Download (7.2 MB) - Christchurch Art Gallery

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Download (7.2 MB) - Christchurch Art Gallery

PREVIEWJULY —AUGUST 1 9 9 0 1 5 3350 Hours of viewing at the CSAPROFILE : "Doris Lusk 1916-1990"— by Julie King. "An Address" by Don Peebles.CSA preview is registered at,New Zealand Post Office HeadquartersPROFILE: "Doris Lusk as a potter"— by Rosemary Perry-Wellington, as a magazine.


••AC S A G A L L E R YThe Journal of the CanterburySociety of Arts66 Gloucester StreetChristchurchPhone (03) 667 261, (03) 667 167Gallery HoursMonday - Saturday 10am - 4.30pmSunday 2pm - 4pmg a l l e r y s t a l lGallery DirectorChris TaylorConsultantsRona RoseGrant Banbury Dip FA (Hons)Exhibitions OfficerBlair Jackson BFAGallery AssistantSpencer Pullon BFAAccountsGrania McKenzie BAOffice/EditorSuzi Melhop BA (Hons)DesignMegan Gainsfordi e w m e n h i r s "Sandra Johnson, CarolynneWhiting, Kathleen Hickey, LadyDiana Isaac, D R Holland, BruceStewart, O L & R N Blockley, MrsVerena Sommerfield, Hilary Evison,Wendy Williams & Shirley Bowie,Roger Graham McLauchlan,Margaret Duncan, Bob Groundrill,Mrs M J Curgenven, DavidCharteris, Joan Pullen, FrancesColleen Jones, Mrs Gwen Freeman,Martin Whitworth, K F Pieters, P JSimmonds, Bon Suter, StephenSend, Paul Mulder, Tim Croucher,Blair Brown, Mrs D L Wilson,Amanda Lunn, J A Turner, LeilaBain, C J Weaver, Simon Bulman,Gaye J Riddell, Ewan Vertue, ValWisely, Mr Ronald W Skews, Mrs RSydow, Ms G T Claxton, Miss BHuggins, Mark Stevenson, Ken andVera Scott, C Reynolds, G Woolleyand M Smith, Dr Robin Merchant,Dorle Pauli, Tony O'Grady, OlwynForbes, J E England, Sharon Belland Richard Greenaway, Kate andHanlin Johnstone, Evelyn A Mclver,R M Inkster, Margaret Maitland,Mrs V H Flanagan, Ruth Helms,Mrs E Rocard, Mrs and Mr J and GThompson, Mr A M B Tie and Ms JBeatson, Mrs and Mr J A and G RJohnson, L Anderson McKenna,Mr M Parkin, Miss Lily McKenzie.MIXEDMEDIA"CREATING THE COLLECTIVE CULTURE"A lecture with slides at the CSA Gallery on Wednesday25 July at 7.30pm.An artist and a designer reflect on New Zealand's emerging culturalexpression. In this lecture Helen Schamroth and Michael Smythe identifythe New Zealand culture in the context of a positive perception ofbi-culturalism, present their selection of great examples of New Zealand'scontemporary cultural expression and reflect on our potential to exciteourselves and the rest of the world.The objective is to empower creative practitioners and their public totake responsibility for the quality of the culture they are creating.Michael Smythe is Executive Director of the New Zealand Society ofDesigners based in Auckland. He has wide experience in industrial,graphic and exhibitions design.Helen Schamroth is a crafts artist who reviews for the New ZealandHerald and New Zealand Crafts. She has shown widely in solo and groupexhibitions throughout New Zealand.Tickets: Members $3.00, Non-members $5.00Please phone Suzi on 667-261 for tickets to be reserved. Tickets canbe collected at gallery reception or posted upon receiving a cheque.AWARDSCSA Guthrey Travel Award for Art Applications Close 31 August 1990The object of this award is to enable a promising or established artistto visit or study in Australia.The award will take the form of an economy class return air passagefrom Christchurch to Sydney by Air New Zealand, and accommodation inAustralia. Total value $750.00. Plus a sum of $750.00 towards the cost oftravelling within Australia. The winner will be required to meet all otherexpenses and stay in Australia for not less than three weeks.Reservations for air flights and accommodation must be made 35 daysbefore departure with A R Guthrey Travel and Shipping Ltd.To be eligible, applicants must be resident in Canterbury or must beworking members or associate members or student members of theCanterbury Society of Arts. For the purpose of this regulation, Canterburyis defined as the territory bounded by the Clarence and Waitaki Rivers.The 1989 recipient was Michael Armstrong.The CSA Gallery gratefully acknowledges the joint support of this awardby A R Guthrey Travel.Entry forms are available at gallery reception.47th International Ceramic Art CompetitionThe 47th International Ceramic Art Competition will be held inFaenza, Italy from September to October 1991.Competition open to individual or associated artists.Applications due 29 September 1990.For more information write to the Competition Headquarters:Palazzo delle Esposizioni, Corso Mazzini 92, 480 18 Faenza (Ra) ITALYLimited entry forms available from the CSA Gallery.Tauranga National Art Award Tauranga Society of Artists Inc.Paintings in any medium, subject - open, Prizes awarded in severalcategories.For more information write to:The Tauranga Society of Artists Inc. C/o Baycourt, Durham Street,Tauranga, 11-19 August 1990Cover: "Cross", Moth Cloth Series, oil/enamel on canvas, Blair Jackson


