Art & Ideas 2015

Art & Ideas 2015 Auckland Art Gallery Toi o TÄ maki

Art & Ideas 2015 Auckland Art Gallery Toi o Tāmaki

Published in 2015 by Auckland Art Gallery Toi o Tāmaki with the support of the Auckland Art Gallery Foundation Director: Rhana Devenport Editor: Clare McIntosh

ISBN 978-0-86463-305-7

Design: Akin

This book is copyright. Except for reasonable purposes of fair review, no part may be stored or transmitted in any form by any means, electronic or mechanical, including recording or storage in any information retrieval systems, without permission in writing from the publisher. No reproductions may be made, whether by photocopying or other means, unless a licence has been obtained from the publisher or their agent.

Print production: Producer

© 2015 Auckland Art Gallery Toi o Tāmaki

Publication management: Catherine Hammond Foundation manager: Renee Tanner Photography by: Jennifer French John McIver David St George

PO Box 5449 Cnr Kitchener and Wellesley Streets Auckland New Zealand aucklandartgallery.com

cover images

Andrew Barber The Sea, 2013/14 enamel and acrylic paint Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Carlos Cruz-Diez Chromosaturation, 1965–2013. Installation detail, Light Show Hayward Gallery, 2013. © Carlos CruzDiez / ADAGP, Paris 2015 Photo: Marcus J Leith

Contents

Mihi & Welcome

8

2014 –15 in Review

12

Exhibitions & Publications

16

Acquisition Highlights

64

Research & Learning

80

Achievements

90

Advancement & Partners

94

2016 Preview

98

2014 –15 Acquisitions

104

Mihi & Welcome Rhana Devenport Director

He ao te rangi ka ūhia, ma te huruhuru te manu ka rere As clouds cover the sky, so do feathers enable a bird to fly This past year we celebrated impressive exhibitions, said farewell to important taonga (treasures) and welcomed them home again. In Māori oral history ancestors are like the clouds that gather above us in the sky. The whakatauki (proverb) above acknowledges an important moment in the life of Auckland Art Gallery Toi o Tāmaki: as we move into a new year mindful of where we have travelled, we move with a renewed sense of purpose and optimism, ready to take flight.

In early 2014 Auckland Art Gallery Toi o Tāmaki defined its new Purpose, Vision and Values. It was a consultative process that involved every staff member and our wider family of supporters. This formed the basis of the Cultural Enterprise Plan (2015–18), launched in mid-2015, which paves a strategic path into our future. The Gallery’s purpose is to be a catalyst for art and ideas that strengthen and enrich our communities.

Our ambition is to make a powerful contribution to the cultural life of Auckland and Aotearoa New Zealand by collaborating with creative communities to offer extraordinary art experiences that engage, challenge and inspire diverse audiences.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

For the first time in several decades we have made space to celebrate the achievements of the past year. This registers an opportunity to highlight our priorities and passions — especially exhibitions and acquisitions — and to shine light on those dimensions of the Gallery’s work, such as outreach, archives, debate and conservation, which may not be so visible to the world at large.

The past year’s programme offered a vibrant and thoughtful constellation of exhibitions that ranged from the spectacular Light Show from the Hayward Gallery, to the fresh yet contemplative Freedom and Structure: Cubism and New Zealand Art 1930 –1960, drawn primarily from our own collection. While A world undone: Works from the Chartwell Collection showcased our pivotal and dynamic relationship with the Chartwell Trust, Modern Paints Aotearoa drew attention to the globally significant research undertaken by our Conservation Research Centre, on this occasion a collaboration with the Getty Conservation Institute in Los Angeles.

Our biennial Walters Prize was a challenging and expansive endeavour in which we were able to produce the work of four exceptional artists. The performative and experiential nature of the works encouraged the organisation to become more reflexive, open and tender.

We ended the year with the world premiere of Lisa Reihana’s in Pursuit of Venus [infected], an astonishing,

panoramic digital video that has since been selected for the New Zealand Pavilion at the Venice Biennale 2017. Audiences responded to these exhibitions warmly and we exceeded our estimated visitor numbers for the year by 20 per cent. The quality of audience experience is of course far more important than sheer numbers, and the highly interactive nature of Olafur Eliasson’s Cubic Structural Evolution Project and the active researchdriven experimentations offered within the Creative Learning Centre (in partnership with AUT) have offered visitors of all ages unexpected levels of engagement and encounter with art and ideas.

Without doubt the Gottfried Lindauer project marked new thresholds both for the Gallery’s international presence and in our support of Māoridom. This project encompassed two highly successful exhibitions and co-publications with the Nationalgalerie, Berlin and the Museum of West Bohemia, Pilsen (the city of Lindauer’s birth), in the Czech Republic. Here I wish to acknowledge the tremendous support of Elizabeth Ellis and Haerewa, the Gallery’s Māori Advisory Group, and their dedicated efforts to ensure the cultural safety of the works and the people involved.

More than 160,000 visitors attended these two critically well-received exhibitions.

gifts or loan collections, demonstrating the Gallery’s profound reliance on our wide community of Patrons and supporters.

In early 2015 I was fortunate to participate in the invitational Global Museum Leaders Colloquium at the Metropolitan Museum of Art, New York. This intensive programme offered rare and invaluable insights into new directions in museological thinking. The primacy of the audience experience, emergent digital and publishing platforms, and the foundational importance of research were all key discussion topics. Alongside this, productive new international relationships were forged for the Gallery.

A major achievement in 2015 was the establishment of the Advancement team which now leads our work with philanthropy, sponsorship and grants, as well as an ambitious new membership programme to be launched in early 2016. The Auckland Art Gallery Foundation, established in 2005, is our primary avenue for individual giving and philanthropy. I wish to thank Andrew Smith, Auckland Art Gallery Foundation Chair, and the Foundation Trustees, for their enthusiastic support of Art & Ideas 2015. We invite you to enjoy these insights into a year in the life of Auckland Art Gallery Toi o Tāmaki.

The collection grew by more than 220 artworks and the majority of these acquisitions were through donations,

9

Welcome Andrew Smith Foundation Chair

The Foundation is the Gallery’s philanthropic platform, dedicated to the growth and development of the Auckland Art Gallery Toi o Tāmaki. The Foundation appreciates the value of art and creative thinking, particularly its impact on society, and is committed to building a legacy for coming generations.

When the Foundation was established in 2005, its primary purpose was to support the capital campaign for the Gallery’s redevelopment. With significant contributions from both the Auckland Council and the Ministry for Culture and Heritage, the necessary funds were raised, and the expanded and redeveloped Gallery opened in 2011 to wide national and international acclaim.

We are now in a new era for the visual arts. Public galleries around the world are being challenged by reduced public funding, and while the Foundation acknowledges the significant ongoing support from the Auckland Council through Regional Facilities Auckland, we understand that the full potential of Auckland Art Gallery requires long-term financial support to be realised.

Auckland now has New Zealand’s premier art gallery building, the Gallery’s significant and expanding collection, and a motivated and deeply experienced Gallery team. We need to support that team by building an endowment fund and philanthropic platform, so that they can deliver art experiences which will excite and stimulate the residents of Auckland, and its many visitors, now and well into the future. With this as our goal, in 2014 the Foundation redefined its purpose as being the major avenue for generating support for the Gallery’s vision and establishing an endowment fund for its future.

The Foundation has developed and is excited to introduce its new model of giving, which is purposed with fostering arts philanthropy. We wish to embrace as wide a community of supporters as possible, so we have created a number of levels of philanthropy.

Together, we can make a difference, and we welcome you to join us on an exciting journey of long-term support for this special and vital Auckland institution. opposite

Seung Yul Oh Soom, 2014 PVC Commissioned by Auckland Art Gallery Toi o Tāmaki Generously supported by the Chartwell Trust and Fabric Structure Systems

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2014–15 in Review

Over half a million visitors were welcomed to the Gallery this year, an increase of 29% over 2013–14 and the Gallery’s best year since reopening in 2011. Audience reach was broadened with over 80% being first-time visitors.

Greater local and international success was achieved with the number of Auckland-based visits increasing by 30% and overseas-based visits increasing by 44% year on year. Gallery maps were made available in nine languages.

There was a continued growth in young audiences with nearly half of all independent visits made by those in the 16–24 age range (47%).

533, 556 A highly successful year with over half a million visitors

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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15,985 $150,110 We hold the country’s most extensive and pre-eminent collection of New Zealand and international art with almost 16,000 works in our collections.

The Light Show pop-up shop was a phenomenal success with sales of over $150,000 on special exhibition merchandise.

220 new artworks were acquired this year.

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444,000

Thirty-one exhibitions were held this year ranging from the hugely successful international exhibition Light Show to Lisa Reihana: in Pursuit of Venus [infected], the most visited exhibition ever at the Gallery by a living New Zealand artist with close to 50,000 visitors.

Our website was visited by 444,000 people this year and we experienced strong audience growth on both Twitter (45% increase) and Facebook (37% increase). An Instagram account was launched, our YouTube channel had 154,049 views and 14 new podcasts were published on iTunes.

