Page 1

october applause applause 2/2003

Applause is the bi-annual newsletter of the

Arts Foundation of New Zealand. It provides up to date information

on artists supported by the Foundation, announcements and reports about awards and other Arts Foundation activity. If you would like Applause to be mailed to you visit and submit your mailing address or call +64 4 4711 374.


Bowl, c. 1978, Len Castle

Laureate Awards 2003

In this issue

The Trustees of Arts Foundation have announced a significant financial increase in the Laureate Award, raising it from $30,000 to $40,000. This increase takes effect immediately and is a direct result of the growing Endowment Fund. Currently at $6.4 million, the Fund now generates enough income to sustain five annual awards of $40,000. “The Trustees are thrilled to be able to announce the increase,”

With an awards ceremony scheduled to take place in

said Richard Cathie, Chairman of the Arts Foundation. “With

Christchurch on 30 October, the 2003 Awards will, for the first

a total of $200,000 given out at each event, the Laureate

time, be held in the South Island.

• gets national coverage

Awards are making a real difference to the lives of some of our finest artists.”

Distinguished Icons

Icon Awards

The five new artists announced at this year’s event will bring the total number of Laureates to nineteen. Each year the Arts

• is celebrated in style

The Laureate Awards honour substantial achievement in the

Foundation Trustees appoint a panel to select the recipients,

• Sir Donald McIntyre Icon

arts by individual artists and aim to provide these artists with

with this year's panel made up of Sunny Amey, Gisella Carr,

the opportunity to keep producing excellent work.

Elric Hooper, Jonathan Mane-Wheoki, Rodney Wilson and


Jeremy Winter. The panel members are selected from a range Recipients must not only be outstanding figures in contemporary art practice, and be acknowledged as such by their peers, but they should also have attracted international attention. They

of eminent arts commentators who are not only highly regarded in their own fields but also willing to work across a range of different art forms.

need to have built up a substantial and significant body of work

Also read about: Laureate Update Lloyd Williams

and still have important work lying ahead of them. The Arts


Foundation assists them so they can continue to impress with

2000: Briar Grace-Smith, Elizabeth Knox,

David Carson-Parker

the richness, range and depth of their work.

Peter Peryer, Gillian Whitehead and Douglas Wright

Sponsorship Update

As well as $40,000, each artist also receives a sculpture by

2001: Phil Dadson, Kate De Goldi, Michael Parekowhai

Terry Stringer. The artists are provided with their own page on

and Gaylene Preston

the AFNZ web site and with the opportunity to participate in AFNZ Laureate Forums, thereby making their work known to

2002: Warwick Freeman, Shona McCullagh, Don

a wider audience.

McGlashan, Helen Medlyn and Jacob Rajan


And the awardees for 2003 are:




Yes, We Do Appreciate and Honour our Artists HONE TUWHARE, time pressing heavy on his white head like a winter frost, thought it a great idea. He shuffled across the stage at the St James Theatre this week to collect an inaugural Icon Award, one of 10 honouring this country's great artists. As he has done since his early days as an apprentice in the Otahuhu railway workshops, he played with words. Iconically . . . laconically. Ngaio's own Maurice Gee spoke eloquently of the hard work that goes into his writing and the joy of a Biro racing across the page, creating something. He shared his honour with

his wife Margareta and promised to metaphorically break his medallion in half; they would eat it like pizza for the rest of their days. Milan Mrkusich, pioneering abstract painter, emphasised how strongly he felt about his home. His work, in the form of the coloured enamel windows, is there for all to see in the Te Papa building. Overcome by emotion, he spoke via video of the support and love of his wife, and of being smitten when he first saw her in a red dress. All the recipients—including novelist Janet Frame, potter Len Castle, artist Ralph Hotere, choreographer Russell Kerr, weaver Diggeress Te Kanawa, architect Sir Miles Warren and opera singer Sir Donald McIntyre—had one thing in common: their humility and delight in being so honoured. Artists are not used to the limelight and public acclamation. That is the preserve of rugby players and pop stars.

It was a night rich in images as the Arts Foundation of New Zealand paid homage to highly talented people who have benefited us all. Most are not household names. In the past, similar great artists have become famous and appreciated only once they are gone. As the foundation trustees' chairman Richard Cathie said, they died still wondering if their work would ever be appreciated. No more. The inaugural recipients will be joined by further leading arts practitioners every two years, with up to 25 eventually. Individual pounamu pins are given to them, but the medallions will be returned on death, their mana building as they are passed on. The joyous occasion that was the awards night is significant in other ways. The honours demonstrate a new confidence and maturity. We do not need to look to the once Mother Country or to age-old Europe for inspiration. Len Castle

finds his in clay and fire, thinking of himself as an alchemist and visual poet, coaxing magic from the seemingly inert earth. The reclusive Janet Frame finds writing is a boon, an analgesic, and dreads emerging from it each day. Ralph Hotere is typically enigmatic about his acclaimed painting. “There are very few things I can say about my work that are better than saying nothing.” Russell Kerr, with a lifetime in dance, is credited with ensuring the survival of our national ballet company, which turned 50 this year. Sir Miles Warren creates logical order out of a chaotic world. Sir Donald McIntyre was a natural for Wagnerian opera with his powerful bass baritone and impressive physique. Diggeress Te Kanawa is a quieter achiever. She has been instrumental in maintaining highly complex Maori weaving traditions, creating items of stunning beauty. Our artists can hold their own anywhere, and that should be a source of pride for us all.

