Untitled - Auckland Art Gallery

Ten years of New Zealand Painting in AucklandThe past ten years have been particularly fruitful for New Zealand painting.This exhibition is intended to give some indication of developments during theperiod, but it is far from being definitive. For a number of reasons the originalintention, to provide a survey of New Zealand painting since 1958, has had tobe limited to a distinctly Auckland view of painting from that time. Consequentlythe framework for the exhibition has been provided by the annualNew Zealand exhibitions mounted by the City Art Gallery, the Eight NewZealand Painters exhibitions of 1957, 1958 and 1959 and the ContemporaryNew Zealand Painting exhibitions of 1960 to 1966.Even within this framework, since 118 painters were represented in thoseexhibitions, it was necessary to restrict the selection to painters who have workedmainly in Auckland, or who have had significant exhibitions here. The selectionfor 1967 has been limited to painters represented earlier, who had one-manshows during the year which indicated a development from previous work,and to painters who would have been included earlier had works been availableand who have also had one-man shows during the year.It should be stressed that the exhibition is not intended to define the developmentof individual painters, although in some cases this has beeninevitable, but, rather, to indicate what has been offered to the Auckland publicas significant work over the past ten years.Of the 96 works in the collection, 68 have been loaned by the artists,dealers, private collectors and a public art gallery. Without the co-operationof these owners this exhibition would not have been possible and theirgenerosity is gratefully acknowledged.G. C. Docking, Director, Auckland City Art Gallery, March 1968

Jeff Macklin also exhibited. These two were so impressed with what washappening in Auckland that they settled here.That same year, at the Ikon Gallery, Patrick Hanly exhibited his seriesFigures in Light. Included were several works that gave to figure painting anemphasis that has been rare to New Zealand painting.Later in the year the Ikon Gallery shifted to a more central site in the cityto become Ikon Fine Arts Limited, even though the original gallery remainedopen for some months'after this happened. Unfortunately the move provedunwise for the gallery was forced to close early the following year. Late in 1965the Barry Lett Galleries opened. One of its directors had closed the UptownGallery in order to join this new enterprise, which, to a large extent, took overthe activities of Ikon Fine Arts. About the same time another commercialconcern, the New Vision Gallery, came into existence.Images derived from the Pop Art idiom began to appear with greater frequencyduring 1965. At first the English influence seemed the most decisivebut later this was tempered by the influence from America. Superficially RossRitchie's work was the most exciting, but like most local painters workingin the pop medium he failed to come to grips with it as an idiom. Moreimportant, however, were the side effects that Pop Art exerted after the firstburst of enthusiasm had worn off. Once again Ross Ritchie produced highlycompetent paintings which also owed a good deal to Leger. Another painterto produce works of interest in this direction was Pauline Thompson.While the dadaistic aspect of American Pop Art had no real influence, theaggressive negativism of painters like Ad Reinhardt has had a minor effect.This is most obvious in Ralph Hotere's work, especially his Zero series, but itis also present to a lesser degree in the black landscapes of Colin McCahon.Recently there have been signs that the younger painters, and also someolder painters, are growing weary with abstract art as a vehicle for expression.In part, the interest in Pop Art can be explained by this, but the problem goesmuch deeper. Perhaps the most significant development has been the growinginterest in a new kind of realism that owes no allegiance to any recent artmovement but if anything is closer to the regionalists of the nineteen-thirties,without necessarily being so naturalistic or regional in outlook. In this respectDon Binney acts as a link rather than as a manifestation of this new approach.Although a number of painters are working towards this style, as yet theirwork is not well known. At the moment the most promising exponents areMichael Smither and Richard Killeen. Whether this, or some new idiom thatescapes the limitations of the fashionable, or some variant form of an alreadyestablished style, will add a new dimension to New Zealand painting in thenear future we must wait to see.Gordon H. BrownIn 1965, on the occasion of the first group exhibition of contemporary NewZealand painting in Melbourne, a critic writing in the Melbourne Herald,described the work as "cool, conservative and a trifle austere". More recently,the judge for the first Benson and Hedges art award, Robert Haines, definedthe general characteristics of New Zealand painting as he had seen it representedby the two hundred odd entries, as "rather cold and perhaps a little heartless",coming more from the "head" than from the "heart". These terms have, or arecoming to have, a familiar ring. They represent, coloured in each case by thepersonal taste of the commentator, the most persistently singled out featuresof New Zealand painting. During the period represented by the present exhibition,P. A. Tomory was one of the first to state them clearly. However, inthe catalogue introduction to the exhibition Contemporary Painting in NewZealand, organised for the Commonwealth Institute, London in 1965. hedoubted whether a regional style existed to any marked degree" . . . otherthan in the hard-edged black and white images that come through in someartists' work."

