art trust works with notes
DESCRIPTION
The Art Collection at One Tree Hill College, NZTRANSCRIPT
THE
One Tree Hill College
ART TRUST WORKS
In Ron‘s Eiseg‘s office
Sandy Adsett,
'He Tetekura'
The revival of
Maori Youth,
1981,
Acrylic on
Hardboard,
945 x 945
Reception & Corridor outside Staff Workroom
Colin McCahon (1919-1987) Collection
• Born 1 August 1919, Timaru, although lived in Dunedin.
• Strongly influenced by Toss Woollaston.
• Studied at Dunedin School of Art from 1937-1939, although largely self-taught.
• Married the artist Anne Hamblett in 1941, and moved to Christchurch.
• Moved to Auckland in 1953.
• Painted works that placed events from Christ's life in a New Zealand setting.
• Was the first New Zealand artist to use words and numbers as part of his art.
• Visited the United States in 1958Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.
• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.
• Died 27 May1987, in Auckland.
Colin McCahon,
‘Nouns and
verbs...(Parts of
Speech' Peter Hooper),
Practical Religion
Series' 1969, Script -
Scroll painting, ink,
watercolour and pastel
on manilla card. 1455 x
550
Colin
McCahon,‗An
Ornament for the
Paheka', 1972,
Pencil and
watercolour on
white paper, 316
x 405
Colin
McCahon,
'In My Dark
Winter' 1971,
Script drawing
on white paper,
1971,
273 x 180
Colin
McCahon,
'Muriwai'
1971,
Watercolour
on manilla
card,
1090 x 720
Colin
McCahon,
'Larks Song',
1972,
Watercolour
and pencil
script on
manilla card,
1092 x 722
Colin McCahon, 'Necessary Protection’ (I H S)1972,
Enamel and oil on hardboard, 600 x 810
Colin
McCahon,
'Jet Over
Muriwai’,
1973,
Charcoal on
paper,
342 x 273
Cathryn Shine Artist in residence Cloth of culture 1983
Acrylic on unstretched canvas 2840 x 4670
Wallace Crossman Interaction 1974 Acrylic on
Canvas 885 x 725
Wallace Crossman
• Former Art teacher Penrose High
• Actively involved in setting up the collection
• Recently donated new artwork to collection, (hanging in library opposite entrance
doors)
Don Binney
Te Henga
1967
Coloured
Crayon on
paper
745 x 535
• Binney describes himself as a figurative painter concerned with the psychic metaphor of the environment. Working in oil, acrylic, charcoal, ink and carbon pencil, many of his works depict the west coast of Auckland and Northland, containing sea, sky, native birds, still life and occasionally, figures. From 1958-61 he studied at Elam School of Fine Arts in Auckland, gaining a Diploma of Fine Arts. Binney‘s tutors included Ida Eisa, James Turkington, Robert Ellis and Robin Wood. In 1963, he held his first solo exhibition at Ikon Gallery, Auckland and began teaching at Mt. Roskill Grammar School (until 1966).
Don Binney
Dick Frizzell The Will To Love 1977 Oil Enamel on
hardboard 620 x 907
Donated by Kapiti Collection
For this piece I used a discarded
wrapper from a just-eaten block
of Aorangi as a starting point. I
am interested in words and
layering, so I abstracted the label
to create a landscape of the
Aorangi region with the highest of
the peaks, Mt Cook represented
in pyramid form.
Embedded in the image is the
number 7, a figure from the price-
tag to signify 7 years of plenty – a
reference to the profitable dairy
farms of the South Canterbury
area.
Philip Trusttum July 2008
I love cheese and I love this
cheese. The bright colour is
amazing, the sharp taste is
incredibly moreish. You could
eat it all day. And believe me
I did. I wanted to bring the
act of eating this cheese to
the fore – in particular the
cutting of the cheese on a
cheeseboard with a good
knife. As this is a dense
cheese some measure of
force is required to cut
through it. So this piece
feature the classic wood-grain
texture of the board as a
background.
• Over this, is evidence of a board well used and cheese well eaten – random, multiple and layered knife marks permanently etched as a record of occasions and stories told. To complete the picture I‘ve stamped the word ‗original‘ and fingerprinted each print to make a comment on the relationship between the ‗hands-on‘ lithographic and cheese-making processes i.e. the idea that every cheese and print is slightly different from the last‘
John Reynolds July 2008
I was attracted by
Ramara‘s soft and gentle
colour. However these
soft, warm colours gave
way unexpectedly to a
really strong taste – an
interesting juxtaposition –
strong and gentle, or soft
with an underlying
strength? This unusual
combination is what I‘ve
explored in my image and
bought to life in the print.
• I also wanted to explore the notion of
tactility. The cheese begs to be picked up
and eaten, creating discussion and
interaction like the animated and inter-
twined figures in the image.‘
• Rob Mcleod June 2008
‗Calling this piece
‗the Second
Metaphysical
Cheese‘ obviously
implies that there
was a first one.
