Gow Langsford Gallery was established by John Gow and Gary Langsford in a converted gas station in the Auckland suburb of Grey Lynn in 1987. The premises added new meaning to the expression that it was started on the smell of an oily rag. Although not entirely humble beginnings (oysters were served at the grand opening) the gallery reportedly almost didn’t get off the ground. Just weeks after the opening the share market crashed; a turbulent event that would, years on, prove to be just one of many art market hurdles to overcome. Yet more than 400 exhibitions, seven gallery spaces, twenty-odd art fairs, a seemingly innumerable number of artists and staff, a few weddings and one funeral later - this year Gow Langsford is celebrating a landmark twenty five years. The Gallery has been more than a vocation for both Directors who are passionate advocates for the visual arts and committed to the development of the careers of the artists they represent. Through their dedication they have fostered the growth of contemporary art in New Zealand and enabled the careers of many of this country’s most notable artists. They have actively sought to introduce local audiences to international art. Together they have hosted one-man shows by Pablo Picasso (1998), Damien Hirst (2010), Bernar Venet (2006 and 2012), Donald Judd (2002) and Tony Cragg (2005 and 2011). They have enjoyed successes placing works in major collections both in public institutions and private homes, locally and internationally. This 25th Anniversary Edition of the Spring Catalogue includes 25 sales highlights along with an overview of an extraordinary exhibition history.
Spring Catalogue 2012
2—27
29—47
Looking Back 49—99
25 Highlights 101—118
History
1:
Rita Angus (1908 - 1970, NZ)
Throughout an eventful and often turbulent life, Rita Angus was sustained by an abiding belief in her vocation as an artist. It was not unusual for Angus to work on one painting for several years before she was satisfied with the final composition and her paintings are the result of her long and tireless observations and discipline. In a sense, her commitment to painting and the romantic notion of the solitary artist justified her independence and an unconventional lifestyle for a woman of her generation. Angus divorced at a young age, was a feminist and pacifist, and spent much of her life living alone and often in austere environments and remained ultimately dedicated to her artistic output. Although she was always highly esteemed by a small group of critics and artists, Angus did not receive widespread acclaim until relatively late in her career. Despite this, Rita Angus is undisputedly one of this country’s significant painters and her lasting legacy includes some of the most memorable and well-loved images in New Zealand art history, including Cass (1936). Following her death in 1970, her reputation has continued to grow and was cemented with the National Art Gallery exhibition of her work in 1982, and again, more recently with the touring exhibition Rita Angus: Life and Vision organised by Museum of New Zealand Te Papa Tongarewa (2008). In 1955, Angus moved into her secluded cottage in the inner-city Wellington suburb of Thorndon. The cottage and the changing
2.
Boats, Island Bay 1968 Oil on board / 595 x 575 mm / Signed lower right: RITA ANGUS / Provenance: Purchased by Barry Lett Galleries, Auckland; sold to Seven Arts Society, Auckland, February 1969; purchased Cordy’s National Fine Art Sale, 7 May 1971 by current owner, Auckland / Illustrated, Ascent, no. 3 April 1969; Arts & Community, April 1971 / Exhibited: Victoria University Library, 1968
seasons in the garden became recurring subjects in her works along with the rugged coastline and fishing boats at Island Bay. Angus enjoyed the tranquillity of her Thorndon home but continued to travel in search of new ideas and subjects. A trip abroad to Europe in 1958 provided a renewed sense of purpose and reaffirmed her search toward controlled tone and colour – elements central to her later style. By the mid-1960s Angus was engaged in the lively Wellington gallery scene and although not unsociable she remained reticent and focussed on her painting. This last decade of her life was immensely productive, during which she painted some of her finest landscapes. In the years before her death, failing health confined Angus to scenes that could be easily painted from the studio. Boats, Island Bay painted in 1968 depicts a grouping of boats in Wellington’s Island Bay with Tapu te Ranga Island on the horizon – an outlook frequently cited in works of this period. Using her distinctive style of realism, the forms have been simplified or partially reduced to clearly defined shapes. The resulting geometric forms create a complex pattern that echoes the moored boats as they bounce on the tide. Tapu te Ranga Island forms a natural breakwater for the bay providing a sheltered anchorage for boats. The stillness of the bay is reflected by a clear pervading light and adds an emotional, quiet sensibility to Boats, Island Bay.
2:
Dick Frizzell (b. 1943, NZ)
Dick Frizzell is hardly shy of controversy and his exhibition Tiki at Gow Langsford in 1992 is perhaps his most contentious (yet). Brazen and politically incorrect Frizzell took his viewers on a kind of reconnoitre through modernist art history using the Maori hei-tiki image as his form. The different styles of Picasso, Archipenko and Jean Arp et al were applied to the indigenous image in what was an unprecedented comment on the ethics of appropriation between cultures. The debate surrounding the consumerism of cultural identity flourished around this time and artists like Gordon Waters were openly criticised for their use of traditional Maori imagery and apparent lack of respect for the spiritual meaning of the forms. Unlike Walters, Frizzell’s Tiki works were a direct assault on the ensuing ‘art politics’. Hamish Keith noted at the time that “Tiki takes on, full frontally, biculturalism” and in doing so laid a “challenge to have the real debate about biculturalism that so far we have been too timid or stupid to confront.” (Keith, H. “Tricky Tiki”, Frizzell “Tiki”, exhibition catalogue, Gow Langsford Gallery, 1992) Frizzell’s series directly questioned the cultural significance of the tiki and argued that “the cultural significance of the tiki has never been natural or innocent, but always already a figure through which Maori and inevitably Pakeha identity has been contested. By painting the tiki, Frizzell is not simply appropriating directly from Maori. He is deploying a figure which has commanded a good deal of its significance through a complex process
4.
Pascoid Tiki #3 1/9/00 Oil on canvas / 780 x 780 mm / Signed lower right: FRIZZELL 1/9/2000 / Inscribed lower left: PASCOID TIKI #3 / Provenance: Private Collection, Queensland / Illustrated: Dick Frizzell the Painter, Random House, 2009, p. 215
of appropriation and exchange.” (Stuart A. McKenzie, S.A. “Ticky-Tacky”, ibid) Needless to say these works encountered controversy – they were too “difficult” for many curators and critics, and Frizzell was even labelled a spiritual assassin. Thirty years on Frizzell stands by his campaign though interestingly, he also points out that it was never conceived as a ‘Big Bad Plan’. Although intended to be provocative, the idea gained unanticipated momentum as he “started to come up against a raft of weird cultural taboos - what you can and what you can’t do – and who can do it.” (Dick Frizzell the Painter, Random House, 2009, p. 163) For Frizzell, culture evolves and has a collective mind of its own, beyond the control of “cultural minders”. He recently pointed out that removing the ‘commercial’ representation of the tiki from our culture in the 1990s set a dangerous precedent. “If you are hoping to evolve a ‘pure’ culture by prohibiting the complete range of expression most cultures include, you’re more likely to strangle your darling than nurture it. Ring-fenced cultures atrophy and die. And that became a serious and central focus of my ‘campaign’.” (ibid) And nurture it he has. Likely ticking off those who were outraged at the time, the tiki continues to be a Frizzellean darling. Pascoid Tiki #3 was painted eight years after the big Tiki show and is also the basis of an etching edition and as recently as last year, the tiki form provided impetus for the signature work in Frizzell’s Rubgy World Cup series.
3:
Shane Cotton (b. 1964, NZ, Nga Puhi)
Sold is a particularly interesting painting by Shane Cotton, both in its significance to Cotton’s artistic career and within the context of New Zealand art history. During the 1990s Shane Cotton produced some of his most compelling works for which he has received widespread critical acclaim. In the early 1990s, Cotton began exhibiting his detailed pictorial representations that referenced New Zealand’s post-colonial history. Like many of his contemporaries, his works of this period show an engagement with ideas of cross-cultural politics - a topical issue in New Zealand at the time. Painted in sepia tones and in an anachronistic style these works have a sense of history about them while the inclusion of modern imagery offers a contemporary reading. The canvas in Sold is filled with an array of floating mountains and pots - a recurring symbol in Cotton’s work which has associations with the containment of land, its nurture and ownership – while the central composition is dominated by the portrait of a grocer. This inclusion is a witty and overt reference to artist Dick Frizzell’s (b. 1943) 1992 Tiki series and acts as an extension of the debate pertaining to the cultural ownership of images. (see Catalogue entry #2 on Pascoid Tiki #3) In Grocer with Moko (1992) Frizzell painted the ‘Four Square Man’ with a facial moko (tattoo), fuelling the argument that sacred Maori imagery was being exploited by Pakeha artists, who failed to acknowledge the image’s ancestral
6.
Sold 1994 Oil on canvas / 1830 x 1520 mm / Initialled lower right: S.W.C / Private Collection Auckland / Illustrated: Shane Cotton: Survey 1993-2003 exhibition catalogue, City Gallery Wellington. p. 46 / Exhibited: Shane Cotton: Survey 19932003, City Gallery, Wellington (2003) and Auckland Art Gallery, Auckland (2004)
and spiritual meaning. For some, this appropriation was seen as another contributing factor to the silencing of Maori culture. Frizzell’s ‘borrowing’ of the hei-tiki in this series was, not surprisingly vilified by some, yet it was heralded by others who argued the validity of his reinterpretations. For Cotton, it provided an opportunity to extend this debate further, or rather turn it on itself, as in Sold he essentially ‘borrows’ the grocer back. Stripped of his moko, the grocer expands the debate of the consumerism of cultural identity; the title of the work Sold, perhaps having the final say.
Dick Frizzell, Grocer with Moko, 1992
4:
Gordon Walters (1919 - 1995, NZ)
It is difficult to find a New Zealand artist of the same generation with a comparable body of work to Gordon Walters’. His oeuvre has unparalleled conceptual substance and rigour and he is now heralded as the pioneer of modern abstraction in this country. Although best known for his seminal koru paintings, Walters’ austere geometric abstractions form a classic part of his career. Painted ten years apart, Untitled and Painting with red demonstrate Walters’ on-going commitment to pure abstraction and his lasting ability to reinvent a limited range of forms. Both works are constructed on the basis of rectangular divisions of the picture surface and painted with immense control and calculation. The areas of white create perceptual space which seems to hover in front of the other elements adding dynamism to these seemingly flat surfaces, while the interchange of chromatic opposites creates subtle harmonies. There is an astounding strength and delicacy in the structuring of forms, which together with the density and purity of colour, the immaculate surfaces, and the carefully balanced equilibriums lend these works their efficacy.
8.
Painting with red 1985 Acrylic on canvas / 305 x 245 mm / Signed and dated: Gordon Walters 85 / Titled: Painting with red 1985 / Provenance: Private Collection, Auckland
5:
Gordon Walters (1919 - 1995, NZ)
10.
Untitled 1975 Acrylic on canvas / 305 x 305 mm / Signed and dated: Gordon Walters 1975 / Provenance: Private Collection, Auckland
6:
Ralph Hotere
Vidyapati’s Song 1979 Acrylic on unstretched canvas / 3040 x 912 mm / Signed lower right: Hotere ‘79 / Provenance: Private Collection, Auckland / Illustrated: Hotere, Ron Sang Publishing, 2008. p.145
(b. 1941, NZ, Te Aupouri)
Vidyapati’s Song is an extraordinarily sensuous work by Ralph Hotere and, inscribed with the Bill Manhire’s emotive poem of the same title, it is a deeply evocative work. Now in his seventies, Hotere is undoubtedly one of this country’s most significant artists. His work is widely acknowledged for both its aesthetic beauty and its contemporary relevance. Although in recent years his output has been slowed by ill health, his works continue to be exhibited regularly. His contribution to art was recognised with the highest honour in the New Year’s 2012 Honours with which he became a member of The Order of New Zealand. In the 1970s Hotere was a well-established painter particularly known for his dark and refined aesthetic but by the end of the decade his style had shifted and the minimalism of his well-known Black Paintings gave way to more lyrical and unfettered compositions. Although traces of his earlier formal elements remain, Hotere’s refined aesthetic overflows in Vidyapati’s Song. The thin vertical lines provide a visual anchor to the composition while the surface is enlivened by subtle differences in textures seen in the washes and splashes of ink and paint. The sensitivity Hotere has shown to the surface of the raw and unstretched canvas adds both sophistication and an ethereal quality to this piece. The format and style of Vidyapati’s Song link it with the Song Cycle (1975) paintings which
12.
also used Manhire’s verses and to the Rain (1979) series which incorporated words by the late Hone Tuwhare. Hotere is known for his resistance to defining his works, insisting that the works alone speak for themselves. Vidyapati’s Song is quietly contemplative and together with Manhire’s words, the painting has a redolent poetry of its own.
Vidyapati’s Song by Bill Manhire My lover’s limbs are placed as ornaments My lover’s ornaments are eyes House darkened by arrows Moon darkened by hair Darkness goes out with its voices My lover’s breasts are marked with nails Ah see Her single garment is the rain House darkened by lanterns Moon darkened by song Darkness goes out with its voice
7:
Richard Killeen (b.1946, NZ)
With its scattering of shapes, disparate forms and painted elements Destruction of the Circle employs Rick Killeen’s iconic cut-out technique. When first exhibited in the late 1970s, his assemblages were ground breaking as they essentially ‘freed’ his paintings from the traditions of the invented, illusory space of a painted surface. In doing so he created an art form that is part-painting, part-sculpture and a style that is now one of this country’s most distinctive and easily recognisable. Created in 1990, Destruction of the Circle is made up of a grouping of 24 various lacquered aluminium shapes - the precise format of which is decided by the installer. The viewer is encouraged to create their own narratives from Destruction of the Circle as the relationship between the subjects is intentionally elusive. While some elements can be loosely grouped together in Destruction of the Circle, like the ‘natural world’ elements (the moth, seashells and fauna), other elements appear out of place. Yet, despite a seemingly arbitrary grouping, when presented together these elements begin to complement one another and their separation, both literal and symbolic, conversely creates a sense of union. This unity, albeit mismatched, gives his work its vigour and appeal and reminds us that no interpretation can ever be fixed.