I LETTERS I tDear EditorThe C.S.A. Gallery being one of the main galleries forChristchurch artists, has a serious access problem for the disabled public.At the present time, three quarters of the floor space is inaccessible topeople with any form of mobiltiy problem. We have found that we have thesupport of the older generation also, who, like the disabled, findthemselves excluded from exhibitions because they cannot manage thesteep flight of stairs. This means that a large proportion of the Christchurchpublic are being excluded from both viewing exhibitions and supportingChristchurch artists and the gallery.Yours faithfullyWarren Robertson, Peter Murray.The Staff and Council of the CSA share the concerns of Warren Robertsonand Peter Murray regarding access for disabled people. Regrettably thedesign of the building in the mid 1960s only allowed for access by lift forthose people unable to climb the main stairs. The lift was never installed asfunds were not available and this situation has continued to the present.Current estimates put the installation of a lift at approximately $130,000with a high ongoing service cost.The gallery can not meet this cost. It is our intention to approach a numberof trusts that may provide funding for better access for the disabled. In themeantime the gallery remains as it is.Finally, it needs to be clarified that the CSA is not funded by the City Councilor by Central Government. Therefore, contrary to some expectations theseare not currently available sources of funding to the CAS Gallery.Chris Taylor (DIRECTOR)MEMBERSHIPe o u n c iPatronHis Excellency The Governer GeneralThe Most Reverend Sir Paul ReevesGCMG DCL(Oxon)PresidentDavid Sheppard ANZIA MNZPIVice PresidentsBill CummingJohn Mackintosh LLBJewel OliverAlison Ryde TTCJohn Coley Dip FA Dip Tchg MBEW J Parsons BCom ACACouncillorsPenny Orme BA (Hons)Simon Marks BALLB (Hons)David Page BSc (Hons)lain Harvey MSIADGrant Banbury Dip FA (Hons)Simon Ogden MARGAAnne Betts BA Dip Cont Ed Dip TchgHon SecretaryBruce FinnertyHon TreasurerJohn Wilson ACAAuditorPeat MarwickSPECIAL OFFERRight now we are offering corporate membership until October 1991.18 months membership for the same price as 12 months. That's6 months free membership. New members will receive: • One painting from our hire collection at no charge. • Subscription to ourbi-monthly magazine on the visual arts. • 6 membership cards which give benefits of membership to individuals.As well as all the other benefits of membership. Corporate membership — Get the Details now. Phone Suzi 667-261WORKING MEMBERS MEETING REPORTA meeting of working members advertised in PREVIEW 151 was held at 7.30pm on Tuesday 27 March. Attendance was light,approximately 30 members out of 288 working members. Discussion was facilitated by John Mackintosh and membersof the Artists Committee were present. Working members present were concerned that the CSA Gallery was becomingtoo orientated towards professional artists. It was felt that this had resulted in many working members not having theirworks hung. Furthermore, when works were rejected artists did not know why and consequently some felt that the placeof working members at the CSA was not highly regarded. The move of the 1989 Summer Exhibition from the Mair Galleryto the North and Mezzanine had also been a dissapointment for some working members.There was a desire to see reviews and critiques of the work and some artists present recalled the days when the annualworking members exhibitions were the major visual arts event of the year which were reviewed at length in thenewspaper.Discussion arising from these concerns developed with specific questions being asked of the Artists Committee.Some misconceptions were cleared up about the selection process and access for working members to exhibit at thegallery. Many present did not realise the costs involved in operating the gallery and how that effected what the gallerycould and could not do.After vigorous and positive discussion the main concerns were identified and the following suggestions wereput forward: • Naming the selection panel • Maintaining the Annual Autumn and Summer Exhibitions in the Mair Gallery• Selection panel providing written reasons for rejecting works • Working members representative not alreadly on Councilco-opted to selection panel.These suggestions were actioned with the Annual Autumn Exhibition. Further suggestions tobe followed up are: • Themes for each exhibition • Designating the Mezzanine gallery as working members gallery• Panel discussions for evaluating working members work.If working members wish to actively follow up any of these suggestions or have other ideas please write or phone Grant Banburat the gallery. The meeting was a positive development and will hopefully set a precedent to ensure communicationis maintained. Thanks to all who attended and in particular John Mackintosh for his contribution as facilitator.Chris Taylor