Laureate Update A summary of Laureate activity provides a fascinating glimpse into the worlds of literature, dance, music and theatre. They are writing, performing, thinking, teaching and producing all over New Zealand and around the world. A documentary on internationally renowned choreographer and dancer Douglas Wright (2000 Laureate), Haunting Douglas, premiered at the International Film Festivals in Auckland and Wellington, and screened on TV One in July. Directed by Leanne Pooley and co-produced by fellow Laureate Shona McCullagh (2002)—recently announced as the inaugural recipient of the $65,000 Creative New Zealand Choreographic Fellowship—the film tracks Douglas’s journey from Tuakau to Manhattan—a journey


that has included drugs, alcohol, illness and accolades. The film features excerpts from Douglas’s extraordinary body of work, and is now being distributed internationally. Videos are available from Leanne Pooley at In March 2004 Penguin New Zealand will be launching Douglas’s book Ghost Dance as part of the Writers and Readers Week of the 2004 New Zealand Festival in Wellington. Jacob Rajan (2002) has just returned from taking Pickle—

the play previously known as The Pickle King— to the Edinburgh Festival. He had a three-week run at the

Assembly Rooms, and received a Fringe First Award from the Scotsman Newspaper. Krishnan's Dairy, the first play in this loose trilogy made up of Krishnan’s Dairy, The Candlestickmaker and Pickle, received a Fringe First in 1999. Jacob is currently following up leads to establish Pickle in the U.K. and, with director/producer Justin Lewis, Jacob is also starting work on a screenplay for Krishnan's Dairy.


In July and August writer Briar Grace Smith (2000) participated in “Honouring Words”, the second International Indigenous Authors Celebration Tour. “Honouring Words” brings together highly respected and acclaimed indigenous writers from Canada, New Zealand and Australia to celebrate the current status, and promote further development, of indigenous writing and publishing internationally. Acclaimed mezzo soprano Helen Medlyn (2002) headed off to Japan with the New Zealand Symphony Orchestra earlier this month to perform in a concert which included Miraculous Mandarin by Bartok, Sea Pictures by Elgar, Lilburn’s Aotearoa Overture and Romeo & Juliet Suite by Prokofiev. In July she joined forces with Gillian Whitehead (2000), one of the most significant composers in Australasia. Gillian chose a poem by Fleur Adcock, “Alice,” as a piece of literature suitable for putting to music. The result was a vocal symphony of eight movements, performed by the Auckland Philharmonia to great acclaim. Helen followed this success with a sell-out Auckland season of her new cabaret show Hell for Leather, which she will now take to this year's Tauranga Festival. She has also just been contracted to sing the Mother Superior role in Christchurch's Court Theatre production of The Sound of Music. Gillian Whitehead’s (2000) new quintet premiered with a performance by the Southern Cross Soloists in Palmerston North on 10 July. It was then toured by Chamber Music New Zealand, with concerts taking place in New Plymouth and Auckland, Nelson, Wellington, Napier, Invercargill, Dunedin and Christchurch. Jeweller Warwick Freeman (2002) is in the midst of exhibitions. With a solo show coming up at Wellington’s Bowen Galleries (opening 24 November), he is also currently participating in an exhibition which recognises the



relationship that has developed between New Zealand and German contemporary jewellers since the early 1980s. The exhibition opens at Anna Bibby Gallery in Auckland on 28 October. It will then travel to Munich’s Gallerie Biro, opening there on 13 November. Te Papa selected his piece “Large Star” (1990) from their collection to represent New Zealand at the exhibition Designmuseen der Welt zu Gast (Design Museums of the World Invited Home), currently on at Neues Museum: Staatliches Museum fur Kunst und Design in Nürnberg, Germany.

Auckland Festival AK03, the first Auckland Arts Festival, kicked off in September, and a number of Laureates were involved in its success. Phil Dadson (2001) participated in Off the Wall: Vocal Acrobats. Described as a harmonics line-up, it featured Phil, Koichi Makigami and Mark van Tongeren. The trio explored cutting-edge experimentation in sound and vision, using voice and a wide array of instruments, small and large. Don McGlashan (2002), of Blam Blam Blam, The Front Lawn, and The Mutton Birds fame, did a rare solo show with the help of DJ/bassist SJD and accordionist Tatiana Lanchtchikova. Don performed new and old songs that ranged from Dominion Road to Tottenham Court Road, and from The Front Lawn to the White House lawn. Briar Grace Smith’s (2000) new play Potiki's Memory of Stone was also performed at AK03. The play tells the story of young greenstone carver Potiki, who harbours a dark secret from his childhood. The music for Briar’s play was composed by fellow Laureate Gillian Whitehead (2000). Further Laureate activity during AK03 included Helen Medlyn (2002) performing with the NZSO and, in the visual arts, Peter Peryer (2000) and Michael Parekowhai (2001) featuring in the Auckland City Art Gallery’s exhibition Nine Lives.



