Issue 19 - The Arts Foundation

Transcription

Applause is published by the
Arts Foundation. The publication
focusses on philanthropy, the
artists supported by, and those
that support, the Foundation,
Awards announcements and other
relevant activities and achievements.
This issue includes information
covering a two year period.
Applause is designed by our
creative partner Strategy Design
& Advertising.
If you would like Applause mailed to
you, visit www.thearts.co.nz and
submit your mailing address; or
otherwise your email address for a
digital version. Or call +64 4 382 9691
Applause is also available to view at
www.thearts.co.nz/applause.php
MAY 2013
ISSN 1178 4687
TH E A RTS FO U N DATI O N | a ppl au s e
01
02
07
10
Welcome from Fran Ricketts
and Simon Bowden
Boosted
A new way to fund and engage in the arts
The Macquarie Private
Wealth New Zealand
Arts Awards
Arts Foundation Awards change lives
The Icon Awards
Honouring extraordinary artists
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12
14
16
Laureate Awards
Gregory O’Brien and Jenny Bornholdt –
husband and wife Laureates
17
The Award for Patronage
Farewell to Gus Fisher
Dame Gillian Weir
Pulling out all stops
18
The Harriet Friedlander
Residency
Unexpected things arise from
unexpected circumstances
22
Kate De Goldi
Re-Imagined City
A Christchurch feature
On the cover
This Boosted project is set to raise money for two
Wellington gamelan groups to tour to Indonesia in
July this year. Organised by Jack Body (Laureate)
and Budi Putra, along with the gamelan committee,
the groups will be heading to Java and Bali for two
weeks performing new repertoire composed by group
members, including Juliet Palmer, last year’s New Zealand
School of Music composer in residence. Other works
will be composed by award winning alumni of the NZ
School of Music and will combine instruments of western
art music origin with the gamelan. The team expects it to
be highly enriching and inspirational to all those who
participate, musically and otherwise.
27
at the helm
Changes to Governance
new generation awards
Cameron McMillan – From dancer
to choreographer
19
The Marti Frielander
Photographic Award
Neil Pardington – straight photography
with a twist
28
Issue
19 We are giving the arts a major
boost and you can help
REALISING THE DREAMS
Ruby Nolan Trust
A message from Arts Foundation Chair Fran Ricketts
Right now is a great time to show your commitment to the arts by becoming a member of the Arts
Foundation. This is why: The Arts Foundation is instigating a new era of patronage with our crowd funding
website, Boosted, which is targeted to raise significant sums for the arts. We will establish a new generation
of donors and give hundreds (if not thousands) of arts groups, artists and project leaders a sustainable hand
up into a new future of self-reliance.
20
If you become a member of the Arts Foundation now you will help us build Boosted. The recession has hit
the arts hard with ticket and sponsorship revenue down and government funding static. We hope you will
want to be a part of this major initiative to provide a stable new funding source for the arts into the future.
The Mallinson Rendel
Illustrator’s Award
I can’t wait to bring this all
to life on paper
Fran Ricketts.
Image by Anna Kilgour Wilson
Donations received before 30 June 2013 will help us with establishment costs to ensure Boosted is
financially independent.
Thanks to the support of the Lion Foundation and sponsors such as Macquarie Private Wealth New Zealand,
Jaguar, Strategy Design and Advertising and NV Interactive, Boosted is 69% funded. We have to raise the
rest; any donation you can give will make a difference and will be gratefully received.
Thank You
Acknowledging the people and
organisations that support
the Arts Foundation
The Arts Foundation is 100% privately funded. The Trustees of the Foundation have a vision to gather
people who care about the arts to contribute to growing the arts together. With support of individuals,
sponsors and private trusts the Foundation has gifted over $4 million to artists. We have over 200
members making annual donations; we hope you use the enclosed form to join them.
Up Front
More online
From Executive Director Simon Bowden
Visit thearts.co.nz to learn more about the Arts Foundation,
our programmes and award recipients. Each award recipient
has their own profile page. Their pages include video, essays
and image galleries.
Not so long ago I turned 40. I think we should all celebrate our 40th birthday at least as much as our
21st, but with an added element.
Register online to receive our email updates and to donate.
Being 21 is about celebrating potential and I would imagine there is a sense of relief for some parents that,
in theory, their child is now a self-sufficient adult. At 21 you have skills, hopes and dreams, a sense of
wonderment and lots of energy. But, at 40 you have gained experience, knowledge, wisdom, community
and opportunity. You have gained valuable assets both individually and, most importantly, for society.
All of this is worth a great party but, I think there should be a twist. At 40, society should ask what you
are going to do that will make a difference? How are you going to contribute to the growing world and
the development of humanity? We are not a product of our surroundings; we are the creators of our
surroundings. Our opinions, our language and our actions define us. We are responsible.
www.boosted.org/nz/projects/gamelan-tour-to-indonesia
Simon Bowden.
Image by Angela Busby
on the cover
Budi Putra, musical director of gamelan Padhang Moncar,
at the NZ School of Music. Photography by Image Services,
Victoria University of Wellington
Correction to Applause
Boosted enables donors to hand pick projects that they would like to support in an environment where every
donation of $5 or more makes a difference. It is mass philanthropy that will activate New Zealand’s arts
audience and followers here and internationally to become patrons to the arts. Artists and arts organisations
prepare projects for publishing on Boosted to gain much needed funding. They also learn new skills that will
contribute to their career development and organisational strength. Anyone and everyone can be involved
in Boosted.
I’m not sure I would have had these thoughts if I did not work at the Arts Foundation. There is an
entrepreneurial spirit here that allows our ambitions to reach beyond accepting life the way it is.
We inherited this spirit from the organisation’s founders, through their innovations such as the nonapplication process for selecting award recipients. Having safely navigated through the 2008
recession and its wake, we see innovation as the answer to more challenging times.
So at 40 I have asked myself a question. How can we be innovative in creating a new era of philanthropy
in New Zealand? The answer is Boosted, our crowd funding website. The Arts Foundation cannot claim
to have invented crowd funding, but we have carefully created a purpose-built New Zealand version
especially for artists and arts-related projects. We have poured our knowledge of philanthropy and artists’
needs into Boosted. Boosted is a realisation of our collective ambitions through the knowledge gained as
a result of close communication with donors and artists. I was inspired to create Boosted after combining
my New Zealand experiences with what I learnt while on a trip to America that was supported by the
United States Embassy.
I know that you are like me. You want to make a difference and participate in society in a helpful and
defining manner. Boosted is a powerful tool to unlock arts philanthropists across society. All that is left
is for everyone to take responsibility, to get involved and get Boosted!
Issue 18 (page 10) article on Icon Raymond Boyce –
“Design Committee for EXPO 70” should read “Display
Designer” contracted by NZ EXPO ’70 commission.
t h e A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and
1
boosted is a new way for you to fund
and engage in the arts – and it’s yours!
so let’s get involved new zealand –
and give the arts a boost!
what is boosted?
Boosted provides an exciting new way to
raise money for the arts by using a form of
fundraising called crowdfunding. The Arts
Foundation has established Boosted to
build a new generation of arts donors. It is
the only genuinely philanthropic
crowdfunding website for arts projects in
New Zealand. Boosted enables donors to
select projects they would like to support
with donations of $5 or more. Every
donation is eligible for a tax rebate.
A new innovation in
crowdfunding
Boosted has some key beneficial differences
when compared with other crowdfunding
platforms. For example, all donations for
projects are made to the Arts Foundation.
So, unlike other sites, projects are not
required to fund a series of rewards to
donors. Donors give because they want the
project to succeed and to be a part of its
success. As all gifts are charitable, donors
have the option of claiming a tax rebate.
Boosted utilises other philanthropic
mechanisms like matching. Donors can
support a project by making a gift that is
only available if matched by other donors.
This way everyone wins and has an extra
incentive to meet the project’s target.
Boosted will: provide workshops and
seminars on best practice for growing arts
philanthropy; offer high-level campaign
support to help grow projects’ long-term
relationships with donors; make it easy for
projects to ask for money; and ensure donor
confidence through the Arts Foundation’s
status as New Zealand’s leading
organisation in arts philanthropy.
Boosted can offer full funding solutions
for some projects or can be a way of
complementing other funding sources and
ticket sales. Boosted is more than just a
short-term funding solution; it provides
long-term relationships with donors and
builds audiences.
Here’s how boosted works
Boosted is a website that you can access
on a computer or mobile device
Any arts project can be hosted on Boosted:
literature, performing arts, visual arts,
film and every other art form. Boosted
exists to support New Zealand artists and
arts organisations.
An artist, arts group or organisation submits
a project idea to Boosted for a quick check
to ensure that it can be supported by the
Arts Foundation via Boosted.
The project owner will then work through
a few steps in the Boosted Guidelines,
which are designed to increase the chances
of success and to ensure the Boosted
campaign contributes to the owner’s
long-term support network. The steps are:
1 ) Story; 2 ) Network; 3 ) Strategy; 4 )
Target; and 5 ) The Project.
