art trust works with notes

THE

One Tree Hill College

ART TRUST WORKS

In Ron‘s Eiseg‘s office

Sandy Adsett,

'He Tetekura'

The revival of

Maori Youth,

1981,

Acrylic on

Hardboard,

945 x 945

Reception & Corridor outside Staff Workroom

Colin McCahon (1919-1987) Collection

• Born 1 August 1919, Timaru, although lived in Dunedin.

• Strongly influenced by Toss Woollaston.

• Studied at Dunedin School of Art from 1937-1939, although largely self-taught.

• Married the artist Anne Hamblett in 1941, and moved to Christchurch.

• Moved to Auckland in 1953.

• Painted works that placed events from Christ's life in a New Zealand setting.

• Was the first New Zealand artist to use words and numbers as part of his art.

• Visited the United States in 1958Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.

• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.

• Died 27 May1987, in Auckland.

Colin McCahon,

‘Nouns and

verbs...(Parts of

Speech' Peter Hooper),

Practical Religion

Series' 1969, Script -

Scroll painting, ink,

watercolour and pastel

on manilla card. 1455 x

550

Colin

McCahon,‗An

Ornament for the

Paheka', 1972,

Pencil and

watercolour on

white paper, 316

x 405

Colin

McCahon,

'In My Dark

Winter' 1971,

Script drawing

on white paper,

1971,

273 x 180

Colin

McCahon,

'Muriwai'

1971,

Watercolour

on manilla

card,

1090 x 720

Colin

McCahon,

'Larks Song',

1972,

Watercolour

and pencil

script on

manilla card,

1092 x 722

Colin McCahon, 'Necessary Protection’ (I H S)1972,

Enamel and oil on hardboard, 600 x 810

Colin

McCahon,

'Jet Over

Muriwai’,

1973,

Charcoal on

paper,

342 x 273

Cathryn Shine Artist in residence Cloth of culture 1983

Acrylic on unstretched canvas 2840 x 4670

Wallace Crossman Interaction 1974 Acrylic on

Canvas 885 x 725

Wallace Crossman

• Former Art teacher Penrose High

• Actively involved in setting up the collection

• Recently donated new artwork to collection, (hanging in library opposite entrance

doors)

Don Binney

Te Henga

1967

Coloured

Crayon on

paper

745 x 535

• Binney describes himself as a figurative painter concerned with the psychic metaphor of the environment. Working in oil, acrylic, charcoal, ink and carbon pencil, many of his works depict the west coast of Auckland and Northland, containing sea, sky, native birds, still life and occasionally, figures. From 1958-61 he studied at Elam School of Fine Arts in Auckland, gaining a Diploma of Fine Arts. Binney‘s tutors included Ida Eisa, James Turkington, Robert Ellis and Robin Wood. In 1963, he held his first solo exhibition at Ikon Gallery, Auckland and began teaching at Mt. Roskill Grammar School (until 1966).

Don Binney

Dick Frizzell The Will To Love 1977 Oil Enamel on

hardboard 620 x 907

Donated by Kapiti Collection

For this piece I used a discarded

wrapper from a just-eaten block

of Aorangi as a starting point. I

am interested in words and

layering, so I abstracted the label

to create a landscape of the

Aorangi region with the highest of

the peaks, Mt Cook represented

in pyramid form.

Embedded in the image is the

number 7, a figure from the price-

tag to signify 7 years of plenty – a

reference to the profitable dairy

farms of the South Canterbury

area.

Philip Trusttum July 2008

I love cheese and I love this

cheese. The bright colour is

amazing, the sharp taste is

incredibly moreish. You could

eat it all day. And believe me

I did. I wanted to bring the

act of eating this cheese to

the fore – in particular the

cutting of the cheese on a

cheeseboard with a good

knife. As this is a dense

cheese some measure of

force is required to cut

through it. So this piece

feature the classic wood-grain

texture of the board as a

background.

• Over this, is evidence of a board well used and cheese well eaten – random, multiple and layered knife marks permanently etched as a record of occasions and stories told. To complete the picture I‘ve stamped the word ‗original‘ and fingerprinted each print to make a comment on the relationship between the ‗hands-on‘ lithographic and cheese-making processes i.e. the idea that every cheese and print is slightly different from the last‘

John Reynolds July 2008

I was attracted by

Ramara‘s soft and gentle

colour. However these

soft, warm colours gave

way unexpectedly to a

really strong taste – an

interesting juxtaposition –

strong and gentle, or soft

with an underlying

strength? This unusual

combination is what I‘ve

explored in my image and

bought to life in the print.

• I also wanted to explore the notion of

tactility. The cheese begs to be picked up

and eaten, creating discussion and

interaction like the animated and inter-

twined figures in the image.‘

• Rob Mcleod June 2008

‗Calling this piece

‗the Second

Metaphysical

Cheese‘ obviously

implies that there

was a first one.