Icon Awards get national coverage

Icons celebrated in style

“Congratulations on an outstanding event. The Icon Awards was the best arts celebration I have been to in years—top class!!!”

on Wednesday, 25 June 2003, most of the people


If either the Westpac St James Theatre or Te Papa had suddenly disappeared into the starry winter sky responsible for creating New Zealand’s cultural Sam Neill accepts on behalf of Hotere Regional media showed their support for various artists by profiling their hometown talent in the local press. Maurice Gee’s birthplace of Whakatane elicited a feature from the Whakatane Beacon, for example, and the front page of the Otago Daily Times offered a story about the

Sue Paterson, General Manager of the Royal New Zealand Ballet

With the arts so often taking a back seat (or page) to

three icons — Janet Frame, Ralph Hotere and Hone Tuwhare —who call Otago home. Ralph, Hone and Milan Mrkusich

“Coor, Bloody Marvellous, Absolutely Marvellous, Marvellously Marvellous ...”

sport, politics and business in the media, it was

heartening to see the photo of the five Icon recipients

who were able to attended the awards flashed around

were all born in the Far North—a fact not lost on the Northern News, which proudly ran a story under the headline, “Far North produces one third of NZ’s art icons.”

heritage in the last half century would have gone too. The ten Icons honoured that night together represent 760 years of creativity, with the eldest artist born in 1920 and the youngest in 1934. For the audience at the Westpac St James Theatre it was a night filled with speculation, anticipation, surprise, and finally delight, as the Icons were revealed one by one by a number of prominent guest speakers, such as poet Bill Manhire, playwright Roger Hall, writer Michael King and actor Sam Neill. Sam accepted the award on behalf of Ralph Hotere, revealing that

the country’s newspapers and to read about the praise

Overall, the many and varied stories in print, radio and

Ralph had slipped him a list of artists he thought

for the artists, and the Awards, in the stack of media

television portrayed a sense of pride and delight in the

ought to have been honoured as well. Tribute was

reports that flowed into the Foundation office after

significant achievements and contribution to the arts—

paid to iconic artists of the past, such as kinetic

the Icon Awards on 25 June.

and the country—that the Icons had made.


artist Len Lye, poets James K. Baxter and Allen Curnow, and painters Colin McCahon and Gordon Walters. The acceptance speeches, whether delivered by the Icon Artists themselves or by close friends, instead, in the case of those who were unable to attend the awards ceremony, were poignant. Most contained dashes of humour, and all were delivered

Dame Malvina Major The Dominion Post editorial of 28 June (re-printed in full on page 2), for example, was fulsome in its praise of the artists, the event and the spirit in which these Awards have been established. In other publications, headlines

Wayne Mowat

Her Excellency Dame Silvia Cartwright & Hone Tuwhare

Sir Donald McIntyre receives Icon Award at Government House

such as “New Zealand honours its treasures” and “Icons

artists whose works have become a part of our

Herald’s Linda Herrick reminded readers, for example, that

cultural heritage … Sadly, some of our greatest

the awards had been set up to “redress a perceived historic

artists received little or no recognition during their

culture of indifference towards the arts in New Zealand.”

lifetimes. They died, still wondering whether their His Excellency Peter Cartwright & Sir Donald McIntyre

“Some [of these artists] have been noticed in public

anyone would want to subtract from it.” He went on to say that the Arts Foundation, in establishing the Icon Awards, had lifted “the eyes of arts administrators above

Te Papa for a gala dinner, wine and conversation.

really made their impact on the arts, our senior

“Belated recognition for ‘icons’ of arts,” the New Zealand

or two to add to the list, Mr Keith said he doubted “that

the fleet of buses waiting outside and head over to

fill–when he said, “There were New Zealanders who

to be inaugurated in New Zealand. In an article headed

although people in the arts would probably have a name

After the Awards ceremony it was time to board

the Icon Awards–the gap they are designed to

it should have taken so long for an award of this calibre

anyone not to have deserved their place on this list.” And

of family, friends, teachers and colleagues.