Each approved project has a page on the
Boosted website which is presented live for
a set period of time (often 30 days); the aim
is that, during that time, it will attract
donations and reach its funding target.
The project’s owner will build and maintain
momentum both on and offline, before and
during the campaign, to engage their
network’s support.
Donations are made to the Arts Foundation
for the project by selecting donate on the
project page
“It’s inspiring to be supported by people you know and amazing to connect with
strangers who are discovering your ideas for the first time.”
—Tanya Jade [Misery],
Boosted Project: Holly Melancholy – The Interactive Game
If insufficient funds are donated and the
project fails to reach its funding goal,
refunds will be offered to donors.
If the project meets its funding goal, the
Arts Foundation will grant to the project an
amount equivalent to the donations made,
less 10%.
That 10% of donations is used to cover
credit-card transactions and help with the
running costs of Boosted.
The Arts Foundation will issue a receipt to
each donor; the donor is able to use this to
claim a tax rebate.
join
You can show you care about the arts in
New Zealand by joining Boosted. Visit the
site and set up a profile. Post and image and
description of yourself. Tell us why you think
the arts deserve a boost!
Boosted brand by Strategy Design
& Advertising, Auckland
Holly Melancholy, an illustration by
Tanya Jade
TA X AND boosted
Donations are made to the Arts Foundation to support
Boosted projects. The Arts Foundation is a registered
charity with the New Zealand Charities Commission.
Projects are approved by Trustees in order to be listed
on Boosted and must fit within the Arts Foundation Deed
of Trust. Every donation from an individual qualifies for
a 33% rebate up to the annual net income of the donor.
Any company (including any unlisted close company)
or Maori authority is also entitled to a rebate for any
donation made to a charitable organisation, limited only
by the company’s net income. To claim your rebate, simply
fill in a rebate claim form (IR526) and attach a copy of your
donation receipt. Boosted will issue a receipt to every donor
both at the time of their donation and also with a summary
of their annual donations at the end of the tax year (31 March).
COME AND MEET US
We’d love to meet you to talk more about how you can
get involved in Boosted. Renee Tanner, Boosted Manager,
is based in Auckland and Bryna O’Brien, Boosted Project
Administrator, is based in Wellington.
Boosted Wellington
T + 64 4 382 7910
E [email protected]
Boosted Auckland
T + 64 21 149 6707
E [email protected]
W www.boosted.org.nz
E [email protected]
FOR FURTHER INFORMATION
Visit www.ird.govt.nz
“Boosted will allow donors to donate towards
projects of interest, subject to their means. It is
direct engagement, which is very different to
a council or committee deciding if ones project
should be funded ahead of other applicants.”
—Andrew Moore,
Boosted Project: No More Heroes.
“The most exciting outcome of crowdfunding is its potential to create cultural change. Artists who
are successful in using crowdfunding will have new
encouragement to articulate their vision, while
audiences will have a new way of participating in
the arts as investors in creative processes. The
Arts Foundation will encourage artists to establish
campaigns at every stage of their artistic processes.
This will provide new experiences for audiences
and an invigorated community around the arts.
Crowdfunding is a revolution. It empowers artists to inspire people to join their endeavours and we
invite you to become involved!”
—Renée Tanner, Boosted Manager.
G A L L E R Y
“A wonderful evening, thank you for
opening our eyes to the possibilities! ‘Naku te rourou nau te rourou ka ora ai te iwi’; With your basket and my basket
the people will grow.”
—Hinurewa te Hau (Hinu), Chair of Tamaki Makaurau, Matariki Festival Trust
Open 7 days a week
57 Normanby Road, Mt Eden, Auckland
Tel 09-630 8751 www.sabato.co.nz
Nationwide delivery
47 High St, Suite 4J, Auckland 1010
annamilesgallery.com
Milford Galleries Dunedin
Shigeyuki Kihara, After Tsunami Galu Afi, Lalomanu (2013)
representing arts
foundation award recipients
Shigeyuki Kihara
Neil Dawson
John Parker
Ann Robinson
Mon - Fri 9.00 am - 5.00 pm
Saturday 11.00 am - 3.00 pm
www.milfordgalleries.co.nz
18 Dowling Street
Dunedin 9016
New Zealand
+64 3 477 7727
[email protected]
Milford Galleries Dunedin
www.milfordgalleries.co.nz
The Macquarie
Private Wealth
New Zealand
Arts Awards
Kapa Haka (Officer Taumaha), by
Michael Parekowhai, stands guard
at the Macquarie Private Wealth
New Zealand Arts Awards, held at
the Cloud, Auckland, 2 October 2012.
Image by Sam Hartnett, courtesy of
the artist and Michael Lett, Auckland
a ppl au s e | TH E A RTS FO U N DATI O N
Arts Foundation awards change lives.
Awards give artists a real shot in the arm,
acknowledging their achievements in front
of the nation. Over $400,000 is donated
to artists at the annual Macquarie Private
Wealth New Zealand Arts Awards.
We gather to honour artists and hear their
stories. We enjoy performances and the
company of people dedicated to supporting
the arts as patrons. The Macquarie Private
Wealth New Zealand Arts Awards give
New Zealanders an opportunity to connect
with our finest artists, to learn of their
achievements and to be proud of the
talent we have in our country.
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In the Cloud, 2012.
Image by Sam Hartnett
Arts Foundation Chair Fran Ricketts,
with Laureate Award statuettes
designed by Terry Stringer.
Image by Ken Baker
pr e s e nts
The Macquarie Private Wealth
New Zealand Arts Awards
15 octob er 2013
T O R E S E R V E S E AT S
phone
email
ONLINE
8
04 382 9691
[email protected]
www.thearts.co.nz
THE A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and
“I’m already a great fan of the work the Arts Foundation does in promoting the
artists, so hearing the actual level of cash into the artists’ homes was staggering. The artists’ gracious and genuine humility in accepting such support was moving. Well done.”
01
—Garry Nicholas, Toi Maori
08 Pip Adam (New Generation Award) Writer
Shigeyuki Kihara (New Generation Award) Visual Artist
02 Cameron McMillan (New Generation Award) Dancer and choreographer
03 Arthur Meek (Harriet Friedlander Residency ) Playright and actor
04 Tony de Lautour (Laureate Award) Visual Artist
05 Rachel House (Laureate Award) Actor / stage and screen director
06 Gregory O’Brien (Laureate Award) Poet, painter, essayist
07 Ruia Aperahama (Laureate Award)
Singer / songwriter, anthologist and curator
09 Fiona Samuel (Laureate Award) Writer, director and actor
All images by Sam Hartnett
9
Icon Awards
Whakamana Hiranga
Sir Eion and Jan, Lady Edgar – Patrons to the Icon Awards
Icon Award Recipients
Barbara Anderson (1926–2013) WRITER
Raymond Boyce THEATRE DESIGN
Laureate Awards
Funded from interest earned by the
Arts Foundation’s Endowment Fund and Laurete Donors
Len Castle (1924–2011) POTTER
The Arts Foundation Icon Awards honour extraordinary achievements
by artists who have reached the highest standards of artistic ability and
who have made a significant contribution to New Zealand and their
art form. The Award is limited to 20 living recipients. There are twenty
Icon medallions. Each medallion is held by an Icon during their lifetime
and in time is presented to a successor at a future ceremony.
Janet Frame (1924–2004) WRITER
Marti Friedlander PHOTOGRAPHER
Maurice Gee WRITER
Peter Godfrey MUSICIAN
Patricia Grace WRITER
Alexander Grant (1925–2011) BALLET DANCER
Dr Pakariki Harrison (1928–2008) CARVER
Ralph Hotere (1931–2013) VISUAL ARTIST
Sir Peter Jackson FILMMAKER
Russell Kerr CHOREOGRAPHER
Margaret Mahy (1936–2012) WRITER
Sir Donald McIntyre OPERA SINGER
Donald Munro, MBE . Regarded as the father of
New Zealand Opera and is celebrated for establishing
New Zealand’s first Opera Company in 1954, when his
primary goal was to “take opera to the people”. Donald
passed away in January 2012 a few days after his
99th birthday.
Gone, but not forgotten
We have said a sad farewell to some wonderful Icon artists
over the last two years, loved pioneers and champions of
the arts. These artists are:
Barbara Anderson, Became an internationally recognised
fiction writer in her sixties. She was one of New Zealand’s
most respected and best-selling authors. Barbara died in
March this year at the age of 86.
Don Peebles, ONZM . A key figure in the emergence and
evolution of New Zealand abstract art. He was known as
a leading force in contemporary painting and as one of
New Zealand’s most senior and respected practitioners. Don
was exhibiting right up the time of his death in March 2010.
Len Castle, CBE, DCNZM. One of New Zealand’s most
accomplished and sophisticated potters, with an
unparalleled contribution to the studio pottery movement.