DORISLUSK1916-1990 BY JULIEKINGhe death of Doris Lusk brought itsown sadness and sense of loss toeveryone who knew her. She hadlived in Christchurch since 1942and she was well loved.I came here from England 15years ago to lecture in Italian andFrench art, but gradually NewZealand painting helped me relateto where I was now living. Doris Lusk'swatercolours and acrylics with their splashed andsplattered painted surfaces, showed me scrubbyhillsides in the South Island. She defined gardenedlandscapes with neat plots and straight rows ofplanting around Nelson, and the summits of greenhills at Banks Peninsula looking out to where landmeets sea.There were many people at Avonside HolyTrinity on April 18, who knew that Doris Lusk had notreceived the official recognition at her death, orduring her life thatshe deserved. Theinstitutional world ofhistorians, critics andcurators witheld theirfull recognition.As a landscapepainter, her imageryconcentrated onstructures on the land:the small settlement ofTahunanui in 1947,the massive hydroinstallations up north,the wharf at Onekaka,St. Stephen's Kurau, in1973 and many others,all spring to mind. Forover fifty years shedealt with a centraltheme of New Zealandart. This was asignificant contribution,and yet traditional orthe 'old' art historycuriously failed toemphasize this.Certainly theworks by her whichwere repeatedlyreproduced, camefrom the 1940s and 1950s. Polaroid photograph by Paul Johns 1983The Pump Station, 1958, belonging to the AucklandCity Art Gallery, represented the artist in a successionof surveys from 1971 with Docking's TwoHundred Years of New Zealand Painting andFrancis Pound's Forty Modern New Zealand Paintingsin 1985 to Anne Kirker's more recent book onNew Zealand Women Artists. The consequence ofrepetitious reproduction was to lock the artist into apast period, which associated her exclusively withregionalism and concerns of national identity. Whenthe institutional world did make its moves and putother painters forward, Doris Lusk was put back.This perspective limited her achievement and fundamentallymisunderstood the personal approachto landscape painting which she developed. Herwork revealed more than regional truth. She paintedinterior landscapes with an awareness which roseabove local concerns.By the 1950s the New Zealand landscape hadbecome perilously planted with cliches for thepainter. It was by discovering her own individualimagery that Doris Lusk found her way of validatinglandscape painting practice. Her response to hersurroundings was personal and her landscapeswere charged by her symbolism and mood. In astriking succession of imagery in the OnekakaWharf, Imaginary Projects and Demolition series,she commented on cycles of creation, construction,and destruction and decay. In the Hydro series,pipes tearing through the bush, made statementsabout gains and losses, about power and vulnerability.A growth in her notion of landscape came in1976 with the remarkable series of Awnings, whichhighlighted the personal way she responded to hersurroundings in Italy, just as she had done in NewZealand. Powerful images imprinted themselves onher imagination, and kept returning to her mind.Once back in NewZealand and rememberingcafe fronts shesaw in the squares atVenice and Bologna,she painted an unforgettableseries. Theawnings were flirtatiousand mysterious; sheshowed how awningspromise disclosuresbut conceal revelations.In ten watercoloursshe suggestedhow the visible worldis veiled with levels ofmeaning. As a NewZealand painter,perhaps her closestaffinities were with RitaAngus, another womanartist whose relation tothe landscape of hersurroundings was anintensely personal one.Her understanding ofthe process of paintingallowed space forintuition: When paintingI find that the imageone seeks forms unconsciouslyfrom the liaisonbetween the medium, past experience and immediatecreativity. 1This fusion was by no means mysterious; it cameby demanding from herself a keen sensibility to thevisual world, sharpened daily by drawing andlooking. An experimental use of media and sheertechnical inventiveness were at the base of herpainting. She could paint herself out of a problem