A world undone: Works from the Chartwell Collection Billy AppleÂŽ: The Artist Has to Live Like Everybody Else The Walters Prize 2014

49,037

36,408

28,226 Light Show

Lisa Reihana: in Pursuit of Venus [infected]

72,943

48,845

above

Exhibition audience numbers exceeded expectations opposite

Light Show pop-up shop

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Exhibitions & Publications

Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2015

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Light Show 11 October 2014 – 8 February 2015

Light Show travelled from a sell-out season at the Hayward Gallery, London to make its first international stop with us. This spectacular exhibition thrilled close to 73,000 visitors. It brought together some of the most visually stimulating artworks made using light in recent years, with rare works not seen for decades and some specially re-created. Artists whose beguiling creations filled two floors of the Gallery included David Batchelor, Carlos Cruz-Diez, Olafur Eliasson, Dan Flavin, Jenny Holzer, Ann Veronica Janssens, Brigitte Kowanz, Anthony McCall, Iván Navarro, James Turrell, Leo Villareal and New Zealand’s Bill Culbert.

Light Show’s popularity bore testament not only to the confident curation of Hayward Gallery’s Dr Cliff Lauson, but also to an effective international collaboration and the work of our marketing team. They joined forces with design and advertising company Special Group Limited to create a potent campaign that succeeded in attracting our target of 50 per cent first-time visitors.

The marketing team’s carefully pitched messages and initiatives helped expand our audiences to introduce many people to the experiential and immersive nature of this exceptional contemporary art.

Marketing messages were not the only reason behind this audience expansion. Timing also helped. The Light Show’s opening weekend was scheduled to coincide with Auckland’s Diwali festival, and the exhibition ran during the city’s Art in the Dark event. Back inside the building, we created our new children’s Creative Learning Centre to extend the Light Show experience for youngsters.

Wavelength — a suite of interactive, light-themed works — invited kids to playfully use technology to make art.

And for visitors wanting a multi-textured exhibition experience, the Gallery staged Open Lates that offered music, food, socialising and the exhibition in a series of high-energy, sold-out events.

opposite

Carlos Cruz-Diez Chromosaturation, 1965–2013. Installation view Light Show Hayward Gallery, 2013. © Carlos Cruz-Diez / ADAGP, Paris 2015 Photo: Marcus J Leith

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‘Some pieces challenged my point-of-view about art . . .

That was quite amazing.’

opposite top

Anthony McCall You and I Horizontal, 2005. © the artist, 2015. Image courtesy the artist. Installation view, Institut d’Art Contemporain, Villeurbanne, 2006.

Photo: Blaise Adilon opposite bottom

David Batchelor Magic Hour, 2004/2007.

Installation view Light Show Hayward Gallery, 2013. © the artist 2015 Photo: Marcus J Leith left

François Morellet Lamentable, 2006.

Installation view Light Show Hayward Gallery, 2013. © the artist 2015.

Photo: Marcus J Leith above

Visitor at Light Show

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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below and opposite

Young visitors engaging with the activities in Wavelength

Wavelength 11 October 2014 – 16 August 2015

Inspired by the visiting international exhibition Light Show and created in collaboration with AUT CoLab, Wavelength was a colourful and interactive installation in the Todd Foundation Creative Learning Centre.

It encouraged visitors to explore light, technology and sound, and experiment with multimedia inventions created especially for children and families.

Activities included building glowing sculptures on a table of light, triggering sensors that mapped motion on a giant LED screen to feed Hungry Pixels, and sparking life into the crystal-like GEO machine by taking hold of its controls. Visitors were able to send images of their experiences and creations to an online gallery at #CLCwavelength.

Printing the Pacific: 1696–1804 6 February – 16 August 2015

This large-scale exhibition surveyed the persuasive role print technology played in creating and spreading information about the Pacific after the voyages of explorers Abel Tasman and Captain James Cook.

Artists on the voyages and successful, mercantile printmakers back in Europe exerted a huge influence over the ways international audiences understood the Pacific. Printing the Pacific: 1696 –1804 illustrated how faithless copies following in the wake of the ‘official’ on-board artist visual accounts further diluted reality, so that images of the Pacific and its peoples were eventually reduced to fictionalised pastiches.

The process culminated in the immense wallpaper Les Sauvages de la Mer Pacifique, 1804–­5 (The Native Peoples of the Pacific Ocean), produced by Joseph Dufour et Cie. This decoration, created for the vast homes of Europe and America’s elite, recast Pacific people as neoclassical characters lounging and playing in an Eden-like environment.

Scheduled to coincide with the exhibition of Lisa Reihana’s monumental video work in Pursuit of Venus [infected], Printing the Pacific included a recent reproduction of the Dufour wallpaper, which was the primary inspiration for Reihana’s politically charged new work.

opposite

William Hodges A View in Dusky Bay, New Zealand, 1773 oil on panel Auckland Art Gallery Toi o Tāmaki purchased 1961 above

School visit to Printing the Pacific 1696–1804 left

Joseph Dufour & Cie, Jean-Gabriel Charvet Les Sauvages de la mer Pacifique (The Native Peoples of the Pacific Ocean), c1804 (panels 15–17 of 20) woodblock and gouache on paper Mackelvie Trust Collection Auckland Art Gallery Toi o Tāmaki purchased 1995

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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Lisa Reihana: in Pursuit of Venus [infected] 2 May – 30 August 2015

Scrolling across a 25-metre long screen, Lisa Reihana’s majestic in Pursuit of Venus [infected] transfixed viewers with poignant retellings of Pacific history rendered in lifesize detail. The ambitious 32-minute video work, gifted by the Patrons of the Auckland Art Gallery, had its world premiere with us. It became the most well attended solo exhibition by a contemporary New Zealand artist in the Gallery’s history.

Reihana’s inspiration for the opus-like, immersive artwork was Joseph Dufour et Cie’s widely distributed 19th-century scenic wallpaper, Les Sauvages de la Mer Pacifique, 1804–5 (The Native Peoples of the Pacific Ocean). The wallpaper features neoclassical impressions of indigenous South Pacific people, as well as the death of Captain James Cook.

The success of Reihana’s intellectually powerful project, completed 200 years after Les Sauvages de la Mer Pacifique’s idealised view, is its adept, affecting reclamation of Pacific peoples’ history. Against a utopian Tahitian background drawn from Dufour’s wallpaper, in Pursuit of Venus [infected] activates real and imagined events while enveloping the viewer in a soundscape that includes languages of the Pacific, music, chants and song.

A highlight of the extensive public programmes that accompanied this exhibition were Reihana’s tell-all artist talks. These popular presentations unlocked the artwork’s technically complex production process and

offered insight into Reihana’s refined thinking. More discussions took place about the work’s making and possible meanings at the half-day hui (meeting) Vision and Re-vision: Imagining the Pacific Then and Now, which was hosted by the Gallery in conjunction with the parallel exhibition Printing the Pacific: 1696–1804.

With the support of Creative New Zealand we published an exquisitely designed book that charts the six-year project. The book’s design balances an 18th-century print aesthetic with contemporary indigenous Pacific art.

Ten essays and an interview offer multiple interpretations of in Pursuit of Venus [infected] and situate it in the evolving discourse of post-colonial Māori and Pacific art.

The book received a Gold at the 2015 Best Awards, New Zealand’s premiere design awards.

opposite

Lisa Reihana in Pursuit of Venus [infected], 2015 (detail) multi-channel video, HD, colour, sound 32min Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 overleaf

in Pursuit of Venus [infected], 2015 installation view

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‘A miraculous exhibition that provides a realistic impression of historical interactions . . .’

below and opposite

Olafur Eliasson: The Cubic Structural Evolution Project

Olafur Eliasson The Cubic Structural Evolution Project, 2004 (installation views Auckland Art Gallery Toi o Tāmaki, 2014) ABS plastic installed size variable Collection: Queensland Art Gallery Queensland Art Gallery Foundation Grant purchased 2005

1 September 2014 – 1 March 2015 It was difficult to decide who was having the most fun: the five-year-old girl with her grandfather building a dinky white house, the middle-aged businessman taking a long lunch to make his dream skyscraper the tallest, or the incautious engineer-in-the-making whose efforts accidentally toppled a cityscape of other people’s constructions?

Steadily popular over its spring-through-summer stay in the bright and airy North Atrium, Olafur Eliasson: The Cubic Structural Evolution Project attracted one of the most diverse audiences in the Gallery’s history.

Almost 250 kilograms of white LEGO® blocks made up this participatory artwork. Its endless potential for alteration offered a create-your-own 3D commentary on community decision-making and urbanism, the relationship between maker and spectator, and the human drive to alter our environments.

opposite

Modern Paints Aotearoa installation views

Modern Paints Aotearoa 5 April 2014 – 15 March 2015

Resulting from a 14-year research collaboration between the Gallery’s Principal Conservator Sarah Hillary and Getty Conservation Institute Head of Science Tom Learner, Modern Paints Aotearoa furthers an important and ongoing international partnership, and was the first major project by the Gallery’s new Conservation Research Centre.

The distinctive properties of the new synthetic paints, compared to traditional oil paint, was a liberation for many artists who chose to break away from past methodologies. This change in approach to painting formed the focus of Modern Paints Aotearoa, which presented paintings created from the late 1950s to the early 1970s by Colin McCahon, Ralph Hotere, Gretchen Albrecht, Para Matchitt, Theo Schoon, Gordon Walters, Harry Wong, Buster Black and Rudolph Gopas.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Visitors also had the unique chance to see art materials and a journal that belonged to McCahon, Hotere’s industrial spray gun and private photographs of artists at work. ‘Touch panels’ on which the conservators reproduced new-paint effects provided a tactile experience — something usually well out of reach in a gallery — and a video showed the remarkable combination of science and art that underpins the work of conservators.