With his scientific background, Len was always curious
about the natural world and was interested in extending his
knowledge and understanding of it. Len died at the age of
86 in October 2011.
Alexander Grant, CBE . Became the Royal Ballet’s
(England) most remarkable actor-dancer in its golden
period from the 1940s to the 1960s – an outstanding
accomplishment for a New Zealander born in 1925 and
raised in Wellington. Alexander died in September 2011
aged 86.
Ralph Hotere, ONZ. One of New Zealand’s most important
contemporary artists. Ralph Hotere’s work is represented
in every major public and private collection in New Zealand
and in art museums throughout the world. Ralph suffered
a stroke in 2001 and passed away in February 2013.
Margaret Mahy, ONZ . An acclaimed literary figure and
prolific writer of children’s books. Margaret had an
international reputation as a consummate storyteller.
Margaret passed away at the age of 76 on 23 July 2012.
Arnold Manaaki Wilson, MNZM . A major presence in
contemporary Māori art for over half a century. He was
among the Māori art educators who joined forces to present
the first exhibition of contemporary art by Māori artists.
Arnold died in May 2012 aged 83.
“The Icon medallions are imbued
with a mauri or life force of their
own as they represent artists of Aotearoa New Zealand who
have gone before as Icons. The medallions are enriched
as they are passed on from one
Icon to the next, from the dead
to the living, and the medallion
is thus saturated with the mana
of many artists. The mauri of
each medallion grows with each
passing between artists.”
With their careers blazing, plenty of achievements behind them
and with futures full of opportunity, Laureate Award recipients
are in their prime. Selected without knowing they are under
consideration, these artists are plucked from their busy lives of
creating and given $50,000 (with no strings attached) as a
serious boost to their careers. There are currently 64 Laureates
representing many art forms. Five awards are made each year.
Don Peebles (1922–2010) PAINTER
Don Selwyn (1935–2007) ACTOR/DIRECTOR
Diggeress Te Kanawa (1920–2009) WEAVER
Hone Tuwhare (1922–2008) POET
Greer Twiss SCULPTOR
Sir Miles Warren ARCHITECT
Dame Gillian Weir CONCERT ORGANIST
Ans Westra PHOTOGRAPHER
Arnold Manaaki Wilson (1928–2012) SCULPTOR
“I hold the medallion
in safekeeping and
wear the pin with
pride because to me
these reflect the
simple fact that we are
all guardians of the
heritage of our past
while being instigators
of developments that
can make contribution
to the future.”
—Russell Kerr, Icon.
—Elizabeth Ellis, Trustee [2007 – 2012]
Ruia Aperahama Singer/Songwriter
Barry Barclay (1944–2008) Film Director/Writer
Whirimako Black Musician
Jack Body Composer
Alun Bollinger Cinematographer
Jenny Bornholdt Poet
Shane Cotton Visual Artist
Phil Dadson Intermedia Artist
Neil Dawson Sculptor
Milan Mrkusich VISUAL ARTIST
Donald Munro (1913–2012) OPERA PIONEER
Laureate Award Recipients
Marriage has its ups and downs
It was a wonderful but cold night in Auckland when poet,
visual artist and editor, Gregory O’Brien, received his
Laureate Award. But, Greg said, “I was on fire. I have never
been so warm in all my life. I could have generated enough
electricity to warm the building”.
A few months later, Greg was the recipient of the
$60,000 Non-Fiction Prime Minister’s Award for Literary
Achievement, topping off an extraordinary year for him.
Last year was not the first year the Arts Foundation had
called Greg’s house with a surprise offer of award money.
In 2003, Greg’s wife Jenny Bornholdt was also a recipient
of the Laureate Award. Greg and Jen are officially
New Zealand’s first husband and wife arts Laureates.
Arts Foundation Executive Director, Simon Bowden,
asked Greg what Jenny had done when she received
her Award. Greg explained that Jen “almost famously
(because she has written about it) had a shed built at the
top of our section, on the highest part of our property,
where she writes”. Greg, however, works “in the basement
of the house. Down below, down in the engine room of the
house, the underworld.” Greg suggested to Simon that
maybe he should “spend the Laureate money digging
further down... Jen went up in the world, with her shed—
maybe I should do the opposite...” He went on to say that
maybe this wasn’t, in fact, such a ridiculous idea. “After all,
isn’t that what artists do: they dig underground; they work
out what is happening beneath things. What is in the
darkness behind the things that we see? What is the
mystery in every-day life?”
The team at the Arts Foundation figured that further
digging (metaphorical or otherwise) was a better option
than Greg’s other proposal: to put a second storey on
Jenny’s writing shed. In fact, the couple have no further
architectural structures in mind, but they do have a great
many projects which the Laureate award will make possible.
These include an artists’ book which involves not only Jen
and Greg but also Sydney-based artist Noel McKenna and
Greg’s hand-press printer-brother Brendan (who works in a
dug-out basement in Strathmore).
Kate De Goldi Writer
Tony de Lautour Painter
Stuart Devenie Actor
Ngila Dickson Costume Designer
Gareth Farr Composer
Warwick Freeman Jeweller
Alastair Galbraith Sound Musician
Briar Grace-Smith Writer
Lyonel Grant Master Carver
George Henare Actor
Rachel House Actor/Stage & Screen Director
Jenny’s shed continues to provide on-going inspiration
for her, as well as an ideal workspace. It has featured in
some of her recent work, notably in her 2008 book The Rocky Shore. Jenny says she “loves the shed and,
I did get so excited when it was being built. I thought I
should be giving readings from the Resene colour-chart;
I was so in love with the whole process”. Michael Houstoun Concert Pianist
At the end of last year Jenny was mentioned in Books of the
Year in the Times Literary Supplement, London. The poet/
translator Michael Hofmann wrote that, in The Rocky Shore,
“the New Zealander Jenny Bornholdt talks to herself in six
long, sinuous, casual, loopy poems the way I don’t think I’ve
ever heard a poet talk before (James Schuyler and Louis
MacNeice come closer): low pressure, revealed purpose and
unexpected tenacity. Illness, children, the deaths of friends,
malcontent plants and an errant garden shed shuffle past as
on a benign ghost train.”
Oscar Kightley Writer/Actor/Director
Sarah-Jayne Howard Dancer
Michael Hurst Actor/Director
Neil Ieremia Director/Choreographer
Witi Ihimaera Writer
Humphrey Ikin Furniture Maker
Lloyd Jones Writer
Chris Knox Musician
Elizabeth Knox Writer
Derek Lardelli Ta Moko/Kapa Haka
Bill Manhire Poet
Moana Maniapoto Musician
Helen Medlyn Singer
Colin McColl Theatre Director
Shona McCullagh Choreographer/Dance Filmmaker
Don McGlashan Musician
Julia Morison Visual Artist
Simon O’Neill Opera Singer
Leon Narbey Cinematographer
Anne Noble Photographer
Richard Nunns Musician & Researcher
Gregory O’Brien Actor/Writer/Director
Fiona Pardington Photographer
Michael Parekowhai Visual Artist
John Parker Ceramicist & Theatre Designer
Michael Parmenter Choreographer
Emily Perkins Writer
Peter Peryer Photographer
Lemi Ponifasio Choreographer
Leanne Pooley Filmmaker
Gaylene Preston Filmmaker
John Psathas Composer
John Pule Visual Artist/Poet
The Arts Foundation of
New Zealand Icon Awards RECEPTION
Jacob Rajan Playwright/Actor
John Reynolds Visual Artist
Ann Robinson Glass Sculptor
Fiona Samuel Actor/Writer/Director
Teddy Tahu Rhodes Opera Singer
Join Patrons to the Icons Sir Eion
and Jan, Lady Edgar to honour
New Zealand’s highest achieving
artists. Hosted by Vice-Regal Patron
– His Excellency Lieutenant General The
Right Honourable Sir Jerry Mateparae,
GNZM, QSO, Governor-General of
Government House, Wellington
DATE Friday 2 August, 2013
TIME 5.30pm
price $55 per person, numbers are limited
Call 04 382 9691 to reserve seats or visit www.thearts.co.nz
VENUE
contacts
Ronnie Van Hout Visual Artist
Ian Wedde Poet/Writer
Dame Gillian Whitehead Composer
Merilyn Wiseman Ceramic Artist
Douglas Wright Choreographer
New Zealand
Jenny Bornholdt & Gregory O’Brien.
Image by Matt Grace
10
11
Dame Gillian Weir has
pulled out all the stops
“Dame Gillian is the consummate musician who has
brought honour to New Zealand. She has brilliant
technical skills blended with the intellectual qualities
of an alert mind. She once said that everyone should
read books because they fill the mind with images that stay forever to draw on and turn one’s life into technicolour.”