14.
Destruction of the Circle 1990 Acrylic and collage on aluminium / 24 parts, variable dimensions / Provenance: Private Collection, Auckland
8:
Colin McCahon (1919 - 1987, NZ)
An exhibition of paintings by Piet Mondrian (1872-1944, Netherlands) in America in 1958 had a lasting effect on Colin McCahon. The impact is most notable in his Gate series in which McCahon sought to “make a painting beat like, and with a human heart. All his [Mondrian’s] later paintings did this and I had to find out how.” (Browne and Bloem, A Question of Faith, 2003, p.194) Although anticipated in some of his earlier French Bay (1955-57) works, the Gate series was illustrative of a new direction in the artist’s career and in retrospect form a pivotal series. The series is typified by bold geometric abstractions with an underlying and enigmatic symbolism. For McCahon, the ‘gate’ acted as is a metaphor for the need to move beyond certain barriers, some personal, some aesthetic, others social or political. The works appear as formal abstractions but for McCahon they were “identified with the notion of great obstructions, especially the fear of the atomic bomb and the hope of a ‘way through’.” (McCahon, C. Colin McCahon/A Survey Exhibition, Auckland City Art Gallery, 1972) The structure of Black diamond, white square rests on the placement of the black diamond shape in such a way that it allows a gap between the picture plane and the perceived pictorial space beyond. In this McCahon succeeds in his pursuit of bringing a third dimension to a flat painting surface. The rectangular shapes appear to advance or recede in relation to one another and the
16.
Black diamond, white square 1961 Enamel on hardboard / 1212 x 763 mm / Inscribed verso: 1ST GATE SERIES / 8 / TOP / McCahon Trust record number: cm000249 / Private Collection Auckland / Exhibited: An exhibition of recent paintings by Colin McCahon, The Gallery, Symonds Street, 1961 The Gate Series and Other Recent Paintings by Colin McCahon, Canterbury Society of Arts Gallery, Durham Street, 1962
dark area represents a fathomless depth of space which the viewer can enter into. This sense of depth in these works reaffirms the metaphor of moving into or beyond the ‘gates’ and by extension overcoming the obstacles of life. The Gate series, particularly in its reference to Mondrian, further evidenced McCahon’s interest in international contemporary art trends and clearly distinguishes his legacy from that of his local contemporaries.
9:
Pablo Picasso (1881 - 1973, Spain/France)
In 1946, Pablo Picasso visited the Madoura Pottery Workshop in Vallauris on the French Rivera where he became interested in the possibilities of ceramics and earthenware. Following some initial experiments, Picasso was inspired by the results of his new-found medium and began what would become a long relationship with the pottery studio, frequently visiting and producing pieces until near the end of his life in 1973. Ceramics enabled Picasso to experiment with the nuances between decoration and form in ways inaccessible through other media. His forms ranged from more sculptural pieces to vases, plates and plaques and his subjects reflected those frequent in his paintings and drawings - portraits, nature and animals, the bull-fighting scenes. His pet owl and goat were also favourite motifs in his oeuvre at this time. By the mid-1940s, Picasso was an internationally recognised artist, yet at Vallauris he enjoyed the simple life of the artisan and was said to have been treated as an equal with other workers at Madoura. The studio had a lasting impact on both his career and his private life. Over 24 years, Picasso experimented with his technique and between 1947 and 1971 produced 633 different limited editions with Madoura including Man’s Head with Long Hair (1968-69) and Visage au nez pincé (1959); both of which are embossed with the studio’s back stamp. It was also here that Picasso met Jacqueline Rogue (1927-1986) who became Picasso’s
18.
Tête D’Homme aux Cheveux Longs 1968-69 Red earthenware square plaque, painted in white, green, blues and yellow, with engraving enhanced with oxides and partial brushed glaze / 314 x 314 mm / Edition of 100 / Inscribed: `J.111’ and `Exemplaire Editeur’ in black and with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the reverse / Provenance: Private Collection Auckland. Purchased directly from Madoura pottery workshop, Vallauris, France by previous owner. Original Madoura Pottery workshop bag included.
second wife and remained with him until his death. It was not only Picasso’s ability to master the medium of clay that give these works their efficacy but his talent for working an inimitable witticism into his pieces. In doing so, he produced some of the most creative and recognisable ceramics of the 20th century which are now highly collectable. Earlier this year works from the same editions as Tête D’Homme aux Cheveux Longs and Visage au nez pincé, sold at Christie’s (Sale 4232, London, June 2012, Lots 97 and 152) for more than 18,000 and 22,000 Pounds Sterling respectively.
10:
Pablo Picasso (1881 - 1973, Spain/France)
22.
Visage au nez pincĂŠ 1959 Partially glazed ceramic plate / 253 mm diameter / Edition 49 of 100 / Inscribed: stamped, marked and numbered ‘Madoura Plein Feu/Empreinte Originale de Picasso on the reverse
11:
John Pule
Nofo la Koe 1999 Oil on canvas / 2500 x 1805 mm / Signed, dated and titled vertically verso top left: John Puhiatau Pule 1999 Nofo la Koe / Provenance: Private Collection, Auckland
(b. 1962, Niue/NZ)
When John Pule first arrived in inner city Auckland as a young adult in 1980, the formal tenets of poetry and painting were largely unknown to him. Over the next 30 years Pule would explore new directions as both writer and painter, and has since emerged as one of this country’s most recognised painters and one of the most celebrated visual artists of the “New Oceania”. In a sense, Pule is foremost a poet. His poems are visceral, personal accounts of humanity and experiences of Pacific peoples, both at home and in the New Zealand diaspora. The lyricism of his poems, to some extent, provided the content – the images, colours, motifs and energy - that would later underpin and populate his paintings. In the late eighties, John Pule spent time with established painter Tony Fomison and was particularly inspired by his approach to painting as a means to communicate with his ancestors. By the early 1990s, Pule was completing his first novel The Shark that Ate the Sun (1992) and was increasingly more engaged with his painting. Following Fomison’s death in 1990, Pule moved into his former home and, for the first time, invested serious time in his painting practice. In retrospect, this period marks a pivotal time in his career as he created what would later become known as his first “mature” paintings. It was also around this time that Pule made a visit to his homeland Niue, the first since he immigrated to New Zealand as a young child. Here, it would seem, a
24.
vast array of influences came together and were manifested, for Pule, in and around the traditional Niuean hiapo. The hiapo thus provided a formal aesthetic structure for his paintings of this time and although by the early 2000s his works appear more chaotic and unstructured, it is an element frequently revisited. Nofo la Koe was completed several years after Pule’s first return to his homeland of Niue and shows the traditional elements of the hiapo fully resolved and incorporated into a contemporary art form. The composition retains a clear sense of order - each piece of narrative is enclosed within its own portion of the grid, the wavering lines and intensive detail given order by their adhesion to this structural device. During his initial experimentations with aspects of traditional hiapo structure, Pule also began to note a similarity between the compositions, with their contrasts of flowing forms and grid-like lines, and the aerial view of a town or village and, soon began to incorporate elements loosely based on roads and tracks and geographical features of the villages from his homeland. Further, he noted a similarity between such maps and the floor plan of a house, specifically the standardised floor plan of the New Zealand state house with which Pule was very familiar during his upbringing in New Zealand. These three different and yet strongly linked influences can be seen most clearly in Pule’s work of this period.
12:
George Rickey (1907 - 2002, USA)
The 1950s and ’60s are seen as the golden age of Kinetic Art and American sculptor George Rickey is known as a leading exponent of the genre. Four Rectangles One Square, Variation III is a small indoor work activated by variations in air currents caused by the viewer’s movements around the space. The virtual and continuous change of its kinetic elements creates a sense of immediacy as the work literally transforms before the viewer’s eyes, appearing to cut through space and time. Four Rectangles One Square, Variation III contains many layers of form which are best revealed through immediate experience. Its movements appear to be spontaneous, yet are restrained, carefully balanced and in control. In experiencing the subtle, natural course of the reflective surfaces the unpredictable paths of the five kinetic elements can be imagined and traced. Its strict linear movements are softened by the tenuous interplay of the five steel elements and together they delineate intricate patterns of motion – a signature component of Rickey’s works.
26.
Four Rectangles One Square, Variation III 1972 Stainless steel / 490 x 485 x 455 mm / Signed, numbered 1/2 and dated 1972 on base / Edition 1 of 2 / Provenance: Private Collection, Auckland / Illustrated: George Rickey/ Katalog 6, Kestner-Gesellschaft Hannover, 1973 p.67 / Exhibited: George Rickey, Kestner-Gesellschaft Hannover, 1973
1987—2012
LOOKING BACK
Where did twentyfive years go? Gary Langsford
WEST LYNN (1987 - 1990) How the gallery began has been well documented on numerous occasions over the last twenty-five years. The significance of the gallery opening in 1987 was not only in the choice of artists but in the choice of its location and its physical space. The gallery on the corner of Warnock St and Richmond Rd was on a high profile corner site with an outdoor area specifically designated for large scale sculpture (something that became an increasingly important part of the gallery in later years) and the building, previously a petrol station, was modernist in style with high stud and large uninterrupted walls. By the time we had made all the necessary renovations it was the classic ‘white cube’ that was the international standard for contemporary art galleries. It was in that space that we first exhibited some of the most significant New Zealand artists of the twentieth century, including Allen Maddox, Dick Frizzell, Tony Fomison and many others. It was also here that the careers of many younger artists began, mostly notably the very first exhibitions by painters Karl Maughan and Judy Millar. However, being young or at least younger and somewhat naively ambitious John and I also had a much bigger vision for the gallery. THE STRAND (1990 - 1992) Having been wooed by the developers of the building in Parnell now known as The Strand, we leased a 6,500 square foot space on the first floor of this
30.
building whose main tenant was the advertising agency Saatchi and Saatchi, who are still there today. This was a massive space and gave the gallery artists the opportunity to show works on a grand scale. Exhibitions by Dick Frizzell, Max Gimblett, Alberto Garcia-Alvarez all included museum scale paintings, Karl Maughan’s celebrated garden paintings and Michael Hight’s large-scale works were first shown here. Sculpture also featured prominently in our programme, with exhibitions of monumental works by artists like Paul Dibble, Christopher Braddock, Chris Booth and Derrick Cherrie. It was the installation of sculpture exhibitions such as these that made us appreciate the practicalities of a ground floor space! It was also while at The Strand that we became the first New Zealand Gallery to begin participating at international art fairs. In the early 1990s, John and I really began to develop the gallery’s business model. In addition to ourselves and a gallery manager, we employed a full time accounts administrator. This commitment to running a professional gallery business continues today and, in addition to the two directors and gallery manager, we have a marketing manager, registrar, an accounts administrator and a part-time chartered accountant. At any time there are also several part-time gallery assistants and interns. KITCHENER STREET (1993 - …) Although the exhibiting spaces in the gallery at The Strand were the perfect “New York” type spaces, its size and location made it unsustainable, thus the move to Kitchener Street was necessary for the business to survive. We downsized considerably to move to the city but the location directly opposite the Auckland Art Gallery transformed our business. In this location we are visited by thousands of people a year, many of whom are in the neighborhood because they have a serious interest in art. We discovered for the first time the truth in the saying “location, location, location”. Here in Kitchener Street, our commitment to sculpture became increasingly important (and it is no coincidence that in my Bachelor of Fine Arts degree I majored in sculpture!) Although this space is much smaller than the previous gallery, we have undertaken many ambitious sculptural exhibitions. Local artists Paul Dibble, who we now have shown for many years, and Michael Parekowhai both produced memorable exhibitions in this space. It was also in this gallery that we first exhibited the kinetic works
31.
of Len Lye (which caused havoc when we later exhibited them at Art Cologne, Germany, in 1996) and that we first showed paintings by John Pule. In the mid-1990s, my focus on exhibiting international artists in New Zealand really began and we have since held many one-man exhibitions by significant international artists. Highlights include: an exhibition of paintings by Pablo Picasso, the first in a commercial gallery in this country (1998); a show of editions by Andy Warhol (1999) and the first exhibition of sculpture by American master Donald Judd (2000). The latter sold out entirely and all five works went to local collectors. We also mounted oneperson shows by multi-media artist Michael Rovner (2005); the extraordinary artist Tim Hawkinson (2008); and the legendary Damien Hirst (2011) - all of which were a first for this country. Other artists of note have been shown in various exhibitions at the Gallery over the last twenty-five years, namely: Joseph Albers, Ross Bleckner, Dan Flavin, Gunther Forg, Barry Flanagan, Eberhard Havekost, Nicky Hoberman, Sol LeWitt, Mimmo Paladino, Thomas Ruff, Frank Stella, Cy Twombly, Kiki Smith. We continue to exhibit and represent British sculptor Tony Cragg; French sculptor Bernar Venet; American painter and photographer Anthony Goicolea; German painter Katharina Grosse and New York based Spanish painter Antonio Murado, along with Australian painters Dale Frank and Tim Maguire. SYDNEY (2002 - 2004) Like all New Zealand businesses sooner or later one has to think of expanding into Australia and, like so many, this foray is often short lived. Our time in Sydney is distinguished by some of the great works we exhibited there - in particular two Cy Twombly paintings from the 1960s, a Damien Hirst Dot painting and some great shows by our New Zealand stable of artists. As a result, many of our gallery artists now have gallery representation in Sydney and Melbourne. Gow Langsford Gallery was one of the first New Zealand galleries to exhibit contemporary Chinese art, beginning with a photography exhibition by Xing Danwen at our Sydney gallery in 2004. This exhibition was followed by a large group exhibition in 2007 which included work by Feng Zhengjie, Sheng Qi, the Luo Brothers, Li Luming and Miao Xiachun. Over the years we have also exhibited a number of important Australian artists including
32.
