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Applause is published by the Arts Foundation. The publication focusses on philanthropy, the artists supported by, and those that support, the Foundation, Awards announcements and other relevant activities and achievements. This issue includes information covering a two year period.

Applause is designed by our creative partner Strategy Design & Advertising.

If you would like Applause mailed to you, visit and submit your mailing address; or otherwise your email address for a digital version. Or call +64 4 382 9691

Applause is also available to view at

MAY 2013 ISSN 1178 4687





Welcome from Fran Ricketts and Simon Bowden

Boosted A new way to fund and engage in the arts

The Macquarie Private Wealth New Zealand Arts Awards Arts Foundation Awards change lives

The Icon Awards Honouring extraordinary artists





Laureate Awards Gregory O’Brien and Jenny Bornholdt – husband and wife Laureates

Dame Gillian Weir Pulling out all stops

new generation awards Cameron McMillan – From dancer to choreographer






The Award for Patronage Farewell to Gus Fisher

The Harriet Friedlander Residency Unexpected things arise from unexpected circumstances

The Marti Frielander Photographic Award Neil Pardington – straight photography with a twist




Kate De Goldi Re-Imagined City A Christchurch feature

On the cover This Boosted project is set to raise money for two Wellington gamelan groups to tour to Indonesia in July this year. Organised by Jack Body (Laureate) and Budi Putra, along with the gamelan committee, the groups will be heading to Java and Bali for two weeks performing new repertoire composed by group members, including Juliet Palmer, last year’s New Zealand School of Music composer in residence. Other works will be composed by award winning alumni of the NZ School of Music and will combine instruments of western art music origin with the gamelan. The team expects it to be highly enriching and inspirational to all those who participate, musically and otherwise.

on the cover

Budi Putra, musical director of gamelan Padhang Moncar, at the NZ School of Music. Photography by Image Services, Victoria University of Wellington Correction to Applause

Issue 18 (page 10) article on Icon Raymond Boyce – “Design Committee for EXPO 70” should read “Display Designer” contracted by NZ EXPO ’70 commission.

at the helm Changes to Governance

Thank You Acknowledging the people and organisations that support the Arts Foundation

More online Visit to learn more about the Arts Foundation, our programmes and award recipients. Each award recipient has their own profile page. Their pages include video, essays and image galleries. Register online to receive our email updates and to donate.

The Mallinson Rendel Illustrator’s Award I can’t wait to bring this all to life on paper

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Issue 19 We are giving the arts a major boost and you can help

A message from Arts Foundation Chair Fran Ricketts Right now is a great time to show your commitment to the arts by becoming a member of the Arts Foundation. This is why: The Arts Foundation is instigating a new era of patronage with our crowd funding website, Boosted, which is targeted to raise significant sums for the arts. We will establish a new generation of donors and give hundreds (if not thousands) of arts groups, artists and project leaders a sustainable hand up into a new future of self-reliance. If you become a member of the Arts Foundation now you will help us build Boosted. The recession has hit the arts hard with ticket and sponsorship revenue down and government funding static. We hope you will want to be a part of this major initiative to provide a stable new funding source for the arts into the future.

Fran Ricketts. Image by Anna Kilgour Wilson

Boosted enables donors to hand pick projects that they would like to support in an environment where every donation of $5 or more makes a difference. It is mass philanthropy that will activate New Zealand’s arts audience and followers here and internationally to become patrons to the arts. Artists and arts organisations prepare projects for publishing on Boosted to gain much needed funding. They also learn new skills that will contribute to their career development and organisational strength. Anyone and everyone can be involved in Boosted. Donations received before 30 June 2013 will help us with establishment costs to ensure Boosted is financially independent. Thanks to the support of the Lion Foundation and sponsors such as Macquarie Private Wealth New Zealand, Jaguar, Strategy Design and Advertising and NV Interactive, Boosted is 69% funded. We have to raise the rest; any donation you can give will make a difference and will be gratefully received. The Arts Foundation is 100% privately funded. The Trustees of the Foundation have a vision to gather people who care about the arts to contribute to growing the arts together. With support of individuals, sponsors and private trusts the Foundation has gifted over $4 million to artists. We have over 200 members making annual donations; we hope you use the enclosed form to join them.

Up Front

From Executive Director Simon Bowden Not so long ago I turned 40. I think we should all celebrate our 40th birthday at least as much as our 21st, but with an added element. Being 21 is about celebrating potential and I would imagine there is a sense of relief for some parents that, in theory, their child is now a self-sufficient adult. At 21 you have skills, hopes and dreams, a sense of wonderment and lots of energy. But, at 40 you have gained experience, knowledge, wisdom, community and opportunity. You have gained valuable assets both individually and, most importantly, for society. All of this is worth a great party but, I think there should be a twist. At 40, society should ask what you are going to do that will make a difference? How are you going to contribute to the growing world and the development of humanity? We are not a product of our surroundings; we are the creators of our surroundings. Our opinions, our language and our actions define us. We are responsible. Simon Bowden. Image by Angela Busby

I’m not sure I would have had these thoughts if I did not work at the Arts Foundation. There is an entrepreneurial spirit here that allows our ambitions to reach beyond accepting life the way it is. We inherited this spirit from the organisation’s founders, through their innovations such as the nonapplication process for selecting award recipients. Having safely navigated through the 2008 recession and its wake, we see innovation as the answer to more challenging times. So at 40 I have asked myself a question. How can we be innovative in creating a new era of philanthropy in New Zealand? The answer is Boosted, our crowd funding website. The Arts Foundation cannot claim to have invented crowd funding, but we have carefully created a purpose-built New Zealand version especially for artists and arts-related projects. We have poured our knowledge of philanthropy and artists’ needs into Boosted. Boosted is a realisation of our collective ambitions through the knowledge gained as a result of close communication with donors and artists. I was inspired to create Boosted after combining my New Zealand experiences with what I learnt while on a trip to America that was supported by the United States Embassy. I know that you are like me. You want to make a difference and participate in society in a helpful and defining manner. Boosted is a powerful tool to unlock arts philanthropists across society. All that is left is for everyone to take responsibility, to get involved and get Boosted!

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boosted is a new way for you to fund and engage in the arts – and it’s yours! so let’s get involved new zealand – and give the arts a boost!

Boosted brand by Strategy Design & Advertising, Auckland

what is boosted?

Boosted provides an exciting new way to raise money for the arts by using a form of fundraising called crowdfunding. The Arts Foundation has established Boosted to build a new generation of arts donors. It is the only genuinely philanthropic crowdfunding website for arts projects in New Zealand. Boosted enables donors to select projects they would like to support with donations of $5 or more. Every donation is eligible for a tax rebate. A new innovation in crowdfunding

Boosted has some key beneficial differences when compared with other crowdfunding platforms. For example, all donations for projects are made to the Arts Foundation. So, unlike other sites, projects are not required to fund a series of rewards to donors. Donors give because they want the project to succeed and to be a part of its success. As all gifts are charitable, donors have the option of claiming a tax rebate. Boosted utilises other philanthropic mechanisms like matching. Donors can support a project by making a gift that is only available if matched by other donors. This way everyone wins and has an extra incentive to meet the project’s target. Boosted will: provide workshops and seminars on best practice for growing arts philanthropy; offer high-level campaign support to help grow projects’ long-term relationships with donors; make it easy for projects to ask for money; and ensure donor confidence through the Arts Foundation’s status as New Zealand’s leading organisation in arts philanthropy. Boosted can offer full funding solutions for some projects or can be a way of complementing other funding sources and ticket sales. Boosted is more than just a short-term funding solution; it provides long-term relationships with donors and builds audiences.

Here’s how boosted works

Boosted is a website that you can access on a computer or mobile device Any arts project can be hosted on Boosted: literature, performing arts, visual arts, film and every other art form. Boosted exists to support New Zealand artists and arts organisations. An artist, arts group or organisation submits a project idea to Boosted for a quick check to ensure that it can be supported by the Arts Foundation via Boosted. The project owner will then work through a few steps in the Boosted Guidelines, which are designed to increase the chances of success and to ensure the Boosted campaign contributes to the owner’s long-term support network. The steps are: 1 ) Story; 2 ) Network; 3 ) Strategy; 4 ) Target; and 5 ) The Project. Each approved project has a page on the Boosted website which is presented live for a set period of time (often 30 days); the aim is that, during that time, it will attract donations and reach its funding target. The project’s owner will build and maintain momentum both on and offline, before and during the campaign, to engage their network’s support. Donations are made to the Arts Foundation for the project by selecting donate on the project page

“It’s inspiring to be supported by people  you know and amazing to connect with strangers who are discovering your  ideas for the first time.” —Tanya Jade [Misery], Boosted Project: Holly Melancholy – The Interactive Game

If insufficient funds are donated and the project fails to reach its funding goal, refunds will be offered to donors. If the project meets its funding goal, the Arts Foundation will grant to the project an amount equivalent to the donations made, less 10%. That 10% of donations is used to cover credit-card transactions and help with the running costs of Boosted. The Arts Foundation will issue a receipt to each donor; the donor is able to use this to claim a tax rebate. join

You can show you care about the arts in New Zealand by joining Boosted. Visit the site and set up a profile. Post and image and description of yourself. Tell us why you think the arts deserve a boost!

Holly Melancholy, an illustration by Tanya Jade

TA X AND boosted

Donations are made to the Arts Foundation to support Boosted projects. The Arts Foundation is a registered charity with the New Zealand Charities Commission. Projects are approved by Trustees in order to be listed on Boosted and must fit within the Arts Foundation Deed of Trust. Every donation from an individual qualifies for a 33% rebate up to the annual net income of the donor. Any company (including any unlisted close company) or Maori authority is also entitled to a rebate for any donation made to a charitable organisation, limited only by the company’s net income. To claim your rebate, simply fill in a rebate claim form (IR526) and attach a copy of your donation receipt. Boosted will issue a receipt to every donor both at the time of their donation and also with a summary of their annual donations at the end of the tax year (31 March).


We’d love to meet you to talk more about how you can get involved in Boosted. Renee Tanner, Boosted Manager, is based in Auckland and Bryna O’Brien, Boosted Project Administrator, is based in Wellington. Boosted Wellington T + 64 4 382 7910 E Boosted Auckland T + 64 21 149 6707 E W E



“Boosted will allow donors to donate towards projects of interest, subject to their means. It is direct engagement, which is very different to a council or committee deciding if ones project should be funded ahead of other applicants.” —Andrew Moore, Boosted Project: No More Heroes.

“The most exciting outcome of crowdfunding is  its potential to create cultural change. Artists who are successful in using crowdfunding will have new encouragement to articulate their vision, while audiences will have a new way of participating in the arts as investors in creative processes. The Arts Foundation will encourage artists to establish campaigns at every stage of their artistic processes. This will provide new experiences for audiences and an invigorated community around the arts. Crowdfunding is a revolution. It empowers artists  to inspire people to join their endeavours and we invite you to become involved!” —Renée Tanner, Boosted Manager.