—Peter Averi
Dame Gillian Weir, DBE – Concert Organist Born in Martinborough and raised in Whanganui, Dame Gillian Weir left
New Zealand for the Royal College of Music, London, aged 20. There she
won the prestigious St Albans International Organ Competition in her
second year, going on to perform around the world at major festivals and
concert halls and with the world’s greatest orchestras and conductors
Dame Gillian Weir is one of the most highly decorated
musicians on the planet with numerous fellowships and
doctorates to her name. She has achieved international
renown for her brilliant virtuosity and has been hailed by
the Sunday Times as one of the 1000 Music Makers of
the Millennium. Classic CD magazine described her as
one of the 100 Greatest Players of the Century.
Peter Averi spoke with TVNZ 7 in depth about Dame
Gillian, for the series developed in partnership with the
Arts Foundation called The Artists. Some of the interview
is viewable on Dame Gillian’s page at www.thearts.co.nz.
Here are some extracts from the interview:
“What can one say about Dame Gillian Weir? She has
given a lifetime to her craft as a performer, teacher and
mentor. I think, above all, of her sense of commitment.
She set her mind early on as to what she wanted to do
and with her determination and hard work she achieved.
And, of course, her God-given talents went a long way
toward that too. I rate Dame Gillian Weir as one of the
leading organists of the world. Her technical facility is
legendary. She has given herself totally to the promotion
of music and she has never neglected any part of the organ
literature right from the pre-baroque period, to the
romantics, right through to contemporary composers
whom she has championed very considerably. One of the
most important parts of her performing career has been her
devotion to the music of Messiaen. She played a Messiaen
work at her Royal Festival Hall recital, at a time when his
work was not widely known out of France. Gillian seemed
to latch on to it and studied his work in great depth. She
worked with Messiaen and went on to record his complete
works. A critic has described these recordings as ‘one of the
triumphs of the recording world in the 20th century’.
Gillian’s performances are a very, very special experience...
Music has to be part of the person and in the case of Dame
Gillian Weir it certainly is. It is in her heart, in her soul and in
her brain. But, very importantly, Gillian was an accomplished
pianist before she started on her organ career. Organists
have to face a huge number of problems. There are
different key boards to be managed, pedals to be played by
the feet and there are stops to be changed. All of this has to
be dealt with while a performance is going on. So anyone
who doesn’t have a really secure key-board technique is
going to struggle. Gillian was so well equipped when she
went to the organ that she was able to give herself entirely
to the other challenges that the organ produces.
Gillian maintained a most amazing schedule of performances.
She managed to give her full time and energy to playing
at a daunting pace with over 350 concerto performances
with orchestras all over the world. [This is] a notable
achievement by any standards, and her solo recitals number
in the thousands…. She has also been very generous with
her time and energy spent with training organists. It is a very
important experience to have first-hand contact with a
master musician such as Gillian. On the organ there is so
much individuality. There are technical demands and there
is the artistry of registration (the selection of the stops to
make the music realistic and enjoyable), and every organ
is different. So a master-class under the guidance of
Gillian Weir is a wonderful experience for young players.”
“Celebrated veteran organist Gillian Weir showcased her
wonderful gift for making music breathe in her last ever
recital, held at Westminster Cathedral”, writes Ivan Hewett
in the Telegraph, London. “Though it’s now almost 50 years
since she won the St Albans International Organ competition,
she’s still at the top of her game, and the news that she
would be playing her last ever recital, at Westminster
Cathedral, caused much surprise as well as regret.”
Dame Gillian Weir’s final public performance was held
on 5 December 2012.
“Music is not just a matter of playing the notes as they are written on the page. It is a matter of the personality within the piece. That is what needs to be got across – the message from within.”
Left: Dame Gillian Weir in
Bristol Cathedral
Top Right: Dame Gillian Weir.
Image by Jill McCulley
Bottom Right: Music to the Sun King,
album cover
Left page: Dame Gillian Weir.
Image by Lord Douglas Hamilton
New Generation Awards
“We are delighted that Cameron’s talent both as a dancer and
choreographer has been acknowledged through this prestigious
award. He was one of the stars at the Royal New Zealand Ballet
and we’ve enjoyed working with him as a choreographer during
the hugely popular Stravinsky Selection triple bill.”
Supported by 12 individual patrons
—Amanda Skoog, Managing Director, Royal New Zealand Ballet
New Generation Award recipients are hot shots. They are exciting,
have extraordinary potential and are launching their careers with a display
of consistent depth and thinking that gives strength to their work.
Three awards of $25,000 each are made annually.
New Generation Award Recipients
Pip Adam WRITER
Mark Albiston FILM MAKER
Eve Armstrong VISUAL ARTIST
Eleanor Catton WRITER
Ben Cauchi Photographer
Sam Hamilton Musician
Jeff Henderson MUSIC MAKER
Ngaahina Hohaia VISUAL ARTIST
Eli Kent PLAYWRIGHT
Shigeyuki Kihara ARTIST & INDEPENDENT CURATOR
Anna Leese SOPRANO
Warren Maxwell MUSICIAN
Cameron McMillan DANCER/CHOREOGRAPHER
Tze Ming Mok WRITER
Alex Monteith NEW MEDIA ARTIST
Kate Parker DEVISED, IMAGE-BASED THEATRE MAKER
Madeleine Pierard OPERA SINGER
Jo Randerson WRITER/ACTOR
Anna Sanderson WRITER
Joe Sheehan STONE ARTIST/JEWELLER
Louis Sutherland FILM MAKER
Taika Waititi FILM MAKER/THEATRE
Cameron McMillan – the realities of the transition from dancer to choreographer
The ‘performer’ and the ‘creator’ in the
world of dance can be two very different
things. Like in any performance medium,
the performer needs a language with
which to speak and the creator needs the
performer to realise the dialogue. In many
cases, particularly within a formal theatre
environment these two things are two very
different creative processes, working in
parallel, and yet inextricably linked.
One cannot exist without the other.
As a dancer, I have spent most of my life in
the studio and on stage, realising someone
else’s creative vision, a ‘violin with legs’.
A crude example, but in many cases this is
a reality. This is not meant to sound as if
the dancer’s role is a passive one, unable or
incapable of input into the creation and
expression of the work; in fact it is the
opposite. Depending more or less on the
type of creative process and whether the
situation is a ‘here are the steps, now dance
them’ or a ‘let’s create the movement
together’ type process, the choreographer
always needs the body to sculpt the
space it inhabits and that body is a
living breathing thing with a unique
interpretative voice of its own. It is this
relationship that fascinates me in the
creation of dance.
I explain this relationship because it has
been key in my development as a ‘dance
artist’, a term, which I use tentatively. As a
performer it is what I thrive on and when I
14
created my first work when I was 21 as part
of the choreographic workshop season at
the Royal New Zealand Ballet, it was an
experience that surprised me. It was one
where it felt like I was making it up as I
went along, but also one where most of
the jigsaw pieces seemed to find their way
to the right places or at least somewhere
close, with the dancers I was working with.
From that point, consciously or otherwise,
my career as a dancer was led by the desire
and need to learn from the most current
makers of dance, to constantly challenge
my perceptions and practice, and begin to
find my own voice as ‘the creative’.
It is this ‘voice’, discovering the
choreographic language with which to
speak, and getting it to say what you want,
that can provide the most challenge.
A violin doesn’t just get up and play itself,
and if it could it wouldn’t necessarily know
how to write the music. After years of
refining and performing an inevitable
movement style made up of other people’s
work, there is a process of unlearning the
inherited vocabularies ingrained in the
body, and a sense of questioning what is
authentic and what is learnt when casting
a critical eye over the creative process.
For me, the movement vocabulary comes
first and undoubtedly draws on all of my
past, but this is something I find enabling.
The body is so uniquely expressive
and communicative in itself, enabling
understanding of the chaos that surrounds
us to resonate on a level that is personal
and human. As the market pushes for a
product driven model that can be sold,
I realise the only way to have a voice is to
continually refine and develop a practice
which hopefully begins to speak in this
way to the audience, the final point in the
triangle of live performance.
Learning a craft and developing a creative
identity in plain view of a public is a
daunting prospect, one I try not to think
about, but understand it is exposing reality.
In dance we don’t get to take hundreds of
pictures and choose the best for the
exhibition, it is usually time limited and we
fundamentally need dancers, and a
performance space to realise our work,
which all adds to the pressure to get it
right. The stage is a place I know intimately
from years of performing, but it is a
different story when it is a blank canvas.
All I know is that what I have learnt and
inherited from being a performer I bring
with me, and the more I create work.
This also comes into each new process
which is often with a new set of dancers,
and is a communication between all of
these things. From the early experiments
to the main stage commissions at the
RNZB, Brisbane Festival and the
upcoming Royal Ballet of Flanders,
the creative journey continues, and it
still sometimes feels like I am making it
up while the jigsaw pieces continue to
find their way.
Cameron McMillan,
Satisfied with Success.
Image by Maarten Holl
Cameron McMillan, Rampart.
Image by Carl Fox
15
We can change
the world
The Arts Foundation is here to
make a difference. We have the
tools, the will and the great energy
of our supporters. In these times,
when the arts have been hit hard by
the recession, there has never been
a more important time to consider
giving to the arts.