Imants Tillers, Tracey Moffatt, Lisa Roet, Rosalie Gascoigne and a number of Aboriginal artists including Emily Kngwarreye, Minnie Pwerle, Freddie Timms, Rover Thomas, Dorothy Napangardi and George Tjungarrayi. LORNE STREET (2008 - …) The move to the current space in Lorne street (although we still occupy the gallery at the corner of Kitchener and Wellesley streets) was a direct response to the development of the new Auckland Art Gallery. We wanted to remain in the “Auckland Arts Precinct” but wanted to be removed slightly from the disruption that would be caused by the demolition and construction of the new AAG. Finding a space with such great gallery characteristics, solid concrete floor and pillars, high stud walls and direct street access was a rare find indeed, especially in this location. It is the Lorne Street Gallery that now helps define the gallery programme. We are able to exhibit both painting and sculpture of an international scale by artists from around the world in a location that is only one street away from the largest public contemporary art gallery in New Zealand. By maintaining the second space directly opposite the AAG we can offer a more varied programme of exhibitions as well as being able to show a wide variety of limited edition prints and three dimensional multiples. Two gallery spaces also enabled us to diversify our exhibition programme and add a number of younger and exciting artists to our stable. Sculptors Gregor Kregar and David McCracken, along with painters Reuben Paterson, James Cousins, Darryn George, Chris Heaphy, Sara Hughes and Simon Ingram, all add a new and vibrant dimension to our exhibition schedule. It may have taken twenty-five years to get here but we feel we are now perfectly positioned. ART FAIRS Art fairs have become the ‘place to be’ for galleries in the 2000s, with many New Zealand galleries now exhibiting around the world. Since our first in 1990, we have exhibited at numerous art fairs in Australia, Asia, Europe and America. The highlights for me were the early days of the Tokyo Art Expo in 1992 and Nicaf in Yokohama in 1993. A highlight for me was nearly being asked to leave Art Cologne in 1996 as the kinetic works that we were exhibiting by Len Lye were too noisy! We subsequently decided to only operate the works once every hour and, as a result, attracted huge numbers
33.
of people to our stand to witness these extraordinary works for the few minutes on every hour that they were in action. Our continued participation at the Melbourne Art Fair (formerly the Australian Contemporary Art Fair – A.C.A.F) has given us a considerable reputation in Australia and resulted in a large number of important works by both New Zealand and international artists being placed in private and public collections; the most recent being the sale of Colin McCahon’s The Five Wounds of Christ no.1 to the National Gallery of Victoria. PERSONAL HIGHLIGHTS There are far too many to name them all but to mention a few: 1. Achieving a record sales price for a painting by Colin McCahon of $3,100,000 2. Funding the production of Michael Parekowhai’s Ten Guitars and finding the luthier to make the guitars, followed by a sell-out exhibition. 3. Being instrumental in the Gibbs Farm Sculpture Park acquisition of one of the largest sculptures ever created by French sculptor Bernar Venet. 4. Assisting Judy Millar to produce her spectacular installation for the Venice Biennale and the subsequent sale of several works to Te Papa Tongarewa. 5. Seeing the Picasso painting Femme Nue avec tête d’homme sold by Gow Langsford Gallery in 1998 on exhibition at the Gagosian Gallery in New York in 2009 for a considerably higher price. 6. Selling more than ten works by Pablo Picasso over the last twenty-five years. 7. Attending the openings of The Third Mind at the Guggenheim Museum, New York (2009) and The Word of God at the Andy Warhol Museum, Pittsburgh (2011) with Max Gimblett who was featured in both exhibitions. Not to mention the countless art parties attended during Art Basel, Switzerland, and Art Basel Miami, dinner for 200 people in honor of Bernar Venet at the Chateau de Versailles, three hours with Frank Stella at his studio in New York and the glamorous evening sales at Christies and Sotheby’s in New York on an annual basis. Many of my friends and colleagues in the art world know I am fond
34.
of the saying “you are in the right business but in the wrong country”. I have to admit that if you look at this from a purely business point of view, I agree. However, my chosen career and location provide so much more than just business. The opportunity to work with great New Zealand artists and to bring their work to collectors and curators around the world and to see them succeed is immensely satisfying. The dialogue with artists and sharing their excitement as they develop new ideas and create new work is a delight. Working with collectors to assist in building unique and personal collections is another great pleasure. The art world is a fascinating place populated by a variety of characters and personalities who are involved in all sorts of capacities, which continue to provide me with an extraordinarily interesting life that I am certain cannot be found in any other industry. In the last twenty-five years many of these artists, curators, dealers, collectors, consultants, gallery staff and others have become sincere, lifelong friends. The partnership between John and I has endured over the last twenty-five years as we each bring very different strengths to the business, but our core values are very much the same. We have both enjoyed the high points and both survived the low points. I’m not sure I’ll be around to celebrate the next twenty-fifth anniversary but it sure has been a hell of a trip so far.
35.
A Walk Through 25 Years John Gow
The concept of Gow Langsford Gallery originated from a discussion between Gary and I over drinks after an art fair in Auckland (Artex 1987). As the night drew on (and the drinks flowed freely) a joint decision was made to open a new contemporary gallery. I didn’t give the idea much further thought until a few weeks later when Gary called to say he had found us a building suitable for a gallery. I said “great” and now, twenty-five years later, I am writing a history of the Gallery. At the time, I was already in the gallery business working with my parents at John Leech Gallery in Remuera while Gary was travelling the world buying and selling objects mostly from the Art Deco and Art Nouveau periods. Between us we had skill sets well-suited for the challenges of running a contemporary art gallery in Auckland. Our first building was a disused garage in Grey Lynn, on a corner site perfect for outdoor sculpture. Architect James Noble came on board on a shoe string budget and not only designed the look of the gallery but built the outside steel fence. Gary and I were hands-on getting the space ready and, on the 9th August 1987, we opened with a good exhibition, a great crowd, and served oysters and vodka to all who arrived. It was quite an opening! Our stable of artists was heavily weighted with sculptors as they all loved the indoor-outdoor aspect of the space. For me, the most memorable show here was Andrew Drummond’s. His works flowed from the inside to outside, wonderful cast steel torsos with found objects, such as hay racks placed
36.
on top of jarrah wooden plinths. As Andrew lived in Dunedin, the works travelled by NZ Rail but were held up in a strike. We raced about the city, rang influential businessmen, even spoke to the picket line but could not get the works released in time for the opening. The culmination was a picture of a disgruntled Andrew Drummond on the front page of the Herald but, as we have learned, there can be an upside to everything as the show, although late opening, was a sell-out! In 1989, Tony Fomison had his last one-man exhibition in this Richmond Road space. I remember my grandfather, an 83 year-old Shakespearean scholar came in to see this exhibition and having spent time talking to Tony about the works and their Shakespearean references, he announced “by Jove that artist is a nice chap and knows his Shakespeare, but I was in danger of becoming intoxicated from his breath!” I could never have imagined a more unusual pairing but I enjoyed watching and listening to them chat away. During the Waitangi weekend celebrations in 1990, Tony died in Whangarei Hospital. The following days are a blur for me as I was heavily involved in the funeral arrangements which culminated in an all-night wake held at the gallery. Tony lay in state surrounded by his friends and his paintings and many of the art community came to pay their last respects. I remember many expressed their surprise that we had offered the gallery for such an occasion. I really miss Tony. He had a wicked sense of humour. I will always remember getting into Gary’s car while Tony was opening and shutting the car door several times. When we enquired as to what he was doing, he gave his wry smile and said “just making sure the door is shut properly….’. The point being that Gary had recently been a passenger on flight UA811 out of Honolulu which suffered a cargo door failure, ripping a gaping hole in the plane sucking out several passengers. It is, to this day, the heaviest 747 to ever land and if it were not for an exceptional pilot the gallery name may well have been prematurely shortened! Yes, Richmond Road has many memories: Dick Frizzell, the artist who has been in our stable longer than any other, rushed in one day to tell us about this sensational student he had at Elam. He was referring to Karl Maughan whose work we have shown since his first year out of Elam. I remember selling a significant Chris Booth to a very unlikely looking chap who arrived in a beaten up Mazda ute and subsequently turned out to be a major collector; and I recall many fast trips between the John Leech Gallery (where I still worked) in Remuera and Grey Lynn to see clients and artists alike.
37.
Since our inaugural event at Richmond Road, there have been so many openings and several premise changes. After eighteen months at Richmond Road, we found it was difficult to attract people out to Grey Lynn and realised that we would have to move to a more central location. The building found new owners in the form of the Buddhist Society, and we moved to temporary premises in Drake Street, while we waited for the developers to finish preparing our new site in the Strand, Parnell. This was a magnificent space, 6,500 square feet in a renovated warehouse with Saatchi and Saatchi as the lead tenant. Once again, a spectacular opening was followed by many successful exhibitions. The building had a magnificent central atrium, which we occasionally used to display sculptures. Chris Booth showed a pair of large stone columns, and we displayed Neil Dawson’s globe suspended in the atrium when it returned from being outside the Pompidou Centre in Paris. I recall a major Gimblett show arriving from New York. The stars were aligned that day and as we unpacked the crates people kept arriving. People seemed to sense our excitement, and as a result, we sold a lot of the show as we unpacked it. Gary organised beautifully restored art deco desks for our office. Gary’s father, Keith, became our accountant and helped with all aspects of the business. It was very sad when Keith fell ill and was diagnosed with bone cancer. Replacing his complete range of skills was never going to be easy. Gary and I decided to use the services of a recruitment company, and although we ended up with the company director’s wife as our new book keeper (nepotism was clearly not an issue), Gail Hofmann has filled Keith’s shoes admirably, and is now our longest serving member of staff. Concurrently, we opened Gow Langsford Wellington which was managed by Hamish McKay. It was a good space in Courtney Place by the fruit growers market. Hamish ran a lively programme and we had some ground breaking shows, including the first one-man Shane Cotton exhibition. Wellington ran its course and Hamish went on to run his own gallery, and become an integral part in the fabric of the New Zealand art world. Our exhibition space at The Strand, encouraged artists to work on a larger scale, and although some found this daunting, all rose to the challenge. Alas, the developer went into liquidation; promises about the building were broken; foot traffic slowed to a crawl and again we realised we were going to have to move. It happened to be a stroke of very good fortune. Gary noticed a building opposite the Auckland Art Gallery being developed with a space earmarked for a restaurant. With some fast talking and imaginative
38.
deal-making we secured the space on Kitchener St which we have happily occupied since 1993. It was a smaller space but its location ensured a steady volume of visitors. In the ensuing nineteen years it has witnessed some amazing exhibitions by both local and international artists. We developed an international programme around the art fairs which we started in 1990. Pioneering this trade from New Zealand we participated in fairs in Japan, Australia, America, and Germany and visited many other fairs around the world. This enabled us to build an international profile and develop relationships with other international galleries. I remember many were intrigued by this gallery from New Zealand and impressed by the standard of work we were showing. Having established such relationships we were able to bring works by international artists to New Zealand. This offered both an opportunity for our local audiences to see international works, and also provides an international context to our own stable of artists, as their work is often showed alongside their international contemporaries. We were also able to hold some stunning one-off exhibitions, like the memorable Picasso show in 1998. It was made up of three paintings and one work on paper - if only we could have bought the whole show and held on to it! In 1995, Gary and I bought my retiring parents Bev and Murray Gow’s, business giving us each equal shares in both John Leech Gallery and Gow Langsford Gallery. We moved John Leech Gallery to the same building in Kitchener Street and expanded Gow Langsford in to an apartment which became a viewing room and office. The move from Remuera meant I was not dashing between the city and Remuera and this made my life a lot easier, as both galleries were in separate spaces in the same building. Sydney was our next venture. In 2002 we took a space in the Danks Street gallery complex set up by Leo Christie and his partners. Managed by Kirsty Divehall, the Sydney Gallery integrated New Zealand artists with Australian artists as well as dove-tailing into our international programme. The most memorable were the two Cy Twombly works we brought into Australia and exhibited. They were stunning paintings. Lorna Fencer, an Aboriginal artist, was another highlight, particularly as she stripped down and did a traditional Aboriginal dance during her opening - quite something. With our family commitments keeping us in Auckland, Sydney ran its due course and Kirsty came back to Auckland to manage the galleries here. In the late 2000s two things happened that affected the galleries - the great financial crisis hit in 2008 and our neighbours, the Auckland Art Gallery
39.