Originally a brie all I

had to do was drop in

this cheese with its

distinctive mould

patterns into the

same moonlit

landscape (from a

1921 painting by a

surrealist artist

Carlos Carra)

complete with

Kikorangi (sky blue)

clouds.

• The Metaphysical painting movement was concerned with the exploration of the inner life of ordinary things and removing them from the ordinary world – painting to a higher, more hidden state of being. Sor here a simple painting of cheese becomes muchy more than that – perhaps even the king of cheeses!‘

Dick Frizzell August 2008

I started with the unique shape of the

cheese which is interesting in itself.

However as I ate the cheese and

shared it with friends, I found that there

was more to it. It was moments of joy

between people.

My work is full of symbols of this

journey, the literal mountainous shape

of the cheese together with the

background washes to represent the

landscape where Mt Hector sits through

to the cheeseboard as a stage, around

the goat which gives the cheese its

unique taste, and the costumed figures

engage in the celebration and occasion‘

Jenny Dolesel August 2008

John Pule

Nukulafalafa

1994 Lithograph

and woodblock

3/30

750 x 750

John Pule

• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.

• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.

• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry

Nigel Brown

Land and Family

1979

Hand coloured

Lithograph

24/30

630 x 470

•Nigel Brown actively uses story telling precepts within the ‗confines‘ of the

image. He directly and selectively employs history, literature, politics etc as

devices and in so doing examines the varied plights of the individual and

environment with an emotional, intuitive sympathy which is accurate, incisive

and clothed in a vernacular of the human condition.

His work expresses fundamental spiritual and humanistic concerns common to

mankind. These are infused with the particularity of cultural location and

reference, the specific of place and event, the dynamism of individual character

and personality with the narrative (artist as author) point of view.

Nigel Brown

Rodney Fumston

Garden

Evening ll

1979

Screenprint

9/40

540 x 480

Rodney Fumpston Born 1947-

• Rodney Fumpston was born in Fiji in 1947.

•

• He studied at Elam School of Fine Arts from 1966 to 1972, graduating Bachelor of Fine Arts in 1970 and Master of Fine Arts (First Class Honours) in 1972. He then studied at the Central School of Fine Art and Design in London, graduating Advanced Studies in Printmaking in 1974.

• He is currently Head of Printmaking at Elam School of Fine Arts. He lives in Auckland in a small 1920s bungalow with the main room given over to two printing presses, work benches, tables and storage cabinets. His garden is magnificent and full of exotic plants and flowers all of which he can identify by name.

• Rodney Fumpston has been making prints for nearly three decades, one of the few artists in New Zealand to focus on the print medium, to find it uniquely suitable for the expression of his ideas and to remain physically involved with every stage of the painstaking process. He is a perfectionist who has achieved astonishing mastery of this method, enjoying the clarity and precision of thought that precedes the creation of a successful image.

Pat Hanly

'Who am I, I

am, Do it'

Screenprint

565 x 635

PAT HANLY 1932 - 2004

• PAT HANLY, born 1932, Palmerston North. Died 2004, Auckland. Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.

• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness.

• The resulting works have been, variously, political, reflective of 'the human condition' or observational, particularly of family and friends. Only four of his series have been abstract - New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976).

A.C. Neale

Pounamu

1994

Etching 8/15

502 x 265

John Pule

Nukulafalafa

1994 Lithograph

and woodblock

3/30

750 x 750

John Pule

• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.

• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.

• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry

Gordon Walters

Arahura

1982

Screenprint

5/125

543 x 430

Gordon Walters (1919 - 1995)

• Gordon Walters (1919 - 1995) was a pioneer of modernist abstract painting in New Zealand. Walters trained as a commercial artists at Wellington Technical College in 1935.

• He worked in Europe between 1950 and 1953 and returned to New Zealand in 1953 working at the Government Printing Office until he began painting fulltime in 1966.

• Gordon Walters famous Koru series of paintings were influenced by Walters' interest in the symbolic forms of Maori rock art.

Nigel Brown

Running Woman

1983

Hand coloured

Lithograph

10 /10

Corridor outside Staff Workroom

Martin Ball

Motorbike

1980

Graphite

pencil on paper

210 x 180

Martin Ball (b.1952)

• Martin Ball (b.1952) is renowned for his hyper-realist, large-scale painted portraits of recent years.

•

• These works represent a culmination of Ball‘s ongoing interest in portraiture and realism that has spanned over three decades.

• Ball has focussed on a variety of subject matter since the early stages of his career including landscape, still-life and portraiture. Although his subjects range from the intensely detailed to the minimal, he has consistently worked in the style of realism.

• His works invariably display a graphic quality, achievable through his careful handling of the mediums he employs. Ball‘s incredible technical skill evident in his use of pencil, graphite and more recently oil is testament to his disciplined approach to art-making.

