The Journal of the Canterbury Society of Arts Gallery Hours 66 Gloucester Street Christchurch, Monday-Saturday I0am-4.30pm New Zealand P.O. Box 77Z Christchurch Sunday 2pm-4.30pm ••A Phone 667-261,667-167. PREVIEW

GALLERY MIXED LETTERS TO PERSONNEL MEDIA THE EDITOR

Director Exhibitions Dear Editor, Chris Taylor, Dip. F.A. (Hons), Dip. Tchg. Chris Taylor comments in "Director's The NZ Academy of Fine Arts Column, Preview 143," on the questioned Consultant Private Bag ". . .visibility of art by women." Rona Rose Wellington Obviously any number of artists can and do BNZ Art Award 1989 form groups to exhibit their work. And the Exhibitions Officer Prints: Ceramics: Sculpture President lists the names of many people who Grant Banbury Receiving days: 13-14 March have done just that. Exhibition: 9-30 April There are other artists not mentioned — Gallery Assistants painters V. Bishop, J. Braithwaite, E. Buchanan, IBM Art Award 1989 Joanna Braithwaite, B.F.A. L. James, M. Lenihan, D. Lusk, J. Morison, B. Urban Images Blair Jackson, B.F.A. van Rangelrooy, P. Tengrove, T. Wilson and L. Louise Johns, 8. Mus. Receiving Days: 1-2 May Zylstra; printmakers D. Copeland. J. Einhorn, Exhibition: 21 May-4june M. Kay and C. Shine; photographers M. Dawson Accounts Entry forms available from above address or and J. Riley and sculptors P. Rhodes and J. Grania McKenzie, B.A. CSA Gallery. Wilson. Office The question asked is how often do any of these names appear in "invited" group shows? Sharyn Creighton Life Drawing Class Going by that evidence, Christchurch seems to Tutor Josie Jay Editor have a dearth of women artists. In the "Art Thursday 10-12am Arts Centre in Hospitals; 1987 Show," the ratio of women Josie Jay 8 week course, commencing March 2nd to total was 4/19; in the President's Exhibition Design Fee: $72 1985, "Big Paintings", I /13 and in the President's Phone 252-467 for enrolment Ralph Lawrence, Dip F.A. Exhibition 1988,2/12. Weekend Painting Workshop It is interesting to note that all the names Tutor: Josie Jay mentioned, that is on the Director's list and April 15-16 9am-4pm those listed above, barely 20% have had works NEW Fee: $42 gifted to or purchased by the Robert McDougall Venue: Arts Centre Art Gallery, the public gallery or the region. MEMBERS Information and enrolment before I April And that covers roughly a 25 year period. Phone 252-467 I have no figures of ex-provincial invited group Samuel Miller shows, but for a comparision of sorts, quote Valerie McClatchy and N D Caesar the travelling exhibition of selected, invited D E Stewart artists in the Montana Art Award, 7/15 and Deborah N Redmond DIRECTORS the Goodman Suter Biennale (partially selected Mr and Mrs D S Barker and partially invited) 19/51. Penny Richards COLUMN Numbers of women graduating from the P Poole University of Canterbury's School of Fine Arts Mr and Mrs A G Chapman ight now there is what sounds like a in a 10 year period (1975-84) I assess at L M Johnson R bazooka being fired next door to my approximately 57% (obtained from counting M Kojima office every 5 minutes. No it's not Grant and lists of graduands). David S Hobbs Blair putting up an exhibition. The builders are It has been suggested, somewhat cynically, Mrs Jan Hampton here, and putting things into concrete is a noisy that Christchurch's conservatism responds, and Vincent M Williams business. slowly, to the winds of change that blow down Justine McLisky Over the next few weeks the changes that from Auckland and up from Dunedin. Surely William McAloon have been going on behind the scenes will this cannot be so. Laurence Hall emerge into the galleries. Particularly noticeable Yours sincerely Gabriel Didham will be changes to the ground floor galleries Pat Unger J C M Kirk and foyer area. The intention is to provide an up-to-date fresh looking environment for Editors Reply viewing exhibitions. If any other members have comments to By the time this issue of Preview comes out make on this subject please reply before 20th you will be able to judge for yourselves. Come March. into the gallery and have a look, not only at the changes taking place, but also at the fine exhibitions we have planned throughout 1989. Hope you had a great summer.

Chris Taylor —

Front Cover: Nan Gee, Photographer ARE DENIS DUTTON Senior Lecturer in the Philosophy of Art POTTERS University of Canterbury ARTISTS? 4