The issue of a national or regional style for New Zealand painting is acontentious one although it is not particularly new. In relation to thisexhibition the subject is worth consideration against the background of thecomments noted above and even earlier versions of them. William MathewHodgkins essayed a direction for New Zealand painting in 1880. WhileHodgkins' prescription reveals more about his own taste and that of hiscontemporaries than anything else, it is interesting that he should havesingled out the "study of atmospheric effect" as a significant requirement inany developing style. Hodgkins meant, of course, the poetic literary atmospherehe so much admired in Turner, but he at least selected an aspect of the NewZealand scene which is undeniably distinctive. In the catalogue introductionreferred to before, Tomory described some of the elements of this atmosphere:"In these islands the Pacific light burns and bleaches, so that in high summerblack and white predominate".This particular statement has been the subject of much discussion andcriticism, but in 1930, Christopher Perkins, newly arrived from England hadsaid something similar. Perkins felt that the future of New Zealand as a countryfor painters was guaranteed by its "marvellous light". A quality he found moredistinctive even than the light of Central and Southern Europe. The firstsubstantial painter to work in New Zealand, William Hodges who came onCook's second voyage, seems to have had a similar response. Amongst thecriticisms of the work he exhibited after his return to England was the interestingcomment that it revealed ". . . an abruptness in the light and shadeapproaching to hardness". Bernard Smith suggests that this "technicaleccentricity" had developed through Hodges' application to the problem of"painting tropical light in the Pacific".Light then seems to have played a significant part in shaping the formalvocabulary of European painting in New Zealand for a considerable time. Anysurvey of nineteenth century painting here reveals one direction at least withsome direct relationship to the hardness of the Pacific light. While CharlesHeaphy. William Fox, John Kinder, George O'Brien. Alfred Sharpe and similarpainters might have had little else in common, they all reveal a preciseness ofdetail and a sharpness of tone which could be said to have its origin in aparticular kind of light. Sharpe is an interesting example since apart from thecontinuing activity of John Kinder who did not exhibit after 1873, he appearslate in the century at a time when this response to the landscape had beenoverlaid by a rather more artificial style. Sharpe's work was not altogether tothe taste of his contemporaries and he was criticised for his "strange mannerismswhich probably can only be cured by direct communion with Nature". Wehave Sharpe's word, however, that his "strange mannerisms" did in fact comefrom "Nature" since he believed ". . . that to represent accurately the sceneryof a totally new country we must divest ourselves of old-world and antiquatednotions of art and begin de novo at Nature's shrine".An interest in and response to light is of course commonplace in nineteenthcentury European painting. Impressionism has however had little enduranceas a direction in New Zealand. There is no real equivalent here to Australianimpressionism. Although some interest in the style is obvious amongst paintersworking in the first two decades in this century, it had little effect on thegeneral direction of indigenous painting. By the late 'twenties an interest inclarity of form begins to re-assert itself. Since that time, despite widely differingaims and concerns, the majority of significant painters have had this clarityas a common characteristic.In 1934, A. R. D. Fairburn, using Christopher Perkins as a specific example,offers a very clear statement of this direction: "There is no golden mist in theair, no Merlin in our woods, no soft warm colour to breed a school of paintersfrom the stock of Turner, Crome, Cotman and Wilson Steer. Hard, clear lightreveals the bones, the sheer form, of hills, trees, stones and scrub. We mustdraw rather than paint, even if we are using a brush, or we shall not be perfectlytruthful. The paintings of Christopher Perkins are a healthy influence, moving

as they do towards a true and knowing expression of the landscape."Looking at a lithograph drawing of Perkins' the other day I thought Inoticed another tendency, one which I had been watching for for some time.There was an emphasis on design, and a deliberately formal treatment whichI have not seen in other New Zealand work. The method impressed me, for Ihad come to think that impressionist technique, though it represented onepermanent and fruitful line of march, failed to express the character andsingularity of our natural landscape . . . Our most characteristic natural forms. . . are geometrical and sometimes rigid. And Perkins seemed to me to haveexploited this, and to have given his drawing something of the formal anddelicately selective treatment of a Hokusai or Hiroshige print."Fairburn was not the first to make this comparison. Perkins' Taranaki hadearlier been related to Hokusai, but it has no more or less in common withthat artist than it has with Heaphy's version of Mount Egmont painted nearlyninety years before.Hard light and a particular order of forms characterise New Zealandpainting. Factors other than the painters' physical environment also conditionthe stylistic direction his work will take, but it is not too difficult to see whypaintingin New Zealand should have been wed for so long to the landscape.Colin McCahon indicates something of the dilemma of the New Zealandpainter in his autobiographical essay published in Landfall two years ago:"I saw something logical, orderly and beautiful belonging to the land and notyet to its people." In some ways this comment parallels that Hanly made abouthis paintings in 1963: "There are no people in them, I don't see how I canput them in." Shortly after his return from Europe in 1962, Hanly had inscribeda monoprint from the same series as the painting Welcome to Mount Eden,"Where are all the people Mum?"The discovery of "the people", or more correctly some kind of urban lifeand environment distinguishes much post-1958 painting from previous work.Curiously enough the characteristics which were undoubtedly evolved fromthe landscape and the light seem to have carried over into painting which haslittle relationship to either, as well as into painting with a more figurative bus.From the city the landscape can be viewed objectively, used or discarded, andit no longer offers the only alternative. It might well be that New Zealand'seconomic and social orientation has undergone a similar shift during thesame period.The influence of current international styles on New Zealand painting isparticularly obvious in the first three years of this survey. McCahon's Northlandpanels and Alwyn Lasenby's Horizon paintings are two examples. Overlayingthe primary concern of both painters with the landscape and with light(in McCahon as a symbolic as well as physical element), is a response to whatwas currently happening in West Coast American painting. In the Northlandpanels this was the direct result of McCahon's visit to the area in the sameyear. Paradoxically it seems to have been the application of this kind ofinfluence that allowed New Zealand painting to free itself from an overtconcern with the landscape, in favour of a less subjective and deeper responseto its formal elements. The Northland panels also represent a major break withthe previously small confines of painting here, as well as with a traditionallydiffident involvement with the act of painting. To a lesser extent the samechanges can be detected in the work of Don Peebles and Milan Mrkusichduring the following two years.McCahon's Gate series of 1961 exploits a thoroughly urban source. Althoughthese paintings had been anticipated in a few landscapes of French Bay in1959, they resulted directly from McCahon's move to an inner city suburband have their origin in the rectangular forms of roofs and buildings againstthe harsh Auckland sky. In the same year Bryan Dew's savage paintings ofsuburban celebrations, despite their references to earlier painting, suggest afigurative direction which is only now being followed. Hanly's Welcome toMount Eden, Nelson Kenny's Black and white and T. P. Garrity's [con, all