Don Binney

Taranaki

1971

Black Crayon

on paper

331 x 392

• In 1965 Binney was included in a survey show of New Zealand painting, held in London and in the ―Eight NZ Artists‖ touring show of Australian State Galleries. In 1967 he was the recipient of a Queen Elizabeth II Arts Council travel fellowship. He has spent time living in Mexico, London and Australia but returned to teach at Elam, becoming the senior lecturer in Fine Arts in 1979.

Don Binney

Dick Frizzell

Sketches for Big

Boy

1982

Pencil

Colourwash

and Collage

330 x 330

Sylvia Siddell

After Breakfast

1982 Pencil

drawing

587 x 410

Sylvia Siddell

• Sylvia Siddell has been exhibiting her paintings and drawings since 1975 and is represented in both public and private collections throughout New Zealand.

• Sylvia Siddell heightens our awareness of how loaded with meaning everyday objects are by including these in her work in some suprising juxtapositions. Cooking utensils, food, bottles of wine all contribute to the often chaotic compositions of Siddell‘s painting. Traditionally perceived as the realm of women the domestic sphere is loaded with both philosophical and political undercurrents for Siddell. Issues of fertility, fecundity and decay are raised in her work. Luscious fruits wait to be consumed and then discarded without a second thought just as women are presented in the media as consumable items useful for marketing purposes until they reach a certain age and then discarded.

Roger Staples

Egg and Grain

1975

Pencil Drawing

240 x 197

ROGER STAPLES

• Roger Staples has, with varying success, explored the New Zealand

'mentality'. Of course, it is unreal to speak of a New Zealand mentality as if there is only one. There are many. But as a nation we have a common problem: an ugly and graceless life-style. This derivative and industrialised colonial culture is the subject of a social comment. a literary approach which I think adds content to Staples' imagery.

• Staples creates his comment by positioning in the natural vistas of New Zealand a small selection of man-made objects: objects suggesting an industrial (as distinct from a crafted) style of production. Broken beams of reinforced concrete, jagged fragments of bottles, the bland texture and colour of radiata pine joists are the centre-pieces in an environment of rocks, horizons, sands and sea.

Grahame

Sydney Camp

Kitchen

1981

Etching

24/25

185 x 245,

Grahame Sydney

• Grahame Sydney is a major New Zealand artist. He is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydney's work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill.

• Grahame Sydney's contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydney's paintings have been inspirational with their ability to evoke a sense of wonder and kinship. His works are sought after by local and international buyers as well as being held in the collections of New Zealand's major galleries, including Te Papa's national collection.

Nelson Thompson

Flower Study

1974

Watercolour

542 x 738

Nelson Thompson

• Nelson Thompson the painter is not as well known to the general public as he should be considering the length of his working career and the quality of his output. Never one to adopt a high profile as a person, Thompson in his art and life remained more private than some of his contemporaries. Also, because he was for many years employed as an art teacher and lecturer he did not need to promote his work vigorously, though he did exhibit on a regular basis.

• In his later years, especially in the 1980s, he held regular one-man shows in Auckland. By this stage he had retired from Teachers Training College and was able to paint full-time. Nevertheless his work undergoes considerable change between his early studies of the 1950s and his late acrylics of the 1980s. From an essentially drawn, often monochromatic approach, he evolved to a more highly coloured and painterly style.

• At no time was Thompson affiliated with a particular group of New Zealand painters. Yet, because he was based throughout all his working career at or near Auckland he was in touch with the main developments in contemporary New Zealand painting. He exhibited frequently with the Auckland Society of Arts of which he was a member, though in later years he preferred to show at private dealer galleries, such as John Leech Gallery, New Vision and Gallery Pacific.

• His painting was occasionally reproduced, for example in the Year Book of the Arts, but was to attract relatively little critical attention.

John Lethbridge

Full Circle 1983

Coloured Lithograph

122/150,

653 x 305

Artist unknown

Untitled

undated

Student Services, Corridor outside Staff room, Staff room, Outside SLT offices

Malcom Warr,

'Kapiti Island and

the Waimeha

Stream',

Screenprint, 4/20

(Ins Blue 2nd Ed)

1976,

625 x 765

OutsideRopati‘s office

Malcom Warr,

'Kapiti Island and

the Waimeha

Stream',

Screenprint 4/20

(Ins Sienna 2nd

Ed) 1976,

625 x 765

Outside

I Ropati‘s

office

Malcom Warr • Painter and printmaker

• almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed him to make a living as a full time artist and an interlude because although he had been in touch with printmaking from his earliest days his main interest was painting. This means he had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere.

• A summary of the productive portions of his career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.