American anthropologist Margaret Mead said, “Never
doubt that a small group of thoughtful committed citizens
can change the world; indeed, it’s the only thing that ever
has”. Philanthropy is the opportunity to contribute to
society, to progress and shape the world into something we
believe it should be. It is exciting, rewarding and one of the
ways in which we know that we are contributing citizens.
Ruby understood the dedication of artists
and the challenges they face. She knew
that a life that is led exploring creative
boundaries rarely results in a steady income
and the security that others might enjoy.
She admired people who risked ‘it all’
through a dedication to their creativity to
enable the arts in our lives.
Fiona wrote to the Ruby Nolan Trust to
thank them for supporting her award.
This is what she wrote:
“I have been working for thirty years making
New Zealand drama in various capacities.
When I started out, people would often ask
‘But what’s your real job?’ When I told them
what I did, they assumed it wasn’t possible
to earn your living in New Zealand in this
way. This is my one and only real job –
I have never had another.
At times, the path has been uncertain –
work is never guaranteed, and income is
never regular. I know I’m lucky to love my
work as much as I do, but the flipside is
frequently financial insecurity. This is one
reason why the Laureate Award is so
important to me – it gives me wonderful
respite from the on-going need to earn a
living, and a much-valued freedom to
pursue projects that are important to me,
but for one reason or another have no
money attached to them.
Often significant work needs to be done
before any development funding can be
applied for – Ruby’s generosity has enabled
me to do this work, and to give priority to
projects that have personal significance.
The Arts Foundation honours patrons by
asking them to do what they do so well:
donate to the arts. We provide $20,000
to recipients to pass on to artists and/or arts
projects of their own choosing. It does not
surprise us that all these generous Award
recipients have at least doubled the
$20,000, with a donation of their own,
meaning $40,000 or more has annually
gone to the arts.
The next Award for Patronage recipient will
be celebrated at the Macquarie Private
Wealth New Zealand Arts Awards, in
Auckland, on 15 October 2013.
That Ruby Nolan provided for such gifts
from her estate is tangible proof that she
valued the arts and all that they contribute
to our society. I am honoured to receive a
gift from the Ruby Nolan Charitable Trust
as part of my Laureate Award, and would
like to express to you what a difference it
has made to my life this year and, in the
years to come, when I hope the work I am
doing now will bear fruit”.
There is nothing the Arts Foundation
enjoys more than bringing the aspirations
of donors together with New Zealand
artists. We are proud to be helping Ruby
and Fiona achieve their dreams.
Denis and Verna Adam
Dave Armstrong & Oscar Kightley
(Jointly) PLAYWRIGHTS
John Chen PIANIST
John Drawbridge (Posthumously) VISUAL ARTIST
Tom Scott CARTOONIST/POLITICAL JOURNALIST
Jenny Gibbs
Gretchen Albrecht VISUAL ARTIST
Artspace, Auckland
Auckland Writers and Readers
The New Zealand Opera School
Gillian and Roderick Deane
Jonathan Lemalu OPERA SINGER
Anna Leese OPERA SINGER
Delia Matthews BALLET DANCER
New Zealand Youth Choir
Raewyn Hill CHOREOGRAPHER
Holly Mathieson CONDUCTOR
Philip Norman COMPOSER
The Art & Industry Biennial Trust
Gus & Irene Fisher
There are numerous ways to give to the arts.
Visit www.boosted.org.nz and donate to an arts project.
You can donate directly to the Arts Foundation at a number
of levels and if you have a big idea, talk to us about
establishing a new award or project. Ultimately the Arts
Foundation wants more people to consider leaving a legacy
to the arts. Legacies are a powerful way to ensure the arts
are strong for the next generation.
Another great benefit of the Laureate
Award is the recognition of my body of
work over three decades, and the assurance
that this work has contributed to our cultural
life and that New Zealanders value it.
Award for Patronage
& their donation recipients
Adrienne, Lady Stewart
The Arts Foundation has created a new momentum for arts
philanthropy that has inspired many people to become
regular givers to the arts. As a 100% privately funded
organisation, we are proud to say that, with the support of
donors, sponsors and private trusts, we have donated over
$4 million to the arts. But this is just the beginning.
Realising the dreams
of someone you
never met
Fiona Samuel is a playwright, actor,
screenwriter and director. She received
a $50,000 Laureate Award last year.
She never met Ruby Nolan, an Aucklander
who wanted to support hard working
established artists. Ruby died some years
ago and left a legacy. Now, every three
years, the Ruby Nolan Trust contributes
to an Arts Foundation Auckland-based
Laureate Award.
The Award
for Patronage
Beth Ellery FASHION DESIGNER
Pat Hanly (Posthumously) VISUAL ARTIST
Andrew McLeod VISUAL ARTIST
Michael Smither VISUAL ARTIST
Emilia Wickstead FASHION DESIGNER
The Chartwell Trust
Fiona Connor VISUAL ARTIST
Auckland Art Gallery – Toi o Tāmaki
Christchurch Art Gallery – Te Puna o Waiwhetu
The University of Auckland – Te Whare Wānanga
o Tāmaki Makaurau
New Zealand is second only to the United States in
generosity when giving is measured as a percentage of
GDP. However, New Zealand arts are still only 3% funded
by philanthropy. Even a small change in the funds going
to the arts, through private giving, will make a difference.
The Arts Foundation will facilitate the growth of funding to
the arts, but needs your help. It takes many individuals to
decide to give to the arts to make a difference. Now is a
great time to start.
Farewell to a great patron
Gus Fisher was a New Zealand fashion industry pioneer. Gus and his wife Irene are
well known for their contribution toward the establishment of the Gus Fisher Gallery,
which encourages debate on contemporary visual arts and culture, and fosters creative
and academic research in visual arts. Gus and Irene were recipients of the 2010
Arts Foundation Award for Patronage. Sadly Gus died in June that year, shortly after
receiving this Award. Gus’s passion for the arts and philanthropy is now pursued by his son,
Michael, who has become one of the Arts Foundation’s New Generation Award donors.
Left: Gus & Irene Fisher
Fiona Samuel.
Image by Mark Smith
16
Right: One of Gus Fisher’s original
models, Diane Bowles models an
El Jay garment at the 2010 Award
for Patronage
17
The Harriet Friedl ander
Residency
Florian Habicht FILMMAKER
Seung Yul Oh VISUAL ARTIST
Arthur Meek PLAYWRIGHT
The Harriet Friedlander
Residency
Funded by the Harriet Friedlander Scholarship Trust
Whether you have been there or not, you are likely to be in love with
New York. Imagine if the Arts Foundation gave you a call out of the
blue and said you could stay, all expenses paid, in the big apple for eight
months. We make this call every two years to an artist selected for the
Harriet Friedlander Residency. Harriet Friedlander was a dedicated
supporter of the arts. She also loved New York, believing that any young
artist exposed to the city would learn and grow in unimaginable ways.
Florian Habicht Inaugural Recipient
Augus t 2009 – A pri l 2010
He went with no expectation; he came back with a film
that headlined the New Zealand Film Festival. The Arts
Foundation and the Friedlander Scholarship Trust could
not have hoped for a better ambassador for this residency.
Arts Foundation Executive Director, Simon Bowden, said
“Florian’s achievements, while in New York, far exceeded
our expectations. His experiences, the people he met and
the city he came to love were the inspiration and content of
his highest profile work yet”. Love Story was awarded Best
Director, Best Editing and Best Feature Film at the 2011
Aotearoa Film and Television Awards.
Florian sent a message to the Friedlander family in
February, which said: “The Harriet Friedlander Residency
has truly changed and enriched my life. I am forever grateful
to Harriet, {the Friedlander family}, Greg O’Brien and
Bryna, Simon and Angela at the Arts Foundation. The
secret residency phone call came for me at just the right
point in my life.
NYC challenged and inspired me to make Love Story, the
film I am the most proud of to date. New York made me feel
very free and alive, and I was able to channel this spirit into
a feature film. I was able to create a work that was really
myself, and also use it as a way to explore the city and meet
some of its amazing characters. I very much welcomed and
appreciated Harriet’s respect to the artists by allowing us to
create our own expectations for the residency, kia ora!
Throughout the residency the Arts Foundation team were
my support network back home and this really made a
difference. It was a special surprise to meet with Jason
Friedlander and his partner Aaron Tindell in the Big Apple
and hear more stories about Harriet. The packed outdoor
screening of Love Story for the closing weekend of Rooftop
Films NYC Summer series in 2013 in the Lower East Side,
has been a highlight of my career. I think Harriet would be
proud of the event she gave the city that night! It really was
magical. Love Story has screened in twelve international
film festivals to date and has had theatrical releases in
New Zealand and Australia…. I feel that Love Story is
my real letter to you, Harriet and New York, and I’m so
happy you were at the opening night of the 2011
Auckland Film Festival.”