"Time was when the mystery and wonder of thought out before being arrived at. The and problematic part to play, may in acting handicrafts were well acknowledged by the craftsman knows what he wants to make before plumb the emotional and intellectual possibil­ world, when imagination and fancy mingled he makes it." This foreknowledge, Collinwood ities of the part, may set out to make the with all things made by man; and in those says, must not be vague, but must be precise. emotional content of the role clear to her days all handicraftsmen were artists, as we He calls it "indispensable" to craft. audience but at the same time clear to herself. should now call them."1 What does it mean to claim that the In this respect, not only for acting, but for all Despite William Morris's plea a century craftsman must have foreknowledge? Colling­ of the arts, the artist stands in a different relation ago for the abolition of the distinction wood gives the example of a furniture maker. to his audience from the craftsman. The between art and craft, this great divide "If a person sets out to make a table, but craftsman knows beforehand the end to be remains a stubborn feature of the conceives the table only vaguely, as somewhcie achieved, or the effect to be produced upon contemporary aesthetic consciousness. So in between two or four feet and three by six, his audience. The artist, on the other hand, order to approach an answer to the and between two and three feet high, and so stands in the same relationship to the outcome question, "Are potters artists?", we must forth, he is no craftsman," Collingwood says.3 as his audience. The artist explores the first find a way to distinguish the concept of Think about it. If I call a tradesman in to install unknown limits and possibilities of his art; for art from the concept of craft. a bay window, which we recently did, it is I, the artist, the art of creation is also one of no craftsman, who has only a vague notion of finding out, of clarifying, of coming to irst, craft work is skilled work: any kind what it will look like. But the craftsman I've understand. In this way, the artist teeters at Fof craft must involve the application of hired knows exactly what to do to achieve a the edge of the abyss, always confronting a technique. The word, after all, (Kraft) means result which he sees perfectly clearly well before possibility of failure. among other things power or ability in German. he starts. Similarly with something as arcane Perhaps the archetypical craftsman is the It involves the technique, but not necessarily as the craft of my mechanic, who deals with conjurer, the stage magician, who amazes an mechanical technology; we wouldn't attribute the subtle mysteries of my 1972 Holden station audience. He stands in a completely different craftsmanship to a machine which produced wagon. The mechanic possesses a set of skills relationship to his craft from this audience: he thousands of coffee mugs in an hour. Craft and techniques (not to mention tools) which knows the tricks of his trade, he knows exactly implies the application to a task both of human he applies to tuning the engine. Exactly what what to do, and exactly what the effect of intelligence and of the human hand. The he'll have to do before he is finished is his skills will be. The archetypical artist might craftsman has tools at command, but to the uncertain—a few informed guesses, a bit of trial be. say. the Beethoven of the last quartets: extent that the tools themselves, independent and error. But he knows the outcome he seeks. an artist who was at the outer boundaries of of intelligent guidance, accomplish a task, we That is to say, he knows exactly what a well- what music could produce, at the very limits don't talk about craftsmanship. tuned Holden straight six should sound like with of what was possible for him. In those works Second, the concept of craft is historically the timing and carburetor correctly adjusted. Beethoven too—Beethoven as much as you associated with the production of useful He many not know exactly how to get where or I—is discovering where music can go, is objects—and art, at least since the eighteenth he's going, so to speak, but he knows exactly discovering what he can do with it. The conjurer centU7, with useless ones. The craftsman's what it will be like when he has arrived. Like stands behind a facade, manipulating his teapot or vase should hold tea or flowers, while every good craftsman, he knows, in that sense, audience's emotions and beliefs; the true artist the artist's work is typically without ordinary when to stop. (Artists, typically, do not know is as much any member of his or her own utility. In fact, if an object is made demonstrably when to stop.) audience as anyone else. This may be part of useless—if, to cite a famous example, you take There is a dependability about craft, the what is meant when it is said—often in a a teacup and line it entirely with animal fur— dependability which comes from the application defensive tone—that the artist produces as it has to be considered as a work of art, because of a learned technique. As a craftsperson, any much for himself or herself as for an audience. there is nothing else left to consider it as. potter who earns a living making functional If the creation of the work of art is as much Though they may be pretty or pleasing in any domestic ware must be able to know—or have an exploration and a struggle and a revelation number of ways, craft objects tend to exhibit a pretty good idea—of what the final product for the artist as for the audience, then the artist their prettiness around a purpose external to will look like when it emerges from the kiln. becomes in a sense a member of the audience the object itself; in that sense, crafts are often In this respect, craft is essentially different from too. decorative. To this extent, the crafts aren't arts, art; art and craft, though overlapping and in There are all sorts of crafts: I've mentioned according to a idea which found fullest practice intimately involved with each other, motor repair and conjuring, but they are expression in the aesthetics of Immanuel Kant. are in Collingwood's view at opposite ends of unlimited. Consider medicine, cheese making, Kant said that the mark of art was what he a conceptual continuum. On the one hand, plumbing, computer programming, newsread- called "purposiveness without purpose," that there is the crafty application of i predictable, ing, horticulture, or printing. The popular, mass the art work looks as though it had some learned (and teachable) skill capable of arts involve in interesting ways elements of both function yet it has none; it is an object for producing a preconceived result. And on the art and craft. Consider Hollywood. It strikes 2 pure aesthetic contemplation. other end, there is art. me that in very many respects, large-scale film These two symptoms of craft, that it involves For Collingwood, art, among other things, making is paradigmatically craft, as Collingwood the application of intelligent skill (often expresses emotion, which for him was not means it. It requires the work of countless handwork), and that it commonly results in the merely putting on some emotional display. He numbers of highly trained, intelligent, skilled production of useful objects, are uncontrover- said that until an artist "has expressed his technicians in all aspects of scripting, casting, sial, but they still don't go very far in emotion, he does not yet know what emotion lighting, directing, cinematography, special distinguishing craft from art. For in the first it is. The act of expressing it is therefore an effects, acting, and promotion. But there is little place, works of art—in painting, in music exploration of his own emotions. He is trying sense that these activities are carried out for composition or performance, in poetry, and to find out what these emotions are. There the sake of themselves, and less sense that they elsewhere—normally require technical skill, and is certainly here a directed process: an effort, are for the sake of the people who produce are to that extent craft. And second, it must that is, directed upon a certain end; but the films. The whole key to life in Hollywood is, be allowed that some great works of art are end is not something foreseen and precon­ what will sell in Peoria? What will have them also objects with enormous practical utility, for ceived. . ."4 Art for Collingwood was a matter lining up in Atlanta or Auckland? While films example, works of architecture. of articulating, of making clear an emotion, or can be expressive or experimental (Citizen Kane We can get closer to the heart of the matter more generally a feeling. Take the example of is the example that inevitably comes to mind), by looking at the criteria proposed in the 1930s an actress. She may set herself the task of and while cinema can move us aesthetically, by the British philosopher R.G. Collingwood arousing a certain emotional response in an it must be said that on the whole Hollywood to distinguish art from craft. The most audience and, knowing exactly what she's about, does not usually trouble itself to explore the important of his criteria is the idea that with she may succeed in doing so. In this respect, formal, the intellectual, imaginative, and craft, and not with art, there is "a distinction acting is an honourable and demanding craft, emotional possibilities of film as an artistic between planning and execution" such that the requiring great technical skill. On the other medium—except where this can be demon­ "result to be obtained is preconceived or hand, an actress, faced perhaps with a complex strated to increase box office receipts. Movies

rinifi are produced not for we the producers, but recommend it, but which struck me as tailored, a sign, 'craft display' will probably not pull me for them—for the folks, young and old, who Hollywood fashion, not to the box office in in off the footpath. On the other hand, better drink Pepsi or eat mild or tasty cheese. That Peoria, but to the current corporate art market. to be an accomplished craftsman, someone with is why, perfectly in line with Collingwood's It was slick, it was "interesting," but it was a demonstrable skill who can produce some­ distinction, we can speak of the craft or produced for an audience—the corporate art thing useful and pleasing, than an artist whose Hollywood, or the magic of Hollywood, but buyers—not for the artists. There was in this muddy visions are no help to anybody, either we feel uncomfortable with the phrase the art work no felt sense of emotional exploration for human understanding or decorative of Hollywood: that's over the top even for that or of expressive discovery: the paintings were enjoyment. At its best, art takes us to the peaks most- self-congratulatory of industries. The carefully calculated to tug at, if not the of human experience and understanding. As typical Hollywood show is put on by some heartstrings, then at the purse-strings of your Kant said, it cultivates the imagination and people who make movies (producers), for other average corporate art buyer. expands the human spirit. But it doesn't do people who buy tickets or rent videos. Arguably, much contemporary art—again, art that often, because most artists do not Yet when we consider something as complex so-called—really more fulfills Collingwood's command such sublime power. The dependable, of the film industry, it should be obvious that criteria for craft: it functions to arouse a polished craftsperson can at least deliver. the strict demarcation between art and craft response in its target audience, as work And finally, the last question, which is the exists only in the philosopher's imagination. In conditioned and adapted to the needs, or first: is pottery art? The answer is, obviously, the first place, almost all traditionally acknowl­ anyway the desires, of a market. There is yes, or no, depending on the potter or the edged art involves, indeed, requires craft, nothing wrong with producing for a market, pot. If Bernard Leach wasn't an artist, if his requires the application of technique. At least or producing to fill external social needs. After works didn't fulfill the general criteria of it has historically, and the training for all, most of the great art of European history exploring the formal and expressive properties practitioners in all of the arts has involved the has been produced to fulfill religious require­ and possibilities of the medium, and pleasing mastery of techniques (this differs widely among ments, or the demands of a royal court. The at the level of the imagination then I don't know the arts: training as a musician requires a more question is, whether it is also, in Collingwood's who or what could be. Of his own work, Len vigorous and structured course of technical terms, an expressive exploration of the formal Castle wrote, "I make pots. . .to understand preparation than training as a novelist). Thus and emotional possibilities of an artistic the nature of form. . .and for the elation that for the last 2500 years it might be said at least medium. More than a little of contemporary goes with discovering the unknown."6 (Castle that craft of some sort has been considered art isn't: it is slick, clever craftwork—analogous also said that "My unsatisfactory pots often a necessary condition for artistic practice—a to, and about as emotionally moving as, the suffer from 'art anxiety'!") It is clear that the necessary condition, but not a sufficient work of a good stage magician (though work of many potters is virtually indistin­ condition. And in this respect, one way to regrettably not as entertaining). guishable in aesthetic content from conven­ tional sculpture, and is capable of commentary understand the appearance of Found Art, On the other hand, there might be crafts­ on life just as sculpture is (Peter Lange's Minimalism, and Conceptual Art on the modern people, so-called, who, using fibre, clay, and sculptural wisecracks and pottery shots come scene is as an attack on the very place of craft other materials, are in fact doing what to mind). Pottery can be hackneyed, routine, in art—an attempt to produce art without Collingwood calls art. The reason I am so 5 and slavishly imitative: but so can every other craft. (For that reason, among others, I believe attracted to this theo7 of art and craft is that art, and we know arts not by their failures, these schools of art do not have a vital future it makes the question of what distinguishes art but by their greatest exemplars. At its finest, ahead of them.) from craft absolutely independent of the pottery is an art. •• Moreover, there is every imaginable overlap materials an artist uses, the genre in which the between the limiting cases of art and craft as work is produced, and the sex or social status This address was presented at the University of I've described them, between my mechanic ("number of one-man shows") of the artist. Yes, Canterbury on October 29. 1988, as part of the tuning my Holden and the Beethoven feeling even ladies in Waimate who paint flowers on symposium, "is Pottery Art?", organised by the his way, so to speak, through the Opus 130 china—don't be entirely surprised if one of them Canterbury Potters Association as part of its 25th anniversary celebrations. Other speakers were John might not better fulfill Collingwood's criteria quartet. There are elements of art in the most Coiey, Peter Gibbs, and John Simpson. ordinarily humble of crafts. The love of for artist than some high-flying Auckland materials, the original leaps of imagination, the painter. It is theoretically possible, anyway, and ability not only to delight but to jar an audience, it does not depend on an a priori categorisation and reveal new possibilities in a craft medium— of china painting as a form of expression, which 1. William Morris, "The Lesser Arts" (1882). these are features of the artistic act and they in principle ought to be as replete with 2. Immanuel Kant, The Critique of Judgment characterise all crafts at their most engaging. possibilities for emotional expression as many (1789), trans. Werner S. Pluhar (Indianpolis: Hackett Publications, 1987). other recognised art forms, such as Greek And there are symptoms of craft, not merely 3. R.G. Collingwood. The Principles of Art as required technique, but more pejoratively pottery painting. Admittedly, most china (Oxford: Oxford University Press. 1938), as mere proficient routine, as manipulation of painting is not very imaginative, it's routine, p. 16. predictable, and stereotyped. But maybe that 4. Ibid., p. 111 an audience, and as the satisfaction of external 5. I owe this suggestion to V.A. Howard, demands, in much art, so-called. In fact, I just means that china painting is an art form Artistry: the Work of Artists (Indianapolis: sometimes suspect in this respect there is as waiting for its Giotto, its Palestrina, its Chaucer, Hackett Publications, 1982). 6. Doreen Blumhardt and Brian Brake, New much crafty art about as arty craft. I recall a or its jane Austen. Zealand Potter: Their Works and Words recent show of what had been described to What then is better, craft or art? The answer, (Wellington: Reed. 1976), p.65. me as "vital, fresh contemporary New Zealand naturally, depends on what you want. I admit painting" which doubtless had much to personally that art interests me very much and