With the generous support of Resene, we published a catalogue of five essays on topics ranging from the Gallery’s exhibitions of the 1950s and 60s, to conservation treatments of synthetic paints, and art’s little-known role in the New Zealand–US relationship at the height of the Cold War.

‘A fascinating perspective on post-war painting through a conservator’s eye.’

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opposite

A world undone: Works from the Chartwell Collection

Peter Robinson Ritual and Formation, 2013 (detail) felt wool, aluminium rods Auckland Art Gallery Toi o Tāmaki and Chartwell Gift Collection purchased 2013

8 November 2014 – 6 April 2015 Every two years an exhibition of artwork drawn solely from the Chartwell Collection, which is on long-term loan to the Gallery, offers visitors the chance to experience truly exceptional creative visual thinking. The Chartwell Collection is an important component of the Gallery’s contemporary art programme. Numbering close to 1600 artworks, its breadth, depth and unique points of focus make it a rich resource in our endeavour to be, as Rob Gardiner says, a ‘gymnasium of the mind’.

Important international artists including Bernd and Hilla Becher, Martin Creed, Dan Flavin, Nicholas Mangan, Robert Rauschenberg and Jessica Stockholder were exhibited alongside established and emerging New Zealanders Andrew Barber, Eddie Clemens, Daniel Crooks, Richard Frater, Gavin Hipkins, Amy Howden-Chapman, Denise Kum, Jason Lindsay, Patrick Lundberg, Dane Mitchell, Peter Robinson, Jim Speers and Rohan Wealleans.

In recent years the Chartwell Trust, co-directed by Rob and Sue Gardiner, has been extending its acquisitions to include the work of important international artists.

A world undone: Works from the Chartwell Collection confidently reflected both this new turn and the Trust’s decades-long commitment to New Zealand art.

Separately commissioned North Atrium and Sculpture Terrace works by Jonathan Jones and Seung Yul Oh saw the exhibition’s ideas expand into the wider Gallery.

Jones’ fluorescent tube wall work represented ideas about how individuals operate collectively and referenced his Wiradjuri and Kamilaroi heritage, while Oh’s gargantuan, transparent bubbles recalled the sensation of people sitting together.

Filling the Chartwell Gallery, on level two, A world undone probed the boundaries of the art object with artworks ranging across installation, film, painting, sculpture and works on paper. The artists’ work demonstrated the way thinking about objects can be integrated into artistic methods of enquiry to raise fundamental questions about our experience of the world.

A substantial catalogue with two introductory essays, artist pages and an extensive installation image section elaborated the curatorial research and thinking behind the exhibition.

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left

Nicolas Mangan A World Undone, 2012 (installation view) single-channel video, high definition (HD), 16:9, colour, silent Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2012 below and opposite top

A world undone: Works from the Chartwell Collection installation views opposite bottom

Rohan Wealleans bearer of the light, 2013 (detail) canoe, paint Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2013

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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below

Louise Henderson Houses in Dieppe, 1958 oil on canvas Auckland Art Gallery Toi o Tāmaki purchased 1991 opposite top

Freedom and Structure: Cubism and New Zealand Art 1930 – 1960 16 May 2015 – 6 March 2016 This exhibition resulted from extensive new research into the Cubist-inspired works of leading and lesserknown New Zealand artists. Including artwork from our collection and numerous loans from institutional and private lenders, Freedom and Structure: Cubism and New Zealand Art 1930–1960 beautifully illustrated the way modern New Zealand painters incorporated the radical language of Cubism into their practices.

The freedom and the structure afforded by Cubism, which allowed a break from realist representation and the adaption of new pictorial ideals and techniques, helped important New Zealand artists move their practices towards abstraction.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Freedom and Structure: Cubism and New Zealand Art 1930–1960 installation view opposite bottom

John Weeks Still Life with Fruit and Decorated Jar, 20th century tempera on board Auckland Art Gallery Toi o Tāmaki purchased with the aid of a grant from the Queen Elizabeth II Arts Council of New Zealand, 1970

The exhibition concentrated on the work of Louise Henderson, Colin McCahon and John Weeks, whose study and use of Cubist strategies created some of New Zealand art’s most unforgettable paintings.

It also presented significant work by Charles Tole, Wilfred Stanley Wallis and Melvin Day. Following his participation in Freedom and Structure, Day, a former director of the National Art Gallery, Wellington and the only living artist in the exhibition, offered the Gallery a substantial gift of his work.

‘You fall in love with Colin McCahon’s work all over again.’

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The Walters Prize 2014 12 July –12 October 2014

This seventh installment of the biennial Walters Prize clearly demonstrated the Gallery’s dedication to producing high-quality contemporary art experiences that embrace risk-taking.

An independent jury nominates four finalists for the $50,000 prize. This time Maddie Leach, Simon Denny, Luke Willis Thompson and Kalisolaite ’Uhila were selected. The artists established their own distinct conditions for the restaging of their artworks, which produced an expansive exhibition and a hard-fought competition for New Zealand’s ‘toughest’ art award.

Approaches to space and scale ranged from Leach’s If you find the good oil let us know, an understated accommodation of the intimate activity of reading in the ground floor entrance foyer, to Denny’s enveloping, architecturally scaled installation, All You Need is Data – The DLD 2012 Conference REDUX. Emphasis on live activity and social activism was at the fore with Thompson’s inthisholeonthisislandwhereiam providing an opportunity to take a taxi ride offsite, and performance artist ’Uhila situating himself in nearby Albert Park throughout the exhibition as a rough sleeper for Mo’ui tukuhausia.

Renowned international curator and writer Charles Esche travelled to New Zealand to act as judge and awarded Thompson the prize, commenting, ‘Luke Willis Thompson and his quite extraordinary intrusion of art into daily life cuts through the protocols of the exhibition system like a knife . . . Anticipation, uncertainty, uneasiness and privilege all play their emotional part in charging a sense of personal displacement . . . Once you agree to take part, you cannot but engage and be implicated into its aesthetics.’

To enhance the exhibition experience we published a comprehensive catalogue that included essays on each artist, images of the artworks’ original presentations, jury statements and an illuminating excerpt from Esche’s ArtReview article ‘What Is Art For?’

opposite

Kalisolaite ’Uhila Mo’ui tukuhausia, 2014

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‘A fascinating selection of artists.’

opposite

Luke Willis Thompson inthisholeonthisislandwhereiam, 2014 top left

Kalisolaite ’Uhila Mo’ui tukuhausia, 2014 top right

Maddie Leach If you find the good oil let us know, 2014 left

Simon Denny All You Need Is Data — The DLD 2012 Conference REDUX, 2014

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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Robert Ellis Turangawaewae: A Place to Stand 9 August 2014 – 15 March 2015 The first solo exhibition at a public art gallery by senior Auckland artist and educator Robert Ellis, Robert Ellis Turangawaewae: A Place to Stand represented many of the central concerns that have informed the artist’s practice for six decades.

The namesake and focus of the exhibition was Turangawaewae Maehe 1983, 1983 a gift from the Friends of the Auckland Art Gallery to mark their 60th anniversary in 2014. At almost four and half metres wide and close to two metres in height, the imposing mural-sized work was painted when British-born Ellis returned from a year-long journey working and travelling through North America and Mexico, and it expresses his realisation that New Zealand had become home.

Composed of three sections that ranged over Ellis’s favourite subjects — transport and urbanism, ecology and spirituality, and the nature of historical and ongoing Māori–Pākehā relations — the exhibition confirmed the importance of the artist’s contribution to Aotearoa New Zealand’s cultural life.

above

Robert Ellis (left) at the exhibition opening opposite

Installation view of Robert Ellis Turangawaewae: A Place to Stand

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

below

Monster Field: Surreal by Nature 28 March –16 August 2015

John Weeks Fantasy 2, c1949 oil on card Auckland Art Gallery Toi o Tāmaki purchased with the aid of a grant from the Queen Elizabeth II Arts Council of New Zealand, 1970 opposite top

Paul Nash ‘Monster Field’, Carswall’s Farm, Newent, Gloucestershire, 1938 [1978] photographic print Auckland Art Gallery Toi o Tāmaki purchased 2014 © Tate, London 2015 opposite bottom

Monster Field: Surreal by Nature installation view

Combining painting, photography and prints created in the 1930s and 40s, Monster Field: Surreal by Nature identified and considered the shared interests of a selection of mainly New Zealand and British artists, including John Weeks, Henry Moore, Eric Lee-Johnson, Graham Sutherland, Theo Schoon, Gordon Walters and others. These artists merged the poetic and visionary sensibilities of Romantic landscape traditions with the Surrealists’ interest in symbolic forms and found objects to produce creative re-imaginings of the natural world as a strange and mystical space. The result — as palpably experienced in this exhibition — was an eerie aesthetic with a sense of rising disquiet.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Research for Monster Field was prompted by the Gallery’s acquisition of 20 remarkable photographs taken

by English artist Paul Nash between 1931 and 1946.