Cathie emphasised once more the motivation behind

though some commentators also expressed concern that

honours before. Some have not. None would be seen by

artists and sincere thanks for the unfailing support

In his speech, Arts Foundation Chairman Richard

chosen as New Zealand’s greatest living artists” proliferated,

In the Sunday Star Times, similarly, Hamish Keith declared,

with humility and expressed both respect for fellow

Government House generously hosted a luncheon on 15 September to honour one of New Zealand’s foremost singers and Arts Foundation Icon, Sir Donald McIntyre. Sir Donald, regarded as one of the world’s greatest Wagner bass-baritones, is based in London and was unable to make the inaugural Icon Awards ceremony in June.

work would ever be appreciated.” After dinner, Dame Malvina Major sang two beautiful arias, and broadcaster Wayne Mowat summed up the spirit of the Awards, and the entire evening, in this heartfelt final address: “Tonight, quite deliberately, we New Zealanders of 2003 have written a chapter into history. For the first time, we are honouring our living greats in the

the unruly ruck of the young, the new and cutting edge,

Sir Donald’s medallion and pin were presented by

arts. We have begun something on which legends

and publicly acknowledg[ed], for almost the first time in

Peter Cartwright in the absence of Governor General

may well be based … As this evening ends and we

this land, that the arts are more about experience than

Dame Silvia Cartwright, who was unwell. Sir Donald

travel to our homes, let's not be too restrained

they are about promise.”

said he was “tickled pink” to receive the award.




about feeling some pride in our tiny nation.”


A 3

Icon Awards

Maurice Gee Maurice Gee was born in Whakatane in 1931. His first novel, The Big Season, was published in 1962. His literary breakthrough came with the publication of “the trilogy,” made up of Plumb (1978), Meg (1981) and Sole Survivor (1983). Gee ventured into writing for children with Prowlers (1987) and The Burning Boy (1990). With most of his books dedicated to exploring

New Zealand has Len Castle responded with overwhelming pride to the announcement of the inaugural Arts Foundation of New Zealand Icons.

the lived reality of New Zealanders in a realist fashion, Going West (1993) embarks on unchartered territory

Len Castle was born in Auckland in 1924. Initially

by exploring the nature of literary creation itself—an

self-taught, he was the first potter to be awarded a

exploration which wins him the the Wattie Award. This

fellowship from the Association of New Zealand Art

success is followed by Live Bodies, for which Maurice

Societies, which allowed him to travel to St Ives and

received the prestigious Deutz Medal for Fiction at the

work with Bernard Leach in 1956-57. In 1963 he gave

1998 Montana New Zealand Book Awards. His new

up lecturing in science at Auckland Teachers’ College

novel, The Scornful Moon, has just been published and

to become a full-time potter. Len studied in Japan and,

has already received favourable reviews.

in 1991, was one of twelve New Zealand ceramicists invited to represent New Zealand at the World Expo in Seville, Spain. With his scientific background, Len has always been curious about the natural world and interested in extending his understanding of it. He enjoys constant exploration, an attitude that has opened the paths of creative production for him. He usually starts with a distinct idea for what he wants to achieve in a new project and—after fifty-six years of potting experience—is extremely adept at translating

Ralph Hotere

this idea into finished product.

One of 11 children, Hone Papita Raukura (Ralph) Hotere (Aupouri) was born in Mitimiti, Northland, in 1931. He was awarded a New Zealand Art Societies fellowship to study at the Central School of Art in London in 1961. His time in England proved pivotal to his development as an artist. Hotere found himself

The ten Icons are: Len Castle Potter Janet Frame Writer Maurice Gee Writer Ralph Hotere Painter Russell Kerr Choreographer Sir Donald McIntyre Opera Singer Milan Mrkusich Painter Diggeress Te Kanawa Weaver Hone Tuwhare Poet Sir Miles Warren Architect

both influenced by new artistic movements in Britain and—as an outsider from New Zealand—at enough of a critical distance from what was new and trendy in British art to develop his own distinctive style. More recently, Ralph has been involved in collaborative work with well-known New Zealand poets. In 1979,

Janet Frame

for example, he used his friend Hone Tuwhare’s much-

Janet Frame was born in Dunedin in 1924. Her first

loved poem “Rain” to produce Three Banners with

collection of short stories, The Lagoon, for which she

Poem for the Hocken Library. The public appeal of

won the Hubert Church Memorial Award, was

these works is tremendous: the 1997 exhibition paying

published in 1951. From the publication of her first

tribute to such collaborations—Out the Black Window—

novel, Owls Do Cry (1957), Janet’s career developed

opened at the City Gallery in Wellington to an

rapidly. Living in London and as well as the United

impressive 1200 visitors on the first day.

States for extended periods, she published five novels

Stop the Press Arts Foundation Icon’s Janet Frame and Hone Tuwhare are recipients of the inaugural Prime Minister’s Award for Literary Achievement, along with biographer Michael King. Each receives a one-off grant of $60,000.

and a collection of short stories during the 1960s, closely followed by a further two novels in the early 1970s. Living in the Maniototo was published in 1979. This was followed by Janet’s acclaimed three-volume autobiography, made accessible to a wide audience through Jane Campion’s well-known movie adaptation An Angel at my Table.





Milan Mrkusich Of Dalmatian descent, Milan Mrkusich was born in Dargaville in 1925 and educated in Auckland. In 1942 he took up an apprenticeship in Writing and Pictorial Arts, while also attending night courses at Seddon Technical and taking separate life-drawing classes.