PIII11W EXHIBITIONS PHOTOGRAPHS OF THE 21 FEB-5 MARCH WORLD DEAF GAMES LLEW SUMMERS 8-19 MARCH ANNA HOLLINGS 8-19 MARCH ALISON RYDE 8-19 MARCH INDIAN MINATURE 8-19 MARCH

1

Sculpture This is a selection of photographs showing Watercolours LLEW the highlights and atmosphere of the Games Celebrating City from photographers: ALISON SUMMERS Richard Poole. Gees Van der Pas. Ian Cooper. Chris Baxter. Lindsay McLeod, Tony Bridge RYDE Preview Tuesday 7 March 8pm assisted by Kim. Meredith, Robert and Mike: four photography students from Papanui High Preview Tuesday 7 March 8pm his will be a semi-retrospective exhibition School. — Tshowing mostly large woodcarvings and small exhibition of large watercolours. Themes around Christchurch, taking a some marble work. Paintings A colourful, fun approach. •• ANNA 16th WORLD HOLLINGS GAMES FOR THE Preview Tuesday 7 March 8pm his is my first exhibition — a selection DEAF Tof work from the past year. They are all inspired by my delight and reverence for Christchurch 7-17 January the female figure. ~ 1989

reen and Hahn, official photographers to Gthe Games had a team of 23 people, photographers, laboratory and supporting staff

working 20 hours a day for 11 days. Alison Ryde

••A P R I: V I I: W Scenes from the Moghul Court INDIAN MINIATURE PAINTINGS

Preview Tuesday 7 March 8pm

he Moghul Empire from its beginning in Tthe early 16th century until its end in the early 18th witnessed a flourishing of the art. In architecture, music, dance, craft and graphic arts, unique forms were evolved and endure today in Modern India. One such form begun in the Moghul Court was miniature painting, which depicted the ruling family, their court and activities in their Empire. This art form continues to the present day with modern artisans using natural colours —ground stones, clays and gold leaf — to recreate a glorious age in India's past. Scenes from the Moghul Court were collected from the cities of Udaipur and Jaipur in Rajasthan, the centre of modern Indian Indian Miniature Painting minature painting. ••

JUNE KIRK 22 MARCH-2 APRIL NICARAGUA MUST SURVIVE ELKE BERGKESSEL 22 MARCH-2 APRIL ALAN GILDERDALE 22 MARCH-2 APRIL

Photographed Images JUNE KIRK

Preview Tuesday 21 March 8pm

elcome to my fantasy world. W The combination of clear glass, natural light and 'arranged' colour, have enabled me to enter a fantasy world where ordinary everyday household objects turn into fascinating and ethereal shapes and images. Years of experimentation have led to an exciting relationship between camera/natural light and glass/'arranged' colour, to create images which are then photographed. The original concept was to turn the plain and ordinary into the beautiful and extraordinary. The images are meant to stir the imagination of the beholder into suggesting what they may, or may not be and to this end the work is deliberately un-named. ••

June Kirk I Fantasy world

Group Show en years ago this July, Nicaragua, a small contend with the eight year long U.S.-imposed NICARAGUA Timpoverished country in Central America, Contra war which has caused severe human experienced a popular revolution which toppled suffering and economic dislocation. MUST the Somoza dictatorship. Since then, its The Nicaragua Must Survive Campaign and attempts to achieve social justice and devel­ CORSO have decided to make medical aid to SURVIVE opment have won worldwide recognition and Nicaragua a priority for 1989, and in particular become a symbol of hope for oppressed to support the Leonel Rugama School for War Preview Tuesday 21 March 8pm peoples everywhere; this despite having to Wounded, a newly established facility in Nicaragua for the rehabilition of disabled victims Cleavin (who also designed the poster for the Sandra Thompson, David Denemark and of the Contra war. The arts community has exhibition), Peter Wolden. Kathy Anderson, Robert Wagoner. responded generously to the idea of an arts Linda James, Denise Copeland, Don Peebles, The exhibition will run in the Mair Gallery exhibition/auction in support of this project. Joanna Braithwaite, Grant Banbury, Michael at the C.S.A. from March 20 to April 2. Bids Nearly fifty painters, sculptors, printmakers, Armstrong, Rosemary Sydow, (from Carl's for any work (subject to a reserve) can be photographers, jewellers and potters, mainly estate), Alan Pearson, Morris Askew, Vivian entered during this time, or made at the auction from the Canterbury region, have promised Bishop. Sue Cook, Roger Hickin, Josie Jay, Chris itself, which will be held on Saturday April I work, and the C.S.A. Gallery has agreed to host Knight, Mark Lander, Marion McGuire, Alan at 7.30pm. This is everyone's chance to acquire the event and to waive its usual commission McLean. Don McAra, Wilhelmus Ruifrok. Peter an art work while at the same time joining on works sold. Carson, Belle Melzer, Pauline Currie, Pat Linger, many thousands of "internationalistas" world­ Artists who will be providing works, Julie Riley, Mary Kay, Margaret Dawson, Richard wide who have demonstrated solidarity with (although this may not be a complete list), are Reddaway, Tiffany Thornley. Mark Braunias, the people of Nicaragua. •• Catherine Brough, Rachel Ham, Ann Wilson, Neil Dawson, Michael Reed, John Coley, Bing Pamela Wolfe, Gavin Hitchings, Julia Morrision, Dawe, Graeme Bennett, Llew Summers, Barry