Nash’s image of an uprooted dead tree, which he called Monster Field, provided the exhibition’s title and one of its generative themes: affection for the wild beauty of the landscape and a prophetic warning about its future.

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opposite

Fragile Beauty: Historic Japanese Graphic Art

Totoya Hokkei Ryûhô hakuja o kiru (Liu Bang Kills the White Serpent), 1832 woodcut — nishiki-e (full colour) technique Mackelvie Trust Collection, Auckland Art Gallery Toi o Tāmaki

3 May – 8 November 2014

Drawn principally from the Mackelvie Trust’s collection of Japanese prints on long-term loan to the Gallery, Fragile Beauty: Historic Japanese Graphic Art examined some of the popular subjects that fuelled the imaginations of graphic artists and their public in 18th and 19thcentury Japan.

Japanese woodblock prints are famous for their sophisticated and alluring combination of line and colour.

Commonly referred to as ukiyo-e (pictures of the floating world), the prints in this exhibition provided an insight into Japanese culture during a period when that country was largely closed to the outside world.

Fragile Beauty was the product of new research into a previously unexamined part of the Gallery’s extensive print holdings. The subtly vibrant show included elaborately printed surimono or the art of poets; bijin-ga, idealised visions of the lives of courtesans; kachōga, explorations of the aesthetic potential of natural subjects; fūkeiga, beautiful depictions of the landscape; yakusha-e, portrayals of kabuki theatre actors; and musha-e, images of proud and fearsome warriors.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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Billy Apple®: The Artist Has to Live Like Everybody Else 14 March – 21 June 2015 High-performance racing cars, human cells and branded products mixed with paintings, sculptures, drawings, photographs, videos and neon light works in this retrospective of New Zealand’s most important conceptual artist, Billy Apple. With more than 150 artworks, the exhibition was the largest presentation of work by Apple, whose career spans some 50 years across three continents.

Filling the Gallery’s premiere exhibition spaces, the North Atrium and extending outside with a huge text work by Apple and Wystan Curnow from which the exhibition took its name, Billy Apple®: The Artist Has to Live Like Everybody Else also offered visitors the chance to bump into the busy artist. For the exhibition’s duration Apple’s frequent visits were signalled by the presence of his branded Mini Cooper car. When parked on the Gallery’s Forecourt life collapsed into art as it became a temporary exhibition object.

For the exhibition’s opening the Gallery published guest curator Christina Barton’s illustrated chronology Billy Apple®: A Life in Parts. More than a traditional exhibition catalogue, the chronology presented Apple’s practice through a series of artistic and personal highlights.

It began in 1935 with the artist’s birth and finished in 2015 with his solo show Suck at Artspace, Auckland — just one of many small satellite exhibitions in Auckland staged to coincide with the retrospective.

Following the exhibition’s close we published Wystan Curnow’s writing on, with and for Apple — a 40-year creative partnership with the artist. Sold on Apple: The Complete Wystan Curnow Writings provides an utterly unique view of Apple’s practice, and may itself be understood as a retrospective of Curnow’s influential thinking on art and the art world.

opposite

Billy Apple Neon Signature (Red), 1967 neon gas, 7 mm clear glass tubing courtesy of the artist and The Mayor Gallery, London

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left

Billy Apple/Wystan Curnow The Artist Has to Live Like Everybody Else, 1985/2015 adhesive vinyl panel Auckland Art Gallery Toi o Tāmaki commissioned 2015 below and opposite

The Artist Has to Live Like Everybody Else installation views

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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opposite

Old National Gallery, Berlin

Lindauer in Berlin, Germany and Pilsen, Czech Republic November 2014 – September 2015 The Gallery toured 44 of its Māori portraits by Gottfried Lindauer to two venues in Europe. Presented at the prestigious Old National Gallery, Berlin, and the Gallery of West Bohemia, Pilsen, the exhibitions mark the most significant departure of these taonga (treasures) from Aotearoa New Zealand since they were created.

The two exhibitions highlighted the complex and particular cultural exchanges that took place between Europe and Māori in New Zealand a century ago. Co-curators of the Berlin exhibition explained, ‘The portraits bear witness to a genuine and rare bicultural exchange, and are proof of fruitful encounters between widely differing persons, societies and cultures.’

Members of Haerewa, the Gallery’s Māori Advisory Group, helped farewell the works during a moving ceremony at the Gallery attended by descendants of the portrait sitters.

They then travelled to both European galleries to ensure the cultural safety of the portraits and to deepen audience understanding of the artworks’ unique status as taonga.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Central components of these projects were two highly illustrated catalogues, which the Gallery co-published for each exhibition. At close to 300 pages each and with newly researched texts contributed by Auckland Art Gallery curators, the bilingual publications elegantly introduced European audiences to the power of Lindauer’s portraiture and to important elements of Māori culture.

The exhibitions greatly exceeded the tour venues’ attendance expectations. Close to 144,000 people visited the portraits in Berlin. Almost 16,500 visitors experienced them in the city of the artist’s birth, Pilsen, where the presentation was timed to coincide with the city being the 2015 European Capital of Culture.

left and bottom

Opening night at Old National Gallery, Berlin opposite

Rhana Devenport delivers a speech at the Berlin exhibition opening

‘Great to exchange gazes and to have their presence here.’

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Gallery publishing in 2014–15

Publications

The Gallery’s publishing draws together an accessible record of exhibition research. Expanding the scope of our programming by presenting illustrated texts allied to exhibitions and symposia, publishing helps fulfil our aim of being a catalyst for art and ideas.

Because books outlive exhibitions, can persuasively elaborate on them, and may travel and circulate, publishing is crucial in the Gallery’s endeavour to strengthen and enrich communities through art.

Books entertain, spark debate, generate productive conversations and provide opportunities for thoughtful, creative collaboration. Over the period of this review our publishing achieved all of these, as we increased the number of high-quality titles produced.

TITLES PUBLISHED BY AUCKLAND ART GALLERY Modern Paints Aotearoa Fragile Beauty: Historic Japanese Graphic Art (e-pub) Age of Turmoil: Art in Germany 1900–1923 (e-pub) Walters Prize 2014 A world undone: Works from the Chartwell Collection Billy Apple®: A Life in Parts Sold on Apple: The Complete Wystan Curnow Writings Lisa Reihana: in Pursuit of Venus The Auckland Triennials: Investment & Impact 2001–2013 TITLES CO-PUBLISHED Gottfried Lindauer 1839–1926: Pilsen Painter of the New Zealand Māori (with Gallery of West Bohemia, Pilsen, Czech Republic) Gottfried Lindauer: die Maori-portraits (with Old National Gallery, Berlin, Germany) Engaging Publics/Public Engagement: Artmatter 1 (papers from a September 2014 symposium) OTHER TITLES Five Māori Painters (published May 2014, shortlisted for Ngā Kupu Ora Aotearoa Māori Book Awards 2015, sold out) Reading Room: A Journal of Art and Culture.

Issue 7: ‘Risk’ (in production during the year, published September 2015)

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Exhibition Summary THE GALLERIES 22 Feb–20 Aug 2014 Arnold Manaaki Wilson: Pou Ihi, Pou Whenua, Pou Tangata Curator: Ron Brownson 23 Mar 2014­–1 Mar 2015 Jonathan Jones: Untitled (Sum of the Parts) Curator: Stephen Cleland 5 Apr 2014­–15 Mar 2015 Modern Paints Aotearoa Curators: Sarah Hillary, Catherine Hammond, Caroline McBride 3 May – 8 Nov 2014 Fragile Beauty: Historic Japanese Graphic Art Curator: Mathew Norman 17 May 2014–29 Nov 2015 Grand Designs Curator: Mary Kisler

1 Sep 2014­–1 Mar 2015 Olafur Eliasson: The Cubic Structural Evolution Project Touring exhibition: Queensland Art Gallery 6 Sep 2014­–15 May 2016 Toi Aotearoa: Historic New Zealand Portraits: He Iwi Rangatira Curator: Ngahiraka Mason 18 Sep 2014­–17 May 2015 The Social Life of Things Curators: Zara Stanhope, Julia Waite 18 Sep 2014–8 Feb 2015 Goya: Folly and War Curator: Mary Kisler 11 Oct 2014–8 Feb 2015 Light Show Touring exhibition: Hayward Gallery, London

29 Nov 2014–2 Jun 2015 Seung Yul Oh: SOOM Curator: Stephen Cleland

28 Mar 2015–28 Feb 2016 Extra Ordinary Everyday Curator: Ron Brownson

6 Feb –16 Aug 2015 Printing the Pacific: 1696–1804 Curator: Mathew Norman

2 May –30 Aug 2015 Lisa Reihana: in Pursuit of Venus [infected] Curator: Rhana Devenport

28 Feb –16 Aug 2015 A Pioneering Spirit Curator: Ngahiraka Mason

16 May 2015–6 Mar 2016 Freedom and Structure: Cubism and New Zealand Art 1930 –1960 Curator: Julia Waite

7 Mar 2015–6 Mar 2016 Whano Kē: Change and Constancy in Māori Art Today Curator: Ngahiraka Mason 14 Mar 2015– 6 Mar 2016 Te Wā Tōiri: Fluid Horizons Curator: Ron Brownson 14 Mar 2015– 6 Mar 2016 Seen from Elsewhere Curator: Ron Brownson