Originally a brie all I
had to do was drop in
this cheese with its
distinctive mould
patterns into the
same moonlit
landscape (from a
1921 painting by a
surrealist artist
Carlos Carra)
complete with
Kikorangi (sky blue)
clouds.
• The Metaphysical painting movement was concerned with the exploration of the inner life of ordinary things and removing them from the ordinary world – painting to a higher, more hidden state of being. Sor here a simple painting of cheese becomes muchy more than that – perhaps even the king of cheeses!‘
Dick Frizzell August 2008
I started with the unique shape of the
cheese which is interesting in itself.
However as I ate the cheese and
shared it with friends, I found that there
was more to it. It was moments of joy
between people.
My work is full of symbols of this
journey, the literal mountainous shape
of the cheese together with the
background washes to represent the
landscape where Mt Hector sits through
to the cheeseboard as a stage, around
the goat which gives the cheese its
unique taste, and the costumed figures
engage in the celebration and occasion‘
Jenny Dolesel August 2008
John Pule
Nukulafalafa
1994 Lithograph
and woodblock
3/30
750 x 750
John Pule
• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.
• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.
• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry
Nigel Brown
Land and Family
1979
Hand coloured
Lithograph
24/30
630 x 470
•Nigel Brown actively uses story telling precepts within the ‗confines‘ of the
image. He directly and selectively employs history, literature, politics etc as
devices and in so doing examines the varied plights of the individual and
environment with an emotional, intuitive sympathy which is accurate, incisive
and clothed in a vernacular of the human condition.
His work expresses fundamental spiritual and humanistic concerns common to
mankind. These are infused with the particularity of cultural location and
reference, the specific of place and event, the dynamism of individual character
and personality with the narrative (artist as author) point of view.
Nigel Brown
Rodney Fumston
Garden
Evening ll
1979
Screenprint
9/40
540 x 480
Rodney Fumpston Born 1947-
• Rodney Fumpston was born in Fiji in 1947.
•
• He studied at Elam School of Fine Arts from 1966 to 1972, graduating Bachelor of Fine Arts in 1970 and Master of Fine Arts (First Class Honours) in 1972. He then studied at the Central School of Fine Art and Design in London, graduating Advanced Studies in Printmaking in 1974.
• He is currently Head of Printmaking at Elam School of Fine Arts. He lives in Auckland in a small 1920s bungalow with the main room given over to two printing presses, work benches, tables and storage cabinets. His garden is magnificent and full of exotic plants and flowers all of which he can identify by name.
• Rodney Fumpston has been making prints for nearly three decades, one of the few artists in New Zealand to focus on the print medium, to find it uniquely suitable for the expression of his ideas and to remain physically involved with every stage of the painstaking process. He is a perfectionist who has achieved astonishing mastery of this method, enjoying the clarity and precision of thought that precedes the creation of a successful image.
Pat Hanly
'Who am I, I
am, Do it'
Screenprint
565 x 635
PAT HANLY 1932 - 2004
• PAT HANLY, born 1932, Palmerston North. Died 2004, Auckland. Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.
• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness.
• The resulting works have been, variously, political, reflective of 'the human condition' or observational, particularly of family and friends. Only four of his series have been abstract - New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976).
A.C. Neale
Pounamu
1994
Etching 8/15
502 x 265
John Pule
Nukulafalafa
1994 Lithograph
and woodblock
3/30
750 x 750
John Pule
• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.
• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.
• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry
Gordon Walters
Arahura
1982
Screenprint
5/125
543 x 430
Gordon Walters (1919 - 1995)
• Gordon Walters (1919 - 1995) was a pioneer of modernist abstract painting in New Zealand. Walters trained as a commercial artists at Wellington Technical College in 1935.
• He worked in Europe between 1950 and 1953 and returned to New Zealand in 1953 working at the Government Printing Office until he began painting fulltime in 1966.
• Gordon Walters famous Koru series of paintings were influenced by Walters' interest in the symbolic forms of Maori rock art.
Nigel Brown
Running Woman
1983
Hand coloured
Lithograph
10 /10
Corridor outside Staff Workroom
Martin Ball
Motorbike
1980
Graphite
pencil on paper
210 x 180
Martin Ball (b.1952)
• Martin Ball (b.1952) is renowned for his hyper-realist, large-scale painted portraits of recent years.
•
• These works represent a culmination of Ball‘s ongoing interest in portraiture and realism that has spanned over three decades.
• Ball has focussed on a variety of subject matter since the early stages of his career including landscape, still-life and portraiture. Although his subjects range from the intensely detailed to the minimal, he has consistently worked in the style of realism.
• His works invariably display a graphic quality, achievable through his careful handling of the mediums he employs. Ball‘s incredible technical skill evident in his use of pencil, graphite and more recently oil is testament to his disciplined approach to art-making.