Russell Kerr Born in Auckland in 1930, Russell Kerr was awarded a New Zealand government bursary in 1950 to travel to Europe. After making his European debut with the Jose Greco Spanish Company, he danced with the Sadler’s Wells (now Royal) Ballet, with Ballet Rambert, and as a soloist with London’s Festival Ballet. After returning to New Zealand in 1957, Russell began to work for the New Zealand Ballet, of which he later became artistic director. He was awarded a QEII Arts Council Fellowship in

Though he returned to the commercial art studio after

Hone Tuwhare

painting full-time for two years, that period laid the

Born in 1922 in Kaikohe, Hone Tuwhare (Nga Puhi)

groundwork of his geometric/expressionist painting

is New Zealand’s most distinguished Maori poet.

style. Using universal geometric forms, such as those

He began to write whilst an apprentice at the

discussed in C. G. Jung’s Man and his Symbols, he

Otahuhu Railway Workshops, encouraged by fellow

painted Emblems in 1963 and, two years later, the

poet R. A. K. Mason. His first collection, No Ordinary

renowned Elements and Four Elements. Some of Milan’s

Sun (1964) was the first book of poetry published by

later work might be best known by Wellingtonians and

a Maori writer in English. While in Dunedin as a Burns

overseas visitors, as it is most publically displayed in

Fellow, Hone met painter Ralph Hotere, who provided

the capital through the large plates of coloured enamel

the illustrations for his next four volumes: Come Rain

windows on the Te Papa building—a commission he

Hail (1970), Sap-Wood & Milk (1972), Something

won in 1994 amidst fierce competition.

Nothing (1974) and Making a Fist of It: Poems and Short

1977, followed in1986 by a Queen’s Service Medal

Stories (1978). His play, In the Wilderness Without a

for Services to Ballet in the New Zealand dance

Hat, was published in 1991. Further collections of

community and, in 2000, was appointed an Officer

poetry followed. In 1999 he was named New Zealand’s

of the New Zealand Order of Merit.

second Te Mata Poet Laureate, the outcome of which was the acclaimed Piggy-Back Moon (2002).

Diggeress Te Kanawa Diggeress Te Kanawa (Ngati Maniapoto, Ngati Kinohaku)

Sir Donald McIntyre

was born in 1920 to Dame Rangimarie Hetet and Taonui

Born in Auckland in 1934, Sir Donald McIntyre is based

on their knowledge through numerous wananga,

Sir Miles Warren

in the United Kingdom. He is among the most

workshops, lectures and exhibitions. Diggeress’s

Born in Christchurch in 1929, Sir Miles Warren has been

distinguished bass-baritones of his generation. In 1958,

dedication to the maintenance of Maori fibre art led

at the forefront of New Zealand’s architectural profession

after gaining a government bursary, he travelled to

to the publication of Weaving a Kakahu (1992), which

for almost 40 years. Sir Miles was influenced by the “New

London and studied at the Guildhall School of Music.

is the formal expression of a life committed to weaving.

Brutalist” movement, which was committed to the

In 1959 he made his debut with the Welsh National

Her work has been included in exhibitions such as

functionalist principles of modernism and emphasised

Opera and soon afterwards joined Sadler’s Wells as a

Te Amokura o te Maori (1986), Rotorua National Hui

the expressive qualities of building materials and systems.

soloist. In 1967 he made his Covent Garden debut as

(1990), Te Waka Toi: Contemporary Maori Art from New

A commission for the Christchurch Dental School in 1958

Pizarro in Fidelio, starting an association with the

Zealand (1992) and Paa Harakeke at the Waikato

initiated a partnership with Maurice Mahoney. The 1960s

Royal Opera House that continues to this day. His roles

Museum (2002).

saw the new architectural practice develop the trademark

Hetet. She and her family have played an important role in maintaining Maori weaving traditions by passing

there have included Wotan—in the famous 1973 Götz

approach for which they have become known throughout

Friedrich production of Wagner’s Ring Cycle—Kurwenal

New Zealand with such landmark commissions as the

in Tristan und Isolde, Telramund in Lohengrin, Scarpia

Christchurch College, the Christchurch Town Hall, the

in Tosca, Nick Shadow in The Rake’s Progress and

New Zealand Chancery in Washington, the Michael Fowler

Kasper in Der Freischütz. He continued to perform at

Centre in Wellington and the Civic Offices in Rotorua. In

Bayreuth until 1990, finishing with 150 performances

1974 Sir Miles was made a CBE and in 1985 a KBE, both

to his credit and gaining immortality as Wotan in

for Services to Architecture. He was admitted to the

Bayreuth’s unforgettable centenary Ring in 1976.

Order of New Zealand in 1995.






Can you keep a secret?

David Carson-Parker

A 2003 awardee on keeping her Laureate success a secret

It’s a good thing this particular Laureate likes keeping secrets—and that she’s good at it, too. For over a month she had to keep ‘mum’ about her Laureate success, only letting her husband in on the good news. “It’s very difficult, but I quite like keeping a secret, and I have enjoyed keeping this one. It’s nice to have something that only you know about and can be quite pleased about,” she says, out of ear-shot of her curious 8-year-old son. She says one of the good things about waiting for the award to be announced was the time she has had to think about what to do with her prize, or rather what not to do.