• 1957 ; 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 – 1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting

• This list is a simplification because I have in fact painted and exhibited throughout the last forty years but it may serve to explain that I have been known as an almost completely different artist at different times. Whether all this sheds more heat than light I do not know. And I will not try to go into what I am attempting to do in painting, other than to say that except for a short period after leaving art school, my subject has been the New Zealand landscape and I have tried to reflect something of the meaning and intensity with which we view the land in New Zealand.

Graeme Storm

Outside

I Ropati‘s

office

Grahame Storm

• Grahame Storm is a notable New Zealand potter who began his career as an Art and Craft specialist teacher in the ‗50‘s Later he headed for Finland ,his father‘s homeland, where he worked in the well known ―Arabia ― ceramics centre. He returned to N.Z. having acquired expertise in using a very special glaze. He became a full time potter and developed his European inspired classical style of stoneware employing the brilliant blues and greens which have become synonymous with his work

Carole Shepheard

Identity Fragments

(Tipi and Target)

1981

Mixed media on

paper

650 x 495

Between

Coughlan &

Barlow‘s office

Carole Shepheard

• First studying at Elam 1964-67 (Honours in Stage Design), then 'gestating' for almost ten years, Shepheard is one of many women artists whose art-flight only really took off after an unsatisfactory marital situation had been confronted, children began school, and the inevitable conflicts of (wife) mother, lover, woman, artist, became resolved, and, for her, happily integrated.

• These briefly-charted biographical notes are essential for understanding the characteristics and impetus behind Shepheard's work. For as a self-defined feminist artist she is now totally engaged in a conscious artistic exploration and expression of her experience as a woman and feminist in our society, where, to quote again from Parker and Pollock's seminal work, in their chapter headed 'Crafty Women and the Hierarchy of the Arts', 'The sex of the artist does matter. It conditions the way art is seen and discussed. This is indisputable.'

Pat Hanly,

'Ecstasy

Condition'

1976,

Enamel on

Hardboard,

905 x 900

Opposite M

Bettridges‘

office

PAT HANLY, born 1932, Died

2004

• Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.

• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness. The resulting works have been, variously, political, reflective of 'the human condition' or observational, particularly of family and friends. Only four of his series have been abstract –

• New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976). Early series, painted in London and Italy, were 'Fire' (his response to the threat of nuclear war), 'Showgirl', 'Massacre of the Innocents' and 'New Order'. On returning to New Zealand, Hanly was struck by the clarity and harshness of the sun's light on the land here, and he explored this in 'Figures in Light' (1963).

Gretchen Albrecht,

'Velvet Rock' 1975,

Acrylic on Paper,

1043 x 715

Between

Barlow‘s office

and door

Gretchen Albrecht

• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.

• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.

Terry Stringer

Woman at a Mirror

1980

Cast bronze 2/3

285 x 2150 x85

Outside M

Bettridges‘

office

Terry Stringer

Terry Stringer is a leading New Zealand sculptor. He trained at New Zealand's premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the country's national honour, the ONZM (Officer of the New Zealand Order of Merit).

Anna Palmer,

'Untitled'

Coloured pastel

on black paper,

490 x 640

Entry to

staffroom from

SLT offices

Anna Palmer

• Anna Palmer was born in New Zealand and studied at Elam School of Fine Arts. She has a range of interests and finds a variety of outlets for her creative energies including fashion design, painting, and printmaking. Palmer has also held a curatorship at a dealer gallery in Auckland. Palmer draws her subject matter from the domestic environment. She finds this to be a fertile universe of data, complete with patterns and colour. Her images are seen as a reflection of who and what she is, with the objects she draws becoming symbols for a heightened feeling and presence. She describes them as a vehicle for an abstract interplay of colour, which reflects emotional realities.

Gretchen

Albrecht,

'Sundial', 1980,

Screenprint, 2

2/125,

805 x 615

Staff Room

Gretchen Albrecht

• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.

• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.

Wong Sing Tai, 'Bare Island',

Silkscreen print, 19/100, 435 x 800

Staff Room

Wong Sing Tai

Where the figurative motif appeared, the

results were either moderately appealing

or simply disappointing. Wong Sing Tai

contained some amenable details and

possessed a fresh, competent technique,

the images occupying the centre of the

painting disintegrated, so that what

purpose they were to convey became

confused.

Michael Smither,

'Nutshell', 1976,

Screenprint, 1/50,

536 x 625

Staff Room

Other side

of entry

Michael Smither,

'Mount Taranaki',

1971, Screenprint,

1/23,

480 x 560

Staff Room

Michael Smither

• Born in Taranaki, 1939. Michael Smither is well known for his environmental work, his sculpture and murals, his silk screenprints and for his music as well as for his painting. He now lives and works on Coromandel Peninsula Michael Smither has followed a personal vision which has formed his own particular way of looking at life in New Zealand. The Wonder Years focuses on his time in New Plymouth, when he created many significant realist images; dealing with family relationships, issues of landscape, ecology and conservation, and the persistence of faith.