Don Binney
Taranaki
1971
Black Crayon
on paper
331 x 392
• In 1965 Binney was included in a survey show of New Zealand painting, held in London and in the ―Eight NZ Artists‖ touring show of Australian State Galleries. In 1967 he was the recipient of a Queen Elizabeth II Arts Council travel fellowship. He has spent time living in Mexico, London and Australia but returned to teach at Elam, becoming the senior lecturer in Fine Arts in 1979.
Don Binney
Dick Frizzell
Sketches for Big
Boy
1982
Pencil
Colourwash
and Collage
330 x 330
Sylvia Siddell
After Breakfast
1982 Pencil
drawing
587 x 410
Sylvia Siddell
• Sylvia Siddell has been exhibiting her paintings and drawings since 1975 and is represented in both public and private collections throughout New Zealand.
• Sylvia Siddell heightens our awareness of how loaded with meaning everyday objects are by including these in her work in some suprising juxtapositions. Cooking utensils, food, bottles of wine all contribute to the often chaotic compositions of Siddell‘s painting. Traditionally perceived as the realm of women the domestic sphere is loaded with both philosophical and political undercurrents for Siddell. Issues of fertility, fecundity and decay are raised in her work. Luscious fruits wait to be consumed and then discarded without a second thought just as women are presented in the media as consumable items useful for marketing purposes until they reach a certain age and then discarded.
Roger Staples
Egg and Grain
1975
Pencil Drawing
240 x 197
ROGER STAPLES
• Roger Staples has, with varying success, explored the New Zealand
'mentality'. Of course, it is unreal to speak of a New Zealand mentality as if there is only one. There are many. But as a nation we have a common problem: an ugly and graceless life-style. This derivative and industrialised colonial culture is the subject of a social comment. a literary approach which I think adds content to Staples' imagery.
• Staples creates his comment by positioning in the natural vistas of New Zealand a small selection of man-made objects: objects suggesting an industrial (as distinct from a crafted) style of production. Broken beams of reinforced concrete, jagged fragments of bottles, the bland texture and colour of radiata pine joists are the centre-pieces in an environment of rocks, horizons, sands and sea.
Grahame
Sydney Camp
Kitchen
1981
Etching
24/25
185 x 245,
Grahame Sydney
• Grahame Sydney is a major New Zealand artist. He is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydney's work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill.
• Grahame Sydney's contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydney's paintings have been inspirational with their ability to evoke a sense of wonder and kinship. His works are sought after by local and international buyers as well as being held in the collections of New Zealand's major galleries, including Te Papa's national collection.
Nelson Thompson
Flower Study
1974
Watercolour
542 x 738
Nelson Thompson
• Nelson Thompson the painter is not as well known to the general public as he should be considering the length of his working career and the quality of his output. Never one to adopt a high profile as a person, Thompson in his art and life remained more private than some of his contemporaries. Also, because he was for many years employed as an art teacher and lecturer he did not need to promote his work vigorously, though he did exhibit on a regular basis.
• In his later years, especially in the 1980s, he held regular one-man shows in Auckland. By this stage he had retired from Teachers Training College and was able to paint full-time. Nevertheless his work undergoes considerable change between his early studies of the 1950s and his late acrylics of the 1980s. From an essentially drawn, often monochromatic approach, he evolved to a more highly coloured and painterly style.
• At no time was Thompson affiliated with a particular group of New Zealand painters. Yet, because he was based throughout all his working career at or near Auckland he was in touch with the main developments in contemporary New Zealand painting. He exhibited frequently with the Auckland Society of Arts of which he was a member, though in later years he preferred to show at private dealer galleries, such as John Leech Gallery, New Vision and Gallery Pacific.
• His painting was occasionally reproduced, for example in the Year Book of the Arts, but was to attract relatively little critical attention.
John Lethbridge
Full Circle 1983
Coloured Lithograph
122/150,
653 x 305
Artist unknown
Untitled
undated
Student Services, Corridor outside Staff room, Staff room, Outside SLT offices
Malcom Warr,
'Kapiti Island and
the Waimeha
Stream',
Screenprint, 4/20
(Ins Blue 2nd Ed)
1976,
625 x 765
OutsideRopati‘s office
Malcom Warr,
'Kapiti Island and
the Waimeha
Stream',
Screenprint 4/20
(Ins Sienna 2nd
Ed) 1976,
625 x 765
Outside
I Ropati‘s
office
Malcom Warr • Painter and printmaker
• almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed him to make a living as a full time artist and an interlude because although he had been in touch with printmaking from his earliest days his main interest was painting. This means he had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere.
• A summary of the productive portions of his career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.