“It was actually really nice having some time between being told about the award and it being made public. It gave me time to relax and enjoy it. It greatly relieved the pressure.” She couldn’t escape the pressure of keeping her secret when she met up with friends, though.

“I had this sense that there was something that I wanted to tell people, but then I would remember I had to keep quiet.” Keeping it secret from her children, on the other hand, wasn’t too hard—in fact, she says she quite liked having a secret from them, and that she was very aware that telling them could easily have blown her cover. If anyone did suspect she’d had some fantastic news, however, she says she wouldn’t be surprised at all. “I felt like I was wandering around with this huge grin on my face.”



achievement—and the expertise to turn vision into effective

Arts Foundation Governors

results—Lloyd brought to the Arts Foundation. His involvement with the Icon Awards, particulary, was invaluable to the Foundation—and he admits that, despite various other commitments, he was only too happy to

One of the country’s most dedicated arts supporters, David Carson-Parker, has suggested that an annual art auction be held under the auspices of the Arts Foundation, as a way arts patrons can gift artworks or antiques to help build the Endowment Fund. He has just announced he will be giving the Arts Foundation part of his collection, including painting, silver, pottery and antiques, as a nucleus for a fund-raising auction. David said he decided to make the donation after talking to Foundation trustee Sir Ronald Scott.“I thought that a good way to raise money for the future, that had a relevance to arts and culture, would be to have a charity auction of art which offered good paintings, pottery and glass, extending into antiques and silver. Objects that are really good collectable things in the domestic sense-the things that I have enjoyed in my house.” He describes his collection as “a mixture of pieces that I could afford at the time.” It includes an unusual work by Philip Trustrum, an early oil painting by Jane Evans works by painters John Drawbridge and Phillip Clairmont, as well as pieces by potters Len Castle, Pat Perrin, Peter Stitchbury and Juliet Peter.

play a part in the Awards: “The opportunity to work on the Icon Awards fulfilled a dream that every person passionate about the arts in New Zealand must have— to honour those responsible for our country’s unique artitstic heritage.” During the selection process Lloyd Lloyd Williams describes himself as “a jack of all trades

worked closely with his fellow Governors, who were faced

and master of none,” but a look through his substantial

with the daunting task of selecting only 10 Icons from

CV reveals someone who is not only a highly experienced

a list of 190. “They approached the job with an energy

arts manager, but also an accomplished musician and

and commitment,” he says, “that demonstrated their

passionate supporter of the arts.

enthusiasm for the birth of these long-awaited honours.”

Born in Auckland in 1946, Lloyd was educated at Otahuhu

The Arts Foundation is lucky to profit from Lloyd’s

College and attended Auckland and Hamilton Teachers’

expertise, gained from his involvement in numerous

Colleges, before heading to Canterbury University to

other activites to do with the arts. He is a member of

obtain an Honours Degree in Music. Lloyd’s idiosyncratic

the executive committee of Arts Advocates in Auckland,

blend of organisational skill and passion for the arts have

Director of the MA programme in Arts Administration

been put to excellent use at the Arts Foundation, where

at Whitecliffe College of Arts and Design, and also a

he became involved in the Laureate Selection Panel,

Trustee of the Michael Hill International Violin


initially as a member and later as Chair. He is also a

Competition. Lloyd is currently also undertaking PhD

Governor of the Foundation, and most recently lent his

research on the development of the two polar models

considerable creative and practical talents to the realisation

of orchestra management in operation in Europe and

of the Icon Awards, for which he devised and supervised

the United States. He is particularly interested in

the selection process and liaised with judges.

establishing how New Zealand's two principal symphony orchestras might profit from these anatgonistic models.

Lloyd’s own artistic discipline is music, and his involvement


with that art form—both as a practicioner and a

Lloyd says what drives him can be summed up in one

facilitator—goes back many years: “I played violin to

word—passion: “I’m passionate about the arts and the

Royal Schools Grade 8 level, and I’ve played the double-

process of making art forms. I believe I work well with

bass professionally for 30 years. I’ve also taught music

artists and understand the way they think and work.”

at all levels and many subjects within the discipline,

When he needs time away from his hectic schedule, Lloyd

including conducting, harmony, music education,

indulges another passion: vintage motorcars. He loves the

aesthetics, pedagogy and performance.” From 1996 to

Mercedes Benz marque and is the proud owner of three

2001 Lloyd managed the Auckland Philharmonia, an

classic models. With his partner, Cally, he also has an island

organisation that he says “has achieved much on little.”

hideaway at Kawau Island, where they enjoy boating and

The very same vision for success and tangible

fishing—and listening to music, too, no doubt.