and then find new directions from her solution.And finally — the person behind the painter wasimportant to so many people — fellow potters andpainters, former colleagues and students, membersof the Art Society and Friends of the McDougall. Shewas a woman who had kept up for over fifty years atotal dedication to her own work, and yet who hadalways managed to be there to support the work ofothers.One of the revealing contradictions in the lifeand work of Doris Lusk, was how the insights of herpainting were accompanied by the matter-offactnesswith which she characteristically spokeabout art:It's easy enought to pop a few watercolours inyour bag and toddle off to spend an afternoon. ThenI began to work a bit bigger and found theconfidence necessary for the job. 2Historians cannot accept her words at facevalue. Were they an outcome of vulnerability and adevice to disarm? All the serious New Zealandpainters of her generation experienced a difficulttime. In the 1940s and 1950s Doris Lusk's reality ofpainting in the kitchen, stirring a pot on the stove,and watching a child, didn't fit into society's notionsof heroic artistic struggle. It was hard enough at thistime in New Zealand, for a woman with children anda serious commitment to art, to retain even in herown mind a belief in her own identity as a painter.She could paintherself out of aproblem and thenfind new directionsfrom her solution.Doris Lusk never accepted any argument that asa woman she had it any tougher than the rest.Perhaps to her as to many of her generation thisseemed to smack of special pleading. When shewas asked to send a message to a convention inNelson, she responded:If I am asked to give any advice, or message tostudents, young, old, male, female, it is very simple— to follow your own way and forget aboutfactionalism. To be "recognised" or "successful" isa matter of perseverance and dedication.Family and friends, the painter's need to paint,helped sustain her in a career of over fifty years. Shenever received the official and national recognitionshe deserved; for historians it remains for us to takesome responsibility, analyze why, and belatedly putthe record straight.Julie King, School of Fine Arts, University ofCanterbury.(1) Dowse Art Gallery, Doris Lusk Retrospective,1973. (2)1 and M. Ban, "Doris Lusk", ContemporaryNew Zealand Painters Vol. 1, A-M,Martinborough, 1980, p. 128.I would like to thank all the people who havetalked to me about Doris Lusk and acknowledgewriting by John Summers, Brett Riley, SandraConey and Lisa Beaven. Thanks to CassandraFusco for sending me the message from Nelson.DORISLUSKBY DON PEEBLES^HjT B oris Holland nee Lusk died on 1 4^ B f l April 1990. Don Peebles gave this^HjT A^^R address at the request of her^ H r W family at Doris's funeral on 18JApril^A^fir I did not meet Dons until 1965WAJ ^^A* and it was not until 1967 ortfj^r perhaps 1968, when she wasjlr appointed to the staff of theSchool of Fine Arts that I got to know her well. At thattime the School maintained on its staff a group offour tutors whose responsibility it was to preparefirst year students for their later more specializedstudies in either Engraving, Graphic Design, Painting,Sculpture, Photography and Film.Over the years this group of teachers includedwell-known names: Dick Lovell-Smith, Tom Taylor,Martin Medelsberg, Quentin MacFarlane, myselfand others. Doris was a member of this group —even more — she quickly became a critical presencewithin it. As a teaching team we were a cohesivebody with a carefully defined teaching policy. Wetook ourselves seriously and saw our combinedprogramme as being of crucial and continuingvalue to all who went through it.I mentioned Doris' important role. Of courseshe was already an experienced teacher when shejoined us and already possessed those rare qualitiesof sustained and resolute commitment. As wellDoris was co-operative — saw herself as a part of ateam but without in any way allowing her wellreasonedpoint of view to be compromised. With anuncanny ability to see good in every student, shefought for them all the way.Above and beyond all of those qualities shewas — most importantly — an artist of considerablestature.In discussion with students or indeed withcolleagues her comments carried the weight ofyears of thought and personal achievement as apractitioner. Although widely read it could never besaid that her knowledge came simply out of books.Doris — in spite of support for the student —was no pushover — she could not be fooled and shedemanded and in return received a standard ofperformance which often surprised the young studentand at times even surprised Doris herself. Ifthere are reasons for that perhaps some of themcentre around her total lack of pretence, herunswerving belief in what she had to do and herafore-mentioned stature as an artist.Now some of the things I've said may suggest asomewhat dour and intense person but all of Doris'friends will know that such professional thoroughnessdid not in any way preclude a refreshing senseof humour.Personally I was to come into contact with itregularly for I taught in an adjacent studio for manyyears and often shared her teapot with her in themornings. We argued a lot about art and teaching,


and spoke frankly to each other as only true friendsmay. But it always ended with Doris telling me to"get lost" — at least until lunch time.When the Art School moved into its newbuilding in 1978 there were many adjustments to bemade. Slowly we realised that our handsome newbuilding was rather deficient in sound-proofing.This fact was brought home to me in a chillingfashion when one morning Doris walked into myoffice saying "That was a very interesting telephoneconversation you had a few moments ago." When Iasked her how she knew that, she smiled and replied"Well I've just been sitting downstairs in the ladies'and I heard every word of it."Another incident reveals her courage. In 1981,1think it was, Doris entered my office, sat down andtold me that she had received a worrying medicalreport — she would need a operation. In admittingher concern she added "You would be concernedtoo if you felt that your life was starting to ebbaway", and then almost without pause she added,"Oh what a bore I'm becoming, let's go over to theStaff Club for a couple of sherries and some lunch."Fortunately Doris recovered from her operationand enjoyed good health and a very productiveworking period for many years. And what work shewent on to do — her Demolition paintings and herImagined Projects series are examples. In all of thisshe broke new ground, for hers was an art notdulled by customs and routine.The appointment of Doris Holland to the Schoolof Fine arts was an act of singular foresight. Thosewho taught with her and legions of students willtestify to that.She observed theworld with apenetrating eye.DORIS LUSKA POTTER BYROSEMARYk PERRYroris Holland was one of NewZealand's pioneer potters. Shestarted potting at the King Edward^kW Technical College in Dunedinunder Robert Field in the 1930'sand her love of potting continuedthroughout her life.Doris was one of the firstpottery teachers in Christchurch,teaching at Risingholm Community Centre from1947 until 1967. She made earthenware potteryusing a standing kick wheel. The brushwork,slipware and decorative glazes on her mouldeddishes showed the influence of her painting.A foundation member of the Canterbury PottersAssociation in 1963, Doris served as its president in1969 and 1970.Throughout her life she made wonderful masksusing thrown, reassembled clay. An exhibition hasbeen arranged to show a group of these at the CaveRock Gallery in August this year.Doris had a wide range of interest as well as herpaintings and pottery. These included language,music and theatre. For some years she wroteinteresting articles about potters' activities for theCanterbury Society of Arts newsletter. An excellentteacher who encouraged young talent, she will beremembered for her lively interest and support of allforms of the arts.Rosemary PerryWhen she retired we, her colleagues, missedher but we were also glad that now she would havemore uninterrupted time for her own painting. Shetook advantage of it, even finding time to fit in someteaching for the Continuing Education Departmentof the University and for other groups. She continuedto be sought after but the demands were nownot so constant — she was more free.Doris had a very special feeling for the NewZealand landscape, it's moods and structures. Likeall artists worthy of the name she followed her ownbugle call and was not swayed by the idiosyncraciesof fashion. She had little patience with posturing butobserved the world with a penetrating eye and setabout the exacting process of bringing it to accountin her painting.Doris will be missed — mostly of course by herfamily. But if we are all saddened by her death weknow also that so long as her works are with us shealso is with us and those who follow us.Don Peebles/'Doris Lusk,Ceramic Mask