• 1957 ; 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 – 1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting
• This list is a simplification because I have in fact painted and exhibited throughout the last forty years but it may serve to explain that I have been known as an almost completely different artist at different times. Whether all this sheds more heat than light I do not know. And I will not try to go into what I am attempting to do in painting, other than to say that except for a short period after leaving art school, my subject has been the New Zealand landscape and I have tried to reflect something of the meaning and intensity with which we view the land in New Zealand.
Graeme Storm
Outside
I Ropati‘s
office
Grahame Storm
• Grahame Storm is a notable New Zealand potter who began his career as an Art and Craft specialist teacher in the ‗50‘s Later he headed for Finland ,his father‘s homeland, where he worked in the well known ―Arabia ― ceramics centre. He returned to N.Z. having acquired expertise in using a very special glaze. He became a full time potter and developed his European inspired classical style of stoneware employing the brilliant blues and greens which have become synonymous with his work
Carole Shepheard
Identity Fragments
(Tipi and Target)
1981
Mixed media on
paper
650 x 495
Between
Coughlan &
Barlow‘s office
Carole Shepheard
• First studying at Elam 1964-67 (Honours in Stage Design), then 'gestating' for almost ten years, Shepheard is one of many women artists whose art-flight only really took off after an unsatisfactory marital situation had been confronted, children began school, and the inevitable conflicts of (wife) mother, lover, woman, artist, became resolved, and, for her, happily integrated.
• These briefly-charted biographical notes are essential for understanding the characteristics and impetus behind Shepheard's work. For as a self-defined feminist artist she is now totally engaged in a conscious artistic exploration and expression of her experience as a woman and feminist in our society, where, to quote again from Parker and Pollock's seminal work, in their chapter headed 'Crafty Women and the Hierarchy of the Arts', 'The sex of the artist does matter. It conditions the way art is seen and discussed. This is indisputable.'
Pat Hanly,
'Ecstasy
Condition'
1976,
Enamel on
Hardboard,
905 x 900
Opposite M
Bettridges‘
office
PAT HANLY, born 1932, Died
2004
• Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.
• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness. The resulting works have been, variously, political, reflective of 'the human condition' or observational, particularly of family and friends. Only four of his series have been abstract –
• New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976). Early series, painted in London and Italy, were 'Fire' (his response to the threat of nuclear war), 'Showgirl', 'Massacre of the Innocents' and 'New Order'. On returning to New Zealand, Hanly was struck by the clarity and harshness of the sun's light on the land here, and he explored this in 'Figures in Light' (1963).
Gretchen Albrecht,
'Velvet Rock' 1975,
Acrylic on Paper,
1043 x 715
Between
Barlow‘s office
and door
Gretchen Albrecht
• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.
• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.
Terry Stringer
Woman at a Mirror
1980
Cast bronze 2/3
285 x 2150 x85
Outside M
Bettridges‘
office
Terry Stringer
Terry Stringer is a leading New Zealand sculptor. He trained at New Zealand's premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the country's national honour, the ONZM (Officer of the New Zealand Order of Merit).
Anna Palmer,
'Untitled'
Coloured pastel
on black paper,
490 x 640
Entry to
staffroom from
SLT offices
Anna Palmer
• Anna Palmer was born in New Zealand and studied at Elam School of Fine Arts. She has a range of interests and finds a variety of outlets for her creative energies including fashion design, painting, and printmaking. Palmer has also held a curatorship at a dealer gallery in Auckland. Palmer draws her subject matter from the domestic environment. She finds this to be a fertile universe of data, complete with patterns and colour. Her images are seen as a reflection of who and what she is, with the objects she draws becoming symbols for a heightened feeling and presence. She describes them as a vehicle for an abstract interplay of colour, which reflects emotional realities.
Gretchen
Albrecht,
'Sundial', 1980,
Screenprint, 2
2/125,
805 x 615
Staff Room
Gretchen Albrecht
• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.
• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.
Wong Sing Tai, 'Bare Island',
Silkscreen print, 19/100, 435 x 800
Staff Room
Wong Sing Tai
Where the figurative motif appeared, the
results were either moderately appealing
or simply disappointing. Wong Sing Tai
contained some amenable details and
possessed a fresh, competent technique,
the images occupying the centre of the
painting disintegrated, so that what
purpose they were to convey became
confused.
Michael Smither,
'Nutshell', 1976,
Screenprint, 1/50,
536 x 625
Staff Room
Other side
of entry
Michael Smither,
'Mount Taranaki',
1971, Screenprint,
1/23,
480 x 560
Staff Room
Michael Smither
• Born in Taranaki, 1939. Michael Smither is well known for his environmental work, his sculpture and murals, his silk screenprints and for his music as well as for his painting. He now lives and works on Coromandel Peninsula Michael Smither has followed a personal vision which has formed his own particular way of looking at life in New Zealand. The Wonder Years focuses on his time in New Plymouth, when he created many significant realist images; dealing with family relationships, issues of landscape, ecology and conservation, and the persistence of faith.
