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ANNE FOUNTAINColour and Form on Banks PeninsulaPreview 14 October15-26 OctoberTHIRTY SIX CHRISTCHURCHARTISTSPreview 14 October at 8pm 15-26 Oct(2)No. ofartistsGraph showing the ;.H attribution ofartists who held solo exhibitionsat a City Dealer Gallery, 1985,according to aender and age.1 2 3 4 5 6 7 8 9 10 1112 131415161/Church Bay in Lyttelton Harbour is the place where we go forour "quiet times out" and holiday periods. The backdrop ofhills and the land folding into the sea; the effects of light andwind on the water; brilliant, unreal blue skies as well as thestormy or soft grey ones; tidal edges where oystercatchersand other birds busy themselves — all this and more somoves me that I need to seek to express my feelings incolour. Through straight representational work I am unableto convey all that Banks Peninsula speaks to me of God'ssimple, yet moving, creative energy in this place.I have chosen oils (and to some extent simple screen printing)because in those media I feel I can best express theform, light and colours — be they soft and gentle or strongand vibrant — that fascinate me so much. I trust the viewingpublic will be able to catch something of my vision. Perhaps,in so doing, people may receive a kind of healing from thepressures and questions that surround their lives, as I dowhen I spend time on the Peninsula.As a painter I am strictly amateur, though I don't considerdrawing, painting or printing to be "leisure pursuits" for me.They are me, and I have to speak in paint the way I do,trusting that others will sometimes benefit in the process. Ibelieve that God gave me the ability to use and extend as Iseek to express what I see and feel.I have no specific aims for the future of my work. I do havesome sketches I am collecting of various human situationsthat I may work on at some time, but in any case I shall becontinuing to express my environment in colour.The Canterbury Colourists have been a great support andencouragement to me over the years in my work; but thedirection it has taken has come strictly from within me. Mywork has been influenced by no one in particular, though inmuch of Georgia O'Keefe's painting I sense similarities to myown perception. I find I identify quite closely with much of herwork.All my life I have had a desire to express myself in colour andline, but this I have always had to fit within the framework thateveryday life can impose on one's desires for selfexpression.My husband and family have always come first,for instance, in the years that they have been about — andsomehow I wasn't brave enough when I was younger andunmarried to make art more a part of my life!A research into two major exhibition venues in Christchurchand re-acquisition of artworks by the citie's public gallerieslast year revealed some most interesting statistics.(1) Graph of the purchase of Canterbury artist's works by theMcDougall Art Gallery, 1985, according to gender and age.(2) Graph showing the distribution of artists who held soloexhibitions at a city dealer gallery, 1985, according to genderand age.(3) Graph showing the distribution of painters and sculptorswho held solo exhibitions at the C.S.A. gallery, 1985, accordingto gender and age.These graphs which provide information about the totalnumber of artists who have exhibited and their age and sex,highlight the fact that considerably less women are involvedin exhibiting their artworks in our community. What is possiblythe most disturbing aspect of these figures is that thepattern is persisting and there is really no growth or improvementin the number of women involved in art activitiesincluding the emerging artist area.Of course these graphs give no indication why women artistsare not exhibiting their work or actively pursuing their careerin the visual arts. It would certainly be interesting to researchand discover some possible reasons for this trend. It ispossibly far more complex than the usual simplistic suggestionthat this is entirely due to women's continuing familynurturing role.Throughout the art education system, it may be observedthat women dominate numerically, i.e. more females studyart at secondary school, more females are accepted into artschool, more qualify at tertiary level and also generallyachieve higher grades.(1) Graph of the purchase of Canterburyartist's works by the McDougall ArtGallery, 1985, according to genderand age.Female::;SUnder 30Under 40Under 50Under 60Over 60(3) Graph showing the distribution of paintersand sculptors who held solo exhibitions atthe C.S.A. Gallery, 1985,according togender and age.NumberofartistsTotal5 10 15 20 25 30 35 401 mmiNew artists (under 20) | | | |Male i IFemale §553— -In the sixties and seventies the political nature of art activitiesand the manner that the values of the white middleclass patriarchy were ensured domination was exposed bymany analyses of the artworld. With this increasing awareness,women artists appeared to make some gains in ensuringa more equable participation and exposure, on womensterms, in art institutions.What causes the greatest concern today is that after allthese efforts by many aware people in the artworld, theposition and participation of women artists remains virtuallyunchanged. Indeed the current ascendancy of a certainexpressionist style, with its emphasis on a form of machoviolence and dominance, is clearly not inviting to womenartists sensibilities (whether these may be socially conditionedor not).