Nicaragua Must Survive Paintings An article on Alan Gilderdale's work will ALAN appear in the autumn issue of Art New Zealand. GILDERDALE

Preview Tuesday 21 March 8pm

lan Gilderdale exhibited at the C.S.A. two Ayears ago. That exhibition consisted of mainly small works but the forthcoming one will show a number of large paintings of them, Alan Gilderdale writes; — "My work continues to display mythological and archetypal imagery. Nevertheless, subject matter and imagery are not the main ingredients of my paintings. Colour, line, form and composition — those basics — are what they are all about. No amount of interesting imagery Bike Bergkessel I Watercolour

will prop up bad painting!" Preview Tuesday 21 March 8pm

P1 F VI i i NEW ZEALAND 6-23 APRIL MODERN PRIMITIVES NAN GEE 6-23 APRIL DAVID THOMAS 6-23 APRIL GLENDA RANDERSON MICHAEL ARMSTRONG

Paintings But when that painter reveals an original and primitive simplicity and significance of his own freshly interpretative view of the world, an works. NEW ZEALAND unpremeditative creativity then these become Artists exhibiting include: Annie Baird. Triska MODERN terms of approbation or sensitive definition. Blumenfeld, Yvonne Coleman, Ivan Hill, Marie This is not necessarily to denigrate nor decry Gabrielle Hudson, Mane Kolff, Nigel Murphy, PRIMITIVES academic avant-garde or sophisticated painting, Dave O'Neill, Claire Reilly, jeaneue Walker, nor to oppose as polarities of adult repression Marie Ward, Judith Wolfe. Preview Wednesday 7 April 8pm and childlike expression mainstream and naive Curated by Bruce Finneny — art. n increasing world wide interest in both A naive paintings and the artists has occurred world wide over the last few years and is now slowly and many years later beginning to happen in New Zealand. A recent Kaleidoscope programme featured three artists. Triska Blumenfield, Ivan Hill and

Photographs It is important to realise that truly naive art NAN is foolish, unworthy and ingenuous in a positive sense. What its harshest critics consider its GEE weaknesses and marks of immaturity; are in fact its strengths. Preview Wednesday 5 April 8pm The lists of major modern artists who have Yvonne Coleman, all of whom will exhibit in consciously or unconsciously absorbed a certain y name is Nan Gee? Who is she now. this show. The Dowse Art Gallery ran "The innate vitality from contact with naive and folk MShe is not identifiable. She is not. Who Innocent Eye" through most of 1988 and now expression is long, but would include such are you. Who are we. Do we exist only in a recognized exhibition of the works of names as Chagall, Goncharova, Ernst and our exclusive mind places and chance to form contemporary artists of this genre will show Lowry. each other. You are my thought am I your thought. Tread gently lest we each lose at the C.S.A. from the 6th of April to the 23rd Throughout his working life, Picasso kept awareness of the other and so cease to be. April 1989. with him the Douanier Rosseau's "Portraits of If I lose thought of you I cease to exist. •• To call a painter naive, ingenuous, or silly, the Artist and his Second Wife with Lamps" may mean simply that he or she is a bad painter. which he used as touchstones to test the

••A P BI VII W Paintings MICHAEL ARMSTRONG

Preview Wednesday 5 April 8pm

orn in Christchurch in 1954, Michael B Armstrong was educated at St. Andrew's College. In 1976 he graduated from the University of Canterbury with a Diploma in Fine Arts. He lived and painted in Dunedin for two years, where he had his first exhibitions; lived briefly on the Hokianga Harbour and Wellington before returning to Christchurch in 1979. This is Armstrong's twenty-first one-person show since then. He worked on the Hospital Murals Scheme in 1981, won the Waimairi Art Award in 1983 and took up a years tenure as the Frances Hodgkins Fellow in 1984 at Otago University. He was awarded grants in 1981 and 1985 from the QE2 Arts Council. In 1987 he was the Artist in Residence at the Christchurch Youth Centre and is at present the Art Tutor at the Fergusson Clinic at Sunnyside Psychiatric Hospital. At present he has work on show in the USA and Japan. ••

Clenda Randerson I photo. Patsy Dunn

emphasis on painterly texture and warm, vivid colour. 1 Glenda Randerson has exhibited regularly since 1975 at RKS ART in Auckland, and twice with Janne Land in Wellington. Her work has ' i been included in numerous group shows throughout New Zealand, and has been pruchased for various public collections '1 fit/ including the Robert McDougall Art Gallery in Christchurch. ••

Water Colour Landscapes DAVID THOMAS

Preview Wednesday 5 April 8pm

his second C.S.A. show, like the first, Tcomprises Banks Peninsula scenes. The warm summer colours and familiar land forms i^r —* ' continue to provide inspiration. A more relaxed interpretation will be apparent in some works.

Paintings his will be Glenda Randersons first GLENDA Texhibition in Christchurch. She gained a J BFAfrom Elam in 1970. RANDERSON In the 1970's her work reflected her domestic environment in large interior paintings and still life arrangements. More recently she has Preview Wednesday 5 April 8pm extended her subject range to portraits of friends, concentrating on evoking their person­ alities still within a realistic framework. She paints in oil on canvas, displaying an increasing David Thomas / Onawe Peninsula, Akaroa

FIHIEI ANNIE BAIRD 27 APRIL-7 MAY AUTUMN EXHIBITION 27 APRIL-7 MAY JUDY ROGERS 27 APRIL-7 MAY PAT UNGER 27 APRIL-7 MAY

Paintings and works on paper I wish to paint of the land and its white Pat Unger I Landscape I peopling; to comment on attitudes and PAT institutions that have become part of the New UNGER Zealand experience.

Preview Tuesday 26 April 8pm

SELLING Alison Ryde Beautiful large watercolours. GALLERY Philip Trusttum Works on paper through to large banners. ocated on the ground floor of the CSA Doris Lusk LGallery, the Selling Gallery stocks a wide A good selection of this major artist's work. range of contemporary New Zealand art. Alan Pearson Appointment to view work can be made by Some major works by this highly acclaimed phoning 667-261 or 667-167 and asking for artist are available. Rona Rose. Otherwise if you're visiting, ask at reception to view the Selling Gallery. If you These names are just a few of the artists haven't seen it before you will be pleasantly that we represent in stock. surprised. During 1989 the Front Gallery will be used Currently we have work in stock by the for showing continuously changing exhibitions following artists: of works from stock. We will be sourcing work from throughout New Zealand, both historical and contemporary. Gordon Crook Highly acclaimed Wellington artist's new If you have artworks you wish to sell we screenprints. can do this on your behalf. Contact Rona Rose Rodney Fumpston to discuss arrangements, compare our excellent New works in pastel, colourful and charming. service and commission rate. Sally Powell If you are in the city on a Saturday, why Popular yet individual style. not come in and look at works in stock at Claudia Pond-Eyley your leisure. Our sales consultant is available Annie Baird I Photo courtesy of the Otago Daily Sought after Auckland artist's work. from I Oam until 4.30pm. Artworks can be taken Times on approval by arrangement. Jan Chaffey Preview Tuesday 26 April 8pm Sell out show in 1989. New work. All in all it is a must to have a look at the Selling Gallery at the CSA. m