• For Michael Smither art is much like a map directed towards the people he knows. His art shows where he has lived and how he feels about it. He wants to celebrate the journeys from childhood to adulthood in his New Plymouth paintings of his family. He cites his longtime commitment to ecology and the sea, to each specific landscape‘s own unique climate inside an emotional authenticity. Looking at Smither‘s paintings of the 1960s and 1970s one can comprehend the relevance of his 1975 remark: ‗You can‘t just be a painter. I‘m intensely interested in what human beings are. They are an incredible phenomena.
Jean Horsley, 'Squadron', 1989, Oil on hardboard,
785 x 1190
Staff Room
Jean Horsley, 'Whakapapa Waterfall', Oil on hardboard,
787 x 1185
Staff Room
Jean Horsley
Ann Kirker (author of New Zealand Women Artists:
A Survey of 150 years), described Horsley's
works produced in the sixties as amongst "the
most conscious manifestations of an Abstract
Expressionist style in the work of a New
Zealand-born artist" emphasising that her "most
accomplished statements…helped to generate a
greater awareness of abstract modes of
expressionism in this country."
Tom Burnett,
'Elliots Beach',
1983,
Screenprint,
10/70,
570 x 545
Staff Room
Tom Burnett
Well known New Zealand artist Tom Burnett, is best known for his evocative images of Northland and the Pacific. The son of two working artists, Tom has largely been taught by his father Fassett and says he just went to school to use the art room. His paintings and screen prints capture the essence of his surroundings and lifestyle in luscious tropical tones and moods. Multi talented, Tom has also designed and built several homes for his family, built boats and designed a range of casual furniture. Tom began printing in 1981 and has since combined it with painting and drawing. They have a tropical, Pacific feel - fruit, flowers, colourful fish, oceanscapes, North coast bush with palms and ferns. Tom Burnett is a people's artist, his paintings welcoming and easy to comprehend, his statements made through clear-coloured, clear-headed Pacific environments and objects. A keen surfer and sailor Tom has always had a love of the sea and coastal New Zealand. Most of his recent work has been completed whilst living with his father in Whananaki in the Far North
Wendy Griffin,
'Transit'
colour etching,
16/30,
510 x 370
Corridor
outside
Staff Room
Stanley
Palmer,
'From Napier
Street', 1968,
Bamboo
Etching on
paper 4/6,
485 x 695
Corridor
outside
Staff Room
Stanley Palmer
• Stanley Palmer was born near Thames in the Coromandel and studied at Dunedin Technical College in the late 1950s. Although he has become well-known for his prints, his formative years were spent painting. By the late 1970s his printmaking repertoire included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Palmer endeavours to make art that is accessible and "free from pretensions
Delwyn Williams,
'Tui in a Flame Tree',
1985, Lithograph,
16/16,
530 x 375
Corridor
outside
Staff Room
Guy Ngan, ‗Series Thirty‘, 13/21, 1976
Corridor
outside
Staff Room
Guy Ngan
Stokes Valley-based artist Guy Ngan has been making sculptures, paintings, drawings and prints for the last fifty years. His abstract public sculptures include murals, wall reliefs, tiled decorative schemes, large textile works and in-the-round sculptures found all over New Zealand. This exhibition includes work from two series made during the 1970s and 80s—paintings featuring a three-fingered tiki hand motif and sculptures inspired by Polynesian stone anchors.
Mark Blazey,
Untitled,
Undated
Corridor
outside
Staff Room
Emma McLellan, ‗Marked ll‘, 1994, Etching on buff paper,
370 x 590
Corridor
outside
Staff Room
Graham Cornwell, 'Dancing Harlequins',
Lithograph, 420 x 540
Corridor
outside
Staff Room
Cynthia Jaffe, 'Mystical Forest', 1981, Multiple print
14/375, 310 x 510
Corridor
outside
Staff Room
Stanley Palmer
Shot Tower
Mt Eden
1980
Bamboo etching
on paper
30/60
530 x 360
Outside
(right from
staffroom)
wall by
door to
Student
Services
Stanley Palmer (1936- )
• Stanely was born in at Turua in the Coromandel. He has lived in Mt Eden, Auckland since 1941. Palmer trained as an art teacher but from 1970 Stanley has worked as a full-time printmaker from a home based print workshop. The variety of Stanley Palmer's print-making output has been astonishing, his work has included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Stanley Palmer been quoted endearingly that he likes to make art that is accessible and "free from pretensions."
Artist unknown
Untitled
undated
Inside
student
services by
sick bay
door
Colleen Bucknell
Untitled
Undated
Student
services
Robin Kahukiwa,
'Nau Mai Haeremai'
1986, Oil on canvas,
1340 x 1010
Student
services
Robyn Kahukiwa (born 1940-)
• Robyn Kahukiwa was born September 1940 in Australia returning to New Zealand at the age of 19.