exhibited in the following year, are a further consolidation of a non-naturalistdirection. Don Binney's Pipiwharauroa, late Summer, despite its regionalistovertones also makes a contribution to this direction, stressed in the next yearwith his Pipiwharauroa mating.From 1964 some influence of the Pop movement began to make itself felt.However the hard-edge and direct imagery of Pop was not by any means analien influence and it was this aspect of the style, rather than its basic philosophy,which made it accessible to the younger painters. Although quite falsely,MeCahon's 1947 religious paintings. Don Binney and even Rita Angus wereseen as regional prototypes. Ross Ritchie's Four Days provides a good exampleof the immediate results of this influence.Perhaps the most important paintings exhibited during 1964 were the Figuresin Light series of Patrick Hanly. They represent clearly the real changes that hadoccurred in New Zealand painting as well as indicate a new degree of professionalism.At the same time MeCahon's Waterfalls, based initially on theNew Zealand landscapes of William Hodges in 1773, provide a possibly definitivecommentary on landscape painting. More importantly this series, like theearlier Gate paintings, represents a non-naturalist use of landscape elementsnew to New Zealand painting. They have as their underlying impulse a symbolicapproach to light, implied by the zen koan inscribed on the Waterfall muralin the Otago University Library: "Because there is a constant flow of lightwe are born into the pure land".Although figurative painting has never entirely lost its dominance (developmentsin 1967 which are outside the scope of this exhibition suggest it mighthave acquired new impetus), abstract painting played an increasingly importantrole from 1965. A major contribution was made by Don Peebles, MilanMrkusich and Gordon Walters, while the return of Ralph Hotere from Europeand the work of the younger painters, John Perry, Ross Ritchie, PaulineThompson and Philip Trusttum was also significant. With a few exceptionsthe non-figurative painters worked in a hard-edge and, lately, a minimal style.It is interesting to note that Louise Henderson, while responding to very differentinfluences, had exhibited hard-edge abstractions in 1958 and 1959, andhad subsequently abandoned the style in the face of critical indifference.To discuss painting in New Zealand in terms of common characteristics hasoften been dismissed as merely a self-conscious attempt to foster some kind ofcultural nationalism. But as Bryan Robertson has pointed out, nationalism isa militant form of provincial insecurity while national characteristics shouldbe recognised and cherished in all the arts. Developments in painting since1958 have revealed, or so it seems, some apparently common characteristics.Whether these amount to a regional style remains to be seen, but apart fromtheir own significance they have also made it possible to see similar elementsin earlier New Zealand painting. At least it can no longer be asserted, as it sooften has, that painting here has had no internal development. Nor can it beargued that New Zealand painters merely follow current developments elsewhere.While influence from outside is both healthy and inevitable it is alsoselected, refined or rejected, in relation to existing directions. For this reason,perhaps, American painting provides a far more relevant parallel to our ownthan any European school, a parallel suggested as early as 1880.Hamish KeithSizes are given in inches, height before width. Unless otherwise statedworks have been lent by the artist.

Rita Angus born Hastings 19081 MANGONUIwatercolour 11 ^x 15^ 1955Exhibited: Five New Zealand WatercolouristsAuckland City Art GalleryJohn Holmwood born Wellington 19102 THE GARDENERoil 48x30 1956Exhibited: Eight Sew Zealand Painters IGabrielle Hope born Lower Hutt 1916, died Auckland 19623 LAKE HORSESwatercolour 12fx17f 1954Exhibited: Five Sew Zealand W'aterealouristsAuckland City Art GalleryDoris Lusk born Dunedin 19164 THE PUMPING STATIONOil 26^x24], 1958Exhibited: Eight Sew Zealand Painter\ IIMilan Mrkusich born Dargaville 19255 CITY LIGHTSoil 30^x361 1955Exhibited: Eight Sew Zealand Painters I

Michael Nicholson born England 19186 SELF PORTRAITmixed media 35f x 22 1954/57Exhibited; Eight New Zealand Painters 1Auckland City Art GalleryOlivia Spencer Bower born England7 TUSSOCK COUNTRYwatercolour 30 x 21 JExhibited: Five Sew Zealand fVatercolouristSAuckland City Art GalleryW. A. Sutton born Christchurch 19178 COUNTRY CHURCHoil 43Jx471 1956Exhibited: Eight New Zealand Painters IJackson 12V:>£.