The huge variety, which ranges from traditional to modern, fits comfortably into his gracious home overlooking the harbour in Wellington’s Mt Victoria—but David admits he has probably, finally, run out of wall space. Aware that the time will come when his collection would be given away to family and friends or sold, David says it seemed like a good idea to give a portion to a cause he believes in. He is extremely supportive of the Arts Foundation and what it has achieved to date in promoting New Zealand’s cultural heritage. “An important feature of the Arts Foundation is the way they have not only supported up-and-coming artists, but the way they are honouring the senior people, the Icons. They recognise these people should be valued for the way they have contributed to New Zealand’s identity and culture.” David’s involvement with the Arts Foundation continues his long ‘career’ in the arts, which he conducted alongside his extensive business career. Beginning with his role as President of the New Zealand Society of Potters in the 1960s, he has been involved across a number of disciplines. His positions have included President of the Craft Council, Chairman of the Printmakers Council, member of the Downstage Trust Board and Board of Directors of Downstage Theatre. He was a Council member and President of the Friends of the Museum of New Zealand Te Papa Tongarewa, founding Director and Chairman of the New Zealand Chamber Orchestra Trust and, until 1998, a Trustee of the New Zealand International Festival of the Arts. He is currently Chair of the New Zealand National Youth Choir, Deputy Chair of the Embassy Theatre Trust. David says gifting his collection to the Arts Foundation to enable an art auction to take place is a useful way of raising the Foundation’s profile outside the annual awards ceremonies. “The Foundation offers recognition to artists by their peers, for their contribution, and that doesn’t happen often enough. It’s a matter of balance. There are a whole lot of celebrity sports and TV people in this country, but there are artists who have given a lifetime of dedication and commitment without recompense in terms of money or publicity. What the Foundation is doing in terms of redressing this balance is very valuable.”A



Forsyth Barr goes the extra distance In its role as Principal Sponsor of the Arts

events as well as the long-term funding goals

Foundation, Forsyth Barr continuously goes

of the Foundation.

the extra distance by offering valuable support and advice. During the lead-up to the Icon Awards in June, for example, Forsyth Barr hosted workshops with communications company nbpr to assist in the planning of the Icon Awards ceremony.

initiative, the Laureate Artists Forums. These events, held for an invited audience, bring up to four

Laureates together at a time. Hosted by Forsyth Barr, these events offer the Laureates the

opportunity to present their work and discuss their

Neil Paviour-Smith

“It was hugely beneficial to the development of

careers. Since they were launched in November

the Awards to have expert advice from nbpr,

2002, a total of six events have been held, with

said Simon Bowden, Arts Foundation Executive

both the artists and audiences gaining insights

Director. “Arts organisations do not always have

into contemporary art practice in New Zealand.

the luxury of receiving guidance at this level.”

Eion Edgar & Simon Bowden

Forsyth Barr is also behind a new Arts Foundation

“Forsyth Barr is proud to be supporting an

Forsyth Barr also provides financial advice to

organisation that is making a real difference

the Foundation and acts as the Fund Manager

to our cultural landscape,” said Forsyth Barr’s

for the Foundation’s Endowment Fund. On a

Marketing Manager, Trish Oakley. “The Icon

personal level, Neil Paviour-Smith, Forsyth Barr’s

Awards have highlighted our greatest achievers,

Managing Director, takes an active interest in

and the Laureate Awards support the Icons of

the Foundation and offers effective advice on



Lion Foundation funds symbols Sponsorship briefs of honour With donations to fund marketing, the Lion Foundation has been a supporter of the Arts Foundation

The Arts Foundation is pleased to announce the

for the last three years. A special one-off donation from the Lion Foundation this year, to support the

appointment of AMP as a supporting sponsor of

Icon Awards, has enabled the Arts Foundation to commission and produce the unique Icon Medallions. Only twenty medallions will be in circulation. Designed and crafted by John Edgar, the first ten were presented to the inaugural Icon Artists in June.

the Icon Awards. AMP will provide assistance to the Icon programme leading up to, and during, the next Awards Ceremony in 2005.

Each Icon has their name inscribed on the back of a medallion. Upon an artist’s death, their medallion is returned to the Foundation and presented to a successive generation of Icon Artists. Over time, these medallions will come to bear the names of New Zealand’s most significant artists and

year of supporting the Arts Foundation. Both companies provide essential support for the

thus become treasures in their own right. “The Lion Foundation is proud to have provided a grant to support the production of the Icon Medallions. We hope that all New Zealanders will come to recognise the medallions as a symbol of great achievement by our most precious artists,” commented the Grants Manager of the Lion Foundation, Don Judkins. Simon Bowden expressed his gratitude to the Lion Foundation for their generous contribution, saying that “The Arts Foundation is very grateful to the Lion Foundation for supporting the production of the Icon Medallions and the donations we have received over the last three years. The Arts Foundation is dependent on private donations to fund administration and events, and the Lion Foundation is playing a key role in helping to cover those costs.”