• Her iwi are Ngati Porou, Te Aitanga-a-Hauiti, Ngati Hau, Ngati Konohi, Whanau-a-Ruataupare.
• Kahukiwa is a self-taught painter who began painting in 1967 when she was living with her young family in Greymouth on the South Islands' West Coast.
• Robyn taught art at Mana College, Porirua, New Zealand from 1972 to 1982.
• She has exhibited widely and her work is held in gallery and private collections throughout New Zealand and the Pacific. Robyn Kahukiwa is also a famous New Zealand children's book writer and illustrator.
• Currently Robyn lives and works between Pukerua Bay and in Rotorua.
Nelson Thompson,'Townscape', 1955,
Watercolour, pen and ink, 398 x 615
Corridor,
Tawa
(outside
student
services
entry/exit
Nelson Thompson 1948 - 1986
• As a teacher Nelson Thompson turned to
Socrates for his philosophy as an
educationalist: "To teach is to create." And
in the writings of Cezanne he found what
became his definition of a painter: "Let us
study nature and seek to express it
according to our personal temperament.
Time and reflection gradually modifies
vision, and at last experience comes."
Ted Dutch, 1997
Corridor,
Tawa
(outside
student
services
entry/exit
Ted Dutch, ‗Ornithopter‘, 1970, 1/20
Corridor,
Tawa
(outside
student
services
entry/exit
Ted Dutch
• When the then 23-year-old artist Ted Dutch immigrated to New Zealand in the early 1950s, he left the dreary outlook of post-war London and brought with him a distinctly lighthearted and often humourous artistic style. On arrival, he was greeted by an art scene powerfully engaged with the New Zealand landscape and a nationalist discourse. Like a square peg in a round hole, the art of Ted Dutch lay somewhere on the periphery. Characterised by an expressive casualness, sketchy line and comedic approach, Dutch‘s less-than-serious work has successfully transcended this difficult start to find a place in the serious business of fine art.
Phillippa Blair, 'Hiroshima', 1983, Watercolour and
acrylic on paper, 585 x 815
Corridor,
Tawa
(outside
student
services
entry/exit
Philippa Blair (born 1945-)
• Born in 1945, Christchurch, New Zealand, Philippa Blair graduated with a Diploma of Fine Arts, Canterbury University in 1967.
• She received QEII Arts Council grants in 1982, 1984 and 1987. Blair has taught and exhibited nationally and internationally for 25 years and is represented in public and private collections in New Zealand, Australia, USA, Japan, France, Italy, Germany, Malaysia.
• She works primarily as a painter making expressive, semi-abstract work that reflects urban reality and the natural world with references to high tech and organic imagery, cartographic mapping, music and film. Philippa frequently employs printmaking to pursue more graphic pictorial options. ‗Traverse‘, an exhibition of her recent paintings, drawings and prints, was shown in 1999 at the Spencer Gallery, Rhode Island, USA and Janne Land Gallery, Wellington, NZ.
• Philippa Blair lives and works in Los Angeles, California but makes frequent trips to New Zealand to exhibit and visit family.
Artist unknown
Untitled
undated
Corridor,
Tawa
(outside
student
services
entry/exit
Malcom Warr
Akatarawa
1968
Monoprint
770 x 630
Stair well
outside
Staff Room
Malcom Warr
1968
Monoprint
770 x 630
Stair well
outside
Staff Room
Malcom Warr
• was almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed me to make a living as a full time artist and an interlude because although I had been in touch with printmaking from my earliest days my main interest was painting. This means I have had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere,I hope.
• A summary of the productive portions of my career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.
• 1957 – 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 – 1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting
Library
Gretchen Albrecht Sky Limit 1973
Acrylic stain on stretched canvas 1255 x 1820
Gretchen Albrecht
Orange-Black-Blue
1975
Acrylic on paper
1067x712
Gretchen Albrecht
• Born in 1943, Auckland, New Zealand Gretchen Albrecht graduated from the Auckland University School of Fine Arts in 1963 and 1981 was awarded the Frances Hodgkins Fellowship at the University of Otago, Dunedin.
• She was awarded grants from the QEII Arts Council 1976, 1978 and 1986. Albrecht has participated in many travelling group exhibitions among them; NZ/NY (New York 1983), NZ Art Today (Chicago 1986), Distance Looks Our Way (Spain and the Netherlands 1993), Reclaiming the Madonna (England) and has had two solo exhibitions in London. ‗AFTERnature‘, a survey of her work curated by the Sarjeant Gallery, Wanganui, toured New Zealand in 1986
• 1998 the Sarjeant Gallery curated a second Albrecht exhibition, ‗Crossing the Divide‘, which explores the link between Gretchen‘s prints and paintings. Highly regarded as a colourist, Albrecht continues to engage with abstraction in a personal and lyrical manner
Pamela Blok
Untitled
(Mythological
Theme)
110 x895
Nigel Brown
Trampers 14
Acrylic on
hardboard
1980-81
1090 x 790
•Nigel Brown actively uses story telling precepts within the ‗confines‘ of
the image. He directly and selectively employs history, literature,
politics etc as devices and in so doing examines the varied plights of
the individual and environment with an emotional, intuitive sympathy
which is accurate, incisive and clothed in a vernacular of the human
condition.