started their major rebuild. Having survived the 1987 share market crash, which happened moments after we opened the first gallery, we knew we could survive anything but proactive decision making was required – and we made some difficult and gutsy decisions. We pre-empted that the noise and disruption from the soon-to-be construction site at the Auckland Art Gallery, would make it difficult for our business to survive so we opened another space in nearby Lorne Street in 2008. The building, formerly a backpackers, was a rare find in the inner city as it has a great stud height and volume. The space was renovated, and turned into gallery and office spaces. Gow Langsford Gallery moved to Lorne St while John Leech Gallery moved into the former Gow Langsford space, allowing us to rent the third space – most directly affected by the Auckland Art Gallery renovations. Last year, we made the difficult decision to move John Leech Gallery to an online only business. This decision allowed us to streamline operations under one brand name and offered Gow Langsford Gallery an additional exhibition space. The extra gallery space means we can mount more project based shows and more international exhibitions, to complement the solo shows of our gallery artists. Over the years we have employed many people and when we look around the industry it is populated by many who have passed through our business. Some left with dignity, others left with our database and an artist or two. We all see each other around, and through what some would term our learning centre, the art world here in New Zealand has grown and matured as a result. With all our staff we have enjoyed some very amusing Christmas parties, some of which turned into folklore within our industry. We have had everything from very sore heads to hospitalisation, boat trips, to bowling clubs, bands, to themed parties all in the name of celebration and team building. Gary coined the phrase that the gallery that plays together stays together. We embraced this and although staff inevitably change, we have had many long standing loyal people. As mentioned, Gail Hofmann has been with us many years, keeping our books in order and her happy disposition is so valued. We had the late Denis Cohn working for us after he closed his gallery and semi-retired. I can see all the faces: Annie Coney, Joan Imrie, Brigit Macintosh, Jan Payne, Antoinette Godkin, Melanie Roger, Kirsty Divehall, Michael Lett, Winsome Wild, Anna O’Loughlin, Leah Seifert, Natalie Poland, Kriselle Baker, Kirin Shanahan, Karla Johnson, Hannah McKissock-Davies, Emma Fox (who got married in the gallery), Anoushka Akel, Shelley Jahnke, Georgina Barr, Lili
40.
Meckler and the present staff: Anna Jackson (who has worked for us twice), Amie Hammond, Sarah Moloney, Hannah Valentine and Shona Irwin. The nature of our business means working closely with artists and is an aspect I enjoy. The relationship with each artist is different and varied and, inevitably some artists remain happily in the stable while others move around. I fondly remember working with the late Allen Maddox - we organised his entire financial affairs, paid his art supply bills, his mortgage and, from time to time, we even paid his drug dealer! One particularly memorable request was when he rang us as he needed money to fund his wedding. Astonishingly (to Gary and I) this involved flying to the Philippines and meeting his brideto-be, Mary-Lou who he had been corresponding with. Mary-Lou, who was incidentally, under the impression that Allen was a house painter, married Allen in the Philippines and they returned to New Zealand where they remained together until Allen’s death in 2000. Other artists particularly, John Pule, John Walsh and Dick Frizzell, have become close friends while Max Gimblett is like the father figure of our gallery. We share passions with others including Paul Dibble and his wife Fran, and I watch with admiration as those like Judy Millar build their careers both here and in Europe. I am pleased to have been involved in the careers of young artists, like Michael Hight who we have known since early in his career; Karl Maughan who we have shown since his time at art school and watched him grow to his present professional standing; and Reuben Paterson who also joined the gallery as young artist and continues to move from strength to strength. I recall a visit to the Auckland Art Gallery exhibition Purangiaho with my daughter Nellie and the worrying moment in which I realised my seven year old daughter was no longer at my side. I backtracked to find her in the middle of Reuben’s room wide eyed amidst his glitter paintings. I asked “darling do you like these works?” to which she replied “Dad, I want one…” - a wonderful reaction. I have enjoyed working in recent years with Darryn George, our only Christchurch artist who came through the earthquake relatively unscathed; Chris Heaphy, Simon Ingram and James Cousins who excite the stable with their dynamic painting practices; with Dave McCracken is our most recent addition; and with Gregor Kregar and Sara Hughes who are our first couple to create new generations within the gallery stable, with their son Luka born last year. Our international programme continues to gain momentum with great artists such as Bernar Venet who recently completed a colossal 30 metre high
41.
work on Alan Gibbs’ Farm, Tony Cragg, Dale Frank, Katharina Grosse, Tim Maguire and Antonio Murado. Looking after estates has become part of our practice and representing the Len Lye foundation was a highlight. Both Gary and I have been great advocates of supporting and working with the secondary market and there have been many great paintings passing through our gallery – from McCahon to Hotere, Hodgkins to Angus, Illingworth to Binney, Walters to Mrkusich, and we have handled some of the very best works by these and many other artists. We support our stable in the auction rooms as well as in the gallery environment. As with our artists we develop strong relationships with our clients. One of the most pleasing aspects of the art business is watching and helping clients build their collections and to ultimately feel proud of the selection. I have learned that a passing interest can turn into a passion which gives all involved great satisfaction. I was privileged to work with Sir James and Lady Fletcher and while still quite young I became the advisor to Fletcher Challenge Trust and built a wonderful relationship with them both. Many a fine scotch were enjoyed while discussing works of art with Sir James, meanwhile Lady Fletcher, would perhaps make tutt tuttings about it being too early in the day and debate the virtues of any artwork as vigorously as any art collector. I will not name other collections specifically as client confidentiality is important but you all know who you are and I thank you all for your on-going support of Gow Langsford Gallery. I have been fortunate in my time in the art world to work closely with my parents, to have one of my sisters in the employ of John Leech Gallery and to work with my brother Doug, but also to have such a wonderful business partner in Gary Langsford. We have been through thick and thin together, we share a similar work ethic and have dared to dream and followed it through. It is not an easy industry in our small country; in fact another of Gary’s sayings is that we are in the right business but the wrong country. Gary now travels extensively building his international contacts and regards New York as his second city while I tend to stay here and keep the home fires burning. Together we have built a business which requires endless energy, imagination, dedication and damn hard work. It has been a great ride and I look forward to where it takes us next.
42.
Top: Gow Langsford Gallery, Richmond Road, 1987. Middle: John Gow and Gary Langsford during renovations for Gow Langsford Gallery, The Strand, 1990. Bottom: Gow Langsford Gallery, The Strand, 1990.
44.
left: John Gow and Gary Langsford at Gow Langsford Gallery, Richmond Road, 1987. Right: John Gow and Gary Langsford at Gow Langsford Gallery, Lorne St, 2012. overleaf: Images of gallery events from the archives, 1987-2012.
1987—2012
25 HIGHLIGHTS
Bernar Venet (b. 1941, France)
88.5 Arc x 8, 2012 Corten steel 30 m high ď‚Ť Commissioned for a Private Collection, Auckland, 2011
50.
Charles F. Goldie (1870 - 1947, NZ)
The Old Lion, Te Aho-o-te-Rangi Wharepu, 1910 Oil on canvas 769 x 635 mm (oval) ď‚Ť Sold to a Private Collection, 2012
52.
Colin McCahon (1919 - 1987, NZ) The Five Wounds of Christ no. 1, 1977-78 Synthetic polymer paint on unstretched canvas 2360 x 2995 mm Image courtesy of Colin McCahon Research and Publication Trust ď‚Ť Sold to the National Gallery of Victoria, Melbourne, Australia, 2012
54.
56.
Dick Frizzell (b. 1943, NZ) Whakapirau, 1990 Oil on canvas 1600 x 2200 mm ď‚Ť Sold to a Private Collection, Auckland, 1990 Sold to a Private Collection, Auckland, 2000
58.
Tony Fomison (1939 - 1990, NZ)
Let each decide, yes, let each decide, 1976-77 Oil on canvas 1625 x 1682 mm (Framed 1660 x 1717 x 100 mm) ď‚Ť Sold to Museum of New Zealand Te Papa Tongarewa, Wellington, 1992
Tony Cragg (b. 1949, England) Clear Glass Stack, 1999 Glass 2200 x 1300 x 1400 mm Sold to Auckland Art Gallery Toi o Tamaki, 2005 Purchased with funds from the Lyndsay Garland Trust with assistance from the Elise Mourant Bequest, Andrew and Jenny Smith, John Gow and Gary Langsford, and the Graeme Maunsell Trust, 2005
60.
Barry Flanagan (1941 - 2009, Wales) Thinker at Rock Cross, 1997 Bronze 1550 x 1400 x 1200 mm ď‚Ť Sold to a Private Collection, Auckland, 2008
62.
64.
Tony Fomison (1939 - 1990, NZ)
Study of Holbein’s ‘Dead Christ’, 1971-1973 Oil on canvas 680 x 3113 x 52 mm Sold to Auckland Art Gallery Toi o Tamaki, 1996
Michael Illingworth (1932 - 1988, NZ)
Adam and Eve Figures with Landscape and Flowers, 1968 Oil on canvas 1370 x 1930 mm ď‚Ť Sold to the Fletcher Trust, 1998
66.
Len Lye (1901 - 1980, NZ/USA) Universe, 1963 Steel, wood, electromagnets 2090 x 2700 x 280 mm Sold to the Edmiston Trust Collection, Auckland Art Gallery Toi o Tamaki, 1995
68.
Max Gimblett (b. 1935, NZ/USA) Lion, 1985 Acrylic polymer, metallic pigments / canvas 2286 mm diameter ď‚Ť Acquired by the Solomon R. Guggenheim Museum Collection, New York, 2011
70.
Colin McCahon (1919 - 1987, NZ) One, 1965 Synthetic polymer paint and polyvinyl acetate on composition board 607 x 607 mm Image courtesy of Colin McCahon Research and Publication Trust ď‚Ť Sold to the National Gallery of Victoria, Melbourne, Australia 1999
72.
74.
Allen Maddox (1948 - 2000, NZ)
Charlie Horse Strikes Again, 1997 Oil on canvas 2435 x 7305 mm (triptych) ď‚Ť Sold to a Private Collection, Auckland, 2001
76.
Colin McCahon (1919 - 1987, NZ) Walk (Series C), 1973 Acrylic on hessian 933 x 12200 mm Image courtesy of Colin McCahon Research and Publication Trust ď‚Ť Sold to Museum of New Zealand Te Papa Tongarewa, Wellington, 2004
Judy MIllar (b. 1957, NZ)
Giraffe - Bottle - Gun 1, 2009 Solvent ink on vinyl 8000 x 3300 mm Giraffe - Bottle - Gun 2, 2009 Solvent ink on vinyl 7000 x 3000 mm Giraffe - Bottle - Gun 3, 2009 Solvent ink on vinyl 5000 x 2500 mm ď‚Ť Sold to Museum of New Zealand Te Papa Tongarewa, Wellington, 2009
78.
80.
Michael Parekowhai (b. 1968, NZ, Nga Ariki, Ngati Whakarongo) The Story of a New Zealand River, 2001 Paua, capiz, lacquer and wood on a Steinway concert grand piano 1015 x 1580 x 2725 mm Sold to the Thanksgiving Foundation, Auckland Art Gallery Toi o Tamaki, 2001
Pablo Picasso (1881 - 1973, Spain/France)
Femme nue avec tête d’homme, 1967 Oil on canvas 1299 x 962 mm Sold to a Private Collection, Auckland, 1998 Sold to a Private Collection, Paris, 2007
82.
84.
John Pule (b. 1962, Niue/NZ)
The Pulenoa Triptych, 1995 Oil on canvas 2190 x 5430 mm ď‚Ť Sold to Chartwell Collection, Auckland Art Gallery Toi o Tamaki, 1998
Gordon Walters (1919 - 1995, NZ) Rongotai, 1970 Acrylic on canvas 1530 x 1140 mm ď‚Ť Sold to a Private Collection, London, 1988 Sold to a Private Collection, Auckland, 1996
86.
88.
Shane Cotton (b. 1964, NZ, Nga Puhi)
Kenehi III, 1998 Oil on canvas 2000 x 3000 mm ď‚Ť Sold to a Private Collection in 1998 Sold to a Private Collection in 2005
Rosalie Gascoigne (1917 - 1999, NZ/Australia) Ensign, 1995 Retro-reflective roadsign on craftboard 1360 x 1200 mm ď‚Ť Sold to a Private Collection, Auckland, 2004
90.
Paul Dibble (b. 1943, NZ) Snapshot, 1998 Bronze 2500 mm high ď‚Ť Sold to a Private Collection, Auckland, 1998
Ralph Hotere (b. 1941, NZ, Te Aupouri)
At Blueskin Bay, 1990-91 Oil on unstretched canvas 1975 x 1820 mm ď‚Ť Sold to a Private Collection, Auckland, 1998 Sold to a Private Collection, Christchurch, 2008
94.
Donald Judd (1928 - 1994, USA) Untitled, 1986 Aluminium and blue Plexiglas 3620 x 100 x 500 mm ď‚Ť Sold to a Private Collection, Auckland, 1995
96.
98.