Open 7 days a week 57 Normanby Road, Mt Eden, Auckland Tel 09-630 8751 Nationwide delivery

47 High St, Suite 4J, Auckland 1010

Milford Galleries Dunedin

Shigeyuki Kihara, After Tsunami Galu Afi, Lalomanu (2013)

representing arts foundation award recipients

Shigeyuki Kihara Neil Dawson John Parker Ann Robinson

Mon - Fri 9.00 am - 5.00 pm Saturday 11.00 am - 3.00 pm 18 Dowling Street Dunedin 9016 New Zealand +64 3 477 7727

Milford Galleries Dunedin

“A wonderful evening, thank you for opening our eyes to the possibilities!  ‘Naku te rourou nau te rourou ka ora ai  te iwi’; With your basket and my basket the people will grow.” —Hinurewa te Hau (Hinu), Chair of Tamaki Makaurau, Matariki Festival Trust

The Macquarie Private Wealth New Zealand Arts Awards

Kapa Haka (Officer Taumaha), by Michael Parekowhai, stands guard at the Macquarie Private Wealth New Zealand Arts Awards, held at the Cloud, Auckland, 2 October 2012. Image by Sam Hartnett, courtesy of the artist and Michael Lett, Auckland

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Arts Foundation awards change lives. Awards give artists a real shot in the arm, acknowledging their achievements in front of the nation. Over $400,000 is donated to artists at the annual Macquarie Private Wealth New Zealand Arts Awards. We gather to honour artists and hear their stories. We enjoy performances and the company of people dedicated to supporting the arts as patrons. The Macquarie Private Wealth New Zealand Arts Awards give New Zealanders an opportunity to connect with our finest artists, to learn of their achievements and to be proud of the talent we have in our country.

In the Cloud, 2012. Image by Sam Hartnett Arts Foundation Chair Fran Ricketts, with Laureate Award statuettes designed by Terry Stringer. Image by Ken Baker


The Macquarie Private Wealth New Zealand Arts Awards 15 october 2013


email ONLINE


04 382 9691

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“I’m already a great fan of the work the  Arts Foundation does in promoting the artists, so hearing the actual level of cash  into the artists’ homes was staggering.  The artists’ gracious and genuine humility  in accepting such support was moving.  Well done.”


—Garry Nicholas, Toi Maori

08 Pip Adam (New Generation Award) Writer

Shigeyuki Kihara (New Generation Award) Visual Artist

02 Cameron McMillan (New Generation Award) Dancer and choreographer 03 Arthur Meek (Harriet Friedlander Residency ) Playright and actor 04 Tony de Lautour (Laureate Award) Visual Artist 05 Rachel House (Laureate Award) Actor / stage and screen director 06 Gregory O’Brien (Laureate Award) Poet, painter, essayist 07 Ruia Aperahama (Laureate Award) Singer / songwriter, anthologist and curator

09 Fiona Samuel (Laureate Award) Writer, director and actor All images by Sam Hartnett

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Icon Awards Whakamana Hiranga

Sir Eion and Jan, Lady Edgar – Patrons to the Icon Awards

Icon Award Recipients Barbara Anderson (1926–2013) WRITER Raymond Boyce THEATRE DESIGN Len Castle (1924–2011) POTTER

The Arts Foundation Icon Awards honour extraordinary achievements by artists who have reached the highest standards of artistic ability and who have made a significant contribution to New Zealand and their art form. The Award is limited to 20 living recipients. There are twenty Icon medallions. Each medallion is held by an Icon during their lifetime and in time is presented to a successor at a future ceremony.

Janet Frame (1924–2004) WRITER Marti Friedlander PHOTOGRAPHER Maurice Gee WRITER Peter Godfrey MUSICIAN Patricia Grace WRITER Alexander Grant (1925–2011) BALLET DANCER Dr Pakariki Harrison (1928–2008) CARVER Ralph Hotere (1931–2013) VISUAL ARTIST Sir Peter Jackson FILMMAKER Russell Kerr CHOREOGRAPHER Margaret Mahy (1936–2012) WRITER Sir Donald McIntyre OPERA SINGER

Donald Munro, MBE . Regarded as the father of New Zealand Opera and is celebrated for establishing New Zealand’s first Opera Company in 1954, when his primary goal was to “take opera to the people”. Donald passed away in January 2012 a few days after his 99th birthday.

Gone, but not forgotten

We have said a sad farewell to some wonderful Icon artists over the last two years, loved pioneers and champions of the arts. These artists are: Barbara Anderson, Became an internationally recognised fiction writer in her sixties. She was one of New Zealand’s most respected and best-selling authors. Barbara died in March this year at the age of 86.

Don Peebles, ONZM . A key figure in the emergence and evolution of New Zealand abstract art. He was known as a leading force in contemporary painting and as one of New Zealand’s most senior and respected practitioners. Don was exhibiting right up the time of his death in March 2010.

Len Castle, CBE, DCNZM. One of New Zealand’s most accomplished and sophisticated potters, with an unparalleled contribution to the studio pottery movement. With his scientific background, Len was always curious about the natural world and was interested in extending his knowledge and understanding of it. Len died at the age of 86 in October 2011. Alexander Grant, CBE . Became the Royal Ballet’s (England) most remarkable actor-dancer in its golden period from the 1940s to the 1960s – an outstanding accomplishment for a New Zealander born in 1925 and raised in Wellington. Alexander died in September 2011 aged 86. Ralph Hotere, ONZ. One of New Zealand’s most important contemporary artists. Ralph Hotere’s work is represented in every major public and private collection in New Zealand and in art museums throughout the world. Ralph suffered a stroke in 2001 and passed away in February 2013. Margaret Mahy, ONZ . An acclaimed literary figure and prolific writer of children’s books. Margaret had an international reputation as a consummate storyteller. Margaret passed away at the age of 76 on 23 July 2012.

Arnold Manaaki Wilson, MNZM . A major presence in contemporary Māori art for over half a century. He was among the Māori art educators who joined forces to present the first exhibition of contemporary art by Māori artists. Arnold died in May 2012 aged 83.

“The Icon medallions are imbued with a mauri or life force of their own as they represent artists  of Aotearoa New Zealand who have gone before as Icons.  The medallions are enriched as they are passed on from one Icon to the next, from the dead to the living, and the medallion is thus saturated with the mana of many artists. The mauri of each medallion grows with each passing between artists.”

Milan Mrkusich VISUAL ARTIST Donald Munro (1913–2012) OPERA PIONEER Don Peebles (1922–2010) PAINTER Don Selwyn (1935–2007) ACTOR/DIRECTOR Diggeress Te Kanawa (1920–2009) WEAVER Hone Tuwhare (1922–2008) POET Greer Twiss SCULPTOR Sir Miles Warren ARCHITECT Dame Gillian Weir CONCERT ORGANIST Ans Westra PHOTOGRAPHER Arnold Manaaki Wilson (1928–2012) SCULPTOR

“I hold the medallion in safekeeping and wear the pin with pride because to me these reflect the simple fact that we are all guardians of the heritage of our past while being instigators of developments that can make contribution to the future.” —Russell Kerr, Icon.

—Elizabeth Ellis, Trustee [2007 – 2012]

The Arts Foundation of New Zealand Icon Awards RECEPTION Join Patrons to the Icons Sir Eion New Zealand’s highest achieving artists. Hosted by Vice-Regal Patron – His Excellency Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand


T H E A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and

Government House, Wellington DATE Friday 2 August, 2013 TIME 5.30pm price $55 per person, numbers are limited Call 04 382 9691 to reserve seats or visit VENUE

and Jan, Lady Edgar to honour


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Laureate Awards

Funded from interest earned by the Arts Foundation’s Endowment Fund and Laurete Donors With their careers blazing, plenty of achievements behind them and with futures full of opportunity, Laureate Award recipients are in their prime. Selected without knowing they are under consideration, these artists are plucked from their busy lives of creating and given $50,000 (with no strings attached) as a serious boost to their careers. There are currently 64 Laureates representing many art forms. Five awards are made each year.

L aureate Award Recipients Ruia Aperahama Singer/Songwriter Barry Barclay (1944–2008) Film Director/Writer Whirimako Black Musician Jack Body Composer Alun Bollinger Cinematographer Jenny Bornholdt Poet Shane Cotton Visual Artist Phil Dadson Intermedia Artist Neil Dawson Sculptor

Marriage ha s its ups and downs

It was a wonderful but cold night in Auckland when poet, visual artist and editor, Gregory O’Brien, received his Laureate Award. But, Greg said, “I was on fire. I have never been so warm in all my life. I could have generated enough electricity to warm the building”. A few months later, Greg was the recipient of the $60,000 Non-Fiction Prime Minister’s Award for Literary Achievement, topping off an extraordinary year for him. Last year was not the first year the Arts Foundation had called Greg’s house with a surprise offer of award money. In 2003, Greg’s wife Jenny Bornholdt was also a recipient of the Laureate Award. Greg and Jen are officially New Zealand’s first husband and wife arts Laureates. Arts Foundation Executive Director, Simon Bowden, asked Greg what Jenny had done when she received her Award.  Greg explained that Jen “almost famously (because she has written about it) had a shed built at the top of our section, on the highest part of our property, where she writes”. Greg, however, works “in the basement of the house. Down below, down in the engine room of the house, the underworld.” Greg suggested to Simon that maybe he should “spend the Laureate money digging further down... Jen went up in the world, with her shed— maybe I should do the opposite...” He went on to say that maybe this wasn’t, in fact, such a ridiculous idea. “After all, isn’t that what artists do: they dig underground; they work out what is happening beneath things.  What is in the darkness behind the things that we see? What is the mystery in every-day life?”

The team at the Arts Foundation figured that further digging (metaphorical or otherwise) was a better option than Greg’s other proposal: to put a second storey on Jenny’s writing shed. In fact, the couple have no further architectural structures in mind, but they do have a great many projects which the Laureate award will make possible. These include an artists’ book which involves not only Jen and Greg but also Sydney-based artist Noel McKenna and Greg’s hand-press printer-brother Brendan (who works in a dug-out basement in Strathmore).

Kate De Goldi Writer Tony de Lautour Painter Stuart Devenie Actor Ngila Dickson Costume Designer Gareth Farr Composer Warwick Freeman Jeweller Alastair Galbraith Sound Musician Briar Grace-Smith Writer Lyonel Grant Master Carver George Henare Actor Rachel House Actor/Stage & Screen Director

Jenny’s shed continues to provide on-going inspiration for her, as well as an ideal workspace. It has featured in some of her recent work, notably in her 2008 book The Rocky Shore. Jenny says she “loves the shed and, I did get so excited when it was being built. I thought I should be giving readings from the Resene colour-chart; I was so in love with the whole process”. 