His work expresses fundamental spiritual and humanistic concerns
common to mankind. These are infused with the particularity of cultural
location and reference, the specific of place and event, the dynamism
of individual character and personality with the narrative (artist as
author) point of view.
Nigel Brown (more info)
Colleen Bucknell
Untitled
Undated
Colleen Bucknell
Untitled
Undated
Pat Foster
Earth Goddess lV
Stone Sculpture
Northland
Serpentine
PAT FOSTER (1943-2004)
• Pat Foster was born in Timaru in 1943.
• She graduated with a BSC from the University of Otago and attended summer art schools in Auckland. Her grandmother, May Bradley, was a sculptor in Christchurch, her mother Myra Vance is a sculptor and painter. Pat participated in many national exhibitions and her sculptures are found in international collections.
• Foster had a special affinity for wood and stone, particularly serpentine. She worked without preliminary sketches or drawings, preferring to let her material dictate the resulting form.
• She compared the sculpting process to helping the birth of an image that is 'screaming to get out'.
• Foster described her sculptures as 'spiritual self portraits', examining the universal themes of mother and child, man and woman, and the inner self.
Dean Buchanan,
Medieval
Fairy Tale
1985
Oil on
unstretched
hessian
1900 x 1430
Dean Buchanan
• Born Auckland in 1952, Dean Buchanan is famous for his expressionist treatment of the New Zealand landscape. He paints directly onto raw hessian, Buchanan‘s vibrant palette is inspired by the lush, sub-tropical surroundings of the Waitakere Ranges. Based in Karekare, Dean has a profound love for native New Zealand that he expresses in complex, kaleidoscopic vistas echoing the works of expressionist masters from Franz Marc to Philip Clairmont. Dean Buchanan has exhibited widely throughout New Zealand, as well as in Chile, the USA, and Japan and we are pleased to stock all Dean Buchanan art prints.
Allen Maddox
X Painting
1979
Oil on
unstretched
canvas
1815 x 1985
Allen Maddox
(1948 – 2000) • Born in the UK, Allen Maddox lived in New Zealand from 1963 until
his death. He attended Canterbury‘s Ilam School of Fine Arts from 1967-1968. In the 1970‘s he was closely associated with the artists Tony Fomison and Phillip Clairmont, forming a group known to some as ‗The Unholy Trinity‘.
• The painting of Allen Maddox is characterised by its expressive style of paint application and the aggressive mark making – notably involving the cross (x) motif and grid format. Maddox used mostly unmixed paint applied to loose canvas or paper. His works have spontaneity, a tactile quality, and gestural emphasis reminiscent of the American Abstract Expressionist Jackson Pollock
• Among other achievements Maddox was a recipient of the Queen Elizabeth II Arts Council Award. His works can be found in a number of New Zealand‘s public art galleries, including Te Papa Tongarewa
Colin McCahon
The Calling of a
Christian Inscribed '1
Peter 3 the Calling of a
Christian‘
1969
Charcoal script on
paper
1560 x 550
Colin McCahon
• Born 1 August 1919 in Timaru, although his family lived in Dunedin.
• Was interested in art from an early age.
• Took art classes with Russell Clark in Dunedin, and was strongly influenced by an exhibition by Toss Woollaston in 1936.
• Studied at Dunedin School of Art from 1937-1939, but was mostly self-taught.
• Married the artist Anne Hamblett in 1941, and moved to Christchurch. Became a member of The Group, a Christchurch group of artists, and showed his work regularly in their exhibitions.
• Spent time in Nelson, then moved to Auckland to an appointment as Keeper at the Auckland City Art Gallery in 1953.
• Painted a number of religious works that placed events from Christ's life in a New Zealand setting. Was the first New Zealand artist to use words and numbers as part of his art.
• Visited the United States in 1958, and used that experience to introduce new ideas to his work.
• Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.
• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.
• Died 27 May1987, in Auckland.
Ian Scott
Trellis Pattern
1981
Gouache on
paper,
480 x 480
Ian Scott (born 1945-)
• Ian Scott was born in 1945 and his painting career spans over forty years. He is a major New Zealand artist of the Post-McCahon generation who has remained innovative and relentlessly experimental throughout his prodigious career. Studying art at Kelston Boys High School under the tuition of Garth Tapper he won numerous junior art competitions during his youth including the junior section of the Kelliher Art Prize in 1965. He entered Elam School of Fine Arts at Auckland University in 1964. Scott's art is held in the collections of public galleries and private collections throughout New Zealand. A comprehensive book on the artist, written by acclaimed art critic Warwick Brown titled 'Ian Scott', was published in 1998.