1959Gordon H. Brown born Wellington 19319 JACOB'S LADDER (second version)oil 29|x18 1959/60Exhibited: (first version) Three Wellington PaintersRobert Ellis born England 192910 AUCKLAND LANDSCAPEoil 23x35 1959Exhibited: Auckland Society of ArtsI. V. PorsoltLouise Henderson born Paris11 CHURCH, DIEPPEoil 34x48 1959Series exhibited: Three Auckland PaintersKase Jackson born Auckland 1 92612 SMOKEoil 48|x37 1958Exhibited: Eight New Zealand Painters illHarold HaywardAlwyn Lasenby born Matamata 1 93013 HORIZONS IIoil 24x30i 1959Exhibited: Eight New Zealand Painters illColin McCahon born Timaru 191914 NORTHLAND PANELSoil eight panels 72x228 1958Exhibited: Three Auckland PaintersKeith Patterson born Auckland 192515 THREE MUSICIANSoil 42|x38i 1958/59Exhibited: Five Auckland ArtistsL. Charles LloydDon Peebles born Taneatua 192216 WELLINGTONoil 34x32^ 1958Exhibited: Five Wellington I'aintersMis I)ennis I lannaFreda Simmonds born Auckland 191217 NORTHLAND LANDSCAPEoil 31 x 55 1957/58Auckland City Art Gallery1960Dorothy Bramwell born Scotland 190018 ANGLESoil 28|x31 c. 1960Hamish KeithHelen Brown born Auckland 191719 MAHURANGIoil 23x32 1960Mr and Mrs L. J. BlackJohn Holmwood20 LANDSCAPE WITH PYLONSoil 24fx25|Exhibited: Contemporary New Zealand Painting

Jean Horsley born Auckland21 Mark 0oil 42ix3(HExhibited: The Gallery. Symonds StreetAuckland City Art GalleryAlwyn Lasenby22 MUDFLATS IIoil 30x66 1960Exhibited: Contemporary New Zealand PaintingAuckland City Art GalieryKeith Patterson23 GOLDEN AFTERNOON WINDOWoil 58{x30 1960Exhibited: Contemporary New Zealand PaintingAuckland City Art GalleryHorsier 21

$iV-.Uaij»v£te Vi'CfKr^ i s\McCahon 311961Dorothy Bramwell24 GREY-GREEN CLIFFoil 45|x34|Exhibited: contemporary Sew Zealand PaintingAuckland City Art GalieryBryan Dew born Hastings 194025 THE BIRTHDAY PARTYoil 32£x29{Colin McCahon

Suzanne Goldberg born Auckland 1 94026 UNTITLEDDH 40x26 1961Gordon SmithJohn Holmwood27 NEAR MANGEREOil 37fx28 1960Exhibited: Painting from the PacificJean Horsley28 PAINTINGoil 19} x 51 ^ i960Exhibited: Painting from the PacificM rs Selw\ n MorrisRalph Hotere born Mitimiti 193129 KOTUKUoil 30x194 1959Exhibited: Ikon Gallery. Symonds(ronton H. BrownAlwyn Lasenby30 HORIZONOil 30x66 1960Exhibited: Painting from the PacificColin McCahon31 GATEOil 70 1 x48 1961Exhibited: Painting from the PacificStreetQuentin MacFarlane horn Dunerliri 193532 NAT NAE HIDES (Bush Series')Oil 36x42 1960Exhibited: Contemporary New Zealand PaintingCanterbury Society of ArtsMilan Mrkusich33 PAINTINGoil 46*1 x34J 1961Exhibited: Painting from the PacificAuckland City Art GallonDon Peebles34 WELLINGTON XIIoil 53^x36^Exhibited: Painting from the PacificAuckland Cit\ \rt (iallerjGraham Percy born Auckland 193735 PAINTING SPRING 1961mixed mod id 36 x 48Exhibited: Contemporary New Zealand PaintingFreda Simmonds36 SEAGULL BAYOil 30x48 1961Exhibited: Painting from the PacificColin McCahonJohn Pine Snadden born Te Kuiti 191337 INSIDE OUTSIDEoil 33x33 1960Exhibited: Painting from the Pacific

M. T. Woollaston born Toko 191038 WAIMEAoil 36x48 1961Exhibited: Painting from the PacificR. N. O'ReilhMrkusich 461962Don Blnney born Auckland 194039 PIPIWHARAUROA, LATE SUMMEROil 36x24 1962Exhibited: Contemporary Mew Zealand PaintingMr. and Mrs. M. D. Carev

Patrick Hanly51 NEW ORDER 29 PART I!oil 54|x42 1963Exhibited: Contemporary New Zealand PaintingAuckland City Art GalleryColin McCahon52 LANDSCAPE, THEME AND VARIATIONoil 65x37{ 1963Series exhibited: Ikon GalleryMr and Mrs Graham EcroydMilan Mrkusich53 LITTLE ORANGEoil 57|x41Exhibited: Contemporary New Zealand PaintingBirmey 48

