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Public Response to Don Driver's Ritual

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Public Response to Don Driver's Ritual Tuhinga 24: 49–64 Copyright © Te Papa Museum of New Zealand (2013) Rites of passage: public response to Don Driver’s Ritual (1982) and its institutional history Sarah Farrar Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: For 30 years Don Driver’s artwork Ritual (1982), from Te Papa’s collection, has intrigued, angered and confused audiences. This text analyses documentation of the public response to the work and its institutional history from 1982 to 2012, and considers the impact of this chequered history upon Ritual ’s iconic status within New Zealand art. KEYWORDS: Don Driver, Ritual, sculpture, contemporary art, New Zealand, National Art Gallery, Te Papa, controversy. Introduction ‘Virtually no rules’: a new Don Driver’s Ritual in the collection of the Museum of installation for the National New Zealand Te Papa Tongarewa (Te Papa) presents an opportunity to examine how a work obtains iconic status in Art Gallery New Zealand art and its varied fortunes over time. The Towards the end of 1981, Don Driver was invited to pre - story around Ritual has all the classic hallmarks of a good art pare a work for the National Art Gallery in Wellington. scandal: an artist admired by art experts whose work baffled (The National Art Gallery was combined with the National the general public; an artwork with overt sexual content Museum by an Act of Parliament in 1992 to become and a whiff of black magic; and a controversy that played out the Museum of New Zealand Te Papa Tongarewa, which in the media when the work was exhibited and, especially, opened in 1998.) when it was proposed for acquisition by a public gallery. By 1981, Driver already had a considerable reputation as In order to understand why and how a work of art a leading contemporary New Zealand artist. Under the achieves fame, we need to consider the original context in mandate of National Art Gallery Director Luit Bieringa, 10 which it was made, its initial and ongoing public and critical of his works were held in the national art collection.1 In reception, and changes to the display and presentation of the 1978, Driver had been selected as one of the New Zealand work over time. All of these factors play a critical role in how artists in the Mildura Sculpture Triennial in Australia, and a work of art becomes ‘iconic’, yet rarely is serious attention a substantial survey show of his work organised by the given to a work’s entire exhibition history and the impact Govett-Brewster Art Gallery in New Plymouth toured to this has on consolidating its status within art history. numerous public galleries around New Zealand, including Rather than focus on the subject matter of Ritual, this text the National Art Gallery in 1979.2 examines its rite of passage to become an iconic work in New The invitation from the National Art Gallery was very Zealand art by addressing its history of public response and open in its brief. Louise Upston (now Pether), the exhibitions its institutional history. It is essential to interrogate the officer, wrote to Driver in 1981 on behalf of the gallery history of the work’s reception in order to consider its legacy. asking him to be part of a series of sculpture installation 50 Tuhinga, Number 24 (2013) Fig.1 Don Driver, Ritual, 1982, plastic, fabric, bone, steel, iron, rubber, leather, paint, wood and straw with audio component, 1760× 2210× 2480mm. The work is seen here installed at the National Art Gallery, Wellington, in 1982–83 (Te Papa 1989-0034-1) (photo: Te Papa). projects: ‘We are attaching virtually no rules or regulations to the invitation’, Upston wrote, ‘(other than budgetary ones) as we wish to bring to the attention of the Wellington public nationally important artists.’3 Driver accepted the invitation and the result was his arresting installation Ritual, which was displayed at the gallery from 22 November 1982 Fig.2 Don Driver with Ritual at the National Art Gallery, Wellington, c.1982 (photo: Mark Strange, Te Papa). to 6 February 1983 (Figs1 and 2). Some of the other artists invited to participate included Warren Viscoe, Neil Dawson, Jacqueline Fraser, Christine Hellyar, Pauline Rhodes, Andrew Drummond and Terry may owe something to the South Pacific culture, where the Stringer.4 Driver’s exhibition occurred after Drummond’s artist works very closely with ordinary materials from daily in this sequence and the preceding installations had also life, and where objects can possess a power and totemic been of an experimental nature. Observations made by the quality … He recognises that his work is of little “popular” National Art Gallery’s education officer about Viscoe’s appeal. It is