhibitions curated from the James Wallace Arts Trust Collection as well as regional touring exhibitions. The arts centre will also run ongoing community education programmes targeting Auckland schools and the wider public. An artist in residency programme in association with Otago University is an important component of the Arts Centre. This partnership also provides for exhibitions curated from the extensive collections of the Hocken Library. The Arts Centre enjoys a licensed inhouse café operated by renowned caterers, Dawsons. After touring the gallery, enjoy refreshments in the dining room or on the veranda at The PAH Café. Many thanks to the Auckland Decorative and Fine Arts Society and its members who provide ongoing support to the centre through the provision of volunteer docents. The Arts Centre is free to the public and is open Tuesday to Friday from 11am to 4pm, and Saturday, Sunday and public holidays from 10am to 5pm. page 7 A Venue with a History In 1998, Auckland City Council endorsed the concept of a premier park at Monte Cecilia Park. Since then, a number of land purchases have established the current park area, which includes the historic Pah Homestead. The park and homestead have a rich and colourful history. The original 162ha property was purchased from Maori by early Auckland settler and land dealer William Hart in 1843. It was later sold to Thomas Russell in 1870, before James Williamson purchased it and built The Pah Homestead between 1877 and 1879 as his ‘gentleman’s residence’. Designed by architect Edward Mahoney, the homestead was the largest house in the Auckland province at the time. A picturesque farm landscape, including a series of gardens and tree lined driveways, was developed around the homestead, the remnants of which can still be seen. The park today has one of the finest collections of large and rare exotic trees in Auckland and enjoys views that include the Manukau Harbour, One Tree Hill, and the Waitakere Ranges. The homestead itself remains largely as it was built, with almost all of its original door and window joinery, elaborate ceiling roses, parquet floors and marble fireplaces intact. At various times it was served as an orphanage, novitiate house, boarding school and, more recently, emergency housing. page 8 entrance gallery PHILIP CLAIRMONT LOUISE HENDERSON Untitled (from the Clothesline Series), 1977 Cherries, 1991 Oil on jute, 1490 x 645mm Oil on board, 1120 x 745mm page 10 Gretchen Albrecht is one of New Zealand’s foremost living artists. She GRETCHEN ALBRECHT graduated from the University of Auckland Elam School of Fine Arts in 1963 Omar’s Perfume, 2010 Acrylic and oil on canvas, 850 x 1500mm and during the 1970s and 1980s received several grants from the QE II Arts Foundation that allowed her to travel and work extensively in the United States. In 1981 she was awarded the Frances Hodgkins Fellowship at the University of Otago. Omar’s Perfume, 2010 contains many features common to Albrecht’s oeuvre, including the luminous colours that are reminiscent of the American ‘colour- field’ painters, the ovaloid shape, and the two horizontal bands of colour. Since 2009 she has been making rectangular paintings where previously she had often used oval or hemisphere shaped canvases, and this has allowed the forms to be rendered in a looser, more expressionistic style. James Wallace commissioned his first Albrecht piece in 1985. Omar’s Perfume is another commission and represents a major new addition to The Wallace Arts Trust collection. page 11 PETER ROBINSON Untitled, 1993 Mixed media on paper, diptych: 1040 x 1480mm BILL HAMMOND The Young Designers, 1989 Acyrlic on wallpaper, diptych: 1110 x 1890mm page 12 BRONWYNNE CORNISH Perching Birdwoman on Volcanic Bomb I, 2009 Bronze on volcanic rock, 450 x 380 x 320mm BRONWYNNE CORNISH Perching Birdwoman on Volcanic Bomb II, 2009 Bronze on volcanic rock, 340 x 260 x 370mm JAMES ROSS Figure (for J.W.), 1985 BRONWYNNE CORNISH Oil on canvas on Migration, 2009 three panels, Bronze, 280 x 730 x 280mm 2040 x 395mm page 13 FRANCIS UPRITCHARD FRANCIS UPRITCHARD FRANCIS UPRITCHARD Mud Dog, 2003 Splash Bird, 2003 Stone Monkey, 2003 Ceramic and modelling material, Ceramic and modelling material, Ceramic and modelling material, 140 x 140 x 140mm 240 x 70 x 70mm 220 x 100 x 100mm FRANCIS UPRITCHARD FRANCIS UPRITCHARD FRANCIS UPRITCHARD Small NZ on wheels, 2003 Head, 2003 Compass Set 2, 2003 Mixed media, 37 x 10 x 3mm Modelling material, fake fur, and wood, Leather, modelling material, and felt, 380 x 200 x 360mm 310 x 220 x 30mm page 14 ballroom COLIN McCAHON Evening Muriwai, 1971 Oil on paper, 1500 x 1200mm GAVIN HURLEY School Portrait – Series No. 8, 2001 Oil on hessian, 1370 x 1000mm ROBERT ELLIS Arepa – Omeka, Rakaumangamanga, 1984 Oil on canvas, 1940 x 1550mm page 16 Sir Mountford Tosswill Woollaston was one New Zealand’s pre-eminent landscape TOSS WOOLLASTON painters working in the Regionalist style which took the country’s art to international Tasman Bay, 1986 Oil on board, 1200 x 3600mm prominence during the mid-20th century. He was primarily inspired by the romantic poets and their recognition of the beautiful and sublime qualities of the natural world, and was particularly influenced by the Provençal landscapes of Paul Cezanne.