Frances Rutherford born Masterton 191254 MY VIEW No 8 (AUCKLAND HARBOUR)oil 15|x23Exhibited: Contemporary New Zealand PaintingAuckland City Art GalleryM. T. Woollaston55 LANDSCAPE, KUMARAoil 32x48 1962Exhihiled: McCahon, Woollaston RetrospectiveAuckland City Art GalleryHanlv 601964Gretchen Albrecht born Auckland 194356 WIZZO THE MAGICIANoil 40x47 1963Exhibited: Ikon Eine Arts. Lome StreetAuckland City Art Gallery

Don Binney57 KOTARE OVER RATANA CHURCH, TE KAOoil 38x49 1964Exhibited: Ikon line ArtsDick ScottRobert Ellis58 CITY FROM A WINDOWoil 48x60). 1964Suzanne Goldberg59 LANDSCAPE (DESERT ROAD SERIES)oil 26{x36 1964Exhibited: Ikon GalleryAuckland City Art GalleryPatrick Hanly60 FIGURES IN LIGHT 14oil 50x484r 1964Exhibited: Ikon GalleryMichael lllingworth born England 193261 THE GOLDENKIWIONEoil 34^x44^ 1964Barry Lett GalleriesColin McCahon62 LARGE WATERFALLoil 66x66 1964Exhibited: Ikon line ArtsJeff Macklin born Wellington 193963 UNTITLEDoil 48x69 1964Exhibited: Uptown GalleryBarry Lett (ialleriesRoss Ritchie born Wellington 194164 FOUR DAYSenamel 48x48Mrs R. RitchieClive Wilson born Auckland 1 94065 HATS IIoil 27x25 1964Barry Lett Galleries1965Gordon H. Brown66 PAINTING MID-1965casein with pva 33) x 22-jExhibited: Contemporary New Zealand PaintingRobert Ellis67 URBAN CITYoil and acrylic 66x64 1965Exhibited: Barry Lett GalleriesAuckland City Art Gaiter)

Wallers 77T. P Garrity68 PAINTING, BARI IVJgouache 30^x22| 1964Exhibited: Barry Lett GalleriesMr and Mrs Greer TvvissLouise Henderson69 THE LAKES TRIPTYCHoil each panel 60 x 36 1965Auckland City Art Galler>Ralph Hotere70 BLACK PAINTING (HUMAN RIGHTS SERIES)oil 67x67Exhibited: Barry Lett GalleriesAuckland City Art GalleryMichael lllingworth71 PAINTING WITH RAINBOW 9oil 33x28Exhibited: Barry Lett GalleriesBarry Lett GalleriesColin McCahon72 TWOpva 48x36 1965Series exhibited: Barry LettGalleriesJohn Perry born Auckland 194373 HAT TRICKmixed media 67 x 67 1 965Exhibited: Contemporary .Yen Zealand PaintingBarry Lett GalleriesRoss Ritchie74 REEFTON, JUNE '63oil 72x60 1965Exhibited: Contemporary New Zealand Painting

Theo Schoon born Java 191 575 ONE MAN'S PAINTING IS ANOTHER'S RORSCHACH TESTpva 54 x 48Exhibited: Contemporary Sew Zealand PaintingNew Vision GalleryPhilip Trusttum born Raetihi 1 94076 BIRTHoil 72x48Exhibited: Contemporary Yen- Z.ealand PaintingNew Vision GalleryGordon Walters born Wellington 191977 PAINTING No 1pva 36 x 48 1965Exhibited: New I 'ision GalleryAuckland City Art GallonRitchie 86

1966Don Binney78 OVER BLACK ROCK, TE HENGAoil and acrylic 74x63 1966Exhibited: Contemporary Sew Zealand PaintingDrW. I. GlassRobert Ellis79 MEGAPOLIS WITH TWIN RIVERSoil 60x48Exhibited: Barry Lett GalleriesMrs Merlene YoungDavid Graham80 SET 41pva 48 x 48Exhibited: Contemporary Sew Zealand PaintingHarry Lett GalleriesRalph Hotere81 BIG RED Xoil and construction 69 x 69Exhibited: Contemporary Sew Zealand PaintingBarry Lett GalleriesColin McCahon82 EASTER LANDSCAPE (TRIPTYCH)acrylic each panel 24 x 71Exhibited: Contemporary Sew Zealand PaintingQuentin MacFarlane83 MARINE: SEPT.-OCT.acrylic 57^x72 1966Exhibited: Contemporary Sew Zealand PaintingAuckland City Art GalleryMilan Mrkusich84 TWO ELEMENTS ON BLUEoil 69x34 1966Exhibited: Contemporary New Zealand PaintingDon Peebles85 RELIEF CONSTRUCTION/YELLOW AND BLACKenamel, wood construction 48 x 48Exhibited: Barry Lett GalleriesAuckland City Art GalleryRoss Ritchie86 COMPOSITIONoil 72x63 1966Exhibited: Contemporary Sew Zealand PaintingGordon H. BrownPauline Thompson born Auckland 1 94287 PAINTING A No 2 66oil 63x72Exhibited: Contemporary Sew Zealand PaintingNew Vision GalleryGordon Walters88 PAINTING No 2oil 48x36 1966Exhibited: Contemporary New Zealand PaintingNew Vision Gallery

Thompson 871967E. N. Bracey born England 1 93689 NORTH ISLAND, RURAL !oil 45 x 52Exhibited: Barry Lett GalleriesBarry Lett GalleriesPatrick Hanly90 M22 (PACIFIC ICON)oil 44x59Exhibited: Barry Lett GalleriesMr and Mrs (ireer TwissRalph Hotere91 ZERO IS WHITEacrylic 70x29 1967Exhibited: Barry Lett GalleriesBarry Lett Galleries