• For Michael Smither art is much like a map directed towards the people he knows. His art shows where he has lived and how he feels about it. He wants to celebrate the journeys from childhood to adulthood in his New Plymouth paintings of his family. He cites his longtime commitment to ecology and the sea, to each specific landscape‘s own unique climate inside an emotional authenticity. Looking at Smither‘s paintings of the 1960s and 1970s one can comprehend the relevance of his 1975 remark: ‗You can‘t just be a painter. I‘m intensely interested in what human beings are. They are an incredible phenomena.

Jean Horsley, 'Squadron', 1989, Oil on hardboard,

785 x 1190

Staff Room

Jean Horsley, 'Whakapapa Waterfall', Oil on hardboard,

787 x 1185

Staff Room

Jean Horsley

Ann Kirker (author of New Zealand Women Artists:

A Survey of 150 years), described Horsley's

works produced in the sixties as amongst "the

most conscious manifestations of an Abstract

Expressionist style in the work of a New

Zealand-born artist" emphasising that her "most

accomplished statements…helped to generate a

greater awareness of abstract modes of

expressionism in this country."

Tom Burnett,

'Elliots Beach',

1983,

Screenprint,

10/70,

570 x 545

Staff Room

Tom Burnett

Well known New Zealand artist Tom Burnett, is best known for his evocative images of Northland and the Pacific. The son of two working artists, Tom has largely been taught by his father Fassett and says he just went to school to use the art room. His paintings and screen prints capture the essence of his surroundings and lifestyle in luscious tropical tones and moods. Multi talented, Tom has also designed and built several homes for his family, built boats and designed a range of casual furniture. Tom began printing in 1981 and has since combined it with painting and drawing. They have a tropical, Pacific feel - fruit, flowers, colourful fish, oceanscapes, North coast bush with palms and ferns. Tom Burnett is a people's artist, his paintings welcoming and easy to comprehend, his statements made through clear-coloured, clear-headed Pacific environments and objects. A keen surfer and sailor Tom has always had a love of the sea and coastal New Zealand. Most of his recent work has been completed whilst living with his father in Whananaki in the Far North

Wendy Griffin,

'Transit'

colour etching,

16/30,

510 x 370

Corridor

outside

Staff Room

Stanley

Palmer,

'From Napier

Street', 1968,

Bamboo

Etching on

paper 4/6,

485 x 695

Corridor

outside

Staff Room

Stanley Palmer

• Stanley Palmer was born near Thames in the Coromandel and studied at Dunedin Technical College in the late 1950s. Although he has become well-known for his prints, his formative years were spent painting. By the late 1970s his printmaking repertoire included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Palmer endeavours to make art that is accessible and "free from pretensions

Delwyn Williams,

'Tui in a Flame Tree',

1985, Lithograph,

16/16,

530 x 375

Corridor

outside

Staff Room

Guy Ngan, ‗Series Thirty‘, 13/21, 1976

Corridor

outside

Staff Room

Guy Ngan

Stokes Valley-based artist Guy Ngan has been making sculptures, paintings, drawings and prints for the last fifty years. His abstract public sculptures include murals, wall reliefs, tiled decorative schemes, large textile works and in-the-round sculptures found all over New Zealand. This exhibition includes work from two series made during the 1970s and 80s—paintings featuring a three-fingered tiki hand motif and sculptures inspired by Polynesian stone anchors.

Mark Blazey,

Untitled,

Undated

Corridor

outside

Staff Room

Emma McLellan, ‗Marked ll‘, 1994, Etching on buff paper,

370 x 590

Corridor

outside

Staff Room

Graham Cornwell, 'Dancing Harlequins',

Lithograph, 420 x 540

Corridor

outside

Staff Room

Cynthia Jaffe, 'Mystical Forest', 1981, Multiple print

14/375, 310 x 510

Corridor

outside

Staff Room

Stanley Palmer

Shot Tower

Mt Eden

1980

Bamboo etching

on paper

30/60

530 x 360

Outside

(right from

staffroom)

wall by

door to

Student

Services

Stanley Palmer (1936- )

• Stanely was born in at Turua in the Coromandel. He has lived in Mt Eden, Auckland since 1941. Palmer trained as an art teacher but from 1970 Stanley has worked as a full-time printmaker from a home based print workshop. The variety of Stanley Palmer's print-making output has been astonishing, his work has included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Stanley Palmer been quoted endearingly that he likes to make art that is accessible and "free from pretensions."

Artist unknown

Untitled

undated

Inside

student

services by

sick bay

door

Colleen Bucknell

Untitled

Undated

Student

services

Robin Kahukiwa,

'Nau Mai Haeremai'

1986, Oil on canvas,

1340 x 1010

Student

services

Robyn Kahukiwa (born 1940-)

• Robyn Kahukiwa was born September 1940 in Australia returning to New Zealand at the age of 19.