DSP and Montana Wines are now in their second



Foundation through their generous contribution of excellent services and products. A new sponsorship relationship has begun between Ricoh and the Arts Foundation. Ricoh will supply office equipment to the Foundation and will have a presence at selected Foundation events during the current financial year. A





Governors/Trustees Trustees of the Arts Foundation are: Richard Cathie (Chair), Ros Burdon, Eion Edgar, Chris Finlayson, Sir Hugh Kawharu, Fran Ricketts, Sir Ronald Scott, Brian Stevenson, John Todd, Gavin Walker and Sir Miles Warren. The Trust meets on average six times a year and operates under a committee structure which covers Finance & Administration (Chair John Todd), Funding & Resources (Chair Eion Edgar) and Awards (Chair Ros Burdon).


November 2003 Honourary Patron Her Excellency the Hon. Dame Silvia Cartwright, PCNZM, DBE Governor General of New Zealand Honourary Vice Patrons Sir Michael & Lady Hardie Boys Governors Robin Congreve, Briar Grace-Smith, Roger Hall, Elizabeth Knox, Mary Jane O'Reilly, Jonathan ManeWheoki, John McCormack, Helen Medlyn, Peter Peryer, Georgina te Heuheu, Gillian Whitehead, Lloyd Williams, Rodney Wilson and Douglas Wright Founding Patrons Roderick & Gillian Deane Eion Edgar Jenny Gibbs Fran & Geoff Ricketts John Todd James H. Wallace Gold Corporate Patron National Business Review Gold Patrons Sir Miles Warren Gus & Irene Fisher Silver Patrons Ros Burdon Vivienne Cathie Dame Catherine Tizard Bronze Patrons Scilla Askew Graham Atkinson Seddon & Frances Bennington Margie & Jamie Belich Bill Brien & Frances Russell Bruce & Margaret Carson Brecon & Jessica Carter Julie Catchpole (Te Manawa Museum) Richard H. Cathie Errol D. Clark Bruce & Jo Connor Peter & Adrienne Dale Jonty Edgar


Robyn & Christopher Evans Charlotte & Robert Fisher James G. Geddes Colin & Maureen Gibbs Sue Gifford & Simon Skinner L. Greig John & Trish Gribben Roger Hall Dame Kate Harcourt Sir Michael & Lady Hardie Boys Philip & Leone Harkness Ken & Jennifer Horner Michael Houstoun John Hunn Chris & Sue Ineson Peter Keenan Grant Kerr Constance Kirkcaldie Mary Lynsky Ian Maskell Sir Roy McKenzie Rosanne Meo Pamela & Richard Nelson Mike Nicolaidi Mervyn & Francoise Norrish Fay Pankhurst John & Gillian Peebles Penelope Peebles S. A. M. Perry Perry Foundation Helen Philpott Michael Prentice Chris & Sue Prowse Don & Moira Rennie Lyn & Bruce Robertson Sir Ronald & Lady Scott John & Jenny Simpson Scott & Vicki St John Sir Angus Tait Douglas Taylor Kathleen Tipler & Michael Cole James L. D. Wallace Margaret Wheeler Gillian Whitehead Peter T. Young The Waimarama Trust

The Arts Foundation of New Zealand owes its existence and project funding to a number of organisations with vision and courage: Principal Sponsor

A New Zealand-owned company, Forsyth Barr is proud to be investing in the development of New Zealand's cultural heritage and celebrating the success of our talented artists as Principal Sponsor of the Arts Foundation.

Supporting Sponsor

As a supporting sponsor for the Icon Awards, AMP is proud to be directly supporting New Zealand artists.

Sponsor Providers Official Print Supplier

Official Wine Supplier

Official Office Automation Equipment Supplier

Official Designers

Major Donors

National Gaming Machine trusts provide valuable strategic donations to support marketing, travel, accommodation and other infrastructure costs.

Founding Organisations

The New Zealand Lottery Grants Board provided a seeding grant and capital base of $5 million. This money is going directly into the Arts Foundation's Endowment Fund, with the income gained from its investments being directed to artists.

Executive Director Simon Bowden Administrator Angela Busby

Arts Foundation of New Zealand Level 3, James Smith Building 55 Cuba Street, Wellington PO Box 11-352, Manners Street, Wellington Tel: 04 4711 374 Fax: 04 4999 383 Email: Website:

The organisation with the foresight to establish and fund a working party that led directly to the formation of the Arts Foundation. Patrons and benefactors Many individuals and organisations have supported the Arts Foundation through patronage donations, gifts and bequests since our emergence in 1999. This support is extremely important to the Arts Foundation. Patrons’ continued loyalty and contribution to the cause is most gratefully acknowledged. Photographers Fleur Wicks, Sarah Hunter, Justine Lord, Robert Catto, Matt Grace and Haru Sameshima. We would also like to thank Simone Drichel and Josie McNaught for their help in writing and editing the newsletter.

Applause - Issue 7  

This issue talks about the national coverage of the inaugural Icon Awards, which were celebrated in style; Sir Donald McIntyre Icon present...

Read more
Read more
Similar to
Popular now
Just for you