Michael lllingworth92 MR & MRS THOMAS PISS-QUICKoil 42x46Exhibited: Barry Lett GalleriesMr and Mrs E. J. FerrierMax McLellan93 NOVEMBERpva 48^x48Exhibited: Barry Lett GalleriesBarry Lett GalleriesIrene O'Neill born Tauranga 193994 WAITAO ESTUARY XXIoil 48x57| 1967Exhibited: Barry Lett GalleriesAuckland City Art GalleryDon Peebles95 PAINTING 1967 LINEAR SERIES No 19acrylic 60 x 65^Exhibited: Barry Lett GalleriesAuckland City Art GalleryGeoff Thornley born Levin 194296 OCEAN-WITH IN, No 8acrylic 48 x 54 1 967Exhibited: Barry Lett GalleriesAuckland City Art GalleryI Hint; worth 92

EXHIBITION CHRONOLOGY 1958-1967The exhibitions listed here fall, broadly, into four categories: one-man andmajor group shows by contemporary New Zealand painters at public andprivate galleries in Auckland, exhibitions of early New Zealand painters andpaintings, major overseas exhibitions of contemporary art shown at theCity Art Gallery and exhibitions of New Zealand painting sent abroad.The chronology is not by any means definitive. Precise records have notbeen kept for some exhibitions and this has resulted in unavoidableomissions. However most major exhibitions are recorded giving a reasonablycomprehensive picture of exhibition activity during the period covered.

1958Auckland City Art GalleryJanuary Eight American Painters and Sculptors: Kenneth Callahan,Morris Graves, Guy Anderson, Rhys Caparn, SeymourLipton, David Hare, Ezio Martinelli, Mark TobeyOrganized by the Seattle Art Museum and touredthrough the United States Information Service.March American College of ArtMay-June British Abstract PaintingSelected by Rex Nan KivellJune-JulyJohn KinderAugustThirty-seven New Zealand paintings from the collection ofCharles Brasch and Rodney KennedyAugust-September Keith Patterson, Philip Slight, IV. R. AllenOctober-November Picasso, lithographs and aquatints 1945-57Selected by Daniel-Henri KahnweilerEight New Zealand Painters II: Doris I,usk, Jan Michels,Janet Paul, Ron Stenherg, Arthur Thompson. John Weeks,M. T. Woollaston, John ZamhelisNovember-December Five New Zealand Walercolourisls: Rita Angus, OliviaSpencer Bower, Gabrielle Hope, Erie Lee-Johnson,T. A. McCormackAuckland Society of ArtsFebruaryWilliam JonesMarch E. Mervyn TaylorMayJohn and Charles ToleJuly-AugustJan Nigra1959Auckland City Art GalleryFebruary Fifl.V Paintings from Private CollectionsMarch Three Wellington Painters: Michael Clark, WilliamMain, Gordon BrownApril Contemporary New Zealand DrawingsPrints by 211 New Zealand ArtistsMay Five Wellington Painters: Brian Carmody, Melvin Day,Don Peebles, J. P. Snadden, Pat WilliamsJune Three Auckland Painters: Kase Jackson, l.ouisc Henderson,Colin McCahonJuly Three Auckland Painters: Alwyn l.asenby, Janet Moore,Jean HorslcyAugust Five Auckland Artists: W. R. Allen (sculpture), KeithPatterson, Philip Slight, Selwyn Wilson {pottery)September Paintings by William Hodges, R.A,Assembled by the Alexander Turnbull Library, Wellington,from the collection of the Lords Commissioners ofthe AdmiraltyJohn Kingston (sculpture), Helen Mason (pottery), RachelMiller, Susan SkcrmanOctober Barry Brickell (pottery), T. P. Garrity, Hamish Keith,Graham Percy, Peter TennantContemporary Japanese ArtArranged by the Japanese Government and sponsoredby Australian State and New Zealand Art GalleriesOctober-November Eight New Zealand Painters 111: Russell Clark, KaseJackson, Alwyn Lasenby, Colin McCahon, Evelyn Page,Keith Patterson, Don Peebles, Freda SimmondlNovemberNew paintersDecember Petrus van der Vclden, paintings 1870-1912Auckland Society of ArtsAugustRobert EllisNovemberW. S. Wall is