• Her iwi are Ngati Porou, Te Aitanga-a-Hauiti, Ngati Hau, Ngati Konohi, Whanau-a-Ruataupare.

• Kahukiwa is a self-taught painter who began painting in 1967 when she was living with her young family in Greymouth on the South Islands' West Coast.

• Robyn taught art at Mana College, Porirua, New Zealand from 1972 to 1982.

• She has exhibited widely and her work is held in gallery and private collections throughout New Zealand and the Pacific. Robyn Kahukiwa is also a famous New Zealand children's book writer and illustrator.

• Currently Robyn lives and works between Pukerua Bay and in Rotorua.

Nelson Thompson,'Townscape', 1955,

Watercolour, pen and ink, 398 x 615

Corridor,

Tawa

(outside

student

services

entry/exit

Nelson Thompson 1948 - 1986

• As a teacher Nelson Thompson turned to

Socrates for his philosophy as an

educationalist: "To teach is to create." And

in the writings of Cezanne he found what

became his definition of a painter: "Let us

study nature and seek to express it

according to our personal temperament.

Time and reflection gradually modifies

vision, and at last experience comes."

Ted Dutch, 1997

Corridor,

Tawa

(outside

student

services

entry/exit

Ted Dutch, ‗Ornithopter‘, 1970, 1/20

Corridor,

Tawa

(outside

student

services

entry/exit

Ted Dutch

• When the then 23-year-old artist Ted Dutch immigrated to New Zealand in the early 1950s, he left the dreary outlook of post-war London and brought with him a distinctly lighthearted and often humourous artistic style. On arrival, he was greeted by an art scene powerfully engaged with the New Zealand landscape and a nationalist discourse. Like a square peg in a round hole, the art of Ted Dutch lay somewhere on the periphery. Characterised by an expressive casualness, sketchy line and comedic approach, Dutch‘s less-than-serious work has successfully transcended this difficult start to find a place in the serious business of fine art.

Phillippa Blair, 'Hiroshima', 1983, Watercolour and

acrylic on paper, 585 x 815

Corridor,

Tawa

(outside

student

services

entry/exit

Philippa Blair (born 1945-)

• Born in 1945, Christchurch, New Zealand, Philippa Blair graduated with a Diploma of Fine Arts, Canterbury University in 1967.

• She received QEII Arts Council grants in 1982, 1984 and 1987. Blair has taught and exhibited nationally and internationally for 25 years and is represented in public and private collections in New Zealand, Australia, USA, Japan, France, Italy, Germany, Malaysia.

• She works primarily as a painter making expressive, semi-abstract work that reflects urban reality and the natural world with references to high tech and organic imagery, cartographic mapping, music and film. Philippa frequently employs printmaking to pursue more graphic pictorial options. ‗Traverse‘, an exhibition of her recent paintings, drawings and prints, was shown in 1999 at the Spencer Gallery, Rhode Island, USA and Janne Land Gallery, Wellington, NZ.

• Philippa Blair lives and works in Los Angeles, California but makes frequent trips to New Zealand to exhibit and visit family.

Artist unknown

Untitled

undated

Corridor,

Tawa

(outside

student

services

entry/exit

Malcom Warr

Akatarawa

1968

Monoprint

770 x 630

Stair well

outside

Staff Room

Malcom Warr

1968

Monoprint

770 x 630

Stair well

outside

Staff Room

Malcom Warr

• was almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed me to make a living as a full time artist and an interlude because although I had been in touch with printmaking from my earliest days my main interest was painting. This means I have had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere,I hope.

• A summary of the productive portions of my career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.

• 1957 – 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 – 1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting

Library

Gretchen Albrecht Sky Limit 1973

Acrylic stain on stretched canvas 1255 x 1820

Gretchen Albrecht

Orange-Black-Blue

1975

Acrylic on paper

1067x712

Gretchen Albrecht

• Born in 1943, Auckland, New Zealand Gretchen Albrecht graduated from the Auckland University School of Fine Arts in 1963 and 1981 was awarded the Frances Hodgkins Fellowship at the University of Otago, Dunedin.

• She was awarded grants from the QEII Arts Council 1976, 1978 and 1986. Albrecht has participated in many travelling group exhibitions among them; NZ/NY (New York 1983), NZ Art Today (Chicago 1986), Distance Looks Our Way (Spain and the Netherlands 1993), Reclaiming the Madonna (England) and has had two solo exhibitions in London. ‗AFTERnature‘, a survey of her work curated by the Sarjeant Gallery, Wanganui, toured New Zealand in 1986

• 1998 the Sarjeant Gallery curated a second Albrecht exhibition, ‗Crossing the Divide‘, which explores the link between Gretchen‘s prints and paintings. Highly regarded as a colourist, Albrecht continues to engage with abstraction in a personal and lyrical manner

Pamela Blok

Untitled

(Mythological

Theme)

110 x895

Nigel Brown

Trampers 14

Acrylic on

hardboard

1980-81

1090 x 790

•Nigel Brown actively uses story telling precepts within the ‗confines‘ of

the image. He directly and selectively employs history, literature,

politics etc as devices and in so doing examines the varied plights of

the individual and environment with an emotional, intuitive sympathy

which is accurate, incisive and clothed in a vernacular of the human

condition.

