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 www.artsfoundation.org.nz and submit your mailing address or call +64 4 4711 374.
f r o m ARTS FOUNDATION OF NEW ZEALAND
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.”
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
PREVIOUS LAUREATES ARE:
Foundation assists them so they can continue to impress with
2000: Briar Grace-Smith, Elizabeth Knox,
the richness, range and depth of their work.
Peter Peryer, Gillian Whitehead and Douglas Wright
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:
REPRINTED EDITORIAL FROM DOMPOST SATURDAY JUNE 28 2003
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 firstname.lastname@example.org. 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
ARTS FOUNDATION OF NEW ZEALAND
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.
PRINCIPAL SPONSOR FORSYTH BARR
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
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.
ARTS FOUNDATION OF NEW ZEALAND
about feeling some pride in our tiny nation.”
PRINCIPAL SPONSOR FORSYTH BARR
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
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,
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.
ARTS FOUNDATION OF NEW ZEALAND
PRINCIPAL SPONSOR FORSYTH BARR
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
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
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.
ARTS FOUNDATION OF NEW ZEALAND
PRINCIPAL SPONSOR FORSYTH BARR
Can you keep a secret?
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.
ARTS FOUNDATION OF NEW ZEALAND
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
PRINCIPAL SPONSOR FORSYTH BARR
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
“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
ARTS FOUNDATION OF NEW ZEALAND
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
PRINCIPAL SPONSOR FORSYTH BARR
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.
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
National Gaming Machine trusts provide valuable strategic donations to support marketing, travel, accommodation and other infrastructure costs.
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: email@example.com Website: www.artsfoundation.org.nz
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. Patronsâ€™ 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.
Published on Mar 31, 2004
This issue talks about the national coverage of the inaugural Icon Awards, which were celebrated in style; Sir Donald McIntyre Icon present...