J U L Y 4 — 1 5PREVIEWS TUESDAY 3 JULY 8 PMROMAN RAIAPaintingsRoman Raia presents a selection ofworks on paper in which he exploresthe expressive nature ofcolour.MARKCROSSPaintingsThe works of Auckland artist, MarkCross are strongly influenced byhis frequent visits to Niue Islandand his home in the North of NewZealand. They depict architecture,the human figure and other elementswithin wide horizontal landscapesand are concerned withboth environmental and culturalissues.CSA ANNUAL OPENEXHIBITIONAssociate members of the C.S.A.Gallery present works in a widevariety of media for this show.Receiving Day: Friday 30 June1990Opening: Tuesday 3 July 8pmClosing: Sunday 15 JulyCollection: Thursday 19 July 1990Untitled, painting, Roman RaiaPENNYOTTOPaintingsIn this exhibition Penny Otto combinesthe influences of the Expressionistmovement and Japanesecalligraphy to paint works whichdeal with the expressive nature ofthe brushstroke and line. Theworks also convey the artists impressionsof the Canterbury regionand its inhabitants."Diners Talk", Mixed Media on paper.Penny OttoJ U L Y 1 8 —"PRINTEXPONENTS"ASA Print ExhibitionThis exhibition brings together abody of work by a group of majorNew Zealand printmakers. All ofthe participating artists areteachers of printmaking at artschools and colleges around thecountry and attempt both throughthis exhibition and their teaching toshow the different capabilities andPREVIEWS TUESDAY 17 JULY 8 PMversatility of this medium. Artistsinclude: John Drawbridge,Marilyn Webb, Stanley Palmer, LizThompson, Denys Watkins, JennyDolozel, Perry Davies, FelicityWest, Rodney Fumpston, MartyVreede, Catherine Shine, AlbertoGarcia Alvarez and CaroleShepheard.LINDAW00DPaintingsThe paintings of Linda Wood areconcerned with colour, light andrepresentation. They convey a personal symbolism which denotes theemotions and perceptions of theartist. Wood exhibits works in avariety of media including prints,watercolours, drawings and oil on"Behind the Facade", Oil on canvas,Linda Wood


u Y 1 8 — A U G U TPREVIEWS TUESDAY 17 JULY 8 PMGRANT MITCHELLPaintingsThe paintings of Grant Mitchell areconcerned with notions of spiritualawakening, mysticism and life'smany unanswered questions. Theyconvey the artist's thoughts, feelingsand beliefs in relation to theseideas.GRANTSHEEHANPhotographsThis exhibition of photographs isthe culmination of the ambition ofWellington based photographer,Grant Sheehan to capture NewZealand's lighthouses on film beforethey were totally automated.The photographs depict both thelighthouse structures and the last ofthose people who had dedicatedtheir lives to the maintenanceof thelife saving lights.Grant SheehanUntitled, painting, Grant MitchellU G U TPREVIEWS TUESDAY 31 JULY 8 PMRICHARD HERAUDPaintingsThis is the first South Island exhibitionby Auckland based artistRichard Heraud, a painter who israpidly establishing a reputationfor himself through his distinctiveworks.BLAIR JACKSON"War Birds"AssemblagesThis exhibition comprises a seriesof assemblages incorporating avariety of mass manufactured metalbadges on various constructedmetal surfaces. The badges or'pins' are mainly images of fighterplanes combined/arranged withother associated war and birdimages.ALISON GARRETTDrawings and PrintsAlison Garrett presents a series ofworks which study the relationshipof colours and tones and the resultingspatial effects.MAURICE LYE"Intrusions"PhotographsMost of the images in this exhibitionwere photographed whilst onthe artist's trips around the country.The works reveal the ways peoplehave effected the landscape, eitherdeliberately or accidentally."Wings" (War Bird Series), Metalbadge and metal on wood, Blair JacksonUntitled, Working drawing, AlisonGarrettUntitled, Photograph, Maurice Lye