neither pretty nor easy.’5 These comments installation are particularly interesting in light of Driver’s demonstrate the context within which Driver’s installation future project: ‘Viscoe acknowledges that his type of art was likely received by visitors to the National Art Gallery. Rites of passage: public response to Don Driver’s Ritual (1982) and its institutional history 51 Fig. 3 Detail of Ritual (photo: Te Papa MU000052/001/0011). From goats’ skulls to pitchforks: also an avid watcher of horror movies, and his wife, Joyce, recalls that ‘a horror movie couldn’t come to New Plymouth Driver’s source materials without Don going to see it’.8 Although the subject matter Unfortunately, there is little correspondence in Te Papa’s of Ritual is not the focus of this paper, unpacking the work archives relating to what Driver intended to display, except in light of its art historical and cultural references – as for an intriguing reference to a book he had left behind at perhaps indicated by Driver’s possession of Schiff ’s book and the gallery: Gert Schiff ’s Images of horror and fantasy (1979).6 the fact that he took it with him to the National Art Gallery The book followed an exhibition that Schiff had organised around the time of early discussions about Ritual – warrants for the Bronx Museum of the Arts, New York, in 1977, in further investigation. which a selection of historical and contemporary artworks In July 1982, Upston wrote another letter to Driver, in were grouped around the following themes: ‘Fear / Despair, which she noted, ‘Other than your wonderful idea I have not Religion / Superstition, Persecution / Paranoia, Captivity / heard anything definite back from you in the form of a Madness, Pain / Torture, Sex / Sadism, Death, War, Dream, proposal or budget for your installation here in November.’9 Utopia / Arcadia’. Clearly, the book did not offer light read - Their subsequent correspondence appears to have been ing or viewing. Driver had a considerable personal library largely of a financial or practical nature. One letter written of books on the subject of black magic, superstition and by Joyce Driver to Upston later that month includes a ethnic art traditions from around the world, as well as a list: ‘Chris Garnham’s labour, dray, 2 hayforks, 1 pitchfork, wide selec tion of science fiction and fantasy novels.7 He was 1 slasher, other tools, stands, dolls, glass, timbacryl, drums, 52 Tuhinga, Number 24 (2013) Fig. 5 Don Driver, Fetish, 1978, plastic, metal, fibre, wood, glass, 195× 275× 300mm. Jim Barr and Mary Barr collection Fig. 4 Don Driver in his studio, New Plymouth, 1981 (photo: (photo: Bryan James, Govett-Brewster Art Gallery; reproduced Tony Mackle, Te Papa). with permission). dresses, appendages, fibreglass, lights, mirror, skulls, sewing, Fetish objects for tape-recording.’10 In the same Te Papa Archives file is a letter from Driver to Chris Cane at the National Art Gallery, twentieth-century New Zealand: asking ‘a big favour’ – ‘Would it be possible to get the ½ a Ritual and Driver’s other works dozen goats’ skulls with horns attached? Maybe from the Ritual relates to other works that Driver had been making Museum Geology Dept. Luit was saying they could possibly in the late 1970s (Fig.4). He had begun to incorporate dolls 11 have some. Here is hoping.’ into his sculptures some years earlier, and his two works As things turned out, sourcing the goats’ skulls proved to Fetish (1978) and Girl with skull (1981) can be seen as pre - be quite difficult (Fig.3). A newspaper article mentions that: decessors to Ritual. About Fetish (Fig.5), Driver com mented, Ritual took six months to complete, with Don Driver ‘I have always been interested in African sculpture with an working at it every morning and evening in the garage- emphasis on the fetish type of effigy. This is my own studio of his home. Ritual ’s starting point was the goat twentieth century New Zealand version’.13 skulls. The supply problem (art shops tend to be limited Reflecting on Girl with skull (Fig.6) in 1985, Driver in their range of animal heads) was solved by an noted: advertisement in a New Plymouth paper. A local taxi driver-cum-hunter saw it, and in due course a suitable I wanted to use the doll, with the head and skull in hand, series of skeletal devil-heads arrived at Driver’s home.12 to produce an awesome feeling. The blue dress against the Rites of passage: public response to Don Driver’s Ritual (1982) and its institutional history 53 Fig. 7 Floor plan of the National Art Gallery in 1982. Ritual was displayed in the space marked ‘J’ and the Rita Angus exhibition was shown in galleries G, H, I and the Blue Room (reproduced from National Art Gallery (1982), Acquisitions 1981–82, Wellington: National Art Gallery, p.2).
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