Michael Houstoun Concert Pianist

At the end of last year Jenny was mentioned in Books of the Year in the Times Literary Supplement, London. The poet/ translator Michael Hofmann wrote that, in The Rocky Shore, “the New Zealander Jenny Bornholdt talks to herself in six long, sinuous, casual, loopy poems the way I don’t think I’ve ever heard a poet talk before (James Schuyler and Louis MacNeice come closer): low pressure, revealed purpose and unexpected tenacity. Illness, children, the deaths of friends, malcontent plants and an errant garden shed shuffle past as on a benign ghost train.”

Oscar Kightley Writer/Actor/Director

Sarah-Jayne Howard Dancer Michael Hurst Actor/Director Neil Ieremia Director/Choreographer Witi Ihimaera Writer Humphrey Ikin Furniture Maker Lloyd Jones Writer Chris Knox Musician Elizabeth Knox Writer Derek Lardelli Ta Moko/Kapa Haka Bill Manhire Poet Moana Maniapoto Musician Helen Medlyn Singer Colin McColl Theatre Director Shona McCullagh Choreographer/Dance Filmmaker Don McGlashan Musician Julia Morison Visual Artist Simon O’Neill Opera Singer Leon Narbey Cinematographer Anne Noble Photographer Richard Nunns Musician & Researcher Gregory O’Brien Actor/Writer/Director Fiona Pardington Photographer Michael Parekowhai Visual Artist John Parker Ceramicist & Theatre Designer Michael Parmenter Choreographer Emily Perkins Writer Peter Peryer Photographer Lemi Ponifasio Choreographer Leanne Pooley Filmmaker Gaylene Preston Filmmaker John Psathas Composer John Pule Visual Artist/Poet Jacob Rajan Playwright/Actor John Reynolds Visual Artist Ann Robinson Glass Sculptor Fiona Samuel Actor/Writer/Director Teddy Tahu Rhodes Opera Singer Ronnie Van Hout Visual Artist Ian Wedde Poet/Writer Dame Gillian Whitehead Composer Merilyn Wiseman Ceramic Artist Douglas Wright Choreographer

Jenny Bornholdt & Gregory O’Brien. Image by Matt Grace

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Dame Gillian Weir has pulled out all the stops Dame Gillian Weir, DBE – Concert Organist  

Born in Martinborough and raised in Whanganui, Dame Gillian Weir left New Zealand for the Royal College of Music, London, aged 20. There she won the prestigious St Albans International Organ Competition in her second year, going on to perform around the world at major festivals and concert halls and with the world’s greatest orchestras and conductors Dame Gillian Weir is one of the most highly decorated musicians on the planet with numerous fellowships and doctorates to her name. She has achieved international renown for her brilliant virtuosity and has been hailed by the Sunday Times as one of the 1000 Music Makers of the Millennium. Classic CD magazine described her as one of the 100 Greatest Players of the Century. Peter Averi spoke with TVNZ 7 in depth about Dame Gillian, for the series developed in partnership with the Arts Foundation called The Artists. Some of the interview is viewable on Dame Gillian’s page at Here are some extracts from the interview: “What can one say about Dame Gillian Weir? She has given a lifetime to her craft as a performer, teacher and mentor. I think, above all, of her sense of commitment. She set her mind early on as to what she wanted to do and with her determination and hard work she achieved. And, of course, her God-given talents went a long way toward that too. I rate Dame Gillian Weir as one of the leading organists of the world. Her technical facility is legendary. She has given herself totally to the promotion of music and she has never neglected any part of the organ literature right from the pre-baroque period, to the romantics, right through to contemporary composers whom she has championed very considerably. One of the

most important parts of her performing career has been her devotion to the music of Messiaen. She played a Messiaen work at her Royal Festival Hall recital, at a time when his work was not widely known out of France. Gillian seemed to latch on to it and studied his work in great depth. She worked with Messiaen and went on to record his complete works. A critic has described these recordings as ‘one of the triumphs of the recording world in the 20th century’. Gillian’s performances are a very, very special experience... Music has to be part of the person and in the case of Dame Gillian Weir it certainly is. It is in her heart, in her soul and in her brain. But, very importantly, Gillian was an accomplished pianist before she started on her organ career. Organists have to face a huge number of problems. There are different key boards to be managed, pedals to be played by the feet and there are stops to be changed. All of this has to be dealt with while a performance is going on. So anyone who doesn’t have a really secure key-board technique is going to struggle. Gillian was so well equipped when she went to the organ that she was able to give herself entirely to the other challenges that the organ produces. Gillian maintained a most amazing schedule of performances. She managed to give her full time and energy to playing at a daunting pace with over 350 concerto performances with orchestras all over the world. [This is] a notable achievement by any standards, and her solo recitals number in the thousands…. She has also been very generous with her time and energy spent with training organists. It is a very important experience to have first-hand contact with a master musician such as Gillian. On the organ there is so much individuality. There are technical demands and there is the artistry of registration (the selection of the stops to make the music realistic and enjoyable), and every organ is different. So a master-class under the guidance of Gillian Weir is a wonderful experience for young players.” “Celebrated veteran organist Gillian Weir showcased her wonderful gift for making music breathe in her last ever recital, held at Westminster Cathedral”, writes Ivan Hewett in the Telegraph, London. “Though it’s now almost 50 years since she won the St Albans International Organ competition, she’s still at the top of her game, and the news that she would be playing her last ever recital, at Westminster Cathedral, caused much surprise as well as regret.” Dame Gillian Weir’s final public performance was held on 5 December 2012.

“Music is not just a matter of playing the  notes as they are written on the page.  It is a matter of the personality within  the piece. That is what needs to be got  across – the message from within.”

“Dame Gillian is the consummate musician who has brought honour to New Zealand. She has brilliant technical skills blended with the intellectual qualities of an alert mind. She once said that everyone should read books because they fill the mind with images  that stay forever to draw on and turn one’s life  into technicolour.” —Peter Averi

Left: Dame Gillian Weir in Bristol Cathedral Top Right: Dame Gillian Weir. Image by Jill McCulley Bottom Right: Music to the Sun King, album cover Left page: Dame Gillian Weir. Image by Lord Douglas Hamilton

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New Generation Awards Supported by 12 individual patrons

New Generation Award recipients are hot shots. They are exciting, have extraordinary potential and are launching their careers with a display of consistent depth and thinking that gives strength to their work. Three awards of $25,000 each are made annually. New Generation Award Recipients Pip Adam WRITER Mark Albiston FILM MAKER Eve Armstrong VISUAL ARTIST Eleanor Catton WRITER Ben Cauchi Photographer Sam Hamilton Musician Jeff Henderson MUSIC MAKER Ngaahina Hohaia VISUAL ARTIST Eli Kent PLAYWRIGHT Shigeyuki Kihara ARTIST & INDEPENDENT CURATOR Anna Leese SOPRANO Warren Maxwell MUSICIAN Cameron McMillan DANCER/CHOREOGRAPHER Tze Ming Mok WRITER Alex Monteith NEW MEDIA ARTIST Kate Parker DEVISED, IMAGE-BASED THEATRE MAKER Madeleine Pierard OPERA SINGER Jo Randerson WRITER/ACTOR Anna Sanderson WRITER Joe Sheehan STONE ARTIST/JEWELLER Louis Sutherland FILM MAKER Taika Waititi FILM MAKER/THEATRE

Cameron McMillan – the realities of the transition from dancer to choreographer

The ‘performer’ and the ‘creator’ in the world of dance can be two very different things. Like in any performance medium, the performer needs a language with which to speak and the creator needs the performer to realise the dialogue. In many cases, particularly within a formal theatre environment these two things are two very different creative processes, working in parallel, and yet inextricably linked. One cannot exist without the other. As a dancer, I have spent most of my life in the studio and on stage, realising someone else’s creative vision, a ‘violin with legs’. A crude example, but in many cases this is a reality. This is not meant to sound as if the dancer’s role is a passive one, unable or incapable of input into the creation and expression of the work; in fact it is the opposite. Depending more or less on the type of creative process and whether the situation is a ‘here are the steps, now dance them’ or a ‘let’s create the movement together’ type process, the choreographer always needs the body to sculpt the space it inhabits and that body is a living breathing thing with a unique interpretative voice of its own. It is this relationship that fascinates me in the creation of dance. I explain this relationship because it has been key in my development as a ‘dance artist’, a term, which I use tentatively. As a performer it is what I thrive on and when I


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created my first work when I was 21 as part of the choreographic workshop season at the Royal New Zealand Ballet, it was an experience that surprised me. It was one where it felt like I was making it up as I went along, but also one where most of the jigsaw pieces seemed to find their way to the right places or at least somewhere close, with the dancers I was working with. From that point, consciously or otherwise, my career as a dancer was led by the desire and need to learn from the most current makers of dance, to constantly challenge my perceptions and practice, and begin to find my own voice as ‘the creative’. It is this ‘voice’, discovering the choreographic language with which to speak, and getting it to say what you want, that can provide the most challenge. A violin doesn’t just get up and play itself, and if it could it wouldn’t necessarily know how to write the music. After years of refining and performing an inevitable movement style made up of other people’s work, there is a process of unlearning the inherited vocabularies ingrained in the body, and a sense of questioning what is authentic and what is learnt when casting a critical eye over the creative process. For me, the movement vocabulary comes first and undoubtedly draws on all of my past, but this is something I find enabling. The body is so uniquely expressive and communicative in itself, enabling understanding of the chaos that surrounds

us to resonate on a level that is personal and human. As the market pushes for a product driven model that can be sold, I realise the only way to have a voice is to continually refine and develop a practice which hopefully begins to speak in this way to the audience, the final point in the triangle of live performance. Learning a craft and developing a creative identity in plain view of a public is a daunting prospect, one I try not to think about, but understand it is exposing reality. In dance we don’t get to take hundreds of pictures and choose the best for the exhibition, it is usually time limited and we fundamentally need dancers, and a performance space to realise our work, which all adds to the pressure to get it right. The stage is a place I know intimately from years of performing, but it is a different story when it is a blank canvas. All I know is that what I have learnt and inherited from being a performer I bring with me, and the more I create work. This also comes into each new process which is often with a new set of dancers, and is a communication between all of these things. From the early experiments to the main stage commissions at the RNZB, Brisbane Festival and the upcoming Royal Ballet of Flanders, the creative journey continues, and it still sometimes feels like I am making it up while the jigsaw pieces continue to find their way.