Florian Habicht, Love Story poster
Seung Yul Oh
Arthur Meek
18
S eu ng Yu l O h
Augus t 2011 – M ay 2012
The Marti Friedl ander
Photographic Award
Florian asked visual artist Seung Yul what he would do when
he was in New York before he went. Seung Yul said “I will go
and look at the buildings and I will wonder what is inside”.
When in New York Seung Yul took this a step further by
going randomly into buildings to meet the people inside.
He has some extraordinary experiences including:
Mark Adams
Edith Amituanai
John Miller
Neil Pardington
The Marti Friedlander
Photographic Award
“I went into a corporate building and was sitting around in
a lounge having a relaxing time, after a while I started a
conversation with a person next to me. I told him how I got
to NY (by the residency) and that I wanted to visit random
buildings. He offered to show me his office…it had beautiful
interiors and a great view of the city. Another time, I went
into an old building in Soho. There was a group of people
making axes that showed me around their workshop and
introduced to other artists in the units who were making
paintings and sculptures. It was a great opportunity to
hear their stories about working as an artist in New York.
My experiences have definitely impacted on my practice; I
had great opportunities to see numerous exhibitions…. It
opened up the sense of scale that I would like to extend in
my work. I had an opportunity to start a new series of
photography… also video work which I’m continuing as an
on-going project. I’m currently binding photographs to
publish a small book. I loved New York. It’s a place that is
ever changing and never changing, an old and new
environment that keeps its unique character. There are
endless varieties of things to do and experience every day.
I feel that everyone should visit the city in their life time.”
Funded by the Marti and Gerrard Friedlander Charitable Trust
Marti Friedlander was herself a recipient
of an Arts Foundation Award in 2011 for
her lifetime achievements as a photographer.
Marti’s work is celebrated around the world
and is captured in a number of publications.
Renowned for her love of “the extraordinary in
ordinary New Zealand”, Marti, with the support
of her husband Gerrard, established this Marti
Friedlander Photograph Award to support and
acknowledge New Zealand photographers.
Arthur Meek Departs for New York –
June 2013
Arthur Meek is a playwright and actor. Arthur received his
award last year and said “now I’m just going to get to do
everything that I wanted to do and nothing I didn’t”.
Arthur thanked the Harriet Friedlander Scholarship Trust
and the Arts Foundation for, as he says, “blindsiding me
with this extraordinary opportunity”. He heads to New York
with fiancée, Penelope. While she completes a master’s in
Public Health, he says he’ll “pound the pavements, banging
on doors and meeting up with some of the great theatremaking companies in one of the greatest theatre-making
cities on earth”. Arthur plans to develop some projects that
he has in the pipeline, shop some completed scripts and
initiate discussions to make some new work in the Big Apple
and he is looking forward to “seeing what wonderfully
unexpected things arise from such a wonderfully
unexpected circumstance”.
The Award is presented every two years to a photographer selected by
Marti with the recipient receiving a $25,000 award from the Marti and
Gerrard Friedlander Charitable Trust.
The 2011 recipient of the Marti Friedlander Award for Photography
was photographer Neil Pardington. Neil’s sister Fiona Pardington was
a recipient of a Laureate Award in the same year.
Neil Pardington’s practice has been described as ‘straight photography
with a twist’. He works in the space between documentary photography –
where the defining principle is to capture the truth about the world – and
conceptual photography, which contends that such a truth can never really
be depicted. Not only is Neil Pardington one of New Zealand’s foremost
photographers, he is also director of MAP Film Productions, producing,
writing and directing a number of short films and he is the founding director
of Eyework Design (recipient of some of New Zealand’s top design awards).
Top: Neil Pardington, Mattresses,
1999, 700 x 750mm edition of 10,
silver gelatin print
Photo: Fiona and Neil Pardington with
Marti Friedlander. Image by Ken Baker
19
The Mallinson Rendell
Illustrator’s Award
Extraordinary generosit y gives new recognition
Ann Mallinson established the Mallinson
Rendel Illustrator’s Award by making a
donation to the Arts Foundation following
the sale of Mallinson Rendel, an
independent publishing company.
The Award was first presented in 2011
and will continue to be presented every
two years with a $10,000 no-strings
gift and a certificate designed by
Sarah Maxey. The Award is for an
illustrator of children’s books with
published work to a very high standard
and is selected by a voluntary panel.
Ann Mallinson said, “I have long felt that
children’s picture book illustrators in
New Zealand receive little recognition
for their work. The good ones – and we
have plenty of them – are fine artists with
massive imaginations. They make a huge
commitment when they undertake to
illustrate a picture book, because their
work takes many months to complete.
Their role is an important one in
introducing children to books, and I am
extremely grateful to the Arts Foundation
for helping to recognise this important art
form. A successful picture book illustrator
is a consummate artist, who has to
interpret the words, and provide another
dimension to the story, with the one aim
of doing justice to the text.”
Designer, Sarah Maxey, was provided
with a brief to produce a limited edition
certificate to be presented to each
recipient of this award. She was told the
certificate would need to have the
recipient’s name hand lettered in the
year an award is presented and would
need to be printed/or embossed with
other permanent elements in each
template. Sarah exceeded the
expectations of the Arts Foundation
and Ann Mallinson with her quirky take
on the certificate and story telling.
Measure of endorsement leads to experimentation
David Elliot was the inaugural recipient of
this gift in November 2011. He speaks
about what this “much unexpected” award
meant to him.
David says “the Mallinson Rendel Award
has given me confidence to be more
experimental. It has given me a measure
of endorsement, about my work and my
ability as an artist. It has given me what I
consider ‘paid time’ to really extend
myself, to work towards my full potential.
I’m not sure if ‘free-up’ is the right word,
but the award has given me the impetus
to really use my initiative – with so much
more confidence. The award has also
raised my profile considerably and I’ve
been thrilled by the support I’ve received,
including from my peers. Lots of people
have seen my work which was shown on
the The Artists (on TV7) and quite a
number have picked up the phone to
congratulate me. It’s all been very
encouraging, and humbling at the
same time.
I’ve since finished a picture book for US
publishers, Philomel, in New York. I’ve
done work for Philomel in the past (most
notably for Brian Jacques’ Redwall series,
which I illustrated) but this is the first
picture book – my own picture book –
which I’ve done for the American market,
so that’s very exciting. The book is about
a New Zealand farm and plays with
“An illustrator of a children’s picture
book requires imagination, artistry
and the ability to pay careful attention
to detail. David Elliot has these
qualities in spades, and I am delighted
that he is the first recipient of the
Mallinson Rendel Illustrator’s Award.”
—Ann Mallinson
20
T H E A r t s Fo u n dat i o n | P rin cipa l Partner , M acq uarie P ri vate W ea lth N ew Zea l and
concepts of identity and space. It’s rather
tongue-in-cheek and hopefully it will be
lots of fun for all ages!
My next project takes me into somewhat
new territory. I was very fortunate in 2011.
Not only did I receive the Mallinson
Rendel Award, but I also received
Creative New Zealand funding to work on
a project related to Lewis Carroll’s two
insanely wonderful poems, ‘The Hunting
of the Snark’ and ‘Jabberwocky’ (which
appeared in Alice in Wonderland). The
project is ambitious. It’s about creating the
mythical island where these creatures may
once have existed and this gives me real
scope to look at all sorts of things in terms
of geography, of myth, of place… even the
‘geography of myth.’ I’m drawn to the
different streams of thought in fantasy
and to the idea of more fully creating a
world that has already started to exist
inside my head. I’m really looking forward
to giving these ideas more shape, to really
pushing the boundaries of my work.
IMPORTANT PAINTINGS
&CONTEMPORARYART
JULY 2013
CONSIGN NOW
Contact
Sophie Coupland
E: [email protected]
P: 09 529 5603
Entries are now invited for an auction of important New Zealand paintings covering the historical, modern and
contemporary art periods. Quality works continue to generate strong demand from collectors. Contact Sophie
Coupland for a no-obligation appraisal of value and to discuss consignment into this prestige auction.
This Award helped me travel to Oxford
in 2012, to do further research for this
project. I have immersed myself in
Carroll’s world and recreated the
beginning of the journey of ‘The Hunting
of the Snark.’ I can’t wait to expand this
world that has always fascinated me.
I can’t wait to bring this all to life on paper.”
David Elliot sketch for The Moon &
Farmer McPhee, Published by
Random House New Zealand (2010)
BILL HAMMONd Zoomorphic Lounge
MICHAEL SMITHER Portrait of Sarah
1999, Acrylic on stretched linen
1974, oil on board
18 Manukau Road
Newmarket, Auckland 1149
New Zealand
COLIN MCCAHON Jump E16
P +649 524 6804
1974, acrylic on unstretched jute canvas
Estimate $200,000 - $250,000
Estimate $150,000 – $200,000
Estimate: $ $220,000 - $270,000
webbs.co.nz
I live in Wellington, but my attachment to Christchurch,
home for nearly four decades, has never diminished. I visit
often. My dream life takes place against Christchurch
backdrops (childhood homes, schools, parks, street corners).