Frances Mary Hodgkins (1869 - 1947, NZ/UK)
Dairy Farm, 1941 Oil on canvas 864 x 1118 mm ď‚Ť Sold to a Private Collection, Auckland, 1996
1987—2012
history
1987
1989
9 August 1987 Opening Exhibition: Dick Frizzell, Greer Twiss, Jenny Dolezel, Judy Millar, Mervyn Williams, Allen Maddox, Terry Stringer Gow Langsford Gallery, Richmond Rd, Grey Lynn
23 January – 8 February 1989 Allen Maddox A selection of works on paper Gow Langsford Gallery II, Drake St
31 August – 20 September 1987 Michael Shepherd Gow Langsford Gallery, Richmond Rd, Grey Lynn 23 September – 13 October 1987 Dick Frizzell Gow Langsford Gallery, Richmond Rd, Grey Lynn 9 November – 29 November 1987 Robert Jesson Gow Langsford Gallery, Richmond Rd, Grey Lynn 28 November – 17 December 1987 Barry Lett Gow Langsford Gallery, Richmond Rd, Grey Lynn 29 November – 24 December 1987 Tony Lane Gow Langsford Gallery, Richmond Rd, Grey Lynn
1988 11 April – 29 April 1988 Andrew Drummond Gow Langsford Gallery, Richmond Rd, Grey Lynn 2 – 20 May 1988 Rodney Fumpston Oil Paintings Gow Langsford Gallery, Richmond Rd, Grey Lynn 23 May – 10 June 1988 Judy Millar Painting Gow Langsford Gallery, Richmond Rd, Grey Lynn 13 June – 30 June 1988 Chris Booth Sculpture Gow Langsford Gallery, Richmond Rd, Grey Lynn 25 July – 13 August 1988 Terry Stringer Gow Langsford Gallery, Richmond Rd, Grey Lynn 5 September – 23 September 1988 Greer Twiss Gow Langsford Gallery, Richmond Rd, Grey Lynn 26 September – 26 October 1988 Jeffrey Harris Retrospective 1969 – 1986 Gow Langsford Gallery, Richmond Rd, Grey Lynn 7 November – 25 November1988 Michael Shepherd Gow Langsford Gallery, Richmond Rd, Grey Lynn 102.
6 February – 24 February 1989 Robert Ellis Gow Langsford Gallery, Richmond Rd, Grey Lynn 13 February – 5 March 1989 Andrew Drummond In the Valley of the Shadow Gow Langsford Gallery II, Drake St 27 February – 17 March 1989 Neil Fraser Gow Langsford Gallery, Richmond Rd, Grey Lynn 20 March – 7 April 1989 Michael Hight Gow Langsford Gallery, Richmond Rd, Grey Lynn 10 April – 29 April 1989 Christine Hellyar Gow Langsford Gallery, Richmond Rd, Grey Lynn 1 May – 19 May 1989 Small Works exhibition Allen Maddox, Terry Stringer, Christine Hellyar, Dick Frizzell, Greer Twiss, Philip Trusttum, Andrew Drummond, Alexis Hunter, Derrick Cherrie, Robert Ellis, Chiara Corbelletto, Kim Gunter, Judy Millar, Marte Szirmay, Karl Maughan Gow Langsford Gallery, Richmond Rd, Grey Lynn 8 May – 20 May 1989 Victor Majzner Gow Langsford Gallery II, Drake St 21 May – 10 June 1989 Dick Frizzell Gow Langsford Gallery, Richmond Rd, Grey Lynn 12 June – 1 July 1989 Matt Pine Sculpture Gow Langsford Gallery, Richmond Rd, Grey Lynn 3 July – 21 July 1989 Tony Fomison Gow Langsford Gallery, Richmond Rd, Grey Lynn 23 July – 12 August 1989 Mervyn Williams Woodworks – Wanganui Gow Langsford Gallery, Richmond Rd, Grey Lynn 14 August – 1 September 1989 Joanna Braithwaite, Derrick Cherrie Gow Langsford Gallery, Richmond Rd, Grey Lynn 4 September – 22 September 1989 Judy Millar Paintings and Andrew Drummond Sculpture Gow Langsford Gallery, Richmond Rd, Grey Lynn
26 September – 13 October 1989 Peter Nicholls Gow Langsford Gallery, Richmond Rd, Grey Lynn
16 October – 3 November 1990 Barry Lett Gow Langsford Gallery, the Strand, Parnell Small Gallery
15 October – 4 November 1989 Dennis O’Connor Both Arms Gow Langsford Gallery, Richmond Rd, Grey Lynn
6 November – 24 November 1990 Alberto Garcia-Alvarez Gow Langsford Gallery, the Strand, Parnell Large Gallery
6 November – 24 November 1989 Chiara Corbelletto Arche the Beginning Gow Langsford Gallery, Richmond Rd, Grey Lynn
6 November – 24 November 1990 Judy Millar Gow Langsford Gallery, the Strand, Parnell Small Gallery
1990
27 November – 15 December 1990 Dick Frizzell Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
22 January – 16 February 1990 Robert McLeod Drawings –Paintings Gow Langsford Gallery, Richmond Rd, Grey Lynn 19 February – 16 March 1990 Greer Twiss Gow Langsford Gallery, Richmond Rd, Grey Lynn
18 December 1990 – 2 January 1991 Stock Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
1991
19 March – 13 April 1990 Michael Hight Gow Langsford Gallery, Richmond Rd, Grey Lynn
2 January – 12 January 1991 Stock Exhibition Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
20 July – 11 August 1990 Big Paintings Opening of the Parnell Gallery. Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
15 January – 2 February 1991 Stock Gow Langsford Gallery, the Strand, Parnell Large Gallery
14 August – 1 September 1990 Chris Booth Gow Langsford Gallery, the Strand, Parnell Large Gallery 14 August – 1 September 1990 Allen Maddox Gow Langsford Gallery, the Strand, Parnell Small Gallery 4 September – 22 September 1990 Neil Frazer Gow Langsford Gallery, the Strand, Parnell Large Gallery 4 September – 22 September 1990 Gay Hawkes Gow Langsford Gallery, the Strand, Parnell Small Gallery 25 September – 13 October 1990 Alexis Hunter Gow Langsford Gallery, the Strand, Parnell Large Gallery 25 September – 13 October 1990 Christine Hellyar Gow Langsford Gallery, the Strand, Parnell Small Gallery 16 October – 3 November 1990 Robert Ellis Gow Langsford Gallery, the Strand, Parnell Large Gallery
103.
15 January – 2 February 1991 Michael Smither Retrospective Gow Langsford Gallery, the Strand, Parnell Small Gallery 5 February – 23 February 1991 Marte Szirmay Gow Langsford Gallery, the Strand, Parnell Large Gallery 5 February – 23 February 1991 Simply Red McLeod, Gimblett, Williams Gow Langsford Gallery, the Strand, Parnell Small Gallery 26 February – 16 March 1991 Colin McCahon Gow Langsford Gallery, the Strand, Parnell Large Gallery 26 February – 16 March 1991 Lucy Macdonald Gow Langsford Gallery, the Strand, Parnell Small Gallery 19 March – 6 April 1991 Black and White Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery 9 April – 27 April 1991 Karl Maughan Gow Langsford Gallery, the Strand, Parnell Large Gallery
9 April – 27 April 1991 Patrick Reynolds Gow Langsford Gallery, the Strand, Parnell Small Gallery
10 September – 28 September 1991 James Ross Gow Langsford Gallery, Wellington
30 April – 18 May 1991 Andrew Drummond Gow Langsford Gallery, the Strand, Parnell Large Gallery
24 September – 12 October 1991 Terry Stringer Gow Langsford Gallery, the Strand, Parnell Large Gallery
30 April – 18 May 1991 Robert McLeod Gow Langsford Gallery, the Strand, Parnell Small Gallery
24 September – 12 October 1991 David Shennan Gow Langsford Gallery, the Strand, Parnell Small Gallery
21 May – 8 June 1991 Charlotte Fisher Gow Langsford Gallery, the Strand, Parnell Large Gallery
1 October – 19 October 1991 Jeffrey Harris Gow Langsford Gallery, Wellington
21 May – 8 June 1991 Chiara Corbelletto Gow Langsford Gallery, the Strand, Parnell Small Gallery
15 October – 2 November1991 Allen Maddox Gow Langsford Gallery, the Strand, Parnell Large Gallery
11 June – 29 June 1991 Max Gimblett Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
22 October – 9 November 1991 Tony Fomison Gow Langsford Gallery, Wellington
2 July – 20 July 1991 Derrick Cherrie Gow Langsford Gallery, the Strand, Parnell Large Gallery
5 November – 23 November 1991 Paul Dibble Gow Langsford Gallery, the Strand, Parnell Large Gallery
2 July – 20 July 1991 Alberto Garcia-Alvarez Gow Langsford Gallery, the Strand, Parnell Small Gallery
5 November – 23 November1991 Joanna Braithwaite Gow Langsford Gallery, the Strand, Parnell Small Gallery
23 July – 10 August 1991 Michael Hight Gow Langsford Gallery, the Strand, Parnell Large Gallery
12 November – 30 November 1991 Max Gimblett Gow Langsford Gallery, Wellington
23 July – 10 August 1991 Geoff Thornley Gow Langsford Gallery, the Strand, Parnell Small Gallery
26 November – 14 December 1991 Robert McLeod Gow Langsford Gallery, the Strand, Parnell Large Gallery
13 August – 31 August 1991 Philip Trusttum Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
26 November – 14 December 1991 Stock Gow Langsford Gallery, the Strand, Parnell Small Gallery
20 August – 7 September 1991 Colin McCahon Gow Langsford Gallery, Wellington, Large Gallery
3 December – 21 December 1991 Jenny Dolezel Gow Langsford Gallery, Wellington, Large Gallery
20 August – 7 September 1991 Allen Maddox WOP Gow Langsford Gallery, Wellington, Small Gallery
3 December – 21 December 1991 Patrick Reynolds Gow Langsford Gallery, Wellington, Small Gallery
3 September – 21 September 1991 Blaue Kunst Gow Langsford Gallery, the Strand, Parnell Large Gallery
17 December 1991 – 25 January 1992 Stock Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery
3 September – 21 September 1991 Joe Felber Gow Langsford Gallery, the Strand, Parnell Small Gallery
104.
1992 28 January – 15 February 1992 Ralph Hotere Gow Langsford Gallery, the Strand, Parnell Small Gallery 4 February – 21 February 1992 Historical Show Gow Langsford Gallery, Wellington Large Gallery 4 February – 21 February 1992 Robert McLeod Gow Langsford Gallery, Wellington Small Gallery 18 February – 7 March 1992 Don Driver Gow Langsford Gallery, the Strand, Parnell Large Gallery 18 February – 7 March 1992 Dick Frizzell Gow Langsford Gallery, the Strand, Parnell Small Gallery 25 February – 13 March 1992 Derrick Cherrie, Lucy Macdonald, Monique Redmond, Michael Parekowhai Gow Langsford Gallery, Wellington Large Gallery 25 February – 13 March 1992 Neil Dawson Gow Langsford Gallery, Wellington Small Gallery 10 March – 28 March 1992 Mervyn Williams Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery 17 March – 3 April 1992 Ronnie van Hout Gow Langsford Gallery, Wellington Large Gallery 17 March – 3 April 1992 Don Driver Gow Langsford Gallery, Wellington Small Gallery 31 March – 18 April 1992 Tony Fomison, Jeffrey Harris, Max Gimblett, Mervyn Williams Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery 7 April – 24 April 1992 Alberto Garcia-Alvarez Gow Langsford Gallery, Wellington Large Gallery 7 April – 24 April 1992 Christopher Braddock Gow Langsford Gallery, Wellington Small Gallery 21 April – 9 May 1992 Christopher Braddock Gow Langsford Gallery, the Strand, Parnell Small Gallery
105.
12 May – 30 May 1992 Chris Booth Gow Langsford Gallery, the Strand, Parnell Large Gallery 19 May – 5 June 1992 Stephane Rondel Gow Langsford Gallery, Wellington Large Gallery 19 May – 5 June 1992 Ann Robinson Gow Langsford Gallery, Wellington Small Gallery 2 June – 20 June 1992 Geoff Thornley Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery 9 June – 26 June 1992 David Shennan Gow Langsford Gallery, Wellington Small Gallery 23 June – 11 July 1992 Full Circle: Stephen Bambury, Max Gimblett, Geoff Thornley, Mervyn Williams Gow Langsford Gallery, the Strand, Parnell Large Gallery 23 June – 11 July 1992 Marte Szirmay Gow Langsford Gallery, the Strand, Parnell Small Gallery 30 June – 17 July 1992 Stephen Bambury Gow Langsford Gallery, Wellington Large and Small Gallery 14 July – 1 August 1992 Christine Hellyar Gow Langsford Gallery, the Strand, Parnell Large Gallery 14 July – 1 August 1992 Peter Peryer Gow Langsford Gallery, the Strand, Parnell Small Gallery 21 July – 7 August 1992 Geoff Thornley Gow Langsford Gallery, Wellington Large Gallery 4 August – 22 August 1992 Neil Frazer Gow Langsford Gallery, the Strand, Parnell Large Gallery 4 August – 22 August 1992 Charlotte Fisher Gow Langsford Gallery, the Strand, Parnell Small Gallery 11 August – 28 August 1992 Allen Maddox Gow Langsford Gallery, Wellington Large Gallery 11 August – 28 August 1992 Peter Peryer Gow Langsford Gallery, Wellington Small Gallery
25 August – 12 September 1992 Bronze: Liz Thompson, Michael Smither, Christine Hellyar, Terry Stringer, Greer Twiss, Paul Dibble, Marte Szirmay Gow Langsford Gallery, the Strand, Parnell Large Gallery 25 August – 12 September 1992 David Shennan Gow Langsford Gallery, the Strand, Parnell Small Gallery 15 September – 3 October 1992 Michael Hight Gow Langsford Gallery, the Strand, Parnell Large Gallery 22 September – 9 October 1992 Anton Parsons Gow Langsford Gallery, Wellington Large Gallery 22 September – 9 October 1992 Barnard McIntyre Gow Langsford Gallery, Wellington Small Gallery 6 October – 24 October 1992 Robert Ellis Gow Langsford Gallery, the Strand, Parnell Large Gallery 6 October – 24 October 1992 Denis O’Connor Gow Langsford Gallery, the Strand, Parnell Small Gallery 13 October – 30 October 1992 Michael Parekowhai Gow Langsford Gallery, Wellington Large Gallery 13 October – 30 October 1992 Derrick Cherrie Gow Langsford Gallery, Wellington Small Gallery 27 October – 14 November1992 Dick Frizzell Gow Langsford Gallery, the Strand, Parnell Large and Small Gallery 17 November – 5 December 1992 Jeff Harris Etchings Gow Langsford Gallery, the Strand, Parnell Small Gallery 8 December – 24 December 1992 Derrick Cherrie Gow Langsford Gallery, the Strand, Parnell Large Gallery 8 December – 24 December 1992 Karl Maughan Gow Langsford Gallery, the Strand, Parnell Small Gallery December 1992 Group Show: Karl Maughan, Robert Ellis, Dick Frizzell, Stephen Bambury Neil Frazer, Max Gimblett, Neil Dawson, Geoff Thornley, Peter Peryer, Colin McCahon, Mervyn Williams Gow Langsford Gallery, the Strand
106.