John Leech GalleryNovember-December Douglas MacDiarmid1960Auckland City Art GalleryFebruary Four Canterbury Artists: John Coley, Janet Kenny,Quentin MacFarlane, Peter TennantMarch Dennis K. Turner, J ranees Rutherford, Pearl WallaceApril-Ma) Contemporary New Zealand Painting and SculptureMay Contemporary Australian ArtSelected by the Macquarie Galleries, SydneyMay-JuneMilan Mrkusich, Don Peebles, J. P. SnaddenJune-July Modern European Paintings in New ZealandJuly-AugustTlie Realist Tradition in New ZealandAugust John lloimwood, Ciabrielle Hope, M. T. H'oollastonSeptember-October John GullyOctober Dorotliy Bramwell, Johnny Ryman, Freda SimmondsAuckland Society of ArtsMarch-April ivy CopelandJune-July Mark VenahlcsRobert EllisThe Gallery (Symonds Street)July Jean HorsicvAugust Keith PattersonAugust-September Peter SmithNovember-December Alwyn Lasenby1961Auckland City Art GalleryMarch-April Jacob Epstein, Drawings and SculptureMay Painting from the Pacific: Japan, America, Australia,New ZealandSeptember \fim Arm// 1885-1926Selected from the New Zealand Academy of Fine Artsretrospective exhibition in Wellington. June-JulyDecember Contemporary New Zealand PaintingAuckland Society of ArtsMay-June Young New Zealand ArtistsAugust-September Jan NigroOctoberJohn BrownIkon Gallery (The Gallery)FebruaryDennis K. TurnerMarch Jan MichelsApril Milan MrkusichMay Gordon Brown, Ralph Holcre, Margaret TyndallMay-June Keith PattersonJune Lois Mclvor, Allhea N'ortheyAugust-September Colin McCahonNovember Freda SimmondsJohn Leech GalleryAugustHelen Brown1962Auckland City Art GalleryApril Six New Zealand Expatriates: Grace Joel, RhonaHaszard, Frances Hodgkins, Francis McCraeken,Raymond Mclntyre, Owen Merton

JulyNovemberRecent British SculptureBritish CouncilContemporary New Zealand Painting and SculptureAuckland Society of ArtsAugustMax McLellanPainters and Sculptors of PromiseIkon GalleryMarchMayMay-JuneJulyAugustSeptemberSeptember-OctoberOctoberOctober-NovemberNovemberJohn Leech GalleryAugustMichael lllingworthHildegard WieckMilan MrkusichPhilip NeilsenGraham PercyPatrick HanlySuzanne GoldbergAlison Pick mereMilan MrkusichPhilip NeilsenSinn Woolcott1963Auckland City Art GalleryMayM. T. Woollaston, Colin McCahon: A RetrospectiveExhibitionSeptemberEarly Watercolours of New ZealandSeptember-December Sculpture in FranceNovemberContemporary New Zealand PaintingAuckland Society of ArtsJuneDennis K. TurnerIkon GalleryJanuary-FebruaryMarchAprilMayJuneJune-JulyJulyJ ulv-AugustSeptemberOctoberJohn Leech GalleryMarchSeptemberOverseas1964Auckland City Art GFebruary-MarchMarch-AprilMayDavid KennedyMichael lllingworthPatrick HanlyColin McCahonHildegard WieckQuentin MacFarlanePatrick HanlyKeith PattersonM. T. WoollastonDon BinneyLouise HendersonWilliam JonesParis Biennale: Patrick Hanly, Nelson Kenny, BryanDew, E. N. Bracey, Tony Fomison, T. P. GarritySelected by W. A. Sutton and P. A. TomoryalleryOne hundred and two linocuts by PicassoThree British Painters: Alan Davie, JosefHerman,Ivon HitchensXIX andXX century Australian ArtSelected by the C ommonwealth Art Advisorv Board,Australia, and sponsored by the Queen Elizabeth IIArts Council

JuneAugustNovember-DecemberAuckland Society of ArtsJuly R. N FieldNovemberA. J. C. FisherDavid Hockney: The Rake's ProgressJacques Villon: Les BucoliquesJames Nairn and Edward FristromContemporary New Zealand PaintingCaptain Cook —Ms Artists and DraughtsmenHayah's GalleryMay-JuneJuneAugustIkon GalleryFebruaryMarch-AprilAprilApril-MayMayJune-JulyIkon Fine ArtsAugustAugust-SeptemberSeptemberOctoberOctober-NovemberNovemberDecemberJohn Leech GalleryJulySeptemberJan MichelsBuck NinBrcnda llartillM. T. WcollastonLouisMaxRobert EllisGreer TwissMclvorMcLellanPatrick HeadySuzanne GoldbergPhilip NeQsenGretchen AlbrechtJohn DrawbridgeColin McCahonDon Bi/incvHildegard WleckPatrick HanlyJoan TrollopeKeith PattersonDavid BarkerVernon BrownThe Uptown GalleryMayRoss Ritchie, Jeff Mack tinSeptemberPara MatchittSeptember-OctoberOctoberNovemberJohn PerryPaul TangataTeuane TibhoNovember-December Philippa SandersOverseasNew Zealand Contemporary Painting and Ceramics:Japan, India and South-East AsiaSelected by P. A. Tomory and Charles Brasch for theQueen Elizabeth II Arts Council1965Auckland City Art GalleryMarch Contemporary American Painting from the James A.Michener Collection, Allentown Art Museum,PennsylvaniaOrganized by the Auckland City Art Gallery for theQueen Elizabeth II Arts CouncilMay-June Contemporary Painting in GermanyOrganized by the Auckland City Art Gallery for theQueen Elizabeth II Arts Council