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OMMI Unm Arliatl Mat«i>*U The Journal of the Canterbury Society of Arts Gallery Hours 66 Gloucester Street Christchurch, Monday-Saturday I0am-4.30pm New Zealand P.O. Box 77Z Christchurch Sunday 2pm-4.30pm ••A Phone 667-261,667-167. PREVIEW

GALLERY A M Donnelly New Hanging Track System Mr and Mrs M D Fountain A new hanging system has been installed PERSONNEL Barry Robson in the Canaday and Front Galleries. The D G L Cowie system employs a track fixed to the top of Director Mrs Elaine Roberts the wall, which supports mylar lines and Chris Taylor Studholme Barker and Co. hooks. This enabled us to do away with the Jonathan Auton metal picture rails, which can in some Consultant Nan Gee instance form a strong visual interruption. Rona Rose Anne Greenup We have already had many positive com­ Mrs Nan MacFarlane ments from artists and public. Exhibitions Officer Jon P Bywater Grant Banbury, Dip. FA. (Hons) Thanks to Quentin MacFarlane for his advice Denise Hunter on the system. Gallery Assistants Katherine White Blair Jackson, B.FA. Helen Mary Black and Matthew Turnbull Important Notice Joanna Braithwaite, B.FA. The following exhibitions were given Louise Johns, B. Mus. wrong opening dates in the previous MIXED issue of Preview. The correct date Accounts MEDIA appears alongside the name of the Grania McKenzie, BA. exhibitor/exhibition.

Office Exhibitions Annie Baird Preview 26 April 8pm Sharyn Creighton Wednesday. 2nd New Zealand Crafts Biennale Pat Unger Preview 26 April 8pm Editor 1989 Wednesday. Chris Taylor A multi-media crafts exhibition organised Autumn Exhibition Preview 26 April 8pm Wednesday. Design by the Crafts Council of New Zealand, and sponsored by Challenge Properties in Judy Rogers Preview 26 April 8pm Ralph Lawrence association with Winstone. Wednesday. Venue: Auckland Museum 9-24 September All the above exhibitions run from 27 SOCIETY 1989. April to 7 May. OFFICERS Entry submissions by slide to be posted to: The Coordinator Overdue Subscriptions 2nd NZ Crafts Biennale s at the 1st April we have 210 mem­ Patron P.O. Box 37096 Abers (including double members) His Excellency The Governor General Auckland who have not yet paid their annual The Most Reverend Paul Reeves, GCMC, Must be received by 5.00pm 8 June 1989. subscription. As our membership year DCL(Oxon) Entry forms available at CSA Gallery. runs from 1 October to 30 September, President it means that these unpaid members are Fletcher Challenge Award 1989 over half way through the year still David Sheppard, A.N.ZJA., MMZ.P.I. For excellence in ceramics in association receiving benefits. Vice-Presidents with Auckland Studio Potters. New Zealand If you haven't paid your subscription Bill Cumming entries by 5pm Thursday 18th May 1989. you will have received a final notice Doris Holland Entry forms and details from CSA Gallery. copy of your account recently. Jewel Oliver Please pay to continue receiving Michael Eaton, Dip, FA., Dip. Tchg., F.R.SA. Artist in Residence Award 1989 Preview and membership benefits. Alison Ryde, T.T.C Residency open to artists in the visual arts John Coley, Dip. FA., Dip. Tchg. not living in Canterbury. Sponsored by Trust Bank Canterbury with support from QEII DIRECTORS Council Arts Council. Penny Orme COLUMN Entry forms available from CSA Gallery. W.J. Parsons, B. Com. A.CA. John Mackintosh, L.L.B. Gallery Hours he Museum of New Zealand: Te Papa David Page, B. Sc. (Hons) Don't forget the Gallery is open 10-4.30pm TTongarewa is planned to be built in Iain Harvey, M.S.IAD. on Saturdays. stages over the next 15 years, in keeping Grant Banbury, Dip. FA. (Hons) with a master plan for the Lambton Basin Our Consultant is available to show you the Simon Ogden, MA.R.CA. in Wellington. It's an exciting magnificent wonderful array of fine arts we have in stock. Chris Taylor, Dip. FA. (Hons), Dip. Tchg. concept that will focus on our identity and Why not come along and have a look, ask culture. Hon. Secretary questions, relax, there will be no hard sell. At this stage the Museum will consist of Bruce Finnerty See you soon! a National Art Museum, a museum devoted to Maori and Pacific Art, and a National Hon. Treasurer Editor Resigns Museum of Human Society and Natural John Wilson, AC A. Josie Jay the editor of Preview has resigned. Environment. Josie edited the magazine from number 111 Auditor I recentfy received a copy of "Report of through to the last issue number 145, having John Midgley, B. Com. A.CA. the Interviews" conducted by Ms Joanne taken over from Michael Ebel in July 1983. Horgan of Verner Johnson Associates Inc. Over this time Josie refined the CSA These were carried out on behalf of the NEW newsletter: CSA News and worked hard in Museum of New Zealand: Te Papa the creation of Preview-, its successor. We Tongarewa. MEMBERS thank our past editor for the fine job she The interviews took place over a 2 week did in maintaining the high standard of our period in July 1988. People interviewed Lynda Mara magazine. were staff of art galleries and museums Brookman Stock

P H ! ! I I W Cover: Michael Tuffery throughout New Zealand, and associated LETTERS TO and fifty-nine works, the vast majority of organisations. them paintings. The number of females They focused on the Museum's objectives THE EDITOR represented are thirty -nine, (Including, 1 am and audience, and on the subject matter of happy to say Mrs linger), there are fifty- its roles and activity programs in the Dear Madam, four male artists represented in the collec­ exhibition, education, research collections I read Pat Unger's letter in the March/ tion. Of the individual works, sixty-two are and national services. April edition of "Preview", with a great deal by women and ninety-seven by men. The interviews reflect the energy and of interest. I find myself in total agreement This imbalance has been totally unwitting, thought that goes on behind the scenes in with her concern at the lack of recognition I do not know its cause. Perhaps more male our museums and art galleries, and right accorded to women artists by the curators artists are shown, that would not surprise now a Project Development Board is of group shows. me. There are many excellent female artists working towards the museum becoming a However, her remarks prompted me to whose work I would love to add to our reality. look at our own collection, and do a rough collection, but I can also say that of many For our part the CSA will be maintaining analysis of the number of works we have male artists too. contact with the Project Development representing women artists, also the The lack of recognition of women artists Board, responding to developments and number of female compared to male artists is also very noticeable in the sphere of requests and submissions. over the whole of the collection. publishing. Although there have been a few If you have an interest in this, the 1985 Our collection has been gathered without exceptions in recent times, the weight of Treasures of the Nation Report is available any discrimination regarding the sex of the recognition in discourse and illustration, has at the CSA for members to borrow and read. artist. Basically, we have purchased works been very heavily biased in favour of the we like when we see them, the only male artist. We have only to look at art Chris Taylor — constraint being financial. Before I read Pat generally, to see how unfair this has been Unger's letter I would have thought the ratio to the many women artists of genius, would have been fairly even. worldwide. I present the figures to you to make of them what you will. We have one hundred Yours faithfully, Margaret Candy

Deal- MerriberCs")

Enclosed with this newsletter you will find Invitation to Membership brochures, more are available at the gallery. I think it's time that more people realized the benefits of being a member of the CSA, as you do being a member. Right now is a good time to join, because membership charges have been reduced by 50% for new members, to the year ending 30th September 1989. Now you can join for as little as $15.25 an individioal member! Please give the brochures to people who you know would be interested in the arts. All they need to do is complete and return with payment. Alternatively they may telephone and ask for membership. Phone 667167 and ask for Sharyn. Upon becoming a member we will immediately send the most recent issue of Preview, a membership card, and an Invitation to our coming exhibition openings, and of course free entry into the gallery. What great value and to quote a recent visitor: "one of the best kept secrets in Christchurch." Let's share it.