1993 February 1993 Robert McLeod Gow Langsford Gallery, the Strand, Parnell February 1993 Jeffrey Harris Gow Langsford Gallery, the Strand, Parnell March 1993 From a Private Collection Gow Langsford Gallery, the Strand, Parnell March 1993 David Shennan Gow Langsford Gallery, the Strand, Parnell 25 May – 18 June 1993 Stephen Bambury Gow Langsford Gallery, Kitchener St 22 June – 9 July 1993 Christine Hellyar Gow Langsford Gallery, Kitchener St 13 July – 30 July 1993 Tony Fomison Gow Langsford Gallery, Kitchener St 3 August – 28 August 1993 Max Gimblett Gow Langsford Gallery, Kitchener St 31 August – 18 September 1993 Christopher Braddock Gow Langsford Gallery, Kitchener St 21 September – 8 October 1993 Allen Maddox Gow Langsford Gallery, Kitchener St 12 October – 29 October 1993 Lynda Benglis Gow Langsford Gallery, Kitchener St 2 November – 19 November 1993 Mervyn Williams Gow Langsford Gallery, Kitchener St 23 November – 10 December 1993 Kaoru Hirabayashi Gow Langsford Gallery, Kitchener St 13 December – 24 December 1993 Christmas Show Gow Langsford Gallery, Kitchener St
1994 10 January – 24 January 1994 Stock Gow Langsford Gallery, Kitchener St 25 January – 12 February 1994 New Zealand Landscapes Gow Langsford Gallery, Kitchener St 15 February – 5 March 1994 Theo Schoon Gow Langsford Gallery, Kitchener St 8 March – 16 March 1994 Robert Ellis Gow Langsford Gallery, Kitchener St 29 March – 16 April 1994 Geoff Thornley Gow Langsford Gallery, Kitchener St 19 April – 7 May 1994 Len Lye Gow Langsford Gallery, Kitchener St 10 May – 28 May 1994 Karl Maughan Gow Langsford Gallery, Kitchener St 31 May – 18 June 1994 Tony Fomison (Ceramics/WOPS) Gow Langsford Gallery, Kitchener St 21 June – 2 July 1994 Spectrum Collection Gow Langsford Gallery, Kitchener St 5 July – 16 July 1994 Derrick Cherrie Gow Langsford Gallery, Kitchener St 19 July – 6 August 1994 Dick Frizzell Gow Langsford Gallery, Kitchener St 9 August – 27 August 1994 Stephen Bambury Gow Langsford Gallery, Kitchener St 30 August – 17 September 1994 Chris Booth Gow Langsford Gallery, Kitchener St 20 September – 8 October 1994 Judy Millar Gow Langsford Gallery, Kitchener St
107.
11 October – 29 October 1994 Paul Dibble Gow Langsford Gallery, Kitchener St 1 November – 19 November 1994 Allen Maddox Gow Langsford Gallery, Kitchener St 22 November – 10 December 1994 Denis O’Connor Gow Langsford Gallery, Kitchener St
1995 10 January – 29 January 1995 Heart Art Ralph Hotere, Christopher Braddock, John Reynolds Gow Langsford Gallery, Kitchener St 31 January – 18 February 1995 Max Gimblett Geos Gow Langsford Gallery, Kitchener St 21 February – 11 March 1995 Neil Frazer Gow Langsford Gallery, Kitchener St 14 March – 25 March 1995 Michael Hight Gow Langsford Gallery, Kitchener St 28 March – 8 April 1995 Julian Schnabel, Jeffrey Harris, Mike Parr Gow Langsford Gallery, Kitchener St 11 April – 29 April 1995 WOP Gow Langsford Gallery, Kitchener St 2 May – 20 May 1995 Christine Hellyar Gow Langsford Gallery, Kitchener St 23 May – 10 June 1995 Tony Fomison Gow Langsford Gallery, Kitchener St 13 June – 1 July 1995 Max Gimblett Gow Langsford Gallery, Kitchener St 4 July – 22 July 1995 Milan Mrkusich A Decade ’60-‘72 Gow Langsford Gallery, Kitchener St 25 July – 5 August 1995 Christopher Braddock Gow Langsford Gallery, Kitchener St
15 August – 26 August 1995 Spring Catalogue Gow Langsford Gallery, Kitchener St
4 June – 22 June 1996 Joanna Braithwaite Gow Langsford Gallery, Kitchener St
29 August – 16 September 1995 Mervyn Williams Gow Langsford Gallery, Kitchener St
25 June – 13 July 1996 Allen Maddox Gow Langsford Gallery, Kitchener St
19 September – 30 September 1995 Charlotte Fisher Gow Langsford Gallery, Kitchener St
16 July – 3 August 1996 Karl Maughan Gow Langsford Gallery, Kitchener St
2 October – 7 October 1995 Georg Kohlap One week exhibition and book launch Gow Langsford Gallery, Kitchener St
6 August – 24 August 1996 Judy Millar Gow Langsford Gallery, Kitchener St
10 October – 21 October 1995 An International Selection Gow Langsford Gallery, Kitchener St
27 August – 14 September 1996 Ralph Hotere Gow Langsford Gallery, Kitchener St
24 October – 11 November 1995 Derrick Cherrie Gow Langsford Gallery, Kitchener St
17 September – 5 October 1996 Paul Dibble Gow Langsford Gallery, Kitchener St
14 November – 2 December 1995 Dick Frizzell Gow Langsford Gallery, Kitchener St
8 October – 16 October 1996 Spring Catalogue Gow Langsford Gallery, Kitchener St
1996
29 October – 16 November 1996 Michael Hight Gow Langsford Gallery, Kitchener St
9 January – 27 January 1996 Group Exhibition Gow Langsford Gallery, Kitchener St 30 January – 17 February 1996 Ralph Hotere, Colin McCahon Gow Langsford Gallery, Kitchener St 20 February – 9 March 1996 Back in the Landscape Gow Langsford Gallery, Kitchener St 12 March – 30 March Bambury, Mosset, Walters Gow Langsford Gallery, Kitchener St 2 April – 20 April 1996 Peter Panyoczki, Andrew Drummond Gow Langsford Gallery, Kitchener St 23 April – 11 May 1996 Imants Tillers Gow Langsford Gallery, Kitchener St 14 May – 1 June 1996 John Pule Gow Langsford Gallery, Kitchener St
19 November – 7 December 1996 Anish Kapoor, Emily Kame Kngwarreye, John Pule, Brett Graham 10 December 1996 – 12 January 1997 Photography : Dave Dobbyn, Kerry Brown, Greg Semu, Darryl Ward Gow Langsford Gallery, Kitchener St
1997 14 January – 2 February 1997 Julia Morrison Gow Langsford Gallery, Kitchener St 4 February – 23 February 1997 Kazu Nakagawa Gow Langsford Gallery, Kitchener St 25 February – 16 March 1997 Max Gimblett Gow Langsford Gallery, Kitchener St 18 March – 6 April 1997 Andrew Drummond Gow Langsford Gallery, Kitchener St 29 April – 18 May 1997 Len Lye, Gordon Walters Gow Langsford Gallery, Kitchener St
108.
20 May – 7 June 1997 Stephen Bambury Gow Langsford Gallery, Kitchener St
17 March – 11 April 1998 Pablo Picasso Gow Langsford Gallery, Kitchener St
10 June – 28 June 1997 Christopher Braddock Gow Langsford Gallery, Kitchener St
14 April – 2 May 1998 Chris Booth, Christopher Braddock, Jeff Thomson Gow Langsford Gallery, Kitchener St
1 July – 20 July 1997 Jeffrey Harris Gow Langsford Gallery, Kitchener St
5 May – 23 May 1998 Karl Maughan, Dick Frizzell : Landscapes Gow Langsford Gallery, Kitchener St
22 July – 9 August 1997 Dale Frank Gow Langsford Gallery, Kitchener St
26 May – 13 June 1998 Leigh Martin Gow Langsford Gallery, Kitchener St
12 August – 31 August 1997 Denis O’Connor Gow Langsford Gallery, Kitchener St
16 June – 4 July 1998 Richard Thompson Gow Langsford Gallery, Kitchener St
2 September – 21 September 1997 Spring Catalogue Gow Langsford Gallery, Kitchener St
7 July – 25 July 1998 John Pule Gow Langsford Gallery, Kitchener St
23 September – 12 October 1997 Mervyn Williams Gow Langsford Gallery, Kitchener St
28 July – 22 August 1998 Max Gimblett Gow Langsford Gallery, Kitchener St
14 October – 2 November 1997 Tony Lane, Antonio Murado Gow Langsford Gallery, Kitchener St
25 August – 12 September 1998 Shane Cotton Gow Langsford Gallery, Kitchener St
4 November – 23 November 1997 Ross Bleckner, Mark Francis, Mervyn Williams Gow Langsford Gallery, Kitchener St
15 September – 10 October 1998 Spring Catalogue Gow Langsford Gallery, Kitchener St
25 November – 14 December 1997 Michael Parekowhai Gow Langsford Gallery, Kitchener St
13 October – 24 October 1998 Achromatic Gow Langsford Gallery, Kitchener St
6 December 1997 – 31 January 1998 Figurative Painting Gow Langsford Gallery, Kitchener St
17 October – 14 November 1998 Dick Frizzell Gow Langsford Gallery, Kitchener St
1998
17 November – 5 December 1998 Paul Dibble Gow Langsford Gallery, Kitchener St
12 January – 31 January 1998 Figurative Painting Gow Langsford Gallery, Kitchener St 3 February – 21 February 1998 Allen Maddox Gow Langsford Gallery, Kitchener St 24 February – 14 March 1998 Michael Hight Gow Langsford Gallery, Kitchener St
109.
8 December 1998 – 23 January 1999 Christmas Stock Show Gow Langsford Gallery, Kitchener St
1999 26 January – 13 February 1999 Philip Clairmont, Tony Fomison, Allen Maddox Gow Langsford Gallery, Kitchener St
16 February – 6 March 1999 Crossed Out Gow Langsford Gallery, Kitchener St
February 2000 NZ and International Gow Langsford Gallery, Kitchener St
9 March – 27 March 1999 Christine Webster Gow Langsford Gallery, Kitchener St
February – 11 March 2000 Paintings and Sculpture :Donald Judd, Isamu Noguchi, Pablo Picasso, Julian Schnabel, Colin McCahon, Tony Fomison Gow Langsford Gallery, Kitchener St
30 March – 17 April 1999 Antonio Murado Gow Langsford Gallery, Kitchener St 20 April – 8 May 1999 Judy Millar Gow Langsford Gallery, Kitchener St 11 May – 29 May 1999 Derrick Cherrie Gow Langsford Gallery, Kitchener St 1 June – 19 June 1999 Mervyn Williams Gow Langsford Gallery, Kitchener St 22 June – 10 July 1999 Jeff Thomson Elephants Gow Langsford Gallery, Kitchener St 3 August – 21 August 1999 Christopher Braddock Gow Langsford Gallery, Kitchener St 24 August – 18 September 1999 Spring Catalogue Exhibition Gow Langsford Gallery, Kitchener St 21 September – 16 October 1999 Andy Warhol Gow Langsford Gallery, Kitchener St 19 October – 6 November 1999 Leigh Martin Gow Langsford Gallery, Kitchener St 9 November – 4 December 1999 Max Gimblett Gow Langsford Gallery, Kitchener St 7 December 1999 – 8 January 2000 Shane Cotton Gow Langsford Gallery, Kitchener St
2000 11 January – 29 January 2000 Freddie Timms Gow Langsford Gallery, Kitchener St
110.