12 Jul–12 Oct 2014 Walters Prize 2014 Curator: Stephen Cleland

8 Nov 2014–6 Apr 2015 A World Undone: Works from the Chartwell Collection Curator: Stephen Cleland

14 Mar – 21 Jun 2015 Billy Apple®: The Artist Has to Live Like Everybody Else Curator: Christina Barton

9 Aug 2014­–15 Mar 2015 Robert Ellis Turangawaewae: A Place to Stand Curator: Ron Brownson

15 Nov 2014–24 May 2015 Age of Turmoil: Art in Germany 1900–1923 Curator: Mathew Norman

28 Mar –16 Aug 2015 Monster Field: Surreal

by Nature Curator: Julia Waite

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30 May – 6 Dec 2015 ANZAC: Photographs by Laurence Aberhart Touring exhibition: Dunedin Public Art Gallery

E H MCCORMICK LIBRARY 5 Apr –21 Aug 2014 Over Here: America and the Auckland Art Gallery 22 Aug–18 Dec 2014 Beginnings: Auckland Art Gallery 1888–1938 19 Dec 2014–16 Apr 2015

By Hand: Goldie in the Archive 17 Apr –13 Aug 2015 Nothing Is As It Seems: Harvey Benge Photobooks Curators: Catherine Hammond, Caroline McBride

TODD FOUNDATION CREATIVE LEARNING CENTRE 11 Oct 2014 –16 Aug 2015 Wavelength Creative Learning Centre In collaboration with AUT CoLab Project Manager Meg Nicoll

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Exhibition opening nights and gallery floor talks

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Acquisition Highlights

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left

Arnold Manaaki Wilson Whangai 2, 1984 wood Auckland Art Gallery Toi o Tāmaki purchased 2014 opposite

John Nixon Orange Monochrome with Silver, 2001 Orange Test Painting, 1999 Yellow Cross, 2003 Orange Monochrome, 1990 various media and dimensions Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist, 2014

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above

Jan Mytens Family Group by an Ornamental Fountain in a Pastoral Landscape, 1663 oil on canvas Mackelvie Trust Collection Auckland Art Gallery Toi o Tﾄ［aki purchased with assistance from the M A Serra Trust, Auckland Art Gallery Toi o Tﾄ［aki, 2014

Auckland Art Gallery Toi o Tﾄ［aki / Art & Ideas 2015

above

Ian Scott Colour Card Family, 1966 acrylic on canvas Auckland Art Gallery Toi o Tﾄ［aki gift of Nan Corson and Chris Corson-Scott, 2014

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opposite top

Allen Maddox Charlie Horse Strikes Again, 1997 oil on canvas Auckland Art Gallery Toi o Tﾄ［aki Chartwell Gift Collection with the generous assistance of John Gow, Gary Langsford, Fiona Nugent and Andrew Nugent, 2014 opposite bottom

Star Gossage Seeing the Unseen, 2014 oil on board Auckland Art Gallery Toi o Tﾄ［aki gift of the Patrons of the Auckland Art Gallery, 2014 right

Francesco Bartolozzi, Nathaniel Dance Omai a Native of Ulaietea, 1774 etching, stipple and engraving Auckland Art Gallery Toi o Tﾄ［aki purchased 2014

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opposite top

Para Matchitt Front Row II Number 12, 1966 oil and PVA on board Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased in memory of Jonathan Mane-Wheoki CNZM, 2014 opposite bottom

Campbell Patterson Lifting my mother for as long as I can (2015), 2015 (video still) single-channel video, standard definition (SD), 4:3, colour, stereo sound, 19” LCD monitor Auckland Art Gallery Toi o Tāmaki and Chartwell Gift Collection purchased 2015 above

Saffronn Te Ratana Whakarongo ki te karanga, 2014 acrylic paint, fabric, wood, fibre, steel pins Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 right

Eileen Mayo Sea Holly No. 1, c1949 tempera on board Auckland Art Gallery Toi o Tāmaki The Ilene and Laurence Dakin Bequest purchased 2014

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left

Don Driver Euclid, 1968 enamel and stainless steel on plywood construct Chartwell Collection Auckland Art Gallery Toi o Tﾄ［aki purchased 2014 opposite top

Buck Nin White Island, c1986 acrylic on 4 panels Chartwell Collection Auckland Art Gallery Toi o Tﾄ［aki purchased 2015 opposite bottom

John Johns Stand of Pinus Radiata, Hanmer, 1990 black and white photograph Auckland Art Gallery Toi o Tﾄ［aki gift of Mrs Bobbie Johns, 2014

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Simon Denny All You Need Is Data — The DLD 2012 Conference REDUX, 2013 inkjet prints on canvas, steel wall and floor mounts Auckland Art Gallery Toi o Tāmaki purchased 2015 above

Richard Maloy Student Archive 1996–2001, 2013 mixed media Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014

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Yang Fudong The Coloured Sky: New Women II, 1 天色•新女性 II, 1, 2014 colour inkjet print on paper Auckland Art Gallery Toi o Tāmaki gift of the Auckland Contemporary Art Trust, 2015 above

For a full list of acquistions, see pp 105–9 Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Nalini Malani In Search of Vanished Blood, 2012 single-channel digital video, colour, sound 11 min Auckland Art Gallery Toi o Tāmaki gift of an anonymous donor, 2014

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Research & Learning

E H McCormick Research Library

Honouring the name and legacy of the great scholar and critic, Dr Eric McCormick, Auckland Art Gallery’s Research Library is the most significant resource on the visual arts in New Zealand.

With a growing collection of over 30,000 books and journals, 4000 individual artist files and almost 150 art archives — to name just three parts of its collection — the Library is a dynamic research hub with a large reach.

Open six days a week to the public, in the past year alone the Library team received a total of 7000 enquiries and visits.

Archives gifted to the Library this year included the Harvey Benge Photobooks, which were the focus of an archives cabinet display, Linda Gill’s gift of the extensive material collected by Eric McCormick on painter Frances Hodgkins, a selection of which was seen on exhibit in Frances Hodgkins: Forgotten Still Life, and the remarkable John B Turner Archive of New Zealand photography.

Recent projects of note include Find New Zealand Artists website directory which, a little more than a year after its launch, has already received 200,000 views, online access to Auckland Art Gallery exhibition catalogues from the 1970s, and development of Frances Hodgkins online catalogue raisonné, due for launch in 2017, including a collaboration with Alexander Turnbull Library resulting in the digitisation of around 5000 pages of letters written by the artist to family and friends.

The Library’s engagement with the wider art and scholarly communities was augmented with the production of the 7th issue of Reading Room, the Gallery’s peerreviewed journal of art and culture, published with the support of the Marylyn Mayo Foundation which highlights the Library’s collections in a special archives section each year. In October 2014 the Library hosted the successful Art Libraries Society of Australia and New Zealand’s biannual conference, He Raranga Toi, with over 50 specialist art library attendees and speakers from Australasia, the US and the UK.

Complementing and extending the Library’s physical collections are its digital, website and publication projects, which serve the needs of the art-interested public, students at all stages of education, dedicated academic researchers and artists.

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Frances Hodgkins with Miss Dorothy Selby, 1940 E H McCormick Research Library Auckland Art Gallery Toi o TÄ maki gift of E H McCormick above

Nothing Is As It Seems: Harvey Benge Photobooks Library exhibition left

Library user searching the online collection catalogue

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Conservation Research Centre

The recent renaming of our Conservation department to the Conservation Research Centre reflects the considerable new research that the team undertakes in the course of its work. Caring for the Gallery’s almost 16,000 artworks, as well as performing conservation assessments and treatments on works owned by other institutions and private individuals, forms the core of the Research Centre’s work. In the past year the paper, object and painting conservators were busy with this work while also supervising two interns, co-curating two exhibitions, acting as couriers and overseeing the installation and de-installation of the Berlin and Pilsen Lindauer exhibitions. They also attended symposia and contributed to publications.

The year’s conservation highlight was without doubt the miraculous treatment that our paper conservators performed on the The Mocking of Christ, c1699 by 17th-century engraver, François Langot. The severely damaged nine-panel engraving had survived a flood and a volcanic eruption by the time it came into the Gallery’s possession. Almost three metres in height and two metres wide, the assembled image depicts Christ at the moment before he was crowned with thorns.

Eighteen months of conversation work was required.

A textile backing which had been applied was removed, the nine panels were separated and treated individually, including the water and mould damaged areas, and losses to the image were replaced. Then the panels were re-joined and stabilised so that the engraving could once again be framed and exhibited. This transformation was captured in an interactive display that accompanied the majestic work when it was displayed once again in Grand Designs. The treatment of this collection artwork was only possible because of the generous sponsorship provided by the Auckland Decorative and Fine Arts Society.

Also significant this year was the Research Centre’s participation in the Gallery’s exhibition programme with Modern Paints Aotearoa, which is featured in the exhibitions section. The exhibition is one of a series staged by the Gallery that focus on the way materials affect the art practices and therefore the work of artists. opposite left

above

Conservation intern working on Frances Hodgkins’ Still Life: Anemones and Hyacinths, c1925 opposite

Paper conservators working on the restoration of François Langot’s The Mocking of Christ, c1699

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Acquistions eruwm quae nonsequunt hicatur isitis doluptur acipic tem sunt pernatuscit hit laccusa nobis porio. above

Acquistions eruwm quae nonsequunt hicatur isitis doluptur acipic tem sunt pernatuscit hit laccusa nobis porio.