I have strong ties to family there, but perhaps also to the
past, to the ghostly outline of an old self, a self fashioned by
the city, the geography, the community and the culture.
Inevitably then, Christchurch is the landscape of my
imagination, the matrix for my stories. All my books are set
there; my imaginative engine seems to gather steam around
river, crater rim, swamp, alpine passes, the long vanishing
points of grid-patterned streets, willows and oaks, nor’west
arches, bungalows, bay windows, the copper dome and bell
towers of the Barbadoes Street Basilica. But place on the
page is never an exact representation, and over the years
my internalised Christchurch has become less and less
hitched to the measurable and substantive. A mash-up has
occurred, a version of the city has taken shape in my head,
a distillation of suburbs, weathers, street names, buildings
and geology, an essentialisation that is not quite ‘real’ but,
to my mind, no less true.
As it turns out, an imagined city is just as susceptible as the
physical manifestation to a natural disaster. On the 22nd of
February 2011 my inner lit-up Christchurch and the novel I
was working on effectively toppled along with the real city. I
was unwilling to admit this for some time. In any case, for
many months I was more properly concerned with the
actual city and its people. It was strange living elsewhere in
those awful months; distance from the daily anxiety and
inconvenience, insulation from the domestic and work
upheaval made me circumspect about articulating any
sense of personal loss (though I felt this acutely: my city was
mortally wounded, much of my past erased). Aside from
practical assistance, though, and a ready ear, quiet witness
seemed the most appropriate response.
Kate
De Goldi
Re-Imagined
City
I put the novel aside and began – in a kind of displaced fever
– to write a quite different story. On the face of it the
subsequent book has nothing to do with the earthquakes,
but I think of it now as having been forged out of the
September quake, which I had experienced. In the days
after that most surreal event – innocent days it seems now,
everyone dizzy with the relief of no deaths, shocked by the
destruction, of course, but a little high too, repeatedly
reliving the slightly shameful thrill of the earth shaking for so
long – in those adrenalised days I went running around the
Heathcote River and through the Beckenham Loop. I
marveled at the large cracks in the road, I thought about the
cracks in the community, our sudden plunge into instability.
I thought about the mildly deranging nature of the
Beckenham Loop (how streets along the river inexplicably
repeat themselves, how the world turns somehow though
one seems to be running only in one direction), and I
thought how bittersweet it was that our mother, gently
loopy, was now living in a dementia unit in the Loop. At
some point on one of those runs this swill of thoughts
performed the mysterious alchemy well known to writers;
the thoughts attached themselves then to an idea I’d been
gestating for years, and an entire story presented itself: a
narrative in which a young girl and her Alzheimic
grandmother and the residents of a rest home construct an
alphabet book. The ACB with Honora Lee is set in an
unspecified part of the Beckenham Loop and winds
inevitably around the Heathcote River. Writing it months
after February 22nd, June 13 and December 24 2011 was
a headlong business, a many-faceted lament, and a true
solace. This book emerged from the quakes. It is not about
the quakes, but it is redolent with notions of fracture, of loss,
of halting connection, of kindness and reconciliation.
Of course, a lost city of the imagination is a comparatively
minor matter compared to the tangible reality of wounded
buildings, rubble, liquefaction, dust, displacement, cranes,
Tony de Lautour, Unreal Estate, 2012.
A Christchurch Art Gallery Te Puna o
Waiwhetu Outer Spaces Project
cones, and more and more gaping spaces. For artists
actually resident in Christchurch over the last two years the
quakes have had both immediate and less obvious effects
on work and process. The question of how one’s work might
respond – or not – and when – if at all – has been a matter
of much conversation amongst practitioners, a matter of
private preoccupation, perhaps even anxiety.
Kate De Goldi speaks to Christchurch
Arts Foundation award recipient
artists about how the Christchurch
earthquake has affected their work
In the immediate aftermath of September and February
there was the distressing fact of damaged studios and the
difficulty of obtaining art materials. Tony de Latour lost both
his city centre studio and home; Julia Morison’s
Peterborough Street studio was inundated with mud and
became part of the red zone for months. Neil Dawson’s
working situation changed radically when he offered space
in his Linwood studio to dealer, Jonathan Smart, whose
gallery was lost after September. Sir Miles Warren
contemplated the ruin of a city comprised of so many of his
company’s distinctive buildings, while the stone of his
lovingly restored historic home and garden, Ohinetahi,
literally crumbled about him. Weathering complex losses,
physical discomfort and the immediate practicalities of
domestic life shafted work for some while at least.
Miles Warren suggests that the quakes have affected
people in broadly two ways: for some the shock and
difficulties have been paralysing, and normality regained
only at a slow crawl. For others – himself among them –
the tumult had a galvanising effect. Within days of the
September quake, when the gables of his house fell through
the roof of the timber wings, and the Oamaru stone walls
in his garden collapsed, he went into action – talking to the
Historic Places Trust, making presentations to the City
Council, meeting with contractors, designing and planning
and overseeing the immediate restoration of Ohinetahi.
Before the February quake 140 tonnes of stone had been
removed from the property. These, he says, were relatively
innocent days, when things could be expedited swiftly.
(He has firm views about the extreme caution at work now
in reconstruction, about the ascendency of engineers over
architects in the rebuilding process). Though the loss of the
impressive stone façade on the upper stories of his house
and the reduction to two stories might be regrettable, he
was, and is, pragmatic about the changes. ‘It had to be
sorted.’ His attitude to many of the other buildings in
Ohinetahi, post-quake
the city – some of which he is tirelessly advocating for – similarly combines
respect for history and a realism borne of sixty years of celebrated
architectural practice. ‘You must dismantle to a degree in order to rebuild.’
The other side of ruin, you could say, is opportunity.
Julia Morison suggests much the same. Her graphic descriptions of moving
through the city on the day of the February quake are duly sober, but allow,
too, that there was a kind of filmic thrill running alongside the horror: fires,
upended cars, sludge, screams, surging crowds…The mud that took over
her studio took up space in her head as well, culminating ultimately in the
exhibition ‘Meet me on the other side’ (a reference to hurried instructions
on 22nd February). The titles of the often caged sculptures, ‘small triumphal
thing’, ‘curious thing’, ‘stubborn thing’ – near ugly, extruded turd-like shapes
(alternately cowpattish, phallic, glowering, cowering) – play with notions
of anonymity, ubiquity, repressed feeling. If you look long enough the
sculptures begin to seem like previously unknown – and vulnerable –
life forms, some near cousin of the axolotl, perhaps, an affront to the
eye, but trembling with feeling. The new loathed city presence, the mud
‘that kept coming’, has been re-imagined in the most unexpected way.
Like Morison, Neil Dawson had initial and immediate responses to the
ruined city and the newly constant natural phenomena. Despite some
practitioners’ and critics’ lofty renunciations of ‘quake art’ (‘rather harsh’
he says) it seemed to him inevitable that one’s work might begin to reflect
the repetitions of the unstable reality: containers, barriers, cones, red, orange
and white stickers, high viz vests, the elegant postures of cranes marking
the skyline, the weedy beauty of empty lots. These new realities and daily
scouring of the quake maps prompted Dawson’s pulse discs, ‘simple,
direct – even literal – responses’ to the quakes. A later and more complex
response will come with Spires, a mobile public work that will begin an
installed life suspended in a vacant lot in Victoria Square. Prompted by the
now absent spire of the much contested Cathedral – emblematic of the city,
perhaps, but a reductive icon, too – Spires suggests a multiplicity of losses
(city, sight-lines, history, aspiration…); it is in two parts – taking the top half
of the Cathedral spire and reflecting it. This makes it also a reference,
a companion, to a much loved 2001 work by Dawson – Chalice –
an earlier inversion of the Cathedral spire carefully sited in The Square
to enable a visual echo. Chalice, Dawson points out, is now without its
original companion; Spires, one block away, will, in a sense call to its
sculpted cousin. ‘I wouldn’t have done Spires if I hadn’t done Chalice.’
Tony de Latour post-quake work illustrates a similar fluidity and continuity
in preoccupation and style. There is, as he points out, no clear division
between his work before the quakes and after. It is partly that one – the artist
and viewer – sees work differently, because there is a new site-specific
knowledge, and priorities have changed. Prior to the quakes de Latour was
using the Property Press as a kind of found object (an ongoing fascination),
an already crowded canvas on which he would paint over pre-existing
images, eliding and erasing in order to explore ideas about form. At the
same time he was going through an extended ‘mid-career evaluation
moment’ – looking at and using ideas from earlier works, and thinking, too,
about earlier art movements, Constructivism and Cubism, his work tending
away from the figurative. Post-quakes, the work took on a new aspect.