14 March – 1 April 2000 Karl Maughan Gow Langsford Gallery, Kitchener St 4 April – 22 April 2000 Allen Maddox Gow Langsford Gallery, Kitchener St 25 April – 13 May 2000 Looking Back Gow Langsford Gallery, Kitchener St 16 May – 3 June 2000 Richard Thompson Gow Langsford Gallery, Kitchener St 6 June – 24 June 2000 Michael Parekowhai Gow Langsford Gallery, Kitchener St 27 June – 15 July 2001 Tony Fomison Gow Langsford Gallery, Kitchener St 18 July – 5 August 2000 Martin Ball Gow Langsford Gallery, Kitchener St 8 August – 26 August 2000 Michael Hight Gow Langsford Gallery, Kitchener St 19 August – 16 September 2000 Denis O’Connor Gow Langsford Gallery, Kitchener St 19 September – 7 October 2000 Spring Catalogue Gow Langsford Gallery, Kitchener St 10 October – 28 October 2000 Paul Dibble Gow Langsford Gallery, Kitchener St 21 November – 9 December 2000 Dick Frizzell Gow Langsford Gallery, Kitchener St
2001 16 January – 4 February 2001 Works on Paper Gow Langsford Gallery, Kitchener St 6 February – 3 March 2001 Let There Be Light : Dan Flavin, Paul Hartigan, Michael Parekowhai Gow Langsford Gallery, Kitchener St 6 March – 31 March 2001 Colin McCahon Gow Langsford Gallery, Kitchener St 3 April – 28 April 2001 Dale Frank Gow Langsford Gallery, Kitchener St 1 May – 26 May 2001 Stock Gow Langsford Gallery, Kitchener St 29 May – 23 June 2001 Mervyn Williams Gow Langsford Gallery, Kitchener St
February 2002 Opening Exhibition : Colin McCahon, Tracey Moffatt, Tony Tuckson, Rover Thomas, Paul Dibble, Shane Cotton, Cy Twombly Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 26 February – 23 March 2002 John Pule Gow Langsford Gallery, Kitchener St 26 March – 20 April 2002 Karl Maughan Gow Langsford Gallery, Kitchener St 23 April – 18 May 2002 Judy Millar Gow Langsford Gallery, Kitchener St 9 May – 6 June 2002 Michael Parekowhai Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 21 May – 15 June 2002 Donald Judd Gow Langsford Gallery, Kitchener St
26 June – 21 July 2001 Shane Cotton Gow Langsford Gallery, Kitchener St
13 June – 18 July 2002 Resisting Colour: Cy Twombly, Judy Millar, Christopher Braddock, Damien Hirst, Dale Frank Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
24 July – 18 August 2001 Max Gimblett Gow Langsford Gallery, Kitchener St
18 June – 13 July 2002 Richard Thompson Gow Langsford Gallery, Kitchener St
21 August – 15 September 2001 Christopher Braddock Gow Langsford Gallery, Kitchener St
16 July – 10 August 2002 Michael Hight Gow Langsford Gallery, Kitchener St
18 September – 13 October 2001 Spring Catalogue Gow Langsford Gallery, Kitchener St
13 August – 7 September 2002 Allen Maddox Gow Langsford Gallery, Kitchener St
16th October – 10 November 2001 Sculpture: Rickey, Lye, Hotere Gow Langsford Gallery, Kitchener St
24 August – 19 September 2002 Emily Kngwarreye, Dorothy Napangardi, Minnie Pwerle, John Pule and Freddie Timms Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
13 November – 8 December 2001 Black and White Gow Langsford Gallery, Kitchener St 11 December 2001 – 25 January 2002 Michael Parekowhai Gow Langsford Gallery, Kitchener St
2002 29 January – 23 February 2002 Reuben Paterson, Richard Thompson, Paul Hartigan, Dale Frank Gow Langsford Gallery, Kitchener St
111.
10 September – 5 October 2002 Spring Catalogue Gow Langsford Gallery, Kitchener St and John Leech Gallery 8 October – 2 November2002 Paul Dibble Gow Langsford Gallery, Kitchener St 17 October – 13 November 2002 Spencer Tunick Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
5 November – 30 November 2002 Dick Frizzell Gow Langsford Gallery, Kitchener St
5 July – 7 August 2003 Max Gimblett The Dawn of Beauty Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
15 November – 21 December 2002 Dick Frizzell Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
29 July – 23 August 2003 Antonio Murado Gow Langsford Gallery, Kitchener St
2003
9 August – 3 September 2003 John Walsh Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
14 January – 8 February 2003 Patricia Piccinini, Anthony Goicolea Gow Langsford Gallery, Kitchener St 15 January – 11 February 2003 Rosalie Gascoigne Plein Air Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 11 February – 8 March 2003 Either/Or Gow Langsford Gallery, Kitchener St 14 February – 11 March 2003 Karl Wiebke Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 11 March – 5 April 2003 Colin McCahon Gow Langsford Gallery, Kitchener St 14 March – 8 April 2003 Karl Maughan The Visitor Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 8 April – 3 May 2003 Liu Xiao Xian, Tony Fomison, Colin McCahon, Lachlan Warner Gow Langsford Gallery, Kitchener St 10 April – 6 May 2003 John Pule Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 6 May – 31 May 2003 Reuben Paterson Gow Langsford Gallery, Kitchener St 3 June – 28 June 2003 Max Gimblett Still Waters Gow Langsford Gallery, Kitchener St 14 June – 2 July 2003 minimum MAXIMUM: Sol LeWitt, Andy Warhol, Donald Judd, Shirin Neshat, Joseph Albers, Günther Förg Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 1 July – 26 July 2003 Gavin Hipkins Gow Langsford Gallery, Kitchener St
112.
26 August – 20 September 2003 Anthony Goicolea Gow Langsford Gallery, Kitchener St 21 September – 17 October 2003 Judy Millar Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 23 September – 18 October 2003 Spring Catalogue Gow Langsford Gallery, Kitchener St and John Leech Gallery 21 October – 15 November2003 Christopher Braddock, Gavin Hipkins, Kiki Smith Gow Langsford Gallery, Kitchener St 30 October – 18 November 2003| Megan Keating And then there were none Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 18 November – 13 December 2003 Shane Cotton Gow Langsford Gallery, Kitchener St 16 December 2003 – 10 January 2004 Group Exhibition Gow Langsford Gallery, Kitchener St
2004 13 January – 7 February 2004 Aboriginal Works : Rover Thomas, Minnie Pwerle, Emily Kngwarreye, Dorothy Napangardi Gow Langsford Gallery, Kitchener St 14 January – 5 February 2004 Alun Leach-Jones, Paul Dibble, Clement Meadmore, Kiki Smith, Mimmo Paladino Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 7 February – 4 March 2004 Reuben Paterson Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 10 February – 6 March 2004 Brad Lochore Gow Langsford Gallery, Kitchener St
6 March – 1 April 2004 Lorna Napurrula Fencer Yumurrpa Dreamings Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
19 October – 13 November2004 John Pule Gow Langsford Gallery, Kitchener St
9 March – 3 April 2004 Karl Maughan Gow Langsford Gallery, Kitchener St
16 November – 11 December 2004 Dick Frizzell Gow Langsford Gallery, Kitchener St
6 April – 1 May 2004 Judy Millar I’d Like Painting Gow Langsford Gallery, Kitchener St
16 December 2004 – 15 January 2005 Stock/Continuation Gow Langsford Gallery, Kitchener St
1 May – 27 May 2004 Ross Bleckner, Brad Lochore , Antonio Murado Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
2005
4 May – 29 May 2004 George Rickey, Günther Förg, Josef Albers, Len Lye, Louise Bourgeois Gow Langsford Gallery, Kitchener St 29 May – 24 June 2004 Jurek Wybraniec Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 1 June – 16 June 2004 Dale Frank Gow Langsford Gallery, Kitchener St
18 January – 12 February 2005 Skull Show: John Armleder, Max Gimblett, Andy Warhol, Martin Poppelwell Gow Langsford Gallery, Kitchener St 15 February – 12 March 2005 Gavin Hipkins Photography Gow Langsford Gallery, Kitchener St 15 March – 9 April 2005 Michal Rovner Multimedia Gow Langsford Gallery, Kitchener St
26 June – 22 July 2004 Xing Danwen dis + dup Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
12 April – 7 May 2005 Reuben Paterson Gow Langsford Gallery, Kitchener St
29 June – 24 July 2004 Max Gimblett Gow Langsford Gallery, Kitchener St
10 May – 4 June 2005 Tony Cragg Sculpture Gow Langsford Gallery, Kitchener St
24 July – 19 August 2004 Works on Paper by New Zealand Artists: Max Gimblett, Dick Frizzell, John Pule, Jenny Dolezel Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney
7 June – 2 July 2005 More Than One Gow Langsford Gallery, Kitchener St
27 July – 21 August 2004 Richard Thompson Gow Langsford Gallery, Kitchener St 21 August – 16 September 2004 Josef Albers, Richard Dunn, Günther Förg, Katharina Grosse, John Nixon Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 24 August – 18 September 2004 Spring Catalogue Gow Langsford Gallery, Kitchener St and John Leech Gallery 18 September – 14 October 2004 Louise Forthun Gow Langsford Gallery, 2 Danks St, Waterloo, Sydney 21 September – 16 October 2004 Paul Dibble Gow Langsford Gallery, Kitchener St 113.
5 July – 30 July 2005 Robert Motherwell, Max Gimblett and Colin McCahon Gow Langsford Gallery, Kitchener St 2 August – 27 Aug 2005 Christopher Braddock Gow Langsford Gallery, Kitchener St 30 August – 24 September 2005 Spring Catalogue Gow Langsford Gallery, Kitchener St and John Leech Gallery 27 September – 22 October 2005 Judy Millar and Katharina Grosse Gow Langsford Gallery, Kitchener St 25 October – 19 November 2005 Aiko Groot Gow Langsford Gallery, Kitchener St
22 November – 23 December 2005 Frieze Gow Langsford Gallery, Kitchener St
2006 31 January – 11 March 2006 Bernar Venet Gow Langsford Gallery, Kitchener St 14 March – 8 April 2006 Max Gimblett Banquet Gow Langsford Gallery, Kitchener St 11 April – 6 May 2006 Paul Dibble Unfolding Model Gow Langsford Gallery, Kitchener St 9 May – 3 June 2006 Sara Hughes Crash Gow Langsford Gallery, Kitchener St 6 June – 1 July 2006 Thomas Ruff and Roland Fisher Gow Langsford Gallery, Kitchener St 5 July – 29 July 2006 Dale Frank Gow Langsford Gallery, Kitchener St 16 August – 2 September 2006 Shane Cotton Gow Langsford Gallery, Kitchener St 6 – 23 September 2006 Spring Catalogue Gow Langsford Gallery, Kitchener St 27 September – 19 October 2006 Allen Maddox Gow Langsford Gallery, Kitchener St and John Leech Gallery 24 October – 18 November 2006 John Pule Another Green World Gow Langsford Gallery, Kitchener St 21 November – 16 December 2006 Dick Frizzell 2005 An Event of One Gow Langsford Gallery, Kitchener St 20 December 2006 – 3 February 2007 Karl Maughan Recent Works Gow Langsford Gallery, Kitchener St
2007 15 January – 3 February 2007 Karl Maughan Gow Langsford Gallery, Kitchener St 114.
8 February – 3 March 2007 Contemporary Artists from China: Feng Zhengjie, Sheng Qi, Luo brothers, Li Luming, Miao Xiaochun, Cui Guotai, Danwen Xing and Frank Fu Gow Langsford Gallery, Kitchener St 6 March – 31 March 2007 Judy Millar Butter for the Fish Gow Langsford Gallery, Kitchener St 4 April – 28 April 2007 Heavyweights - Sculpture from the UK: Tony Cragg and Barry Flanagan Gow Langsford Gallery, Kitchener St 2 May – 26 May 2007 In Fluorescents: Tim Maguire, Sara Hughes, Karl Maughan, Reuben Paterson and Jeff Koons Gow Langsford Gallery, Kitchener St 30 May – 27 June 2007 Frank Habicht The Sixties: High Tide and Green Grass Gow Langsford Gallery, Kitchener St 5 July – 3 August 2007 Katharina Grosse This Is Not My Cat Gow Langsford Gallery, Kitchener St 21 August – 15 September 2007 Spring Catalogue Gow Langsford Gallery, Kitchener St 16 October – 10 November 2007 Max Gimblett Recent Works Gow Langsford Gallery, Kitchener St 17 October – 10 November 2007 John Walsh Gow Langsford Gallery, Kitchener St 16 November – 8 December 2007 DISCIPLINE: Frank Nitsche and Eberhard Havekost Gow Langsford Gallery, Kitchener St 11 December 2007 – 2 February 2008 A Greater Plan I Works on Paper: Martin Ball, Simon Ingram, Allen Maddox, Judy Millar, Frank Stella Gow Langsford Gallery, Kitchener St
2008 14 January – 2 February 2008 A Greater Plan Works On Paper Gow Langsford Gallery, Kitchener St 5 February – 15 February 2008 For the Love of God, Laugh and Dollar Sign: Damien Hirst and Andy Warhol Gow Langsford Gallery, Kitchener St
19 February – 29 February 2008 Nova Paul Pink and White Terraces Gow Langsford Gallery, Kitchener St
10 March – 3 April 2009 James Cousins Signal Gow Langsford Gallery, Lorne St
4 March – 28 March 2008 Darryn George Pukapuka Gow Langsford Gallery, Kitchener St
7 April – 1 May 2009 Tim Maguire Refractions Gow Langsford Gallery, Lorne St
8 April – 16 May 2008 Tim Hawkinson Scout Gow Langsford Gallery, Kitchener St
5 May – 29 May 2009 Max Gimblett Full Fathom Five Gow Langsford Gallery, Lorne St
26 May – 31 May 2008 Gow Langsford Gallery Lorne St Opening: Damien Hirst, Tony Cragg, Liu Fei, Shen Xiochun and Ruud Van Empel , Chris Heaphy and James Cousins. Gow Langsford Gallery, Lorne St
2 June – 19 June 2009 International Photography Gow Langsford Gallery, Lorne St
3 June – 27 June 2008 Paul Dibble Paradise Gow Langsford Gallery, Lorne St 1 July – 25 July 2008 Sara Hughes Scales of Economy Gow Langsford Gallery, Lorne St 29 July – 22 August 2008 Chris Heaphy Sea of Tranquility Gow Langsford Gallery, Lorne St 26 August – 12 September 2008 Nicky Hoberman Gow Langsford Gallery, Lorne St 19 September – 10 October 2008 Spring Catalogue Gow Langsford Gallery, Lorne St and John Leech Gallery, Kitchener St 14 October – 7 November 2008 Dale Frank Gow Langsford Gallery, Lorne St 11 November – 5 December 2008 Dick Frizzell Walking Back to Happiness Gow Langsford Gallery, Lorne St
23 June – 17 July 2009 Karl Maughan Every Day is Like Sunday Gow Langsford Gallery, Lorne St 22 July – 15 August 2009 John Pule Nothing Must Remain Gow Langsford Gallery, Lorne St 19 August – 12 September 2009 Peter Robinson Sold Out: Peter Robinson Works from the 1990s Gow Langsford Gallery, Lorne St 16 September – 8 October 2009 Black to Black: Darryn George, Shane Cotton, Ralph Hotere Gow Langsford Gallery, Lorne St 14 October – 7 November 2009 Spring Catalogue Gow Langsford Gallery, Lorne St 11 November – 5 December 2009 Judy Millar New Works Gow Langsford Gallery, Lorne St
2010 9 January – 23 January 2010 Tag: James Cousins and Simon Ingram Gow Langsford Gallery, Lorne St
2009
27 January – 20 February 2010 David McCracken New Works Gow Langsford Gallery, Lorne St
9 January – 30 January 2009 Clock the Ton: John Pule, Shane Cotton, Sara Hughes, James Cousins, Tim Maguire, Allen Maddox, Darryn George, Antonio Murado, Martin Ball, Simon Ingram and Reuben Paterson Gow Langsford Gallery, Lorne St
24 February – 20 March 2010 Reuben Paterson dear beauty, dear beast Gow Langsford Gallery, Lorne St
3 February – 25 February 2009 Simon Ingram Boing Boom Tschak Gow Langsford Gallery, Lorne St
115.