His work expresses fundamental spiritual and humanistic concerns

common to mankind. These are infused with the particularity of cultural

location and reference, the specific of place and event, the dynamism

of individual character and personality with the narrative (artist as

author) point of view.

Nigel Brown (more info)

Colleen Bucknell

Untitled

Undated

Colleen Bucknell

Untitled

Undated

Pat Foster

Earth Goddess lV

Stone Sculpture

Northland

Serpentine

PAT FOSTER (1943-2004)

• Pat Foster was born in Timaru in 1943.

• She graduated with a BSC from the University of Otago and attended summer art schools in Auckland. Her grandmother, May Bradley, was a sculptor in Christchurch, her mother Myra Vance is a sculptor and painter. Pat participated in many national exhibitions and her sculptures are found in international collections.

• Foster had a special affinity for wood and stone, particularly serpentine. She worked without preliminary sketches or drawings, preferring to let her material dictate the resulting form.

• She compared the sculpting process to helping the birth of an image that is 'screaming to get out'.

• Foster described her sculptures as 'spiritual self portraits', examining the universal themes of mother and child, man and woman, and the inner self.

Dean Buchanan,

Medieval

Fairy Tale

1985

Oil on

unstretched

hessian

1900 x 1430

Dean Buchanan

• Born Auckland in 1952, Dean Buchanan is famous for his expressionist treatment of the New Zealand landscape. He paints directly onto raw hessian, Buchanan‘s vibrant palette is inspired by the lush, sub-tropical surroundings of the Waitakere Ranges. Based in Karekare, Dean has a profound love for native New Zealand that he expresses in complex, kaleidoscopic vistas echoing the works of expressionist masters from Franz Marc to Philip Clairmont. Dean Buchanan has exhibited widely throughout New Zealand, as well as in Chile, the USA, and Japan and we are pleased to stock all Dean Buchanan art prints.

Allen Maddox

X Painting

1979

Oil on

unstretched

canvas

1815 x 1985

Allen Maddox

(1948 – 2000) • Born in the UK, Allen Maddox lived in New Zealand from 1963 until

his death. He attended Canterbury‘s Ilam School of Fine Arts from 1967-1968. In the 1970‘s he was closely associated with the artists Tony Fomison and Phillip Clairmont, forming a group known to some as ‗The Unholy Trinity‘.

• The painting of Allen Maddox is characterised by its expressive style of paint application and the aggressive mark making – notably involving the cross (x) motif and grid format. Maddox used mostly unmixed paint applied to loose canvas or paper. His works have spontaneity, a tactile quality, and gestural emphasis reminiscent of the American Abstract Expressionist Jackson Pollock

• Among other achievements Maddox was a recipient of the Queen Elizabeth II Arts Council Award. His works can be found in a number of New Zealand‘s public art galleries, including Te Papa Tongarewa

Colin McCahon

The Calling of a

Christian Inscribed '1

Peter 3 the Calling of a

Christian‘

1969

Charcoal script on

paper

1560 x 550

Colin McCahon

• Born 1 August 1919 in Timaru, although his family lived in Dunedin.

• Was interested in art from an early age.

• Took art classes with Russell Clark in Dunedin, and was strongly influenced by an exhibition by Toss Woollaston in 1936.

• Studied at Dunedin School of Art from 1937-1939, but was mostly self-taught.

• Married the artist Anne Hamblett in 1941, and moved to Christchurch. Became a member of The Group, a Christchurch group of artists, and showed his work regularly in their exhibitions.

• Spent time in Nelson, then moved to Auckland to an appointment as Keeper at the Auckland City Art Gallery in 1953.

• Painted a number of religious works that placed events from Christ's life in a New Zealand setting. Was the first New Zealand artist to use words and numbers as part of his art.

• Visited the United States in 1958, and used that experience to introduce new ideas to his work.

• Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.

• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.

• Died 27 May1987, in Auckland.

Ian Scott

Trellis Pattern

1981

Gouache on

paper,

480 x 480

Ian Scott (born 1945-)

• Ian Scott was born in 1945 and his painting career spans over forty years. He is a major New Zealand artist of the Post-McCahon generation who has remained innovative and relentlessly experimental throughout his prodigious career. Studying art at Kelston Boys High School under the tuition of Garth Tapper he won numerous junior art competitions during his youth including the junior section of the Kelliher Art Prize in 1965. He entered Elam School of Fine Arts at Auckland University in 1964. Scott's art is held in the collections of public galleries and private collections throughout New Zealand. A comprehensive book on the artist, written by acclaimed art critic Warwick Brown titled 'Ian Scott', was published in 1998.