A U G U S T 8 — 2 6PREVIEW WEDNESDAY 8 AUGUST 8 PMUnited New Zealand ModernMastersCOLLECTION PART IIThis major collection of artworksby New Zealand artists is currentlytouring the country giving bothmajor and smaller centres theopportunity to view the developmentand vitality of contemporaryart in New Zealand. Before exhibitingat the CSA the collectionhas been shown in Invercargill,Gore and Oamaru.The collection was initiated byDonald Trott of the United Groupand began with the acquisition ofpaintings by ten major contemporaryNew Zealand artists. Theseworks were exhibited in the UnitedModern Masters Collection whichtoured throughout New Zealandlast year.That exhibition was of the first partof the collection, the second tier ofacquisitions forms this show. UnitedNew Zealand Modern MastersPart Two includes works by:Philippa Blair, Joanna Braithwaite,Gavin Chilcott, Julian Dashper,Andrew Drummond, Neil Frazer,Bill Hammond, Paul Hartigan, RonLeft, Para Matchitt, John Reynolds,Michael Shepherd, Graham Snowdon,Barbara Strathdee, TerryStringer and Pamela Wolfe.United intends to add to the touringcollection over a further three yearperiod. During 1990 the emphasisis on the acquisition of sculptureand photography. Displaying anongoing commitment to contemporaryvisual arts United coversthe cost of crating, freighting andinsuring the works to enable themto travel to all parts of the country."United are thrilled to have anongoing commitment to contemporaryvisual arts in New Zealand".Donald Trott.A U G U S T 1 5 — 2 6PREVIEWS TUESDAY 14 AUGUST 8 PMJENNAPACKERAND BARBARA MITCHELL JANETPAULWatercoloursNEAVEA trip to the MacKenzie Countryhas influenced the landscapeFRASER-DAVIESwatercolours in this show. In herPrintsJenna Packer and Neave Fraserworksthe artist depicts thechanges on the land brought aboutby the seasons.Davies recently set up a printstudioand the works in this exhibitionare the first to emerge fromthis. Both artists are concernedwith utilising the strength of theprint medium with its documentaryIassociation as well as its expressivepotential and are experimentingwith both techniqueand format.Paintings and PrintsOils, watercolours and etchingsare all represented in this exhibition.Janet Paul's works depictfigures in the landscape and indomestic settings, testifying to alifetime of careful observation ofpeople and the spaces — interiorand exterior — which they inhabit.Untitled, Etching, NeaveFraser- Davies


A U G U S T 29 — S E P T E M B E RROSEMARY PERRYCeramicsRosemary Perry presents a smallcollection of celadon glazedporcelain pots made after manyyears experimenting with clay andglaze mixtures and firing techniques.The pots are fired in anelectric kiln. Liquid petroleum gasis introduced to produce a reducingatmosphere which turns theiron in the glaze from yellow togreen. This was done to perfectionduring the Sung Dynasty in Chinausing wood fired kilns and localmaterials.PREVIEWS TUESDAY 28 AUGUST 8 PMJOHNNEALEPaintingsBritish artist, John Neale considershimself a painter in the Englishtradition greatly influenced by theFrench Impressionists. He enjoysthe challenge of painting in theopen air and particularly likespainting the effects of sunlight andshadows. The 1980's have provenhighly successful for Neale, thehighlights being his trip to Balmoralto paint a work for H.M. TheQueen and the sale of two paintingsto actor Ben Kingsley.ANNE WILSONPastelsMost of the pastel drawings in thisexhibition are rock studies, manyof which were completed on locationnear Tonga Island in TasmanBay, Nelson. Anne Wilson wasattracted to the unusually shapedgranite holders, archways andcaves shaped by the seain this area.Porcelain Potsby Rosemary PerryUntitled, pastel drawing,Anne WilsonPAULMcKAYPaintingsLower Hurt painter Paul McKaypresents a series of paintings inthis exhibition which reflect thegreatest influences upon the artistas a child — 'the movies andcomics'. Often working fromphotographs he paints in a hardedged superrealist style, his canvasesranging in size from threeinches square to huge eight feet byfour canvases. People dominateMcKay's paintings but his worksinvariably reflect his urbansurroundings, the buildings,vehicles, advertisingsigns and bill -boards of thecity.PREVIEWS TUESDAY 28 AUGUST 8 PM"NOW ANDT0M0RR0W-ANATION ON THEMOVE"BP Art Award 1990The New Zealand Academy ofFine Arts is to tour an exhibition ofsome 20 invited artists to Christchurchand Auckland as part of theAnnual BP Art Award. The theme ofthis years Award is pertinent to1990 in that it encourages artists torespond to the issues and concernsof artists in our Sesquicentennialyear.The Academy will also tour worksby the Award recipient, RobertFranken. Born and educated in theNetherlands, Robert studied at theRoyal Academy of Arts and FreeAcademy of Arts, both in theHague, and he arrived in NewZealand in 1967.As an artist he believes that theprocess of painting is the journeyand when the painting is finished, itholds the key to the next one.Robert says:"Whatever I think or do is thefoundation to my being an artist. Ikeep meeting myself in unexpectedplaces and am constantly surprisedby the unexpected arising inmy work. It is my concern to actupon what I really know and todiscard that which is not genuine toV