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Gallery-based teaching in Grand Designs

Schools, Outreach, Community & Visitor Programmes

Every year thousands of people engage with the Gallery and with art through our Schools, Outreach, Community and Visitor programmes. Children of all ages enjoy structured, lively lessons at in-gallery and studio sessions which encourage them to critically and creatively engage with art — animating their imaginations and building their capacities to see the world through art’s creative lens. Outreach programmes foster dialogue and engagement with under-represented audiences, including new migrants and Māori and Pacific peoples, through collaborations with community organisations.

Our Community programmes establish opportunities for connecting diverse groups, and the Visitor programme includes direct responses to exhibitions, such as artist talks and the hosting of special events.

There were numerous highlights over the past year, and the volume of participation was impressive. Almost 19,000 people attended Visitor programmes, which included floor talks, lectures, symposia, seminars, film screenings, performances, demonstrations and panel discussions.

Family-focused programming was also popular.

Family Drop-ins, staged each Saturday, gave parents and children the chance to play together with art and making. We offered a total of 32 school holiday workshops, with one featuring Auckland-based artist

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Siliga Setoga delivering print-making workshops for 9–13 year olds inspired by Billy Apple’s artwork. And for four days, the Pacifica Mamas provided free workshops for the whole family where visitors learned the traditional and contemporary art of lei (flower garlands). We also held our third Youth Media Internship in collaboration with AUT University. Students made sophisticated short films with the mentoring help of arts professionals.

The Outreach programme provided short-term internships for Pacific and Māori Visual Art Students from UNITEC Institute of Technology and the Manukau Institute of Technology.

Approximately 8000 students from 98 schools visited the Gallery with their school groups for sessions aimed at complementing and extending what they learn in the classroom. Row upon row of expectant faces lined up on the Forecourt before being guided into the Gallery. Expressions of excitement, engagement and wonder took over as the students were guided through the exhibitions and gained new perspectives on art.

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Schools, Outreach, Community and Visitor programmes

opposite left

Acquistions eruwm quae nonsequunt hicatur isitis doluptur acipic tem sunt pernatuscit hit laccusa nobis porio. above

Acquistions eruwm quae nonsequunt hicatur isitis doluptur acipic tem sunt pernatuscit hit laccusa nobis porio.

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Achievements

Grants, Scholarships & Awards

Art Libraries Society UK & Ireland International Delegates Award for Catherine Hammond, Research Library Manager, to attend their annual conference, Cardiff, Wales, 2015 Creative New Zealand, $20,025 towards the publication Lisa Reihana: in Pursuit of Venus, 2014 Decorative & Fine Arts Society of New Zealand $15,000 from regional branches towards the Frances Hodgkins Project, 2014–15

National Digital Forum scholarship for Tom Irwin, Assistant Librarian, to attend the National Digital Forum, Wellington, 2015 Stout Trust, $136,000 grant towards the Frances Hodgkins Project, 2015 Villa I Tatti, Florence (Harvard University) curatorial fellowship for Mary Kisler, Mackelvie Curator, International Art, to research Italian works in New Zealand public collections from April to June 2016

Designers Institute of New Zealand, Best Awards 2015: Gold (with Philip Kelly Design) for Lisa Reihana: in Pursuit of Venus publication Bronze for Light Show, Environmental Graphics (Box of Infinite Light) Gabo Sculpture Trust grant for Annette McKone, Objects Conservator, to attend ‘Conservation of Plastics’ course at West Dean College, West Sussex, UK, 2015 Massey University Ngā Kupu Ora Aotearoa Māori Book Awards 2015, Runner Up, Five Māori Painters Metropolitan Museum of Art, New York, Global Museum Leaders Colloquium, 2015, for Rhana Devenport, Director to participate in the second annual GMLC Museums Australia Multimedia & Publication Design Awards (MAPDA) 2015, Highly Commended, Exhibition Branding category for Light Show

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Manukau Institute of Technology Outreach Volunteer Interns

Gallery Interns

COLLECTION SERVICES

PROGRAMMES

Hannah Murray, Colin McCahon Research and Publication Trust Intern

Julia Craig, University of Auckland, Volunteer Intern, Frances Hodgkins Project

Brooke Randall, Marylyn Mayo Internship, Conservation

Jacqueline Henderson, University of Auckland, Volunteer Intern for Pioneering Spirit

LEARNING PROGRAMMES Roberta Ellis, Manukau Institute of Technology, Volunteer Intern, Outreach Kylie Eparapa, Manukau Institute of Technology, Volunteer Intern, Outreach

Emma Jameson, Marylyn Mayo Intern, Curatorial Cecilia Lynch, Inaugural E H McCormick Research Library Summer Art Archive Intern Martin Langdon, Toi Māori Intern

Joshua Good, Manukau Institute of Technology, Volunteer Intern, Outreach

Fleur Martin-Austin, University of Auckland, Volunteer Intern, Frances Hodgkins Project

MARKETING AND COMMUNICATIONS

Katie Minett, University of Auckland, Volunteer Intern, Frances Hodgkins Project

Yanxin Zhong, Volunteer Intern to develop a review of social media channels

John Mutambu, University of Auckland, Research Assistant Intern VISITOR SERVICES Rakhi Das, AUT Masters of Arts Management Course, Volunteer Intern researching and benchmarking the use of volunteers in Museums and Galleries Anna Yu, AUT Masters of Arts Management Course, Volunteer Intern researching and benchmarking the use of volunteers in Museums and Galleries

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Advancement & Partners

A New Team

An important new initiative in 2015 was our establishment of the Advancement team. This team is developing an agile strategic approach to revenue generation and fundraising for the Gallery. Its creation signals our determination to ensure that we deliver our ambitious exhibition programme, and that it is of the highest quality.

By attracting and fostering greater support from the private sector, philanthropic contributions and a vibrant membership programme, we will fulfil our programme goals and grow our networks. The advancement team consists of Head of Advancement and Sponsorship, Sue Sinclair; Membership Manager, Christiane Pracht; and Foundation Manager, Renee Tanner.

We are committed to building a brand and values-aligned family of strategic corporate partners, and we are proud to acknowledge the long-term committed partners we already have. These partners understand the importance of investing in arts and culture. Collectively, they promote the importance and value of diverse perspectives and cultures, and the need to foster creativity to contribute to the cultural richness of Auckland and New Zealand.

Their commitment to the Gallery represents an annual investment over an agreed period of time. above

The Advancement team (from left to right) Christiane Pracht, Sue Sinclair, Renee Tanner

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Premier Corporate Partner EY — an enduring partnership spanning 25 years University Partner AUT — a collaborative partnership Special Project Partners for the Walters Prize Erica and Robin Congreve, Principal Donors Dame Jenny Gibbs, Principal Donor Dayle Mace, Major Donor Saatchi & Saatchi, Founding Sponsor Elevation Capital, Major Sponsor Supporting Partners Resene Pullman Hotel and Resorts Epic Villa Maria VideoPro Panasonic Sponsorship and collaboration are crucial to the successful delivery of our exhibitions, symposia and research publications. We would like to thank: JB Were for Five Māori Painters EY, AUT University, Metro, Trustpower, Philips, George FM, Matisse and Archimedia for Light Show Qantas for My Country: Contemporary Art from Black Australia Saatchi & Saatchi and Architectus for Billy Apple®: The Artist Has to Live Like Everybody Else Tahi, AUT University, VideoPro, Panasonic and Creative New Zealand for Lisa Reihana: in Pursuit of Venus 95

2016 Preview

Necessary Distraction: A Painting Show 5 November 2015 – 28 March 2016

Illustrating new directions in New Zealand painting, Necessary Distraction: A Painting Show will offer visitors a substantial, immersive encounter with this enduring and technically demanding art form. The new vigour evident in the work of the emerging or early-career artists in Necessary Distraction results in part from their consideration of questions such as, Can painting practice specifically offer cultural communication that other art forms cannot?

above

Kirstin Carlin Pleasure Garden (Seven), 2015 oil on board on loan from a private collection left

Julian Hooper Verse, 2012 acrylic on linen on loan from a private collection, Australia

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below

Space to Dream: Recent Art from South America

Luis Camnitzer Landscape as an Attitude, 1979 gelatin silver print courtesy of the artist and Alexander Gray Associates Gallery, New York Image: courtesy Alexander Gray Associates, New York opposite top

Demian Schopf La Nave (Ch’uta Mariachi), 2015 digital print courtesy of the artist opposite bottom

14 May –25 September 2016

Cinthia Marcelle Cruzada (Crusade), 2015 sonorous video 8:36 min courtesy of the artist and Galeria Vermelho, São Paulo, Brazil

The largest exhibition of South American art ever to be shown in Australasia, Space to Dream: Recent Art from South America is a joint project between the Gallery and highly regarded Chilean curator Beatriz Bustos Oyanedel.

Including the work of almost 50 artists from seven countries, dating from 1970 to now, Space to Dream will provide a comprehensive experience of the art and creative thinking of South America.