Terry Stringer
Ponsonby
1984
Cast bronze 8/12
330 x 405 x 200
Terry Stringer
• Terry Stringer is a leading New Zealand sculptor. He trained at New Zealand's premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the country's national honour, the ONZM (Officer of the New Zealand Order of Merit).
William Sutton
Threshold V
1973
Oil on Canvas
1120 x 2900
William(Bill) Sutton (1917-2000)
• William Alexander (Bill) Sutton, CBE (1917-2000) is an iconic Canterbury artist, whose work was chosen as a major retrospective to mark the opening of the Christchurch Art Gallery in 2003. Trained at the Canterbury University College School of Art in the 1930s, Bill Sutton travelled overseas and served during the Second World War before returning to the University where he taught for more than 30 years. Sutton was also a skilled calligrapher, printmaker, designer and bookbinder, and a teacher whose work influenced many contemporary New Zealand painters. His ashes were scattered from the bridge in Dry September on to the rocks of the landscape he made his own.
Artist unknown
Untitled
undated
Artist unknown
Untitled
undated
Ceramics
Artist unknown 3
Artist unknown 4
Andrew Van Der Putten Renton Murray Doreen Blumhardt
Don Thornly
Len Castle
Len Castle
Barry Brickell 1
Barry Brickell 2
Catherine Anslemi - Angela Thomas
David Leach
Dennis O'Connor
Jim Grieg 1
Jim Grieg 2
Len Castle 3
Len Castle Neil Grant
Len Castle 11
Len Castle 13
Len Castle 14
Len Castle 16
Len Castle 17
Len Castle 18
Len Castle 19
Knowledge Centre, Seminar Room & Careers Room
Sandy Adsett Screen-printed panel
Behind desk in library
Annear
Untitled
1982
In knowledge centre, left of door
as entering from library
Don Binney,
‗Te Henga‘,
1971, Black
crayon on
paper, 450 x
592
In knowledge
centre, right
wall above
computers
Nigel Brown,
Fly a Kite
1987
Acrylic on paper
In knowledge
centre, right
wall above
computers
Ted Bracey
Waikato Landscape
1969
Acrylic on canvas
274 x 454
Behind desk in
library
Wallace
Crossman
Interaction
1975
Acrylic on canvas
750 x 1110
Careers room
R Dalgamo
Variation 2,
My thanks
to fun
Collograph
In knowledge
centre, right
wall above
computers
Pat Hanly
Special Event
1974
Watercolour
430 x 490
opposite desk
in library
Pat Hanly
Garden Series
1974
Watercolour
410 x 365
opposite desk
in library
Pat Hanly,
Mt Eden
1973
Watercolour
crayon, black
ink
345 x 410
opposite desk
in library
Pat Hanly,
Love each other
1971
Screenprint
7/20
545 x 565
opposite desk
in library
Pat Hanly
Life Goes on
1982
Screen print
13/40
opposite desk
in library
Ralph Hotere
Desolate
Darkness
Desolate
Brightness
1972
Watercolour
wash and
black ink
415 x 390
In knowledge
centre, right
wall above
computers
Ralph Hotere
Pathway
to the Sea
drawing for
Ian Weddes
'Pathway to
the Sea'
Black ink wash
and pencil
1975
555 x 760
In knowledge
centre, right
wall above
computers
Ralph Hotere,
'Pathway to
the Sea',
drawing for
Ian Weddes
'Pathway to
the Sea',
Black Ink,
wash and
pencil, 1975,
555 x 760
In knowledge
centre, right
wall above
computers
John Kinder
Waikato River
Watercolour on two sketchbook sheets
unfinished
230 x 720
In seminar room
Colin McCahon North Otago Landscape 1977
Silkscreen Multiple 465 x 570
In knowledge
centre, right
wall above
computers
Milan Mrkusich
Passive
Element
1977
Acrylic on paper
494 x 320
In knowledge
centre, right
wall above
computers
Garth Tapper
Crown
Prosecutor
1980
Lithograph
17/18
690 x 930
In seminar room
Toss Woollaston
Untitled
Undated.
In seminar
room
Toss Woollaston
Patrick Lucas
Unsigned undated
Ink Drawings
500 x 700
In seminar room
Toss Woollaston
Countryside
Watercolour
343 x 505
In seminar room
Toss Woollaston
Tunnel, Huinga
Watercolour
380 x 310
In seminar room
Robyn White
Houses at Paremata
1969
Acrylic on canvas
600 x 315
Behind desk in
library
Robyn White
Paremata Landscape
1969
Acrylic on canvas
642 x 515
Behind desk in
library
Compiled by btowns for
One Tree Hill College