Youeb sincerely

Chtts Taylor Director MICHAEL PROFILE REED

PAT UNGER

really a jig-saw of bits and pieces and Unger And what's the something more? directions. I draw linear roughs until I arrive Reed When we flew to Mexico there was at something that 1 see as worthwhile on a magnificent electrical storm, such a a larger scale. It's all line and tone at this fireworks display it outdid Disneyland. And stage, no colour. living in and around Mexico City, there was Unger The printing process can be pretty something there that I'd never experienced technical. How do you handle it? before. In New Zealand the magnificent Reed I am conscious of this One of the landscape is just always there — in spite drawbacks of printmaking is the technical of man and not because of him. In Mexico procedures necessary. It is so lengthy and the landscape is so hostile; Mexico City and of such a known quantity that the image the pre-European cities around it — they can be too resolved and therefore on the are all awesome reminders of time past. You dull side. It tends to lack excitement. So don't have that sense of geographical or with the screen prints (of the "Moon" series] human time past in New Zealand. It's a sense 1 made the colour separations so that screen of distance that I've never experienced before. In some ways that is what I have 2 was a response to screen 1 and so on tried to do, capture a few of the fragile marks until the work was reasonably finished |8 that man makes. Past traces of man, in New Screenphnt I Michael Reed screens]. This keeps a sense of involvement Zealand have rotted away or disappeared beyond process. And even though the whole Island on the Edge I The Awakening 1988 in the bush. That is what I was thinking thing of colour separation and printing is when working on the images of the man very clinical, it gives me a sense of who builds his house on sand. Also there Michael Reed immediacy and interaction in the decision­ is the sense of being amongst the elements Born in Christchurch, 1950. He graduated making. from the School of Fine Arts, University of — and experiencing Mexican culture, its Unger You seem interested in space not Canterbury 1967-1969. (Dip. FA. Engrav­ primitive worship of animals and the so much for it's own sake as for the ground ing) He is now tutor, Department of Art elements all personified into gods. It all that lies between the second and third and Community Studies Christchurch seems so clear; everybody is at the mercy dimensions. Polytechnic. of these forces. Reed I'm always very aware of two- Unger A great experience. Any other event he following conversation was taped dimensional aspects and of patterning. I see Ton December 12 1988. it as a possible weakness that I could end that has influenced you? Pat Unger As the CSA. Guthrey Travel up a rather glib decorator of flat surfaces. Reed When I was 15 or 16 I bought a Award winner for 1989, what are your I enjoy using colour — I enjoy using pattern second hand copy from John Summers book intentions? so perhaps I reflect aspects of the ornamen- shop of Pierre Bonnard. I've treasured it ever talist school. Consequently it was quite a since. When it fell apart I glued it and I Michael Reed I plan to attend the Austral­ conscious move on my part to introduce still have most of it. I enjoyed the way he ian Print Council Conference in Canberra, illusions of space to avoid becoming too dealt with light and with colour; the way Easter 1989; to look at the works-on-paper two-dimensional. he put high-key, high-intensity colours collection at the Victoria State Gallery, together. And the way he cropped images. Unger When did you and realism as seen Melbourne and the Indigenous Pacific Arts What influenced him was Japanese work. in "Onawe", "Poles Apart" and "The Collection at the Sydney Museum. I also enjoy, not Japanese art and painting Collector" series part company? Unger You're interested in indigenous art? but prints and what they call craft work. Reed Yes, folk art of quite a few different Reed I became pretty disenchanted Also the socialist muralists in the Americas dealing with decorative work — I couldn't have had an impact on me. Mexican folk cultures interests me. always reach a conclusion that was satis­ art — the indigenous peoples contemporary Unger And Maori art? factory for me. Or how to continue was expression — doesn't have the sophistica­ Reed Generally there's only passing refer­ a problem so I put it to one side for the tion of their cultured past but there seems ence to Maori art in my work. The only time being. The figure as such hasn't to be a purity in their naive images. Perhaps direct one so far is the koru [in the "Refuge resurfaced but illusions of space have taken they pick out the essence of things. The of the Moon" series] I find it very hard to the figure's place. More literal references untutored eye interests me; I am aware of step back from it and evaluate it — it's are seeping back also. Perhaps there were the contradictions here, I could find myself something you grow up with and don't see getting to be too many things to deal with saying "Too much education gets in the way, with the same clarity as that from more at one time. Now I prefer to work my way you don't see as well", but that untutored distant places. But I found "Te Maori" quite through a set of more defined problems and eye, its directness and what it chooses to awesome and the Meeting House in the see where I stand. focus on is very appealing. American art in contrast can be extremely impressive and Otago Museum is iaspiring; it creates a Unger What about your paper reliefs? wonderful atmosphere although it's strange, big — Americans certainly like to paint big Reed The connection between the rippled going inside when it's enclosed in a larger — but there's a lot of absolute dross about. European institutional building. paper work in my last series and the concertina paper reliefs is fairly direct. The It's appalling garbage. It lacks any human Unger You have an individual style, did latter take two-dimensional patterns, based touch and is often about really trivial things. being an only student in your stage 2 and on two-dimensional triangles that diminish In Mexico, you feel like a privileged voyeur 3 years help develop this? in size and by interrupting them with of their past, their long and bloody history. They painted it, not out of a desire to shock Reed [laughs] Comments in Wellington triangular physical spaces, create a series of distortions and illusiory contradictions. or for noveity value but so they will never have been that I look like a typical forget what has happened. I ask you would Canterbury School product. I don't know, But if I had continued like that I could have ended up with endless variations that would you expect to see here, in the Mayor's suite, I don't spend a lot of time evaluating such the staircase festooned with the massacre things. I'd rather put my head down and have been too trite and too self-conscious. The crumpled paper ones could end up the of the Maori at Kaiapoi? Human suffering keep on working, rather than anxiously has relevance in art there; here it's all so disect where I am. same, given time and repetition — just lovely seductive paper surfaces and colours. It can tepid. Unger How do you commence a work? be a trap. There's got to be something more Unger Indeed. Thank you and good luck Reed 1 do a series of rough compositions, in art. for your trip to Australia •• just pulling together shapes, forms and it's

p 11 v 11 w EXHIBITIONS ANNIE BAIRD 27 APRIL-7 MAY AUTUMN EXHIBITION 27 APRIL- 7 MAY JUDY ROGERS 27 APRIL-7 MAY PAT UNGER 27 APRIL-7 MAY MICHAEL TUFFERY 11-28 MAY PHILLIP O'SULLIVAN 11-28 MAY WORKS ON PAPER 11-28 MAY HAGHIS PERSIAN CARPETS 11-28 MAY SASKIA VAN VOORN 11-28 MAY SIENE DE VRIES 11-28 MAY