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“We are delighted that Cameron’s talent both as a dancer and choreographer has been acknowledged through this prestigious award. He was one of the stars at the Royal New Zealand Ballet and we’ve enjoyed working with him as a choreographer during the hugely popular Stravinsky Selection triple bill.” —Amanda Skoog, Managing Director, Royal New Zealand Ballet

Cameron McMillan, Satisfied with Success. Image by Maarten Holl Cameron McMillan, Rampart. Image by Carl Fox t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


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Realising the dreams of someone you never met Fiona Samuel is a playwright, actor, screenwriter and director. She received a $50,000 Laureate Award last year. She never met Ruby Nolan, an Aucklander who wanted to support hard working established artists. Ruby died some years ago and left a legacy. Now, every three years, the Ruby Nolan Trust contributes to an Arts Foundation Auckland-based Laureate Award. Ruby understood the dedication of artists and the challenges they face. She knew that a life that is led exploring creative boundaries rarely results in a steady income and the security that others might enjoy. She admired people who risked ‘it all’ through a dedication to their creativity to enable the arts in our lives. Fiona wrote to the Ruby Nolan Trust to thank them for supporting her award. This is what she wrote:

Fiona Samuel. Image by Mark Smith


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“I have been working for thirty years making New Zealand drama in various capacities. When I started out, people would often ask ‘But what’s your real job?’ When I told them what I did, they assumed it wasn’t possible to earn your living in New Zealand in this way. This is my one and only real job – I have never had another. At times, the path has been uncertain – work is never guaranteed, and income is never regular. I know I’m lucky to love my work as much as I do, but the flipside is frequently financial insecurity. This is one reason why the Laureate Award is so important to me – it gives me wonderful respite from the on-going need to earn a living, and a much-valued freedom to pursue projects that are important to me, but for one reason or another have no money attached to them. Often significant work needs to be done before any development funding can be applied for – Ruby’s generosity has enabled me to do this work, and to give priority to projects that have personal significance.

Another great benefit of the Laureate Award is the recognition of my body of work over three decades, and the assurance that this work has contributed to our cultural life and that New Zealanders value it. That Ruby Nolan provided for such gifts from her estate is tangible proof that she valued the arts and all that they contribute to our society. I am honoured to receive a gift from the Ruby Nolan Charitable Trust as part of my Laureate Award, and would like to express to you what a difference it has made to my life this year and, in the years to come, when I hope the work I am doing now will bear fruit”. There is nothing the Arts Foundation enjoys more than bringing the aspirations of donors together with New Zealand artists. We are proud to be helping Ruby and Fiona achieve their dreams.

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We can change the world The Arts Foundation is here to make a difference. We have the tools, the will and the great energy of our supporters. In these times, when the arts have been hit hard by the recession, there has never been a more important time to consider giving to the arts. American anthropologist Margaret Mead said, “Never doubt that a small group of thoughtful committed citizens can change the world; indeed, it’s the only thing that ever has”. Philanthropy is the opportunity to contribute to society, to progress and shape the world into something we believe it should be. It is exciting, rewarding and one of the ways in which we know that we are contributing citizens.

The Award for Patronage The Arts Foundation honours patrons by asking them to do what they do so well: donate to the arts. We provide $20,000 to recipients to pass on to artists and/or arts projects of their own choosing. It does not surprise us that all these generous Award recipients have at least doubled the $20,000, with a donation of their own, meaning $40,000 or more has annually gone to the arts. The next Award for Patronage recipient will be celebrated at the Macquarie Private Wealth New Zealand Arts Awards, in Auckland, on 15 October 2013.

Award for Patronage & their donation recipients Denis and Verna Adam Dave Armstrong & Oscar Kightley (Jointly) PLAYWRIGHTS


John Drawbridge (Posthumously) VISUAL ARTIST


Jenny Gibbs

Gretchen Albrecht VISUAL ARTIST

Artspace, Auckland

Auckland Writers and Readers

The New Zealand Opera School

Gillian and Roderick Deane

Jonathan Lemalu OPERA SINGER


Delia Matthews BALLET DANCER

New Zealand Youth Choir

Adrienne, Lady Stewart

The Arts Foundation has created a new momentum for arts philanthropy that has inspired many people to become regular givers to the arts. As a 100% privately funded organisation, we are proud to say that, with the support of donors, sponsors and private trusts, we have donated over $4 million to the arts. But this is just the beginning.


Holly Mathieson CONDUCTOR

Philip Norman COMPOSER

The Art & Industry Biennial Trust

Gus & Irene Fisher

There are numerous ways to give to the arts. Visit and donate to an arts project. You can donate directly to the Arts Foundation at a number of levels and if you have a big idea, talk to us about establishing a new award or project. Ultimately the Arts Foundation wants more people to consider leaving a legacy to the arts. Legacies are a powerful way to ensure the arts are strong for the next generation.


Pat Hanly (Posthumously) VISUAL ARTIST


Michael Smither VISUAL ARTIST


The Chartwell Trust


Auckland Art Gallery – Toi o Tāmaki

Christchurch Art Gallery – Te Puna o Waiwhetu

The University of Auckland – Te Whare Wānanga o Tāmaki Makaurau

New Zealand is second only to the United States in generosity when giving is measured as a percentage of GDP. However, New Zealand arts are still only 3% funded by philanthropy. Even a small change in the funds going to the arts, through private giving, will make a difference. The Arts Foundation will facilitate the growth of funding to the arts, but needs your help. It takes many individuals to decide to give to the arts to make a difference. Now is a great time to start.

Farewell to a great patron

Gus Fisher was a New Zealand fashion industry pioneer. Gus and his wife Irene are well known for their contribution toward the establishment of the Gus Fisher Gallery, which encourages debate on contemporary visual arts and culture, and fosters creative and academic research in visual arts. Gus and Irene were recipients of the 2010 Arts Foundation Award for Patronage. Sadly Gus died in June that year, shortly after receiving this Award. Gus’s passion for the arts and philanthropy is now pursued by his son, Michael, who has become one of the Arts Foundation’s New Generation Award donors.

Left: Gus & Irene Fisher Right: One of Gus Fisher’s original models, Diane Bowles models an El Jay garment at the 2010 Award for Patronage t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


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The Harriet Friedl ander Residency Florian Habicht FILMMAKER Seung Yul Oh VISUAL ARTIST Arthur Meek PLAYWRIGHT

The Harriet Friedlander Residency Funded by the Harriet Friedlander Scholarship Trust

Whether you have been there or not, you are likely to be in love with New York. Imagine if the Arts Foundation gave you a call out of the blue and said you could stay, all expenses paid, in the big apple for eight months. We make this call every two years to an artist selected for the Harriet Friedlander Residency. Harriet Friedlander was a dedicated supporter of the arts. She also loved New York, believing that any young artist exposed to the city would learn and grow in unimaginable ways.

Florian Habicht Inaugur al Recipient Aug u s t 2009 – Apr i l 2010

He went with no expectation; he came back with a film that headlined the New Zealand Film Festival. The Arts Foundation and the Friedlander Scholarship Trust could not have hoped for a better ambassador for this residency. Arts Foundation Executive Director, Simon Bowden, said “Florian’s achievements, while in New York, far exceeded our expectations. His experiences, the people he met and the city he came to love were the inspiration and content of his highest profile work yet”. Love Story was awarded Best Director, Best Editing and Best Feature Film at the 2011 Aotearoa Film and Television Awards. Florian sent a message to the Friedlander family in February, which said: “The Harriet Friedlander Residency has truly changed and enriched my life. I am forever grateful to Harriet, {the Friedlander family}, Greg O’Brien and Bryna, Simon and Angela at the Arts Foundation. The secret residency phone call came for me at just the right point in my life. NYC challenged and inspired me to make Love Story, the film I am the most proud of to date. New York made me feel very free and alive, and I was able to channel this spirit into a feature film. I was able to create a work that was really myself, and also use it as a way to explore the city and meet some of its amazing characters. I very much welcomed and appreciated Harriet’s respect to the artists by allowing us to create our own expectations for the residency, kia ora! Throughout the residency the Arts Foundation team were my support network back home and this really made a difference. It was a special surprise to meet with Jason Friedlander and his partner Aaron Tindell in the Big Apple and hear more stories about Harriet. The packed outdoor screening of Love Story for the closing weekend of Rooftop Films NYC Summer series in 2013 in the Lower East Side, has been a highlight of my career. I think Harriet would be proud of the event she gave the city that night! It really was magical. Love Story has screened in twelve international film festivals to date and has had theatrical releases in New Zealand and Australia…. I feel that Love Story is my real letter to you, Harriet and New York, and I’m so happy you were at the opening night of the 2011 Auckland Film Festival.”

Florian Habicht, Love Story poster Seung Yul Oh Arthur Meek


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S eu ng Y u l O h Aug u s t 2011 – M ay 2012

Florian asked visual artist Seung Yul what he would do when he was in New York before he went. Seung Yul said “I will go and look at the buildings and I will wonder what is inside”. When in New York Seung Yul took this a step further by going randomly into buildings to meet the people inside. He has some extraordinary experiences including: “I went into a corporate building and was sitting around in a lounge having a relaxing time, after a while I started a conversation with a person next to me. I told him how I got to NY (by the residency) and that I wanted to visit random buildings. He offered to show me his office…it had beautiful interiors and a great view of the city. Another time, I went into an old building in Soho. There was a group of people making axes that showed me around their workshop and introduced to other artists in the units who were making paintings and sculptures. It was a great opportunity to hear their stories about working as an artist in New York. My experiences have definitely impacted on my practice; I had great opportunities to see numerous exhibitions…. It opened up the sense of scale that I would like to extend in my work. I had an opportunity to start a new series of photography… also video work which I’m continuing as an on-going project. I’m currently binding photographs to publish a small book. I loved New York. It’s a place that is ever changing and never changing, an old and new environment that keeps its unique character. There are endless varieties of things to do and experience every day. I feel that everyone should visit the city in their life time.” Arthur Meek Departs for New York – June 2013

Arthur Meek is a playwright and actor. Arthur received his award last year and said “now I’m just going to get to do everything that I wanted to do and nothing I didn’t”. Arthur thanked the Harriet Friedlander Scholarship Trust and the Arts Foundation for, as he says, “blindsiding me with this extraordinary opportunity”. He heads to New York with fiancée, Penelope. While she completes a master’s in Public Health, he says he’ll “pound the pavements, banging on doors and meeting up with some of the great theatremaking companies in one of the greatest theatre-making cities on earth”. Arthur plans to develop some projects that he has in the pipeline, shop some completed scripts and initiate discussions to make some new work in the Big Apple and he is looking forward to “seeing what wonderfully unexpected things arise from such a wonderfully unexpected circumstance”.