Terry Stringer

Ponsonby

1984

Cast bronze 8/12

330 x 405 x 200

Terry Stringer

• Terry Stringer is a leading New Zealand sculptor. He trained at New Zealand's premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the country's national honour, the ONZM (Officer of the New Zealand Order of Merit).

William Sutton

Threshold V

1973

Oil on Canvas

1120 x 2900

William(Bill) Sutton (1917-2000)

• William Alexander (Bill) Sutton, CBE (1917-2000) is an iconic Canterbury artist, whose work was chosen as a major retrospective to mark the opening of the Christchurch Art Gallery in 2003. Trained at the Canterbury University College School of Art in the 1930s, Bill Sutton travelled overseas and served during the Second World War before returning to the University where he taught for more than 30 years. Sutton was also a skilled calligrapher, printmaker, designer and bookbinder, and a teacher whose work influenced many contemporary New Zealand painters. His ashes were scattered from the bridge in Dry September on to the rocks of the landscape he made his own.

Artist unknown

Untitled

undated

Artist unknown

Untitled

undated

Ceramics

Artist unknown 3

Artist unknown 4

Andrew Van Der Putten Renton Murray Doreen Blumhardt

Don Thornly

Len Castle

Len Castle

Barry Brickell 1

Barry Brickell 2

Catherine Anslemi - Angela Thomas

David Leach

Dennis O'Connor

Jim Grieg 1

Jim Grieg 2

Len Castle 3

Len Castle Neil Grant

Len Castle 11

Len Castle 13

Len Castle 14

Len Castle 16

Len Castle 17

Len Castle 18

Len Castle 19

Knowledge Centre, Seminar Room & Careers Room

Sandy Adsett Screen-printed panel

Behind desk in library

Annear

Untitled

1982

In knowledge centre, left of door

as entering from library

Don Binney,

‗Te Henga‘,

1971, Black

crayon on

paper, 450 x

592

In knowledge

centre, right

wall above

computers

Nigel Brown,

Fly a Kite

1987

Acrylic on paper

In knowledge

centre, right

wall above

computers

Ted Bracey

Waikato Landscape

1969

Acrylic on canvas

274 x 454

Behind desk in

library

Wallace

Crossman

Interaction

1975

Acrylic on canvas

750 x 1110

Careers room

R Dalgamo

Variation 2,

My thanks

to fun

Collograph

In knowledge

centre, right

wall above

computers

Pat Hanly

Special Event

1974

Watercolour

430 x 490

opposite desk

in library

Pat Hanly

Garden Series

1974

Watercolour

410 x 365

opposite desk

in library

Pat Hanly,

Mt Eden

1973

Watercolour

crayon, black

ink

345 x 410

opposite desk

in library

Pat Hanly,

Love each other

1971

Screenprint

7/20

545 x 565

opposite desk

in library

Pat Hanly

Life Goes on

1982

Screen print

13/40

opposite desk

in library

Ralph Hotere

Desolate

Darkness

Desolate

Brightness

1972

Watercolour

wash and

black ink

415 x 390

In knowledge

centre, right

wall above

computers

Ralph Hotere

Pathway

to the Sea

drawing for

Ian Weddes

'Pathway to

the Sea'

Black ink wash

and pencil

1975

555 x 760

In knowledge

centre, right

wall above

computers

Ralph Hotere,

'Pathway to

the Sea',

drawing for

Ian Weddes

'Pathway to

the Sea',

Black Ink,

wash and

pencil, 1975,

555 x 760

In knowledge

centre, right

wall above

computers

John Kinder

Waikato River

Watercolour on two sketchbook sheets

unfinished

230 x 720

In seminar room

Colin McCahon North Otago Landscape 1977

Silkscreen Multiple 465 x 570

In knowledge

centre, right

wall above

computers

Milan Mrkusich

Passive

Element

1977

Acrylic on paper

494 x 320

In knowledge

centre, right

wall above

computers

Garth Tapper

Crown

Prosecutor

1980

Lithograph

17/18

690 x 930

In seminar room

Toss Woollaston

Untitled

Undated.

In seminar

room

Toss Woollaston

Patrick Lucas

Unsigned undated

Ink Drawings

500 x 700

In seminar room

Toss Woollaston

Countryside

Watercolour

343 x 505

In seminar room

Toss Woollaston

Tunnel, Huinga

Watercolour

380 x 310

In seminar room

Robyn White

Houses at Paremata

1969

Acrylic on canvas

600 x 315

Behind desk in

library

Robyn White

Paremata Landscape

1969

Acrylic on canvas

642 x 515

Behind desk in

library

Compiled by btowns for

One Tree Hill College