Paintings HAGHIS Idols of the Cave PERSIAN PHILLIP O'SULLIVAN CARPETS Preview Wednesday 10 May 8pm Preview Wednesday 10 May 8pm ohsen Haghi returns with a different hillip O'Sullivan is a Wellington artist Mselection of Iranian, handknotted Pwho has exhibited widely throughout rugs for his May Exhibition. New Zealand. Trained at Canterbury Uni­ Today, Persian rugs and their weaving versity School of Fine Arts, he has paintings methods, material characteristics, and in the National Art Gallery, Waikato Art pattern designs have not appreciably Museum, and Auckland City Art Gallery. He changed for hundreds of years. Progress in is currently represented by Warwick Iran has not replaced the age-old Persian Henderson Gallery, Auckland, and Louise rug-making craft. On the contrary, Persian Beale Gallery, Wellington. rugs, woven and then washed and sun-dried in the traditional way were being produced and exported in greater quantities each year, Sunflowers Saskia van Voorn until the recent war. Estimates now guess production is down by at least a third. One Prints item in the favour of Persian Carpet weavers SASKIA is the lack of a satisfactory substitute. OF THE An authentic, hand-woven rug is a useful, VAN VOORN and decorative piece of art that enhances its surroundings and is a constant delight Preview Wednesday 10 May 8pm to the collector. This exhibition features rugs made in 3 askia van Voorn was born in 1958 in distinct places, the home, the city shop and Sthe Netherlands. She attended the Current work consists of layering out­ the nomadic tent. The Iranian people have Minerva Academy of Arts in Groningen lined imagery upon a ground of abstract- always exhibited a highly developed artistic (Netherlands) and graduated in 1981. Since like geometry with expressive touches craftmanship which is evident in their then she has worked almost full time as an added. It is an additive combination carpets. ~ artist, having several solo and group approach, mixing signs from the picture exhibitions. She specialised in colour book of culture. Incorporating the meta­ woodcuts inspired by Japanese woodcuts physical with the phenomenal and the of the late 19th century. Japanese and implicit with the explicit. European traditions come together in her Phillip O'Sullivan will introduce Idols of prints—flat seamless areas of colour overlaid The Cave by a slide talk entitled "Speaking with a fine lattice of line drawn in black. in the Textural Circus; Readings in Rhetoric" Sometimes there are editions comprising as at 7pm May 10th in the Mair Gallery. •• many as 8 colour printings. The subject matter varies from landscapes and flower pieces to tighter compositions in the Paintings domestic genre, all figurative. SIENE A year ago she came to New Zealand with her husband, Siene de Vries and two DE VRIES children, they live in Le Bons Bay. This is her third exhibition in NZ. •• Preview Wednesday 10 May 8pm iene de Vries was born in 1956 in the SNetherlands. He studied at the Acad emy of Fine Arts, "Academy Minerva" in Groningen, where he met Saskia van Voorn who later became his wife. He graduated in painting and graphic arts in 1981, and has been a fulltime artist since then. Siene exhibited his works throughout the Nether­ lands and also in Germany and Switzerland. Works are in several museums, Government collections, and in prominent private WORKS collections in the Netherlands and New Zealand. ON PAPER This will be his first major exhibition in New Zealand. Subjects are portraits, lands­ Preview Wednesday 10 May 8pm capes, still life. "I paint for the love, joy and inspiration selection of works on paper from of light and colour." •• Astock. M Portrait of a Dutch Farmer Siene de Vries

••A p n i: v 11; w Prints specialising in wood cuts, some lithography and the Samoan culture with its western and woodcarving in my Honour's year. influences. The other, is a series of colour MICHAEL In my art, I am searching for a style reduction woodcuts based on the three TUFFERY expressing the harmony I feel of being half crosses at Calvary. European and half Samoan. To do this, I have My search is a result of my desire to learn taken aspects from each culture and about my mother's cultural background and Preview Wednesday 10 May 8pm combined them. In style and subject matter, language. I used these designs to visually " | was born in Wellington, and grew up my work is similar to the art of the Pacific interpret my understanding of the Fa'a I the eldest of five brothers. My father is Islands. For example, I use repetitive Samoa. I also wanted to produce such a work European and my mother Samoan. This patterns, symbols and some symmetry. for my brothers and father who found it meant living in a home flavoured by two Church stained glass windows have been a struggle to understand this other culture different cultures." the influence on shape and colours of my which we are married to." •• At Otago Polytechnic School of Art in prints — thus the European aspect. Dunedin from 1985 to 1988 I completed In this exhibition there are two main an Honours Course in a Diploma of Fine series of prints. One of large black and white Arts, having majored in Printmaking and w(xxlcuts, talking about the Samoan culture

HILAIRE CAMPBELL 31 MAY-II JUNE ROSS GRAY OPEN EXHIBITION 31 MAY-II JUNE BARBARA FOWLER 31 MAY-II JUNE LOVEDAY KINGSFORD 31 MAY-II JUNE

Paintings Montages Colours of Praise HILAIRE BARBARA CAMPBELL FOWLER Preview Tuesday 30 May 8pm Preview Tuesday 30 May 8pm he unlikely combination of art and exer­ • am a grasshopper painter, jumping from Tcise has paved the way, literally, for I one subject to the next depending on this exhibition. my attunement each day. Enjoying exper­ While out jogging I couldn't help com­ imentation, colour, and giving thought to paring the look-a-like, economy design of post how I can best express that which I wish war style houses, with earlier buildings. to convey, I am also aware of the need to Attempts to set a modern house apart from use a consistent method throughout each its equally modern neighbours, by using painting. brightly coloured trim, or a different relief For this exhibition I have chosen exam­ pattern on the fence, highlights their Loveday Kingsford / "Tabietop" ples from the various themes that have sameness. recurred throughout my painting years, The people who live in these houses Paintings hoping that what is lost in continuity will remain faceless, but my pictures convey a LOVEDAY be gained in variety. response to their imagined presence -or absence. KINGSFORD Using coloured or textured pages from old magazines, I cut out the pieces, tile by tile, Preview Tuesday 30 May 8pm brick by brick, then reassemble them in a simplified way, until the picture feels n artist currently selling very well in complete. the North Island and holding her first A I used to work with plant materials, making exhibition in Christchurch. She will be small designs of figures and flowers. Now showing figurative work from her "Bathers I concentrate more on a series of images, series" and "Table Top series", works in egg in sizes ranging from quite large to not much tempera •• bigger than a postage stamp. n OPEN EXHIBITION

Preview Tuesday 30 May 8pm he Open Exhibition is a once a year Topportunity for Associate members to exhibit their work. Associate members will receive an entry form with this issue of Preview. Those works which reach a The "Shall We Dance" Studio of Ballroom Dancing required standard for working members will and St. Albans Recreation Club IncorportedJubilee be selected by members of the artists Memorial Fence committee of the CSA Council. •• Hiiaire Campbell

P R I III I W Paintings ROSS GRAY

Preview Tuesday 30 May 8pm his series has developed from the Ttheme and style of works exhibited in the CSA in 1988. Some paintings involve a single abstracted figure image/symbol to convey ideas and feelings about todays climate of change and uncertainty, while others have a broader focus. •«

Ross Cray I Untitled

UNITED MODERN MASTERS 15 JUNE-9 JULY ROSEMARY CAMPBELL 14-25 JUNE GINA PAPAGEORGE 14-25 JUNE GISELAGENTHNER 14-25 JUNE ANNA PALMER I4-25JUNE

Paintings GISELA GENTHNER

Preview Tuesday 13 June 8pm isela Genthner was born in Beijing, GChina and lived in Auckland 1956- 1959. She studied art at the University of Art, Berlin, and has exhibited extensively in Germany as well as New Zealand. She is represented in the collections of the Bcrlinische Galerie, the Kupferstichkabinet Berlin, and the Artothek Berlin. Ursula Prinz writes of her work: "In the paintings by Gisela Genthner contrasting elements are joined into a beautiful symbiosis: architectural severity and a playful easiness, construction and openness, static and soaring, geometric and scriptural, classical and even a bit of anarchy. Yet, in the end, the life stems from the colour: red, yellow, blue and recently in reoccurrence, green. Black in conjunction with grey is often a graphic, but also painterly combination which lends a compositional stability. Despite the predom­ inance of abstraction there is a definite contextual association to landscape, the sky, buildings and nature." ••