This brings us to the question—What can a large group show of women artschool graduatesliving in the region and still perhaps hesitantly producingartworks hope to achieve?The aims of the organisers are modest. It is merely to providethe organisation and venue for these women artists with theirvariety of backgrounds experience and range of activities,including painting, sculpture, photography, printmaking andfabric design, to enable them to exhibit together.Group shows were once the norm, but today the emphasis ison either small scale tightly coherent solo shows or a thematicapproach. The nature of a larger disparate display ofartworks can be quite disturbing, but the variety can also bemost stimulating and certainly places more demands on theviewer to attempt to understand and appreciate a broadrange of approaches, styles, activities and abilities.It is to be hoped that this group will become a permanentassociaion as its aims will probably require a more long termapproach before any fruits wil be able to be clearly perceivedand appreciated.Research by Penny OrmeCHRISTCHURCH GUILD OFWEAVERS AND SPINNERSINC.Preview, 14 October, 8 p.m.Downstairs GalleriesExhibition, 15-26 OctoberThe Guild began with a group of weavers in 1969 and owesmuch of its early success to the enthusiasm of our latepatron, Ida Lough. Since then it has grown to reach amembership of 500 and now covers many aspects of weaversand spinners work. We aim to teach and encouragemembers to reach a high standard in their work, as well askeeping abreast of new trends and techniques.The selected work in this Exhibition will include many facetsof our craft — both decorative and practical. Rugs, wal-Ihangings, fabrics, felt work and handspun knitwear willbe on display and available to purchase.Guest exhibitors will be Mary Bartlett and Margaret Stove.Mary, who has the background of a Fine Arts Diploma, hasbeen weaving for twenty years and with her great sense ofcolour and design she always strives for perfection. Her workhas been exhibited throughout New Zealand, and she will beremembered for her part in the Weavers Group some yearsago.Margaret is known internationally for her fine merino spinningand knowledge of wool, and her beautiful knitting hasbeen exhibited many times.Her designs are meticulously worked out using Maori motifsand the forms of many of our native flowers.Margaret was recently chosen by the Department of InternalAffairs to represent New Zealand at the Commonwealth ArtsFestival run in conjunction with the Commonwealth Gamesat Edinburgh.RICHARD VAN DER AARecent PaintingsPreview 29 October30 October — 9 NovemberI feel that too often, modern paintings speak only of the act ofpainting itself and put forward no concern other than theirown formal qualities. Of course formal considerations inpainting are very important, but as I see it, are only a meanstowards an end.I would hope that my works, besides speaking eloquently ona formal level, would also impart something of spiritual value.I see painting as communication and want to offer the viewermore than just some well organised paint.b r u s h ^ v p a l e t t eWATER COLOURSOILSACRYLICSPIGMENTSRESTORING COLOURSEGG TEMPERAGOUACHEVARNISHES & MEDIUMSCANVAS PANELSPRIMED CANVASCANVAS STRETCHERSCANVAS PLIERSPALETTESDIPPERSPAINTING & PALETTE KNIVESOIL & WATER COLOUR PADSBRUSHESAvailableEVERYTHINGFOR THEARTISTProfessional and AmataurPENCILS & CHARCOALSOFT & HARD PASTELSBLENDING STUMPSOIL PASTELSCONTE CRAYONS& PENCILSTINTED PAPERSWATER COLOUR PAPERSWATER COLOURSTRETCHING FRAMESMOUNT BOARDSLINO PRINTING INKSCHALOGRAPHIC INKSHEATSET DYECALIGRAPHY PENS& NIBSEASELS ETC.METAL ETCHING TOOLSB r u s h - n - P a l e t t e A r t i s t s S u p p l i e s L t dN*vw Zealand15 Bolls Arcade 1 26 Cashel Street,Christchurch 1. New ZealandTelephone: 63-088Agent* foratG.B.D. PRINTS LTD207 Cashel St. (Opp; The Farmers)Telephone 60033A comprehensive range of artists' materials:Acrylic, oil & water colours, brushes, papers,drawing blocks, easels, mounting boards and artaccessories.
Page 1 and 2: NEWSThe journal of the Canterbury S
Page 3 and 4: OLIVIA SPENCER-BOWERFOUNDATIONArt A
Page 5 and 6: Views and ReviewsPETER BANNANAUSTRA
Page 7 and 8: sculptural form and deep rich colou
Page 9 and 10: ADRIENNE REWI12-28 SeptemberPhoto -
Page 11: EIATHAM L. CROSSANrint Roomtchings
Page 15 and 16: It was an exciting period of my lif

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