SELLINGGALLERYThe Selling Gallery is situated on the groundfloor,leading off the Canaday Gallery. It youw 1 s h to vie w o r b u v art w ork t r om o u rextensive stock, talk to Rona Rose, ourgalleryconsultant, or enquire at reception.P h o n e 6 6 7-261 t o r an appoint m e n t .Paintings by the following artistsare included in our stock.Gretchen AlbrechtAngela BurnsChristina C o n r a dMelvin DayRudi GopasBill HammondB1 a i r J a c k s o nAlan PearsonTonv RiceJ udith Trevely anJ a n e Z u s t e r sCeramics by :Steve FullmerMarie RossR E S T A U R A N T& BARfine Iktti&n fore.fwr $woki/i¥ti&j privatefunctions or> aoijMnwtedmners, Phone 791'145orF&K 7 9 3 - 0 9 9DINING HOURS: Monday - Thursday 7pm - 12.30pmFriday - Saturday 7pm -1.30pm Sunday 6.30pm - 9.30pmO P E N 7 D A Y SChristchurchSvmphonyOrchestraThe Orchestra that Shines"But for the presence of the Christchurch SymphonyOrchestra, the visit of Dame Kiri to Christchurchwould have been unlikely"The Press - Leader -17 Jan, 1990(rCSOFlexi-Ticketsthe way to enjoy your orchestrayFlexi-Tickets give you the advantage of discountedseat prices and the concert of your choice.Tickets priced at $20 and $ 15 can be obtained at the CSOoffice P O Box 3260, Christchurch.C O M I N G C O N C E R T S IN T H E T O W N H A L LJuly 7, Mark Menzies plays Berg Violin Concerto.August 11, Berlioz "Damnation of Faust" withthe combined choirs.


H. Fisher &Now Offering...48 St Albans St, Merivale.MODERN & CONTEMPORARY PAINTINGSSOME OF OUR MOSTPOPULAR ARTISTSkath von tunzelman — annie baird — alison ryde — shona mcclean — tom & clark esplin —Robert Mcdowell — john prince — maurice askew — ianellingford^ I N T E R E S T I N G ^CERAMICSFROMITALY AND SPAIN —ARTEFACTS,BOWLS,CHESTS, RUGSFROMAFGHANISTAN,IRAN,TURKEY &THAU S E O U R 1 20 Y E A R S O F E X P E R I E N C E IN F R A M I N G , H E R E IN M E R I V A L EOPEN MON - FRI 10AM - 5PM. SAT 1 OAM - 2PMW fISUtR £ SON ltd.FINE ART DEALERSSINCE 1870691 COLOMBO STREETCHRISTCHURCH. 1. NZ(CITY MALL NEAR SQUARE) 661-161New interesting selection of. . .PAINTINGS, PRINTS, ENGRAVINGSWE BUY—SELL—TRADE — VALUE & RESTOREPAINTINGS OF FINE ARTSFrom New Zealand, Australia, England & EuropeWORLD WIDE RANGE OF FRAMING


For the finest range ofFurniture, Furnishingsand Accessoriesp'EVERYTHINGFOR THEARTISTBrush-n-PiletteArtists Supplies Ltd134b r u s h / i p a i e t t e O X F O R D T E R R A C EI LAM CAMPUS • 488-579UNIVERSITY DRIVE111 MERIVALE MALL (upstairs) CHRISTCHURCH.Ph 556-154,556-041ARTS CENTRE • 660-568WORCESTER STREETG.B.D. PRINTS LTD. IS OFTEN CALLED ANARTIST'S HAVENAnyone who knows about G.B.D.Prints knows why they're called anArtist's haven. Their list of productsfor the artist is as long as your arm.The artist who wants to bag all hisor her eggs in one basket, simplymust visitG.B.D. Prints//4*3to see for themselves just what theyhave available. The artist will also beflabbergasted by the continuousspecials, giving a chance to get extravalue for money. So here's part ofthat list of products which is as longas your arm . . . Winsor & Newton —Acrylic, Oil and water colours,Grumbacher and Winsor & Newtonartists brushes, Canson water colourpapers, also sketch pads, oil andwater colour pads. Canvas, prestretchedboards or mountedon a reusable frame, anextensive range of AcidFree, colouredJTjgp) mounting board,plus; easels,| painting boxes, charcoal sticks andpencils, airbrush kits, masking film,overspray fixers, templates, artboard, erasers, . . . The list goes on.So satisfy your curiosity and see thatwe have in fact got all the gear youlove to paint around in!!C.S.A. Members discount uponpresentation of card.G.B.D.Corner Manchester and St Asaph StreetP.O. Box 880. Telephone 660-033Fax: 657-970