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Len Casbolt: From Soft Focus to Sharp Vision 6 February – 14 August 2016

From the 1930s, Christchurch photographer Len Casbolt (1896–1987) became a leading advocate for pictorialist photography in New Zealand. After World War II he experimented with a contemporary vision that foregrounded sharp focus, clear light, urban subjects and close-ups. This exhibition illustrates how Casbolt became a leading figure in the development of New Zealand’s art photography and helped foster a serious local attitude to photography.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Len Casbolt Invocation (Joan Gracie’s Grecian Dancers), c1940s bromoil photograph Auckland Art Gallery Toi o Tāmaki purchased 2010 opposite

Len Casbolt Untitled [Woman on Beach], c1950s gelatin silver print Auckland Art Gallery Toi o Tāmaki purchased 2010

GIFTS New Zealand Art

2014–15 Acquisitions

Mark Adams Hinemihi, Clandon House, Surrey, United Kingdom 2000 2009 C-type prints 920 x 730 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 Mangungu Wesleyan Mission.

Hokianga Harbour 19.2.2000 2013 silver bromide fibre-based print 510 x 600 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 Te Ana o Hineraki/Moa Bone Cave, Otautahi, Te Waipounamu 19 May 1989 2013 gold-toned silver bromide fibre-based print 795 x 1163 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 Philippa Blair Freeway 1991 charcoal and graphite on paper 1015 x 662 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Una Garlick Auckland c1935 sheet-fed photogravure print 74 x 100 mm Auckland Art Gallery Toi o Tāmaki gift of an anonymous donor, 2014 Star Gossage (see p 70) Matariki 2014 oil on board 800 x 1200 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

John Hoyte A Fresh on the Bealey, Canterbury 1875 watercolour 345 x 550 mm Auckland Art Gallery Toi o Tāmaki bequest of Leslie James Winterscale Gabites, 2014 John Johns (see p 75) Gale Damaged Forest, Canterbury, NZ 1960s Erosion, Harper-Avoca Forest, Canterbury 1953 Erosion, Western Craigieburn Range, Harper Avoca State Forest, Canterbury 1950s Golden Downs Forest, Nelson 1970s Fern Frond 1972 Stand of Pinus Radiata, Hanmer 1990 Radiata Pine of Exceptionally Good Form 1990 Leaves of Mountain Daisy (Celmisia Incana) 1970s Harakeke, New Zealand Flax 1972 Fern Frond 1977 Red Deer Fawn, Leithen Downs, near Gore 1972 Fairy Prions in Flight, Stephens Island 1974 [Maori Carved Panels] 1950s [Maori Carved Panels] 1950s Stone Wall, St Andrews, Scotland 1985 Radiata Pine with Clear-felled Settings of 80 to 100 Acres, Kaiangaroa State Forest 03 Mar 1960 Fairy Prions in Flight, Stephens Island 1974 black and white photographs various dimensions Auckland Art Gallery Toi o Tāmaki gift of Mrs Bobbie Johns, 2014 Allen Maddox (see p 70) Charlie Horse Strikes Again 1997 oil on canvas 2435 x 7305 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection with the generous assistance of John Gow, Gary Langsford, Fiona Nugent and Andrew Nugent, 2014

Seeing the Unseen 2014 oil on board 405 x 290 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014

Eileen Mayo (see p 73) Sea Holly No. 1 c1949 tempera on board 410 x 330 mm Auckland Art Gallery Toi o Tāmaki The Ilene and Laurence Dakin Bequest purchased 2014

Frances Hodgkins Threshing Machine c1918 gouache, pencil and charcoal 548 x 704 mm Auckland Art Gallery Toi o Tāmaki bequest of Jetta and Bruce Cornish

Robert McLeod Red Painting 1980 oil on canvas 1096 x 1676 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015

Greens-For A Growing Boy 1981 oil on canvas 1690 x 2285 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Blue: Bifurcated 1979 oil on canvas 1234 x 1102 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Campbell Patterson (see p 72) Lifting my mother for as long as I can (2015) 2015 single-channel video, standard definition (SD), 4:3, colour, stereo sound, 19" LCD monitor Auckland Art Gallery Toi o Tāmaki and Chartwell Gift Collection, purchased 2015 Alan Pearson Still Life With Chair c1974 oil on board 714 x 718 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Saffronn Te Ratana (see p 73) Whakarongo ki te karanga 2014 acrylic paint, fabric, wood, fibre, steel pins Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 Lisa Reihana (see pp 28–9) in Pursuit of Venus [infected] 2015 multi-channel video, HD, colour, sound 32 min Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2014 Ian Scott (see p 69) Lattice No. 90 1982 acrylic on canvas 1846 x 1846 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Colour Card Family 1966 acrylic on canvas 1730 x 1730 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014 Teller 1970 oil on canvas 2134 x 1730 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014

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Offspring 1969 oil on hardboard 1830 x 1220 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014 The Expulsion 1989 enamel on canvas 2424 x 4880 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014 Lattice No. 247 Jan 2013 acrylic on canvas 1981 x 1981 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014 New Zealand Painting 1987–89 acrylic and enamel on canvas 1815 x 4510 mm Auckland Art Gallery Toi o Tāmaki gift of Nan Corson and Chris Corson-Scott, 2014 Mervyn Williams Sheherazade 1981 oil on canvas 1678 x 2132 mm Auckland Art Gallery Toi o Tāmaki Chartwell Gift Collection, 2015 Unknown artist Unknown [tangi photograph] c1890s Auckland Art Gallery Toi o Tāmaki gift of Maurice and Mary Norton, 2014

GIFTS International Art Nalini Malani (see p 79) In Search of Vanished Blood 2012 single-channel digital video, colour, sound 11 min Auckland Art Gallery Toi o Tāmaki gift of an anonymous donor, 2014 Anthony McCall You and I, Horizontal (II) 2006 computer, projector, haze machine 33 min Auckland Art Gallery Toi o Tāmaki gift of the Auckland Contemporary Art Trust, 2015

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

Hiroshi Sugimoto Saint James, New Zealand 1991 gelatin silver print 477 x 578 mm Auckland Art Gallery Toi o Tāmaki gift of Dame Jenny Gibbs, through the Auckland Art Gallery Foundation, 2014 Civic, New Zealand 1991 gelatin silver print 477 x 578 mm Auckland Art Gallery Toi o Tāmaki gift of Dame Jenny Gibbs, through the Auckland Art Gallery Foundation, 2014 Yang Fudong (see p 78) The Coloured Sky: New Women II, 1 天色•新女性 II, 1 2014 The Coloured Sky: New Women II, 4 天色•新女性 II, 4 2014 The Coloured Sky: New Women II, 5 天色•新女性 II, 5 2014 colour inkjet print on paper 1800 x 1200 mm (each) Auckland Art Gallery Toi o Tāmaki gift of the Auckland Contemporary Art Trust, 2015

PURCHASES New Zealand Art Chris Corson-Scott Mark Adams Retouching Photographs at Studio La Gonda 2013 archival pigment print 1500 x 1890 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Kotanui Island and Rangitoto (After Kinder) 2013 archival pigment print 1200 x 1480 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Simon Denny (see p 76) All You Need Is Data — The DLD 2012 Conference REDUX 2013 inkjet prints on canvas, steel wall and floor mounts 1100 x 1600 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 John Johns Benmore Dam, Mt. Cook in Distance 1974–78 Skippers Road, Otago 1974–1978 Mountain landscape, Silvermine Valley, North West Nelson Forest Park 1974 –78 20 Karamea Valley, Westland 1974–78 Upper Mavora Valley, Looking South 1974–78

black and white photographs 354 x 355 mm (each) Auckland Art Gallery Toi o Tāmaki purchased 2014

PURCHASES International Art

Sean Kerr Ah ha 2013 neon, wood, electronics, sound 2670 x 278 x 195 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Victor Adam, Louis Auguste de Sainson Nouvelle-Guinée: Costume des Chefs Papous du hâvre Dorey; Costume des Papous du hâvre Dorey 1833 hand-coloured lithograph 320 x 400 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Andy Leleisi’uao Waking Up To my Polynesian Spine 1998–99 oil on canvas 1380 x 1980 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Francesco Bartolozzi, Nathaniel Dance (see p 71) Omai a Native of Ulaietea 1774 etching, stipple and engraving 465 x 291 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Max Oettli BSA, High St, Auckland 1974 gelatin silver print Auckland Art Gallery Toi o Tāmaki purchased 2014

Stefano Della Bella Rider in Landscape against the Wind c1626 –67 paper, ink, wash, black chalk 151 x 193 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Department Store, Auckland City 1972–73 gelatin silver print 212 x 298 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 René Wilson, Princes St, Auckland 1970 gelatin silver print 291 x 202 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 Marie Shannon What I am Looking At 2011 single channel SD video, 4:3, sound 7:11 min Auckland Art Gallery Toi o Tāmaki purchased 2015 Arnold Manaaki Wilson (see p 66) Whangai 1 1984 wood 2400 x 240 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 Whangai 2 1984 wood 2230 x 240 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 Whangai 3 1984 wood 1960 x 240 mm Auckland Art Gallery Toi o Tāmaki purchased 2014