Anex Shades I 1988 New Zealand

Gisela Genthner GINA PAPAGEORGE

Preview Tuesday 13 June 8pm he work 1 will be showing are pre­ Tdominantly oil paintings, which 1 have been working on for the past 6 months. This is the first time I've painted full-time and will also be my first exhibition. Hopefully I will still be painting solidly in the future. I've learnt so much already and enjoy all the surprises I've come across. There isn't really a "theme", I paint what I see and that is constantly changing. My styles have varied quite a bit over these six months, but I feel it's in this experimen­ tation that I'm progressing towards my goals. ~

Paintings ANNA PALMER

Preview Tuesday 13 June 8pm 1980-83 BFA Auckland University 1984 Curator Fisher Gallery Auckland 1985-89 Self-employed fashion designer — hand painted fabrics.

y work is a celebration of colour Mpattern and energy created by their juxtaposition. Objects from a domestic environment become vehicles for an abstract interplay of colour reflecting emotional reality. ••

Gina Papageorge

Theatre Sports, Auckland Youth Theatre, Peebles, Ralph Hotere and Maria Olsen. THE UNITED The Suter Gallery Craft Award (Nelson), These will be displayed in this exhibition. NEW ZEALAND assisting the Dramadillo Theatre Company, To ensure its topicality and reflecting MODERN and the indigenous dance group Te Kani United's continuing commitment to "typify O Te Rangatahi to tour the country. contemporary New Zealand art", other MASTERS Now the United Building Society intro­ selected works from painters, sculptors, COLLECTION duces the United New Zealand Modern photographers and printmakers will be Masters Collection. added to the collection from year to year. This major collection of art by New United intends to add to the touring Preview Tuesday 27June 8pm Zealanders is planned to tour the country, collection over a five year period. At the he United Building Society has a proud giving the smaller and less well funded same time the United will cover all costs Trecord of sponsorship in the arts. In venues the opportunity to come to terms of crating, freighting and insuring the works 1988 another "initiative" was added to the with the wonderful vitality of our contem­ to enable them to travel to all parts of the considerable support United is providing to porary art. The Collection started its life country. This is United's contribution to the a number of groups, such as the New with the acquisition of paintings by 10 noted development of excellence in the visual arts Zealand Puppet Theatre and its museum, artists: Philip Trusttum, Gretchen Albrecht, in New Zealand. •• Artist in Residence for the Howick and Jeffrey Harris, Denys Watkins, Richard Pakuranga Community Arts Council, United Killeen, James Ross, Boyd Webb, Don Paintings ROSEMARY CAMPBELL

Preview Tuesday 27June 8pm I osemary will be exhibiting recent k works. ••

PR ANTOINE EVRARD 28JUNE-9JULY NATURE PHOTOGRAPHY 28 JUNE-9 JULY

Photography / Group Showing In 1982 Dr Peter Harper thought it might on display. All the prints will be available be helpful to organise a short course in for sale. The general theme of the exhibition A CELEBRATION Nature Photography, hoping that a dozen will be water, how it moulds landscapes, OF NATURE or so people might attend. Much to his, and sparkles in rushing waterfalls, glints in the PHOTOGRAPHY the Eiepartment's astonishment, well over sun as serene lakes, and beautifies the world one hundred people enrolled. of the very small by hanging like jewels from Over the intervening years the Nature blades of grass. Preview Tuesday 27June 8pm Photography courses have flourished with Autographed copies of Peter Harper's veryone who enjoys outdoor photo­ several students winning major international hook on 'Photographing Nature,' released Egraphy is in for a treat at the CSA prizes for their work. Now the Department in March 1989, will also be available at the Gallery in June of this year. An exhibition of Continuing Education and the CSA gallery during the exhibition. resulting from seven years courses in Nature Gallery extend a warm invitation for all to Photography within the Department of come and see the quality of work for Continuing Education will run from 26 June themselves. Thirty-six colour prints from 77ie Nature Photographers twelve participating photographers will be until 9 July 1989. Photo I Peter Harper

Paintings Evrard depicting a well-worn and loved journey between Christchurch and Arthur's ANTOINE Pass. EVRARD Starting at the Summit Road with its panoramic challenge, through to intimate glimpses of favourite mountain peaks, there Preview Tuesday 27June 8pm is something to please most people for love of mountains and water colours, whom the journey through Porters Pass has Acoupled with the opportunity to special appeal. devote more time to painting, has resulted Tony's paintings will be accompanied by in the first exhibition of Antoine Charles sketches. ~

PREVIEW flTTT

D E P 0 T I SELLING GALLERY CONSERVATION FRAMING WORKSHOP is situated on the ground floor leading off YOUR ARTWORKS FRAMED TO The Selling Gallery the Canaday Gallery. If you wish to view or buy artwork from UNCOMPROMISING ARCHIVAL STANDARDS our extensive stock, talk to Rona Rose, our gallery consultant, enquire at reception, or phone 667-261 LOCATION for an appointment. 96 DISRAELI STREET CHRISTCHURCH

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THREE SPECIAL TOURS

CHRISTCHURCH / AUCKLAND / CHRISTCHURCH • SAT 15 / SUN 16 APRIL 89

The Most Valuable Art Collection to Visit New Zealand AUCKLAND CITY ART GALLERY

RENOIR

MONET

DEGAS

MODIGLIANI

BONNARD

DUFY

"Dancers," by Edgar Degas.

"Young women in blue TREASURES FROM THE going to the conservatory,' by Pierre-Auguste Renoir READERS DIGEST COLLECTION

For the first time ever. New Zealanders will have the opportunity to see works by some of the world's greatest artists. A total of 42 paintings and sculptures, including works by the leading impressionist and post- impressionist artists, comprise the exhibition which is expected to match the 1985 Monet exhibition in popularity. The director of the Auckland City Art Gallery, Christopher Johnstone, says "The range and quality of the group of works to be shown in Auckland eclipses anything that has been shown here before and will enable New Zealan­ ders to experience first-hand and in one exhibition some of the great high points of late 19th and early 20th centuary art".

TOUR COSTS & ITINERARY

Departs Christchruch Sat 15 April 7.20am FULLY ESCORTED Departs Auckland 6.30pm Chris Taylor is currently Director of the $398 CSA Gallery, the exhibitions gallery of the Canterbury Society of Arts. Prior to Departs Christchurch Sun 16 April 7.20am this postion he was involved in art - Departs Auckland 4.45pm $398 education and has lectured on the art of the French impressionists and early 20th century European art Chris has Departs Christchurch Sat 15th 9.40am also exhibited his own work in Departs Auckland Sun 16 April 4.45pm $449 photography and painting in Auckland and Christchurch. FREE Chris brings to this tour a wide COLOUR BROCHURE FOR INCLUDED IN COSTS: RETURN AIRFARE - CHCH AKL CHCH • ADMIS­ experience of galleries and major EVERY PASSENGER SION FEE TO EXHIBITION • TRANSFERS TO AND FROM AKL AIRPORT exhibitions, such as the Readers Digest TO GALLERY • FREE OFFICIAL COLOUR SOUVENIR BOOKLET • collection, both in New Zealand and overseas. - FOR RESERVATIONS OVERNIGHT ACCOMMODATION ATTHE PARK TOWERS ON A TWIN Guthreys Pacific SHARE BASIS FOR PASSENGERS TAKING THE C TOUR Phone 668 711 (Single room supplement $50.00) NOT INCLUDED: DINNER, LUNCHES, MORNING & AFTERNOON TEAS. ask for Sue or Nicky