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The Marti Friedl ander Photogr aphic Award Mark Adams Edith Amituanai John Miller Neil Pardington

The Marti Friedlander Photographic Award

Funded by the Marti and Gerrard Friedlander Charitable Trust Marti Friedlander was herself a recipient of an Arts Foundation Award in 2011 for her lifetime achievements as a photographer. Marti’s work is celebrated around the world and is captured in a number of publications. Renowned for her love of “the extraordinary in ordinary New Zealand”, Marti, with the support of her husband Gerrard, established this Marti Friedlander Photograph Award to support and acknowledge New Zealand photographers. The Award is presented every two years to a photographer selected by Marti with the recipient receiving a $25,000 award from the Marti and Gerrard Friedlander Charitable Trust. The 2011 recipient of the Marti Friedlander Award for Photography was photographer Neil Pardington. Neil’s sister Fiona Pardington was a recipient of a Laureate Award in the same year. Neil Pardington’s practice has been described as ‘straight photography with a twist’. He works in the space between documentary photography – where the defining principle is to capture the truth about the world – and conceptual photography, which contends that such a truth can never really be depicted. Not only is Neil Pardington one of New Zealand’s foremost photographers, he is also director of MAP Film Productions, producing, writing and directing a number of short films and he is the founding director of Eyework Design (recipient of some of New Zealand’s top design awards). Top: Neil Pardington, Mattresses, 1999, 700 x 750mm edition of 10, silver gelatin print Photo: Fiona and Neil Pardington with Marti Friedlander. Image by Ken Baker t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


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The Mallinson Rendell Illustrator’s Award

Extr aordinary generosit y gives new recognition

Ann Mallinson established the Mallinson Rendel Illustrator’s Award by making a donation to the Arts Foundation following the sale of Mallinson Rendel, an independent publishing company. The Award was first presented in 2011 and will continue to be presented every two years with a $10,000 no-strings gift and a certificate designed by Sarah Maxey. The Award is for an illustrator of children’s books with published work to a very high standard and is selected by a voluntary panel. Ann Mallinson said, “I have long felt that children’s picture book illustrators in New Zealand receive little recognition for their work.  The good ones – and we have plenty of them – are fine artists with massive imaginations. They make a huge commitment when they undertake to illustrate a picture book, because their work takes many months to complete.

Their role is an important one in introducing children to books, and I am extremely grateful to the Arts Foundation for helping to recognise this important art form. A successful picture book illustrator is a consummate artist, who has to interpret the words, and provide another dimension to the story, with the one aim of doing justice to the text.” Designer, Sarah Maxey, was provided with a brief to produce a limited edition certificate to be presented to each recipient of this award. She was told the certificate would need to have the recipient’s name hand lettered in the year an award is presented and would need to be printed/or embossed with other permanent elements in each template. Sarah exceeded the expectations of the Arts Foundation and Ann Mallinson with her quirky take on the certificate and story telling.

Mea sure of endorsement leads to experimentation

David Elliot was the inaugural recipient of this gift in November 2011. He speaks about what this “much unexpected” award meant to him. David says “the Mallinson Rendel Award has given me confidence to be more experimental. It has given me a measure of endorsement, about my work and my ability as an artist. It has given me what I consider ‘paid time’ to really extend myself, to work towards my full potential. I’m not sure if ‘free-up’ is the right word, but the award has given me the impetus to really use my initiative – with so much more confidence. The award has also raised my profile considerably and I’ve been thrilled by the support I’ve received, including from my peers. Lots of people have seen my work which was shown on the The Artists (on TV7) and quite a number have picked up the phone to congratulate me. It’s all been very encouraging, and humbling at the same time. I’ve since finished a picture book for US publishers, Philomel, in New York. I’ve done work for Philomel in the past (most notably for Brian Jacques’ Redwall series, which I illustrated) but this is the first picture book – my own picture book – which I’ve done for the American market, so that’s very exciting. The book is about a New Zealand farm and plays with

“An illustrator of a children’s picture book requires imagination, artistry and the ability to pay careful attention to detail. David Elliot has these qualities in spades, and I am delighted that he is the first recipient of the Mallinson Rendel Illustrator’s Award.” —Ann Mallinson 20

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concepts of identity and space. It’s rather tongue-in-cheek and hopefully it will be lots of fun for all ages! My next project takes me into somewhat new territory. I was very fortunate in 2011. Not only did I receive the Mallinson Rendel Award, but I also received Creative New Zealand funding to work on a project related to Lewis Carroll’s two insanely wonderful poems, ‘The Hunting of the Snark’ and ‘Jabberwocky’ (which appeared in Alice in Wonderland). The project is ambitious. It’s about creating the mythical island where these creatures may once have existed and this gives me real scope to look at all sorts of things in terms of geography, of myth, of place… even the ‘geography of myth.’ I’m drawn to the different streams of thought in fantasy and to the idea of more fully creating a world that has already started to exist inside my head. I’m really looking forward to giving these ideas more shape, to really pushing the boundaries of my work. This Award helped me travel to Oxford in 2012, to do further research for this project. I have immersed myself in Carroll’s world and recreated the beginning of the journey of ‘The Hunting of the Snark.’ I can’t wait to expand this world that has always fascinated me. I can’t wait to bring this all to life on paper.”

David Elliot sketch for The Moon & Farmer McPhee, Published by Random House New Zealand (2010)


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BILL HAMMONd Zoomorphic Lounge

MICHAEL SMITHER Portrait of Sarah

1999, Acrylic on stretched linen

1974, oil on board

18 Manukau Road Newmarket, Auckland 1149 New Zealand COLIN MCCAHON Jump E16 P +649 524 6804 1974, acrylic on unstretched jute canvas

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Kate De Goldi Re-Imagined City

Tony de Lautour, Unreal Estate, 2012. A Christchurch Art Gallery Te Puna o Waiwhetu Outer Spaces Project

I live in Wellington, but my attachment to Christchurch, home for nearly four decades, has never diminished. I visit often. My dream life takes place against Christchurch backdrops (childhood homes, schools, parks, street corners). I have strong ties to family there, but perhaps also to the past, to the ghostly outline of an old self, a self fashioned by the city, the geography, the community and the culture. Inevitably then, Christchurch is the landscape of my imagination, the matrix for my stories. All my books are set there; my imaginative engine seems to gather steam around river, crater rim, swamp, alpine passes, the long vanishing points of grid-patterned streets, willows and oaks, nor’west arches, bungalows, bay windows, the copper dome and bell towers of the Barbadoes Street Basilica. But place on the page is never an exact representation, and over the years my internalised Christchurch has become less and less hitched to the measurable and substantive. A mash-up has occurred, a version of the city has taken shape in my head, a distillation of suburbs, weathers, street names, buildings and geology, an essentialisation that is not quite ‘real’ but, to my mind, no less true. As it turns out, an imagined city is just as susceptible as the physical manifestation to a natural disaster. On the 22nd of February 2011 my inner lit-up Christchurch and the novel I was working on effectively toppled along with the real city. I was unwilling to admit this for some time. In any case, for many months I was more properly concerned with the actual city and its people. It was strange living elsewhere in those awful months; distance from the daily anxiety and inconvenience, insulation from the domestic and work upheaval made me circumspect about articulating any sense of personal loss (though I felt this acutely: my city was mortally wounded, much of my past erased). Aside from practical assistance, though, and a ready ear, quiet witness seemed the most appropriate response. I put the novel aside and began – in a kind of displaced fever – to write a quite different story. On the face of it the subsequent book has nothing to do with the earthquakes, but I think of it now as having been forged out of the September quake, which I had experienced. In the days after that most surreal event – innocent days it seems now, everyone dizzy with the relief of no deaths, shocked by the destruction, of course, but a little high too, repeatedly reliving the slightly shameful thrill of the earth shaking for so long – in those adrenalised days I went running around the Heathcote River and through the Beckenham Loop. I marveled at the large cracks in the road, I thought about the cracks in the community, our sudden plunge into instability. I thought about the mildly deranging nature of the Beckenham Loop (how streets along the river inexplicably repeat themselves, how the world turns somehow though one seems to be running only in one direction), and I thought how bittersweet it was that our mother, gently loopy, was now living in a dementia unit in the Loop. At some point on one of those runs this swill of thoughts performed the mysterious alchemy well known to writers; the thoughts attached themselves then to an idea I’d been gestating for years, and an entire story presented itself: a narrative in which a young girl and her Alzheimic grandmother and the residents of a rest home construct an alphabet book. The ACB with Honora Lee is set in an unspecified part of the Beckenham Loop and winds inevitably around the Heathcote River. Writing it months after February 22nd, June 13 and December 24 2011 was a headlong business, a many-faceted lament, and a true solace. This book emerged from the quakes. It is not about the quakes, but it is redolent with notions of fracture, of loss, of halting connection, of kindness and reconciliation. Of course, a lost city of the imagination is a comparatively minor matter compared to the tangible reality of wounded buildings, rubble, liquefaction, dust, displacement, cranes,

cones, and more and more gaping spaces. For artists actually resident in Christchurch over the last two years the quakes have had both immediate and less obvious effects on work and process. The question of how one’s work might respond – or not – and when – if at all – has been a matter of much conversation amongst practitioners, a matter of private preoccupation, perhaps even anxiety.

Kate De Goldi speaks to Christchurch Arts Foundation award recipient artists about how the Christchurch earthquake has affected their work In the immediate aftermath of September and February there was the distressing fact of damaged studios and the difficulty of obtaining art materials. Tony de Latour lost both his city centre studio and home; Julia Morison’s Peterborough Street studio was inundated with mud and became part of the red zone for months. Neil Dawson’s working situation changed radically when he offered space in his Linwood studio to dealer, Jonathan Smart, whose gallery was lost after September. Sir Miles Warren contemplated the ruin of a city comprised of so many of his company’s distinctive buildings, while the stone of his lovingly restored historic home and garden, Ohinetahi, literally crumbled about him. Weathering complex losses, physical discomfort and the immediate practicalities of domestic life shafted work for some while at least.