SeptemberNovember-DecemberAuckland Society of ArtsAprilRuth CoyleAugustArthur HipwellContemporary Italian SculptureOrganized by the Auckland City Art Gallery for theQueen Elizabeth II Arts CouncilContemporary New Zealand PaintingIkon Fine ArtsFebruary-MarchMarchMarch-AprilMayMay-JuneJohn Leech GalleryMarchMayOctoberBarry Lett GalleriesMayJuneJulyAugustSeptemberOctoberNovemberNew Vision GalleryAprilApril-MayJune-JulyAugustAugust-SeptemberSeptemberSeptember-OctoberNovemberUptown GalleryFebruaryMarch-AprilOverseasGabrielle HopeLouise Henderson, Milan MrkusichMerlene Young, Susan WatsonSuzanne GoldbergRobert EllisJan NigroJohn RitchieGarth TapperPatrick HanlySuzanne GoldbergSelwyn MuruBrenda HartillRalph HotereColin McCahonPaul TangataRoss Ritchie, John PerryTeuane TibboRobert EllisMichael IllingworthM. T. WoollastonTheo SchoonPhilip TrusttumPara Matchitt, Graeme Storm {pottery)Peter SmithAlison Pickmere, Doreen Blumhardt (pottery)William JonesRuth CoyleMalcolm HooperPauline ThompsonPara MatchittGordon BrownContemporary Painting in New Zealand: CommonwealthInstitute, LondonSelected by P. A. Tomory, F. Page and R. Kennedy forthe Arts Advisory Council and sponsored by the QueenElizabeth II Arts CouncilEight New Zealand Artists: Binney, Ellis, Garrity, Hanly,McCahon, Mrkusich, Ritchie, TwissSelected by Hamish Keith for the National Gallery ofVictoria, MelbourneSponsored by the External Affairs Department,Wellington

Louise Henderson, Milan Mrkusich, John Perry: London,Paris, BrusselsSponsored by the External Affairs Department,WellingtonParis Biennale: Patrick Hanlv, Nelson Kenny, ParaMatchitt, Greer Twiss, John PerrySelected by Michael Dunn1966Auckland City Art GalleryFebruaryJacques Lipchitz — 158 bronzes: 1912-62Circulated by the Museum of Modern Art, New Yorkand organized by the Queen Elizabeth II Arts CouncilMax-J uneGibon Sengai: 50 scrollsLent by Sazo Idemitsu and sponsored by the JapaneseSociety for International Cultural RelationsHAP Grieshaber— WoodcutsRecent New Zealand SculptureJuneAbstract Watercolours by 14 AmericansCirculated by the Museum of Modern Art, New Yorkand organized by the Queen Elizabeth II Arts CouncilSeptemberNew British ArtSelected by Jasia Reichardt for the Queen Elizabeth IIArts CouncilOctoberAspects of Australian PaintingDecember-January Contemporary New Zealand PaintingJohn Leech GalleryMarchJuneAugustSeptemberOctoberNovemberBarry Lett GalleriesFebruaryMarchAprilMa\JulyAugustSeptemberOeloberNovemberNew Vision GalleryFebruaryMarchAprilMayJuneJune-JulyJulyJuly-AugustAugustAugust-SeptemberSeptemberSeptember-OctoberOctoberCharles RoseMalcolm Wan-John RitchieMichael SmithcrRaymond ClungNelson ThompsonColin McCahonMilan MrkusichT. P. GarrilyDon BinneySuzanne Goldberglive 20120 Painters: John Coley, Michael Eaton, DavidGraham, Ouentin MacFarlane, Don PeeblesRobert Eilisllildcgard WieekM. T. WoollastonPeter SmithGordon WallersDon DriverFreda SimmondsLouise Henderson, Jean HorsierTed SmythRoss CrothallAlison PiekmereWarren TippettPhilip TrusttumJeff Macklin. Pauline ThompsonMargot PhilipsLois Mclvor

Overseas1967AucklandMay-JuneSeptember-OctobOctoberNovemberDecember- JanuaryJohn Leech GalleryMarchMayJulyAugustSeptemberNovemberBarry Lett GalleriesMarchAprilM ay-JulyAugustSeptemberOctoberNovemberDecemberNew Vision GalleryMarch-AprilAprilMayMay-JuneJuly-AugustAugustOctober-NovemberFive Auckland Painters: Don Binney, Patrick Hanly,Ross Ritchie, Colin McCahon, Milan MrkusichDarlinghurst Galleries, Sydney in association with theBarry Lett GalleriesCity Art GalleryMarcel Duchamp — the Mary Sisler CollectionArranged by the Auckland City Art Gallery andsponsored by the Queen Elizabeth II Arts CouncilNew Zealand Print CouncilThree Generations — Paintings by J. C. Richmond,D. K. Richmond and E. H. AtkinsonOrganized by the Hocken Library, University of OtagoPaul H'underlich — Lithographs 1949-1967Rodin and his ContemporariesOrganized bv Rothmans N.Z. Ltd in association withAlfred Dunhill LtdDouglas MacDiarmidDavid BarkerJohn WeeksRaymond ClungGarth TapperHelen BrownMilan Mrk usichSuzanne GoldbergPatrick HanlyMichael IllingworthDon PeeblesGretchcn AlhrechtRay ThorburnDavid GrahamRalph Mot ereGeoff ThornleyShay DockingIrene O'NeillColin McCahonMax McLellanE. N. Brucey, Maris DonaldRei HamonJan NigraRudolf GopasMax McLellanAlison PickmereFrances RutherfordPeter SmithNovember-December Para MatchittDesign and Typography: Hamish Keith Typesetting: Monoset Trade Ser\ ices Lid, AucklandPrinted by Wakejield Press Ltd, Auckland Exhibition photograph:Auckland Star