Kunst & Architektur
Art New Zealand

Art New Zealand Autumn 2019

New Zealand’s most respected and widely-read visual arts magazine, Art New Zealand presents an independent quarterly round-up of the visual arts in New Zealand, by the country’s best art writers.

New Zealand
Art New Zealand 2009 Ltd
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4 Ausgaben

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1 Min.
reinventing history painting

Michael Shepherd is one of our country’s most distinguished contemporary artists. Born in Hamilton in 1950, Shepherd spent his early years in Ngaaruaawahia. This Waikato upbringing has played a key role in Shepherd’s artistic career. Youthful proximity to the sites of pivotal events in New Zealand’s nineteenth-century history fuelled in Shepherd a decades-long fascination with exploring the complexities of the colonial era and its legacies. Since the 1980s, Shepherd has been producing intricate, painterly works, often in series, that engage with history and memory, mining connections between past and present, frequently on his Waikato home-turf. Curated by Emeritus Professor Elizabeth Rankin, Art History, University of Auckland, Michael Shepherd: Reinventing History Painting brings together for the first time a comprehensive selection of Shepherd’s ‘historical’ paintings from public and private collections, as well as…

10 Min.
peter peryer (1941–2018)

Let’s start with the American photographer Ansel Adams who famously said, ‘Photography is about knowing where to stand’. Even a quick look at Peter Peryer’s work confirms that this was a man who knew how to be in the right place at the right time. And now standing’s on the table, that’s something else Peter was good at, standing up for photography itself. From his earliest experiments with a camera, Peter was a powerful advocate for a medium he felt both underrepresented and undervalued. If that makes him sound defensive it is not intended, for Peter was a larger-than-life presence in the New Zealand art scene for more than 40 years. His raucous laugh, voracious curiosity and old-world charm made him an unforgettable character and a memorable friend. The first photograph…

6 Min.
vivian lynn (1931–2018)

At the small private memorial held at the Adam Art Gallery Te Pataka Toi in Wellington for Vivian Lynn, who passed away after a long illness on 1 December 2018, an old friend spoke about first meeting her and Jürgen Waibel, her partner of nearly 50 years.1 This would have been in Wellington in the 1970s even before the pair moved into the turreted villa that is still their home in Newtown. Answering their advertisement for a lodger, the then young man found himself living with two artists, she with her waist-length hair and flowing bohemian dresses, he a young and handsome German. He described how fascinating they were, with their talk about art and their outlook on the world. He spoke about how ‘cool’ they seemed and how they…

15 Min.

Auckland Darryn George Hikoi Gow Langsford Gallery 31 October–24 November PETER SIMPSON Before Hikoi, I was aware of Darryn George’s work but had not looked at it closely. I had formed the impression of smart, coherent abstractions with strong colours and clean lines, including explicitly Maori elements (especially kowhaiwhai patterns), and of a stylistic whakapapa in which Gordon Walters (among others) figured prominently. What I found most interesting about his work was to see Walters being (as it were) reindigenised―an interesting circulation of painterly ideas, especially given the controversy in the 1990s surrounding Walters’ adaptation (appropriation?) of Maori design elements, notably the koru. The biggest surprise of George’s new exhibition was to find Walters replaced (or joined) by McCahon as a pervasive point of reference. This connection is not disguised; if anything it is…

17 Min.
her story

Since she first exhibited in Karanga Karanga at the Fisher Gallery (now Te Tuhi) in 1986, Maureen Lander has established herself as an artist, teacher and weaver whose trademark blend of indigenous and artificial materials, within an impressively varied practice, connects across cultures and generations. She is based in the Hokianga and has exhibited in New Zealand and overseas. Priscilla Pitts: Maureen, you reminded me that we first met as part of a collective compiling the 1987 Herstory Diary, which focused on women artists. You’ve achieved an incredible amount since then and it’s been fascinating to see how your work has developed over the years. Can we first talk about the innovative way in which you use harakeke (New Zealand flax) and other indigenous materials in the form of installation? Maureen…

10 Min.
the felt and the told on anoushka akel

At first I thought Anoushka Akel’s paintings were bodies. Small, square bodies made of canvas. Oiled, rubbed, stained and stroked so they might take on the buttery smoothness of skin. And like fleshly bodies, these canvas bodies show signs of wear and tear (AKA living), are bruised, marked and flayed, scraped back and painted over; purple skin rubbed with balm, treated carelessly and then laboriously healed. The first time I visit her Auckland studio, Akel is tenderly buffing the grainy, reddish surface of a painting with a soft cloth dipped in linseed oil. The studio is new to her, one of the many boons she has been afforded as the 2018 recipient of The C Art Trust Award―a grant of $50,000 bestowed upon an outstanding mid-career artist, enough to support her…