Dunaime, Louis Auguste de Sainson Viti colour lithograph with hand colouring 490 x 320 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 Lemercier & Cie, Louis Auguste de Sainson Façade et details de la maison sacrée à Dorey 1833 hand-coloured lithograph 320 x 470 mm Auckland Art Gallery Toi o Tāmaki purchased 2014 Paul Nash (see p 47) A Private World, Photographs by Paul Nash c1937, 1978 {reprint} 25 black and white photographic prints Auckland Art Gallery Toi o Tāmaki purchased 2014

Matt Arbuckle It’s an Electric 2014 oil on board 350 x 260 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Shop Front Bottoms II 2014 oil on board 355 x 265 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Rails 2014 oil on board 355 x 265 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Dan Arps Unbroken Chain 5 2014 Unbroken Chain 3 2014 dye injected satin 1200 x 900 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Andrew Blythe untitled 2014 acrylic on paper 1080 x 1760 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Steve Carr Pizza Boxes 2014 used pizza boxes inside custom frames 610 x 610 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

LONG-TERM LOANS Chartwell Collection

Fiona Connor Can Do Academy #1 2014 plasterboard, plaster, timber, paint 3000 x 1500 x 30 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014

Ian W Abdulla Church in the Scrub 6 Aug 1999 lithograph 560 x 757 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Bill Culbert Strait (Manukau) 2 2015 plastic bottles, fluorescent tube 375 x 1220 x 145 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Phil Dadson Rock Record #2 Garden of Gods, Garwood Dry Valley 2003 Rock Record #8 Teeth Ledge, Mt. Airthrey 2003 unique Lambda digital print 435 x 650 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 January Music (paper, hand, ink, eye, wind) #7 2014 January Music (paper, hand, ink, eye, wind) #8 2014 January Music (paper, hand, ink, eye, wind) #9 2014 January Music (paper, hand, ink, eye, wind) #13 2014 January Music (paper, hand, ink, eye, wind) #23 2014 January Music (paper, hand, ink, eye, wind) #30 2014 india ink on Japanese paper 1020 x 760 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Arid Edge (Atacama) 2014 single-channel digital video 7:09 min Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 33RPM (UV Rangitoto) 2006 33 Dobson Spectrophotometer Ozone recording discs, 33 acrylic frames 180 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Simon Denny Berlin Startup Case Mod: 6Wunderkinder 2014 custom computer case, packaging, heavy-duty computer hardware, metal fittings, custom plexiglas components, Stanford ‘to do’ pad, Samsung television, digital video 900 x 910 x 540 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 The Personal Effects of Kim Dotcom: Seized Property #1 2014 digital print on canvas 1600 x 1100 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 107

The Personal Effects of Kim Dotcom: Seized Property #78 2014 digital print on canvas 1600 x 1100 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist, 2015 Don Driver (see p 74) Euclid 1968 enamel and stainless steel on plywood construct 1450 x 1120 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Richard Frater Shell 2014 digital transfer on polyester satin 3000 x 1420 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Alberto Garcia-Alvarez 2014 –91 2014 water-based mixed media on canvas 1830 x 1625 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 A5 1993 printing ink on aluminium 640 x 495 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 David Keating Reverse Arcade 2012 steel, rope, acrylic 2500 x 1970 x 580 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Susan Te Kahurangi King No title c1975–80 pencil on found paper 235 x 365 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 No title c1975–80 pencil, coloured pencil, crayon and ebony pencil on paper 235 x 260 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

No title c1975–80 pencil on paper 10 x 95 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Allan McDonald Grey Lynn garden, Winter 2013 colour photographic print Chartwell Collection, Auckland Art Gallery Toi o Tāmaki purchased 2014

No title c1975–80 pencil, coloured pencil and crayon on paper 410 x 500 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Foxton 2009 Northcote 2010 Ponsonby 2010 Grafton 2010 digital C-type print mounted on dibond 438 x 515 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014

Tom Kreisler Condominium 2008 silkscreen print 660 x 508 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Richard Lewer Untitled number 1 2015 Untitled number 22 2015 enamel on rugby book page 260 x 200 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Untitled number 12 2015 Untitled number 19 2015 enamel on rugby book page 300 x 210 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Daniel Malone Arhythmia 2014 pill packets, Solpah and oil on canvas drop cloth 1260 x 2360 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Richard Maloy (see p 77) Student Archive 1996–2001 2013 mixed media Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Para Matchitt (see p 72) Front Row II Number 12 1966 oil and PVA on board 610 x 1220 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased in memory of Jonathan Mane-Wheoki CNZM, 2014

Dane Mitchell From Starkwhite to the Auckland Art Gallery 2003 string, tin cans, perspex case and base Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of Dominic Feuchs and John McCormack with the support of the artist, 2014 Buck Nin (see p 75) White Island c1986 acrylic on 4 panels 2400 x 3600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

John Nixon (see p 87) UNTITLED (group 1 B) 2013 enamel on canvas 580 x 600 x 295 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Blue Rider 1994 Silver Monochrome 2004 Self Portrait: Non Objective Composition (Night) 1987 Self Portrait: Non Objective Composition (Night) 1987 Self Portrait: Non Objective Composition (Night) 1987 Block Painting: Green Circle 1992 Block Painting: White Circle 1993 Block Painting: Green and White Cross 1993 Block Painting: Cream Monochrome 1992 Block Painting: Yellow Monochrome 1993 Black Square Maroon Rectangle White Cross Yellow Cross Silver Monochrome 2003 Orange Monochrome with Pale Blue (for Emma) 1996 Brown and Black Cross Maroon Cross Orange Monochrome with Silver 2001 Orange Monochrome 1990 Orange Monochrome 1997 Silver Monochrome 2003 Orange Test Painting 1999 Orange Test Painting 2000 Orange Test Painting 2002 Orange Monochrome with White 1996 Orange and Red Cross 1996 Orange Monochrome with White 2000 Model Painting 2000 Maroon Monochrome 1986 Black Square 1986 White Cross 1987 Red and Black Cross Yellow, Black and Red Tricolour Black, Brown, Red Tricolour Red Stripe on Black Black and Brown Cross Red and Black Cross 1986 Brown and White Cross 1986 Polychrome Painting, Colour Group B Part I 2007 Polychrome Painting, Colour Group B Part II 2007 Polychrome Painting Part A 2009 Polychrome Painting Part B 2009 The Donkey’s Tail Colour Songs 2014 The Donkey’s Tail CD # 077 2014 The Donkey’s Tail CD # 071 2013 The Donkey’s Tail # 68 2013 Orange Monochrome with White 2003

various media and dimensions Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist, 2014 Seung Yul Oh Periphery #8 2014 acrylic on canvas 1800 x 3000 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Suji Park 30 x 30 Arrangement II 2015 Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Oliver Perkins Untitled 2014 ink, rabbit skin glue and acrylic primer on canvas over doubled stretcher 2200 x 1700 x 72 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Ginger Riley Munduwalawala Untitled ­— Limmen Bight River, Northern Territory synthetic polymer paint on paper 585 x 760 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Jono Rotman Greeko Notorious 2008 C-type photograph 2000 x 1600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Jeena Shin Motus I 2014 acrylic on canvas 2400 x 1800 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014

Jim Speers Veilside 2010 steel 270 x 95 x 60 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist, 2014 David Svensson Inner Light (Absent Images) 2012 6 projection screens 2400 x 3200 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Luke Willis Thompson Untitled (we people who are darker than blue) 2010–14 Untitled (we people who are darker than blue) 2010–14 C-type prints 735 x 1075 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 Geoff Thornley Untitled Abstract 1984 oil on board 965 x 1165 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2014 John Ward Knox Untitled 2014 photographic print 226 x 150 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist and The Physics Room, 2014 Douglas Wright 5 works [untitled] c2003–07 pencil on paper 95 x 95 mm (each) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

David Shrigley Untitled (Good) 2015 oil on canvas 1600 x 1200 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

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LONG-TERM LOANS Mackelvie Trust Jan Mytens (see p 68) Family Group by an Ornamental Fountain in a Pastoral Landscape 1663 oil on canvas 1607 x 1870 x 115 mm Mackelvie Trust Collection Auckland Art Gallery Toi o Tāmaki purchased with assistance from the M A Serra Trust, Auckland Art Gallery Toi o Tāmaki 2014 LONG-TERM LOANS Private Collections Kate Sperrey Portrait of Wairingiringi 1888 oil on canvas Auckland Art Gallery Toi o Tāmaki on loan from a private collection, England Giovanni Volpato Veduta del Gimnasio a Pesto (The Gymnasium at Paestum) 1780 Veduta del interno del Gimnasio a Pesto (Interior of the Gymnasium at Paestum) 1780 Veduta del interno del primo Tempio a Pesto (Interior of the First Temple at Paestum) 1780 Veduta del interno del Secondo Tempio a Pesto (Interior of the Second Temple at Paestum) 1780 hand-coloured engravings 350 x 490 mm (each) Auckland Art Gallery Toi o Tāmaki on loan from J A Tylee and C E van Kraayenoord Veduta della Camera dei Candelabri dal Museo del Vaticano (The Room of Candelabras at the Vatican Museum) 1770 –77 Veduta della Scala, Museo Vaticano (View of the Stairs, Vatican Museum, Rome) 1770 –77 hand-coloured engravings 585 x 490 mm (each) Auckland Art Gallery Toi o Tāmaki on loan from J A Tylee and C E van Kraayenoord

opposite

Principal Conservator Sarah Hillary at work

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2015

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Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2015