Miles Warren suggests that the quakes have affected people in broadly two ways: for some the shock and difficulties have been paralysing, and normality regained only at a slow crawl. For others – himself among them – the tumult had a galvanising effect. Within days of the September quake, when the gables of his house fell through the roof of the timber wings, and the Oamaru stone walls in his garden collapsed, he went into action – talking to the Historic Places Trust, making presentations to the City Council, meeting with contractors, designing and planning and overseeing the immediate restoration of Ohinetahi. Before the February quake 140 tonnes of stone had been removed from the property. These, he says, were relatively innocent days, when things could be expedited swiftly. (He has firm views about the extreme caution at work now in reconstruction, about the ascendency of engineers over architects in the rebuilding process). Though the loss of the impressive stone façade on the upper stories of his house and the reduction to two stories might be regrettable, he was, and is, pragmatic about the changes. ‘It had to be sorted.’ His attitude to many of the other buildings in

Ohinetahi, post-quake

the city – some of which he is tirelessly advocating for – similarly combines respect for history and a realism borne of sixty years of celebrated architectural practice. ‘You must dismantle to a degree in order to rebuild.’ The other side of ruin, you could say, is opportunity. Julia Morison suggests much the same. Her graphic descriptions of moving through the city on the day of the February quake are duly sober, but allow, too, that there was a kind of filmic thrill running alongside the horror: fires, upended cars, sludge, screams, surging crowds…The mud that took over her studio took up space in her head as well, culminating ultimately in the exhibition ‘Meet me on the other side’ (a reference to hurried instructions on 22nd February). The titles of the often caged sculptures, ‘small triumphal thing’, ‘curious thing’, ‘stubborn thing’ – near ugly, extruded turd-like shapes (alternately cowpattish, phallic, glowering, cowering) – play with notions of anonymity, ubiquity, repressed feeling. If you look long enough the sculptures begin to seem like previously unknown – and vulnerable – life forms, some near cousin of the axolotl, perhaps, an affront to the eye, but trembling with feeling. The new loathed city presence, the mud ‘that kept coming’, has been re-imagined in the most unexpected way. Like Morison, Neil Dawson had initial and immediate responses to the ruined city and the newly constant natural phenomena. Despite some practitioners’ and critics’ lofty renunciations of ‘quake art’ (‘rather harsh’ he says) it seemed to him inevitable that one’s work might begin to reflect the repetitions of the unstable reality: containers, barriers, cones, red, orange and white stickers, high viz vests, the elegant postures of cranes marking the skyline, the weedy beauty of empty lots. These new realities and daily scouring of the quake maps prompted Dawson’s pulse discs, ‘simple, direct – even literal – responses’ to the quakes. A later and more complex response will come with Spires, a mobile public work that will begin an installed life suspended in a vacant lot in Victoria Square. Prompted by the now absent spire of the much contested Cathedral – emblematic of the city, perhaps, but a reductive icon, too – Spires suggests a multiplicity of losses (city, sight-lines, history, aspiration…); it is in two parts – taking the top half of the Cathedral spire and reflecting it. This makes it also a reference, a companion, to a much loved 2001 work by Dawson – Chalice – an earlier inversion of the Cathedral spire carefully sited in The Square to enable a visual echo. Chalice, Dawson points out, is now without its original companion; Spires, one block away, will, in a sense call to its sculpted cousin. ‘I wouldn’t have done Spires if I hadn’t done Chalice.’ Tony de Latour post-quake work illustrates a similar fluidity and continuity in preoccupation and style. There is, as he points out, no clear division between his work before the quakes and after. It is partly that one – the artist and viewer – sees work differently, because there is a new site-specific knowledge, and priorities have changed. Prior to the quakes de Latour was using the Property Press as a kind of found object (an ongoing fascination), an already crowded canvas on which he would paint over pre-existing images, eliding and erasing in order to explore ideas about form. At the same time he was going through an extended ‘mid-career evaluation moment’ – looking at and using ideas from earlier works, and thinking, too, about earlier art movements, Constructivism and Cubism, his work tending away from the figurative. Post-quakes, the work took on a new aspect. Inevitably, property and land were now loaded words – ‘the big subject’, in fact. Similarly, colour was bristling with new meaning (the colour coding of land, the ubiquity of red, orange, green). De Latour’s conscious response to these developments is very evident in Unreal Estate, a Christchurch City Gallery Other Spaces project: a much worked-over Property Press has whole estates slashed or obliterated by rough strokes of black paint, or besmirched by dark, diseased splodges. Oblongs, triangles and fractured rectangles of colour interrupt and occlude real estate language so that certain glimpsed words achieve a heightened, often ironic meaning: Open Home; listing; notice; opportunity. Suburb names and house descriptions are only barely discernible, fading away beneath white washes. Interestingly, just as Morison’s stolid liquefactions seem to quiver with anxious life, so do de Latour’s deletions and blockings have a palpable sense of movement. Similarly, Neil Dawson’s pulse discs vibrate with vivid colour; his inverted Spires, hung about with loss, nevertheless points upwards too. Shake up, these works suggest, might, amongst much else, prompt new possibilities. Tony de Latour points out that even the vociferous disagreements over future civic development, with the new city plan (and there are many), are indisputably a kind of dynamism.

He makes the further point that while younger artists – restless and mobile – may choose to leave a city which, for the time being at least, is in great flux and temporarily without the customary bastions of art practice (notably a fully functioning City Gallery) – others are responding energetically to that rare thing in the life of a contemporary Western artist: a real event with infinite reverberations and interpretations. For the first time in decades this is an opportunity to make art about something substantial and complex and directly related to human experience, as distinct from art whose preoccupation is perpetually with art itself.

Of course, a lost city of the imagination is a comparatively minor matter compared to the tangible reality of wounded buildings, rubble, liquefaction, dust, displacement, cranes, cones, and more and more gaping spaces And now, too, earlier work is inevitably viewed differently (though no less interestingly) in the face of new terrible knowledge. This is very apparent with the work of Neil Dawson. Some of his public sculptures have necessarily been removed from unstable spaces; they will return in time, but since the space, buildings, natural forms around them have been transformed, so too will the individual works be changed – a process Dawson is intrigued by. That vital aspect of his work – thinking about public space – is, per force, unexpectedly refreshed. The problem (and potential delight) of public space has prompted a significant change of direction for Julia Morison. (The wash up from the quakes, she says, has seen a number of artists change media; new sights/ sites; new alertness to the changed materiality of surroundings: weeds, dust, interesting rubbish from abandoned lots, tools, bricks, discarded possessions: the results of such street combing have set some artists on new paths altogether.) Morison, too, is a natural scrounger and collector – and her painting and sculpture has reflected that over her career. But the post-quake environment – and in particular the pressing matter of how a rebuilt city might best look and function – has moved Morison to advocate publically for the artist and art to be comprehensively incorporated into the re-build, rather than being consigned to an embellishing role. A natural consequence of this thinking is her project Tree Houses, for a city site yet to be decided. The sculpture’s solid wooden bases will invite people to sit and shelter in; the epiphytes growing above suggest reflections on recovery: like that non-parasitic plant Christchurch too may live and be renewed through reliance on, integration with other structures and living forms. Revival, renewal, revitalisation. Strikingly, each of these artists in their different ways, has been extremely active within Christchurch’s art community since the quakes: Dawson’s Spires – a free installation – involves no less than eighteen different organisations working cooperatively. Tony de Latour assisted a number of young Christchurch artists mount a show in Sydney last year. Julia Morison meets monthly with a diverse group of young artists and students and is active in assisting the documentation of the myriad transitional art projects the city has seen over the last eighteen months. And Miles Warren quietly makes expert and thoughtful representations on behalf of buildings throughout the city. As for me, the series of absorbing conversations over the summer with these four remarkable people shifted something in my own head. In the last two months my wounded little novel staged a small but significant rally. An epiphytic moment you could say.

Neil Dawson, Spires model (detail), 2012, painted steel

Revival renewal revitalisation

Julia Morison, Small triumphal thing, 2011, 3500 (var) x 500 x 500, recycled plastic, cement, silt, metal. Collection of the artist Neil Dawson, Pulse Dome (detail), 2011, sreen printed acrylic

Julia Morison, Fretful thing, 2011, 540 x 170 x 120mm, recycled plastic, cement, silt, metal. Collection of the artist Tony de Lautour, Unreal Estate, 2012. A Christchurch Art Gallery Te Puna o Waiwhetu Outer Spaces Project

TH E A RTS FO U N DATI O N | a ppl au s e

At The Helm

GOVERNANCE Vice-Regal Patron

Vice-Regal Patron – His Excellency Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand

Arts Foundation Trustees are committed advocates who generously volunteer their time, energy and ideas. Trustees are supported by Arts Foundation Governors, who provide expert advice on matters related to the arts.

Fran Ricketts Chair Richard Cathie MNZM Sarah Eliott Garth Gallaway Desek Handley Andrew Harmos Caroline Hutchison Derek Lardelli ONZM

In 2011 Sir Eion Edgar announced his retirement as a Trustee and that his family was making a significant donation towards the Icon Awards. Sir Eion’s networks, good humour, wise counsel and support played a significant role in advancing the Arts Foundation in its first decade. Last year the Foundation honoured three of its founding Trustees – Richard Cathie, Sir Ronald Scott and Brian Stevenson at Government House in Wellington. Sir Ronald retired in December last year. He is an irrepressible force, always full of bright ideas, who has touched every element of the Foundation and without whom the Foundation would not have achieved half what it has. The Arts Foundation, in partnership with the Olympic Committee, has commissioned Hugo Manson to undertake an Oral History that will highlight Sir Ronald’s huge impact in both the sports and arts worlds. This history will be held at the Oral History Archive at the Alexander Turnbull Library and will be available for research purposes into the future. Trustees are proactive in planning for their own succession and have a policy that identifies the optimum composition and skill mix of Trustees. Key attributes are a passion for New Zealand and a passion for the arts, energy and time to allocate. Diversity of thought and background, and an ability to contribute are valued. All Trustees are financial members (patron) of the organisation and will attend six meetings a year, award events and any other Foundation events in that Trustees region.

In 2011 the Arts Foundation welcomed Sarah Eliott, Andrew Harmos, Caroline Hutchison and David Ross to the Board of Trustees. This year Garth Gallaway (Lawyer), Derek Handley (Entrepreneur), Derek Lardelli (artist) and, Neil Plimmer (diplomatic services) have been welcomed. If you are interested in becoming a Trustee of the Arts Foundation, expressions of interest are welcome. Governor, David Carson-Parker, one of New Zealand’s most dedicated arts supporters, passed away in October 2012. David was a tireless advocate for the Foundation and a generous supporter. We are also sorry to have said goodbye to retiring Governors Marilynn Webb, ONZM , artist and art educator from Dunedin and prolific composer and Laureate Dame Gillian Whitehead MNZM , DCNZM who is also from Dunedin. Gillian and Marilynn attended their last meeting in February when they helped select the 2013 Icon Award recipients. Three new Governors were announced at the last AGM. We are pleased to welcome Elizabeth Kerr (music specialist), Jim Geddes (Head of the Arts and Heritage Department of Gore District Council) and Bill Gosden (Director of The New Zealand International Film Festival).