26 March – 24 April 2010 Thomas Ruff Photographs Gow Langsford Gallery, Lorne St
28 April – 22 May 2010 Darryn George Rarohiko Gow Langsford Gallery, Lorne St
25 May – 18 June 2011 Karl Maughan Idlewild Gow Langsford Gallery, Lorne St
26 May – 12 June 2010 3 x 1 Photography: Bruce Jarvis, Simon Devitt, Patrick Reynolds Gow Langsford Gallery, Lorne St
8 June – 25 June 2011 Word: Rob Wynne, Colin McCahon, Mary-Louise Browne, Iain Cheesman, John Giorno Gow Langsford Gallery, Lorne St
16 June – 10 July 2010 Gregor Kregar Cultural Nature Gow Langsford Gallery, Lorne St 14 July – 24 July 2010 New Tradition: Recurring themes in Maori Art Gow Langsford Gallery, Lorne St 28 July – 7 August 2010 Dick Frizzell The Gloves Are Off Gow Langsford Gallery, Lorne St 11 August – 3 September 2010 Dale Frank Recent Paintings Gow Langsford Gallery, Lorne St 8 September – 2 October 2010 Spring Catalogue Gow Langsford Gallery, Lorne St and Kitchener St 6 October – 30 October 2010 Paul Dibble Bird’s Eye View Gow Langsford Gallery, Lorne St 3 November – 27 November 2010 Sara Hughes Colour Codes Gow Langsford Gallery, Lorne St 1 December 2010 – 28 January 2011 Frieze Gow Langsford Gallery, Lorne St
29 June – 16 July 2011 James Cousins Accent Gow Langsford Gallery, Lorne St 20 July – 27 August 2011 Damien Hirst The Dead and The Souls Gow Langsford Gallery, Lorne St 2 September – 17 September 2011 Spring Catalogue Gow Langsford Gallery, Lorne St 21 September – 15 October 2011 Dick Frizzell Rugby, Rhyming and Here Gow Langsford Gallery, Lorne St and Kitchener St 21 October – 12 November 2011 Driven to Abstraction : Judy Millar, Simon Ingram, Allen Maddox, Max Gimblett Gow Langsford Gallery, Lorne St 21 October – 12 November 2011 Allen Maddox Gow Langsford Gallery, Kitchener St 16 November – 10 December 2011 Post Pop: Joel Grossman, Gavin Turk, Dick Frizzell, Andy Warhol and Feng Zhengjie Gow Langsford Gallery, Kitchener St 16 November – 19 January 2012 Tony Cragg Gow Langsford Gallery, Lorne St
2011 2 February – 26 February 2011 Max Gimblett The Daring Young Man on the Flying Trapeze Gow Langsford Gallery, Lorne St and John Leech Gallery 2 March – 26 March 2011 Lisa Roet Gow Langsford Gallery, Lorne St 30 March – 23 April 2011 Judy Millar Lucifer. Bring the light! Gow Langsford Gallery, Lorne St 27 April – 21 May 2011 Simon Ingram Radio Painting Gow Langsford Gallery, Lorne St
14 December – 19 January 2012 John Pule A Survey Gow Langsford Gallery, Kitchener St
2012 1 February – 18 February 2012 Group Show New Year New Works Gow Langsford Gallery, Lorne St 1 February – 18 February 2012 Group Show Art for New Zealand: Icons from the 1960s and 70s Gow Langsford Gallery, Kitchener St 22 February – 17 March 2012 Dale Frank Devon is my Favorite Luncheon Meat Gow Langsford Gallery, Lorne St
116.
22 February – 17 March 2012 Shane Cotton Te Ao Hou Gow Langsford Gallery, Kitchener St
8 August – 25 August 2012 Antonio Murado Gow Langsford Gallery, Kitchener St
21 March – 14 April Bernar Venet Gow Langsford Gallery, Lorne St
27 August – 1 September 2012 Spring Catalogue Exhibition 25th Anniversary Edition
21 March – 14 April Ian Scott Late Models Gow Langsford Gallery, Kitchener St 12 April 2012 Max Gimblett The Sound of One Hand Pop-Up Gallery 18 April – 12 May 2012 John Walsh I can’t stop loving you Gow Langsford Gallery, Lorne St 18 April – 12 May 2012 Group Show Favourite Things Gow Langsford Gallery, Kitchener St 16 May – 9 June 2012 Chris Heaphy Maukatere Gow Langsford Gallery, Lorne St
ART FAIRS 1990 21 June – 24 June 1990 A.C.A.F. (Australian Contemporary Art Fair 2) Gow Langsford Gallery Stand 38 – Robert Ellis, Colin McCahon, Terry Stringer Melbourne, Australia 1992 16 March – 24 March 1992 Tokyo Art Expo A.C.A.F. (Australian Contemporary Art Fair 3) Melbourne, Australia 1993 15 March – 23 March 1993 NICAF, Yokohama, Japan
16 May – 9 June 2012 Darryn George Karakia Gow Langsford Gallery, Kitchener St
1994 29 September – 2 October 1994 A.C.A.F. (Australian Contemporary Art Fair 4) Len Lye, Joseph Albers, Stephen Bambury, Harvey Quaytman Melbourne, Australia
13 June – 7 July 2012 Contemporary New Zealand Photography: Anne Noble, Ross Brown, Michael Parekowhai, Geoffrey Short, Gregor Kregar, Fiona Pardington, Patrick Reynolds, Ben Cauchi Gow Langsford Gallery, Lorne St
1996 A.C.A.F. (Australian Contemporary Art Fair 5) Melbourne, Australia
13 June – 23 June 2012 Negative Kept Gow Langsford Gallery, Kitchener St 27 June – 7 July 2012 Julian Daspher and John Reynolds Gow Langsford Gallery, Kitchener St 11 July – 4 August 2012 John Pule The Blue Plateau of Polynesian Memory Gow Langsford Gallery, Lorne St 18 July – 4 August 2012 Paris Family Collection: An Introduction Gow Langsford Gallery, Kitchener St 8 August – 1 September 2012 Michael Hight The Dreams of Children Gow Langsford Gallery, Lorne St
117.
1998 A.C.A.F. (Australian Contemporary Art Fair 6) Melbourne, Australia 2000 4 October – 8 October 2000 Melbourne Art Fair Stand 6 – Michael Parekowhai, Shane Cotton, Len Lye, Meryvn Williams, Dan Flavin, Pablo Picasso 2002 2 October – 6 October 2002 Melbourne Art Fair Shane Cotton, Michael Parekowhai, John Pule and Karl Maughan. 2004 29 September – 3 October 2004 Melbourne Art Fair Shane Cotton, Gavin Hipkins, Ralph Hotere, Colin McCahon
2006 2 August – 6 August 2006 Melbourne Art Fair Sara Hughes, John Pule, Thomas Ruff, Reuben Paterson, Bernar Venet, Tony Cragg, Jeff Koons, Karl Maughan, Judy Millar 2007 24 January – 28 January 2007 LA ARTSHOW Booth P124 – Andy Warhol, Katharina Grosse, Dale Frank, Judy Millar, Bernar Venet, Tony Cragg, Reuben Paterson, Michael Parekowhai, Shane Cotton, Karl Maughan, Paul Dibble, Thomas Ruff 17 May – 20 May 2007 Auckland Art Fair Sara Hughes, Shane Cotton, Paul Dibble, Darryn George, Karl Maughan, Judy Millar, Katharina Grosse, Reuben Paterson, John Pule 2008 30 July – 3 August 2008 Melbourne Art Fair Shane Cotton 2009 1 May – 3 May 2009 Auckland Art Fair Tony Cragg, Darryn George, Chris Heaphy, Judy Millar, Karl Maughan, John Pule, Paul Dibble, Reuben Paterson, Max Gimblett, Ralph Hotere 2011 4 August – 7 August 2011 Auckland Art Fair Karl Maughan (Thursday), Reuben Paterson (Friday), John Pule (Saturday) and Paul Dibble (Sunday). 2012 1 – 5 August 2012 Melbourne Art Fair Stand D08 - Dick Frizzell, Chris Heaphy, James Cousins, Reuben Paterson, John Pule, Sara Hughes, Michael Hight, Judy Millar, Damien Hirst, Gregor Kregar, Dale Frank
This listing of past exhibitions and events has been collated from a variety of sources. Some of the earlier records are incomplete so we have listed these as accurately as possible.
118.
SELECTED PUBLICATIONS 1992
Dick Frizzell Tiki
1997 Gow Langsford and John Leech Gallery 1997 Spring Catalogue 1998
Gow Langsford and John Leech Gallery 1998 Spring Catalogue
1999
Gow Langsford and John Leech Gallery 1999 Spring Catalogue
2000
Gow Langsford and John Leech Gallery 2000 Spring Catalogue
2001
Gow Langsford and John Leech Gallery 2001 Spring Catalogue
2002 Max Gimblett Published by Craig Potton Publishing in association with Gow Langsford Gallery, Auckland Gow Langsford John Leech Gallery 2002 Spring Catalogue 2003
Judy Millar Text by Anthony Byrt Gow Langsford John Leech Gallery 2003 Spring Catalogue
2004
Gow Langsford and John Leech Gallery 2004 Spring Catalogue
2005
Gow Langsford John Leech Gallery 2005 Spring Catalogue
2006 John Puhiatau Pule: Another Green World, With essay by Professor Nicholas Thomas Allen Maddox, Edited by Michael Gifkins & Associates with contributions by Ian Wedde and Richard McWhannell Gow Langsford John Leech Gallery 2006 Spring Catalogue 2007
Gow Langsford and John Leech Gallery 2007 Spring Catalogue
2008
Shane Cotton: The Extended Act of Looking, Essay by Blair French Gow Langsford and John Leech Gallery 2008 Spring Catalogue Dick Frizzell: Walking Back to Happiness
2009
Gow Langsford and John Leech Gallery 2009 Spring Catalogue James Cousins: Signal Paul Dibble: Paradise
2010
Gow Langsford and John Leech Gallery 2010 Spring Catalogue Paul Dibble: Bird’s Eye View Max Gimblett: The Daring Young Man on the Flying Trapeze
2011
Gow Langsford Gallery 2011 Spring Catalogue
2012 Gow Langsford Gallery 2012 Spring Catalogue 25th Anniversary Edition
Published on the occasion of the Gow Langsford Gallery 25th Anniversary and to coincide with the exhibition Spring Catalogue 2012 at Gow Langsford Gallery, Kitchener St, 29 August – 29 September 2012. Design: RFS (rfs.net.nz) Spring Catalogue section photography: Tobias Kraus (www.tobiaskraus.com) Publication coordinator: Anna Jackson Text: Anna Jackson Exhibition History: compiled by Hannah Valentine. With thanks to: Amie Hammond, Sarah Moloney, Hannah Valentine, Morgane Elsen, Geoffrey Heath and the McCahon Trust. Š 2012 All text and images copyright the artists and authors and Gow Langsford Gallery ISBN: 978-0-9864630-3-7
119.