JP A P A R O A N A T I O N A L P A R KP U N A K A I K I , W E S T L A N DMultilevel new homewith large studio set inlovely coastal native bush.$89,500E n q u i r i e s to: P . O . B o x 1 4 1 7 9C h r i s t c h u r c hO r p h o n e 2 9 4 - 3 2 2VWORCESTER HOUSETHK FINE ART INVESTMENT COMPANYMARINE WORKS OF ARTENGLISH AND NEW ZEALAND PAINTINGSSHIP MODELSMAPS, PRINTS AND MANUSCRIPTSJOHN CHOWDERWORCESTER MOUSE15 WORCESTER STREETCHRISTCHURCH 1TELEPHONE (03) 655-352ENQUIRIES WELCOMECONJUGALRITESby Roger HalRoger Hall continues his exploration of the mid-life crisis -from FIFTY FIFTY, GLIDE TIME and MIDDLE AGESPREAD, he now gives us CONJUGAL RITES. Even some ofthe funniest scenes in HOT WATER, THE SHARE CLUB andAFTER THE CRASH draw their humour from this source.CONJUGAL RITES, his latest comedy, is warm, mature,dazzlingly skilled and very funny.Two people, who won't see forty again, share a house, a bed,children, worries and a car - but not much of each otheranymore!In a series of brilliantly conceived and hilarious scenes we seethem enter their bedroom and exchange what passes forcommunication. We, the eaves-droppers, can put two and twotogether and work out what is really going on!F r o m 23 J u n e 1990 in Court Two.T H EM E R C H A N TO FV E N I C EFor sheer variety and entertainment value, THE MERCHANTOF VENICE is hard to beat. That is why it has always beenamong the most popular of Shakespeare's plays.Shakespeare weaves the contrasting threads — the bondbetween the Jew and the merchant, the curious competition forthe hand of a rich heiress, the elopement of a pair of younglovers — into one of the most satisfying tapestries of his earlycareer.In language simple, beautiful and still surprising, Shakespearerounds off his play in two of the most brilliant scenes in theatrehistory — the trial scene in which Shylock seeks his pound offlesh and the lovely moonlit sequence that ends the play inwhich the lovers are reconciled.One of the great plays and one of the great theatrical enigmas.BOOK NOWFrom 7th July 1990Telephone (03) 666-992Court TheatreTHE PROFESSIONAL THEATREArts Centre, 20 Worcester Street.


CANTERBURYGALLERYDirector Pat Condon48 Papanui Rd, Chch, New ZealandP.O. Box 171, Chch. Phone (03) 557-057Fine Art DealersRepresenting New ZealandsLeading ArtistsContemporary, Historical & Antique ArtComplimentry Appraisals & ValuationsLLOYDPARKP H O T O G R A P H E R • T E L E P H O N E (03) 664-241FORPHOTOGRAPHYOFPAINTINGSAND ARTWORKARCHITECTUREAND DESIGNRepresentingFURNITUREANDFOODANDDECORPRODUCTSADVERTISINGANDINDUSTRIALHIN STUDIO OR ON LOCATION AS REQUIRED6 ELGIN S T R E E T PO BOX 1937 C H R I S T C H U R C HR I T C H I E SF I N E A R T SF I N E A R T D E A L E R S & C O N S U L T A N T SC O M P R E H E N S I V E C H O I C EW o r k s i ns t o c kE X P E R T A D V I C E &F R A M I N GV A L U A T I O N SRussell Cark Tony Fomison Jeffry HarrisColin McCahon Frances Hodgkms Evelyn PageRudolf Gopas Christopher Perkins Mma ArndtHelen Stewart Flora Scales Toss Woolloston Bill SuttonAlan Pearson Neil Fraser Rhona Hazard M 0. StoddartMaria Olsen Gavin Chilcott Leo Bensemen Philip ClairmontB U Y I N G , S E L L I N G O RT R A D I N GC O M P L E T E A R TA D V I S O R Y S E R V I C EGordon Walters Peter Ransom Ida Eise George BaloghyJane Evans Richard Killeen Graham Sydney Raymond Mclntyre0. S Bower Rita Angus Angus Gray Robert JohnsonJames CookAlfred CookLI83 Victoria Street, City.Telephone: 795-710 Fax: 655-701Mon - Fn 10am - 5.30pm, Sat 10am - 4pmH


VAUGHAN ANTIQUESInterior corner of Vaughan AntiquesImporters of fine period & countryfurniture, clocks, and decorative items.Buyers of quality antiques.Restoration service provided.M E M B E RN . Z . A . D . A .(Your guarantee of quality)83 VICTORIA STREETCHRISTCHURCH N.Z.TELEPHONE 798-521

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