Neil Plimmer David Ross Brian Stevenson Lloyd Williams Lloyd Williams Chair Jim Geddes QSO Bill Gosden MNZM Elizabeth Kerr Elizabeth Knox ONZM Jonathan Mane-Wheoki Gaylene Preston ONZM Deirdre Tarrant MNZM Simon Bowden Executive Director Angela Busby Project Co-ordinator Jennifer Hale ADMINISTRATOR/EVENt CO-ORDINATOR Bryna O’Brien Boosted Project Administrator Renee Tanner Boosted Manager

come and meet us The Arts Foundation

PO Box 11352, Manners Street, Wellington 6142, Level 3, 45 Tory Street, Wellington 6011 T +64 4 382 9691


E Boosted Wellington

Level 3, 45 Tory Street Te Aro, Wellington 6011 T +64 4 382 7910 Boosted Auckland

The Generator Level 1, 22-28 Customs Street East Britomart, Auckland Central 1010 T +64 21 149 6707




David Carson-Parker

02 Jim Geddes 01




03 Bill Gosden 04 Elizabeth Kerr 05 Derek Lardelli 06 Derek Handley 07 Garth Gallaway 08 Neil Plimmer





Left page: White Lies features six Laureate Award Recipients: Whirimako Black (Actor), Alun Bollinger (Cinematographer), Rachel House (Actor), Witi Ihimaera (Writer) Richard Nunns (Taonga puoro) and John Psathas (Composer)

Governors’ Award The Arts Foundation of New Zealand Governors’ Award acknowledges an individual or an institution that has significantly contributed to the arts in New Zealand. The Award is honorary and made on occasion. Recipients are selected by Arts Foundation Governors and receive a bronze plaque designed by Jim Wheeler.

Governors’ Award University Of Otago Radio New Zealand Concert Govett-Brewster Art Gallery

t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


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Inspiring Partnerships

A Real Contribution to New Zealand

In the 1990s Founding Arts Foundation Director and Trustee, Sir Ronald Scott, rallied together a number of dedicated arts philanthropists to form the Arts Foundation: an organisation established to provide new ways of encouraging arts philanthropy. Ever since its launch, the Foundation has maintained its independence and its 100% private funding. This is unprecedented in New Zealand. We are proud of this fact and value all the private support that we receive.

New Zealanders are talented. We are world class and unique. New Zealand artists have extraordinary achievements; they enrich our lives here and fly the flag on the world stage. Macquarie Private Wealth New Zealand is as passionate about celebrating the success of our finest artists, as it is of growing the philanthropic support for the arts. We are very proud that they chose the Arts Foundation to partner with as a way to demonstrate this commitment.

So in a country where only 3% of funding for the arts comes from private philanthropy, how has the Arts Foundation maintained its financial independence? The answer is through the will of many inspiring individuals and the fact that arts, a vital and exciting part of our society, are deserving of our support. The Arts Foundation predicts that, by 2015, 82% of its expenditure will be granted to artists and arts projects, 13% will be spent on administration and 5% will be capitalised new income. These amounts do not include reinvested funds from capital growth, or large donations or legacies. To maintain capital growth and its promise to donors that most of the Foundation’s expenditure will be donated to artists and projects, the Foundation requires dedicated supporters. Without the support of Patrons, in kind volunteers including Trustees, Governors and artists, trust funding, donor partners and sponsors, there would be no Arts Foundation. There is something extraordinary about private support for the arts. None of the companies, people or trusts that support the Arts Foundation has to do this, but they do because they believe in the Arts Foundation and its impact. The Arts Foundation is inspired by its sponsors, patrons and supporters: New Zealand heroes dedicated to the development of humanity, through the arts, for the benefit of us all.

This page: Ian Witters (Macquarie Private Wealth New Zealand) and Fran Ricketts present Fiona Pardington with her $50,000 Laureate Award cheque. Image by Ken Baker Right page: Joe Sheehan Bulb, Jade, oxidised brass, electric cable and plug. LED bulb (2011). Courtesy of the artist and Tim Melville Gallery


T H E A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


Macquarie Private Wealth New Zealand began its relationship as Principal Partner of the Arts Foundation in 2011 and has been the naming partner of the Macquarie Private Wealth New Zealand Arts Awards for the past two years. Last year the Arts Foundation launched a new event with Macquarie Private Wealth called You Call this Art. The event was presented in Auckland, Wellington and Christchurch and broadcast over the summer on Radio New Zealand National. “The Arts Foundation gives us an opportunity to recognise and support top New Zealand artists across many arts disciplines”, said Ian Witters, Head of Macquarie Private Wealth New Zealand. “With more than 140 artists honoured by the Foundation, it is hard to find a New Zealander who has not been influenced by one of the Arts Foundation’s recipients. Who has not seen a film by Sir Peter Jackson or read a book by Margaret Mahy or Janet Frame? Macquarie Private Wealth New Zealand is honoured to be helping recognise artists of this calibre and excited to be supporting established artists as well as the next generation of talent”.

The Macquarie Private Wealth New Zealand Arts Awards held in October 2012 were the first time all of the Arts Foundation’s financial awards were presented on one night. This has enabled New Zealand to focus on the achievements of our finest artists and celebrate with them as more than $400,000 is donated to support their careers. “The Awards play an important part in achieving the Arts Foundation’s vision of having an annual showcase event at which New Zealand can learn about the talent we have in this country and celebrate their success”, said Ian Witters. “The Awards also provide an opportunity to acknowledge patrons of the arts. These people give their own resources freely to support the arts and deserve our gratitude”, he said. Ian Witters has now had the chance to meet many of the artists awarded by the Arts Foundation, including Warren Maxwell, a New Generation Award recipient who is a singer songwriter, composer and performer. “It’s been great getting to know Ian”, said Warren. “He has shown a real interest in my artistic practice and the challenges of being an artist”. The Arts Foundation is grateful to Ian for his personal interest and for leading an organisation that is making a positive contribution to the New Zealand arts community.

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You Call This Art You Call This Art

Everyone has a different relationship with the arts. There are some things we like and some we don’t. There is plenty that we know about the arts, but there is always more to learn. Arts Foundation awarded artists have an amazing insight into creativity and a fantastic ability to communicate about their practice. Macquarie Private Wealth New Zealand and the Arts Foundation set about creating an event in which artists could illuminate audiences by providing insights into their work. The Arts Foundation approached Awa Press and Radio New Zealand National with an idea and

You Call This Art was born. Presented in Auckland, Wellington and Christchurch in November last year and broadcast on Radio New Zealand National over the summer, You Call This Art featured three artists and an author from the Awa Press Ginger Series. Each artist used a work to demonstrate their creative process. For example, sculptor Neil Dawson presented a model of a soon-to-be constructed sculpture for installation in a vacant site in Christchurch. He explained how it was inspired by Christchurch’s lost skyline of church spires and its new temporary skyline of construction cranes. You Call This Art is available by podcast on the Radio New Zealand website [search: You Call This Art].

“It was a wonderful occasion in Wellington. Thank you, your trustees and benefactors so much. I was thrilled to be able to  tell Warren Maxwell the Maori TV Series, Songs from the Inside was one of the most honest and compelling television series I’ve ever seen – great to catch up briefly with Mark Albiston – and all in all a thoroughly entertaining evening. Many thanks to the Arts Foundation for the joy, intelligence, – light and laughter you bring to our lives!” —Anna Cottrell, Documentary maker

Now future In the arts every cent is precious. We have to be careful how we spend funds today and also plan for the future. The Arts Foundation is fortunate to have an endowment fund of over $6 million. This fund provides income for the annual Laureate Awards and part funds the New Generation Awards and donations relating to the Award for Patronage. The fund grows through donations and income. There is also $15 million expected in legacies in the future. The Finance and Administration of the Arts Foundation monitors our fund on behalf of the Trustees. The Arts Foundation has appointed Macquarie Private Wealth New Zealand (MPW) to manage the fund for us “The service provided the team at Macquarie Private Wealth has been excellent”, said Andrew Harmos, Chair of the Finance and Administration Committee of the Arts Foundation. “They established a well-structured portfolio for us and is providing valuable recommendations for investment options.

Their personal interest in our objectives of capital preservation and growth are clear in the way they manage our portfolio. We value the depth and quality of communication from Macquarie Private Wealth”. “I enjoy taking a personal interest in all of our clients’ investment objectives. All good financial advisers should have this approach”, said James Malden, Senior Adviser at MPW’s Wellington office. “I am aware that the performance of the Arts Foundation’s fund is critical in providing almost $300,000 in awards to artists. It’s very rewarding to be working in the engine room of a fund that has contributed to such great outcomes for New Zealand”.

t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


Going the extra mile


Commissioning an artist to launch a car, turning a car into a silver bullet and creating a new currency! Jaguar’s fun and creative approach to its partnership with the Arts Foundation certainly goes the extra mile. From the very start of their time with us, Jaguar has been determined to provide unique experiences to stimulate the senses. Within days of signing with the Arts Foundation, Jaguar commissioned visual artist and Laureate, John Reynolds, to create a large scale art work to first cover, then to be lifted, to reveal the new XF. Selected customers were invited to test drive a Jaguar in return for a section of John’s art work, which was cut into sections and stretched over frames. The work, called Racing Heart, evokes a rich hum of movement and horizon against a larger arc of sky and stars, utilising John’s signature deployment of silver markers and metallic spray. For the 2012 Macquarie Private Wealth New Zealand Arts Awards, Jaguar covered an XF with chrome vinyl wrap. Brand Manager, Helen Sunley, reported that the car turned heads all the way from St Lukes to the Cloud, where the Awards were held. To celebrate the launch of Boosted, Jaguar gave 28 people, who test drove a car, $100 Boosted dollars to donate to a project of their selection on Boosted. This brilliant idea introduced 28 people to Boosted and has resulted in $2,800 in donations to arts projects. It’s a great initiative, which the Arts Foundation hopes will inspire other partners to investigate. We are very grateful to Jaguar for their innovative support of the Arts Foundation and direct contributions to the arts. And remember, if you buy a Jaguar; be sure to let us know as Jaguar will donate more funds to the Arts Foundation for every car sold to Arts Foundation supporters.


STRATEGY design and advertising

Superb creative thinking. Clever and clear planning. Talent to burn and inspirational. We could say more and yet we can’t say enough about Strategy Design and Advertising in Auckland. The Arts Foundation’s creative partner says they are not too small to be ignored, but not too big to be ignoring you. We think they are the perfect size. Relationships and understanding are key elements in brand development and we have that in spades from Strategy. Their commitment to us is on a par with our most dedicated supporters and is receiving amazing results.

Both gentlemen are dedicated to the Arts Foundation and are inspiring to talk to. We recommend you take time to meet them at the next Arts Foundation function. The Arts Foundation is extremely grateful to Strategy and all its team. All have gone well beyond what we thought was great service. It’s exceptional. You can contact Strategy on 09 360 1944 or call Martin directly on 021 773 134.

Strategy’s first major contribution to the Arts Foundation has been the development of the brand for Boosted. They have produced material for the website and printed collateral. Beautifully executed, the black balloon motif speaks for itself and has limitless possibilities. For example, it is a simple and cost effective tool for arts projects to embrace in their own promotions. Strategy helped us understand we needed a brand that could be uplifting and also shared for re-working by the arts sector. Boosted’s brand has exceeded all our expectations, it’s already becoming iconic in the arts world. Strategy Design and Advertising has offices in Auckland, Christchurch, Wellington and Sydney. Our relationship is with the Auckland office. In each office they have two equal partners: one to focus on the business of the client, the other to provide creative leadership. We see now, how this is a powerful combination. The Arts Foundation is very fortunate to be working with Managing Partner Martin O’Sullivan. Martin quickly understands the business objectives and operational opportunities and constraints of clients, so Strategy can exceed the needs of clients. Creative Partner, Gideon Keith, leads an amazing team of talented designers with his own brand of creativity and insights that create powerful brand worlds. He has a deep understanding of how brands move people and ensures all their work is world class.

Above: Martin and Gideon in the Auckland studio




line 7






hunter valley



Creative partners to the Arts Foundation & many more... Contact Martin O’Sullivan 021 773 134 (09) 360 1944

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When we built Boosted we knew it must be world-class and, for this reason, it is built by web developers NV interactive. NV has numerous awards for its websites. Its ability to understand, scope and deliver a project exceeds clients’ expectations. NV’s clear uncluttered sites and attention to detail ensures a enjoyable experience for users. NV has provided a generous sponsorship towards the build of Boosted for which the Arts Foundation is grateful.

Wharekahau Lodge



One of the newest members of the Arts Foundation’s family of sponsors, Foley Family Wines, is owned by Bill Foley, an American businessman who has established the Wharekauhau Country Estate in the Wairarapa. Foley Family Wines supplies Vavasour wines for Arts Foundation events. They have been a wonderful addition to our occasions; we’ve even had people call the office to find out where they can buy the wine. The easiest way to purchase Vavasour is to visit the Wine Exchange website at While you are there we recommend becoming a member of the Wharekauhau Wine Society. As a member of The Society you will be the first to hear about events such as the recent Society 1st Birthday Party which was hosted by Bill and Carol Foley on March 2nd at Wharekauhau Country Estate.

Crowdfunding is a new idea. We quickly realised we required some initial funding for Boosted from a forward-thinking Trust that believed in a hand-up not a hand-out and wanted to contribute to a new future. We found this support through our long-time partner, the Lion Foundation. Boosted will be self-sustaining, but it has received a helping hand for its first two years. Lion Foundation’s support has enabled the Foundation to develop Boosted which will have a profound impact on the arts sector.


The Arts Foundation has loads of amazing stories to tell. We have artist success to trumpet and are determined to promote philanthropic support for the arts. Media today is full of new opportunities to broadcast messages, but it is complicated to navigate and takes expert knowledge to ensure stories get published and cut through. The Arts Foundation has a superb public relations partner to help it reach audiences. Cathy Campbell Communications has been a sponsor of the Arts Foundation since the Macquarie Private Wealth New Zealand Arts Awards last year. They hit the ground running and made some excellent headway in promoting the Awards. This year they were critical in gaining significant exposure for Boosted at launch and in the weeks following. Cathy Campbell Communications is helping us ensure that our initiatives engage a wider audience so we can more effectively promote the arts. Media and events specialist, Cathy Campbell Communication’s clients include Jaguar, Nespresso, Land Rover and New Zealand Fashion Week. They run a number of programmes that help companies collaborate to reach target audiences through sharing resources. We love working with Anna Hood and Vinny Sherry at Cathy Campbell Communications and hope you will make a point of introducing yourself to them at your next Arts Foundation function.

For a detailed description of how these wonderful organisations partner with us, go to principal partner

boosted partner

vehicle partner

business partners



T H E A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and


creative partner

Thank you

A special acknowledgement and thanks to the many people and organisations that support the Arts Foundation through their time, donations, gifts, bequests and sponsorships. We also extend a warm welcome to all who have newly joined as patrons, registered to receive our email updates and to followers on our Facebook page. Your interest and support inspires us. We want to make a very special mention here to all those patrons and friends who have opened their homes and offices to accommodate Arts Foundation meetings and events. Particular thanks to David Carson-Parker &

Jeremy Commons, Helen & Keith Ferguson, Andrew & Sheridan Harmos, Lady Diana Isaacs, Trish & Rodger Oakley, Collin Post & Brenda Young, Lesley & Michael Shanahan, Fran & Geoff Ricketts, Kensington Swan and The Todd Corporation. Many individuals and organisations contribute to the Foundation’s vision at a number of levels. All support is gratefully acknowledged.

Founding Patrons



Jill McDonald

Lloyd Williams & Cally McWha


Sir Roderick & Gillian, Lady Deane

Anne Coney

Charlotte & Rick Anderson

Julie McDowell

Sue & Terry Wood

Kathleen Fogarty & Gary Reynolds

Graham Atkinson

Lloyd Williams Chair

Sir Eion & Lady Jan Edgar

Caroline & Gerald McGhie

Kirsty Wood

Holdsworth Charitable Trust*

Anne & Tony Baird

Jim Geddes QSO

Dame Jenny Gibbs

Selene Manning & Anthony Wright

Anonymous (3)

Andrew & Sheridan Harmos

Michael Baker & Katie Chalmers

Bill Gosden MNZM

Fran & Geoff Ricketts

Estelle Martin

Sir John & Teena, Lady Todd

National Business Review**

John & Elizabeth Balmforth

Jenny May

Legacy Donations

Denver & Prue Olde*

Paul Baragwanath

Elizabeth Knox ONZM

Sir James H Wallace

Joy Mebus

Jonathan Mane-Wheoki

Monique Pinsonneault & Pravit Tesarim

Harry & Susie Bashford

Carole Ada Cliff

Pauline Mitchell

Lisa Bates & Douglas Hawkins

Kelvin & Valerie Grant

Gaylene Preston ONZM

Lesley & Michael Shanahan*

Barbara & Roger Moses

Sylvia & Brian Bennett

Adrienne, Lady Stewart

Catherine Muir & Patrick Costelloe

Notified Legacies

David & Ewa Bigio

Jane Vesty & Brian Sweeney

David Nicoll & Rosie Eady

John & Janet Blair

Alistair Betts

Sir Tim & Prue, Lady Wallis

Rob & Jacqui Nicoll

Burmark Industries

Jamie Bull

David Wilton

Mervyn & Francoise Norrish

John & Lyn Buchanan

David Carson-Parker

Helen & Wayne Nyberg

John Dow

Platinum Lifetime Patrons

Harriet Friedlander Scholarship Trust Ann Mallinson Nancy & Spencer Radford Gold Lifetime Patrons

Elizabeth Kerr

Deirdre Tarrant MNZM Staff

Simon Bowden Executive Director

Angela Busby Project Co-ordinator

Chris & Marguerite Burr

Trish & Roger Oakley

Michael Burrowes & Kate Mahony

Dame Jenny Gibbs


Hon. Margaret Austin

Terrence & Elizabeth O’Brien*

Brian & Dorothy Carmody

Lorraine Isaacs

Wayne Boyd & Ann Clarke

Jaenine Parkinson

Bruce & Margaret Carson

Helen Lloyd

Bryna O’Brien

Suzanne Carter

Pamela & Brian Stevenson

Boosted Project Administrator

Richard & Frances Cathie

Nell & Simon Pascoe

Anna Cottrell & Paul Herrick

Alison and Barry Paterson

Andrew & Niki Cathie

Sir John Todd

Paul & Christelle Dallimore

Neil and Phillipa Paviour-Smith

Kim Chamberlain & Henrietta Hall

Anonymous (9)

Alfons & Susie des Tombe

Sam Perry

Rick & Lorraine Christie

Marti & Gerrard Friedlander

Rachel & Neil Plimmer


Errol & Jennifer Clark*

Ross & Joséphine Green

Joe & Jacqueline Pope

Bruce & Jo Connor

* Laureate Donors

Sir Michael & Lady Hardie Boys

James & Rachel Porteous

Anna Crighton

** Gold Corporate Patron

Philip & Leone Harkness

Jack & Lynn Porus

Mayford Dawson

+ New Generation Award Patron

Greg & Shelly Horton

Chris & Sue Prowse

John & Pip Dobson

Margot Hutchison

Don & Moira Rennie

All other names listed are Arts Foundation Patrons

Dinah & Robert Dobson

Michael Laney & Monica Ryan

Gavin & Felicity Rennie

John Dow

Murray & Denise Lazelle

Nicky Riddiford & John Prebble

John & Karen Eagles

Chris & Dayle Mace

Marjorie Robson*

Richard & Elizabeth Ebbett

Richard Nelson

Sir Bruce & Lady Lyn Robertson

Robyn & Christopher Evans

Mike Nicolaidi & Michael Houstoun

Melanie Roger

Tim & Judy Finn

Collin Post & Brenda Young*

Frances Russell

Rie Fletcher

Andrew Robertson & Niina Suhonen

Jane Sanders & Mike Stanton

E M Friedlander

+ Susannah & George Gould

Noel & Sue Robinson

Gregg & Rosie Schneideman

Allan Galbraith

+ C aroline Hutchison & Henry van Asch

Suzanne Snively & Ian Fraser

Sir Ronald & Lady Beverley Scott

Alison & Gus Gardner

Pamela & Brian Stevenson

Antonia Shanahan*

Jim & Marcella Geddes

+ Fiona & Tom Hutchison

Lady Philippa Tait

Jan & Don Spary

Stephen Gentry*

+ Lily Sellar & Hugh Rebbeck

Faith Taylor

Martin & Catherine Spencer

Sue Gifford & Simon Skinner

+ Elizabeth & William Sellar

Jenny Todd & Kerry Morrow

Ross Steele

Peter & Nellie Gillies

* Andrew & Jenny Smith

Katrina Todd

Gordon Stewart

John & Trish Gribben

+ Sharon van Gulik

Sheelagh A Thompson

Bea & Brian Stokes

Roger & Dianne Hall

Scott & Vicki St John

Tim Herrick

Deirdre Tarrant


Gay Hervey & Bob Schmuke

Margaret & Warren Austad

Rose Thodey

John & Barbara Heslop

Pip & Russ Ballard

Kathleen Tipler & Chris Parkin

Professor Les Holborow

Peter & Claire Bruell

Judy & Roscoe Turner

Omer & Don Hooker

Sarah Eliott & Mark Weldon

David & Rachel Underwood

Rachel House

Helen & Keith Ferguson

James & Eve Wallace

Don & Jannie Hunn

Ken & Jennifer Horner

Warren & Virginia Warbrick

Chris & Sue Ineson

Grant Kerr

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Ralph Hotere – Visual Artist ONZ, Te Aupouri 1931–2013

“There are very few things I can say  about my work that are better than  saying nothing.” —Ralph Hotere

Ralph Hotere, A Wind Goes Out, acrylic and dye on unstretched canvas, 1260 x 500. Brian and Pamela Stevenson Collection. Image courtesy of Ron Sang Publications

Applause - Issue 19  

Applause is published by the Arts Foundation. The publication focusses on philanthropy, the artists supported by, and those that support, t...

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