Inevitably, property and land were now loaded words – ‘the big subject’,
in fact. Similarly, colour was bristling with new meaning (the colour coding
of land, the ubiquity of red, orange, green). De Latour’s conscious response
to these developments is very evident in Unreal Estate, a Christchurch City
Gallery Other Spaces project: a much worked-over Property Press has
whole estates slashed or obliterated by rough strokes of black paint,
or besmirched by dark, diseased splodges. Oblongs, triangles and fractured
rectangles of colour interrupt and occlude real estate language so that
certain glimpsed words achieve a heightened, often ironic meaning: Open
Home; listing; notice; opportunity. Suburb names and house descriptions
are only barely discernible, fading away beneath white washes.
Interestingly, just as Morison’s stolid liquefactions seem to quiver with
anxious life, so do de Latour’s deletions and blockings have a palpable sense
of movement. Similarly, Neil Dawson’s pulse discs vibrate with vivid colour;
his inverted Spires, hung about with loss, nevertheless points upwards too.
Shake up, these works suggest, might, amongst much else, prompt
new possibilities. Tony de Latour points out that even the vociferous
disagreements over future civic development, with the new city plan
(and there are many), are indisputably a kind of dynamism.
Revival
renewal
revitalisation
He makes the further point that while younger artists – restless and mobile
– may choose to leave a city which, for the time being at least, is in great flux
and temporarily without the customary bastions of art practice (notably a
fully functioning City Gallery) – others are responding energetically to that
rare thing in the life of a contemporary Western artist: a real event with
infinite reverberations and interpretations. For the first time in decades this
is an opportunity to make art about something substantial and complex and
directly related to human experience, as distinct from art whose
preoccupation is perpetually with art itself.
Of course, a lost city of the imagination
is a comparatively minor matter
compared to the tangible reality of
wounded buildings, rubble, liquefaction,
dust, displacement, cranes, cones, and
more and more gaping spaces
And now, too, earlier work is inevitably viewed differently (though no less
interestingly) in the face of new terrible knowledge. This is very apparent
with the work of Neil Dawson. Some of his public sculptures have necessarily
been removed from unstable spaces; they will return in time, but since the
space, buildings, natural forms around them have been transformed, so too
will the individual works be changed – a process Dawson is intrigued by.
That vital aspect of his work – thinking about public space – is, per force,
unexpectedly refreshed.
The problem (and potential delight) of public space has prompted a
significant change of direction for Julia Morison. (The wash up from the
quakes, she says, has seen a number of artists change media; new sights/
sites; new alertness to the changed materiality of surroundings: weeds,
dust, interesting rubbish from abandoned lots, tools, bricks, discarded
possessions: the results of such street combing have set some artists on
new paths altogether.) Morison, too, is a natural scrounger and collector –
and her painting and sculpture has reflected that over her career. But the
post-quake environment – and in particular the pressing matter of how a
rebuilt city might best look and function – has moved Morison to advocate
publically for the artist and art to be comprehensively incorporated into the
re-build, rather than being consigned to an embellishing role. A natural
consequence of this thinking is her project Tree Houses, for a city site yet to
be decided. The sculpture’s solid wooden bases will invite people to sit and
shelter in; the epiphytes growing above suggest reflections on recovery:
like that non-parasitic plant Christchurch too may live and be renewed
through reliance on, integration with other structures and living forms.
Revival, renewal, revitalisation.
Strikingly, each of these artists in their different ways, has been extremely
active within Christchurch’s art community since the quakes: Dawson’s
Spires – a free installation – involves no less than eighteen different
organisations working cooperatively. Tony de Latour assisted a number of
young Christchurch artists mount a show in Sydney last year. Julia Morison
meets monthly with a diverse group of young artists and students and is
active in assisting the documentation of the myriad transitional art projects
the city has seen over the last eighteen months. And Miles Warren quietly
makes expert and thoughtful representations on behalf of buildings
throughout the city.
As for me, the series of absorbing conversations over the summer with
these four remarkable people shifted something in my own head. In the
last two months my wounded little novel staged a small but significant rally.
An epiphytic moment you could say.
Julia Morison, Small triumphal thing,
2011, 3500 (var) x 500 x 500, recycled
plastic, cement, silt, metal.
Collection of the artist
Neil Dawson, Spires model (detail),
2012, painted steel
Neil Dawson, Pulse Dome (detail),
2011, sreen printed acrylic
Julia Morison, Fretful thing, 2011,
540 x 170 x 120mm, recycled plastic,
cement, silt, metal. Collection of
the artist
Tony de Lautour, Unreal Estate, 2012.
A Christchurch Art Gallery Te Puna
o Waiwhetu Outer Spaces Project
At The Helm
GOVERNANCE
Vice-Regal Patron
Vice-Regal Patron – His Excellency Lieutenant General
The Right Honourable Sir Jerry Mateparae, GNZM, QSO,
Governor-General of New Zealand
Arts Foundation Trustees are committed advocates
who generously volunteer their time, energy and ideas.
Trustees are supported by Arts Foundation Governors,
who provide expert advice on matters related to the arts.
Fran Ricketts Chair
Richard Cathie MNZM
Sarah Eliott
Garth Gallaway
Desek Handley
Andrew Harmos
Caroline Hutchison
Derek Lardelli ONZM
In 2011 Sir Eion Edgar announced his retirement as a
Trustee and that his family was making a significant
donation towards the Icon Awards. Sir Eion’s networks,
good humour, wise counsel and support played a significant
role in advancing the Arts Foundation in its first decade.
Last year the Foundation honoured three of its founding
Trustees – Richard Cathie, Sir Ronald Scott and Brian
Stevenson at Government House in Wellington.
Sir Ronald retired in December last year. He is an
irrepressible force, always full of bright ideas, who has
touched every element of the Foundation and without
whom the Foundation would not have achieved half
what it has. The Arts Foundation, in partnership with the
Olympic Committee, has commissioned Hugo Manson to
undertake an Oral History that will highlight Sir Ronald’s
huge impact in both the sports and arts worlds. This history
will be held at the Oral History Archive at the Alexander
Turnbull Library and will be available for research purposes
into the future.
Trustees are proactive in planning for their own succession
and have a policy that identifies the optimum composition
and skill mix of Trustees. Key attributes are a passion for
New Zealand and a passion for the arts, energy and time
to allocate. Diversity of thought and background, and an
ability to contribute are valued. All Trustees are financial
members (patron) of the organisation and will attend six
meetings a year, award events and any other Foundation
events in that Trustees region.
In 2011 the Arts Foundation welcomed Sarah Eliott,
Andrew Harmos, Caroline Hutchison and David Ross to
the Board of Trustees. This year Garth Gallaway (Lawyer),
Derek Handley (Entrepreneur), Derek Lardelli (artist) and,
Neil Plimmer (diplomatic services) have been welcomed.
If you are interested in becoming a Trustee of the Arts
Foundation, expressions of interest are welcome.
Governor, David Carson-Parker, one of New Zealand’s
most dedicated arts supporters, passed away in October
2012. David was a tireless advocate for the Foundation
and a generous supporter. We are also sorry to have said
goodbye to retiring Governors Marilynn Webb, ONZM ,
artist and art educator from Dunedin and prolific composer
and Laureate Dame Gillian Whitehead MNZM , DCNZM who
is also from Dunedin. Gillian and Marilynn attended their
last meeting in February when they helped select the 2013
Icon Award recipients.
Three new Governors were announced at the last AGM.
We are pleased to welcome Elizabeth Kerr (music
specialist), Jim Geddes (Head of the Arts and Heritage
Department of Gore District Council) and Bill Gosden
(Director of The New Zealand International Film Festival).
Neil Plimmer
David Ross
Brian Stevenson
Lloyd Williams
Lloyd Williams Chair
Jim Geddes QSO
Bill Gosden MNZM
Elizabeth Kerr
Elizabeth Knox ONZM
Jonathan Mane-Wheoki
Gaylene Preston ONZM
Deirdre Tarrant MNZM
Simon Bowden Executive Director
Angela Busby Project Co-ordinator
Jennifer Hale ADMINISTRATOR/EVENt CO-ORDINATOR
Bryna O’Brien Boosted Project Administrator
Renee Tanner Boosted Manager
come and meet us
The Arts Foundation
PO Box 11352, Manners Street,
Wellington 6142,
Level 3, 45 Tory Street,
Wellington 6011
T +64 4 382 9691
W www.thearts.co.nz
E [email protected]
Boosted Wellington
Level 3, 45 Tory Street
Te Aro, Wellington 6011
T +64 4 382 7910
Boosted Auckland
The Generator
Level 1, 22-28 Customs Street East
Britomart, Auckland Central 1010
T +64 21 149 6707
W www.boosted.org.nz
E [email protected]
01
David Carson-Parker
02 Jim Geddes
01
02
03
04
03 Bill Gosden
04 Elizabeth Kerr
05 Derek Lardelli
06 Derek Handley
07 Garth Gallaway
08 Neil Plimmer
05
06
07
08
Left page: White Lies features
six Laureate Award Recipients:
Whirimako Black (Actor),
Alun Bollinger (Cinematographer),
Rachel House (Actor),
Witi Ihimaera (Writer)
Richard Nunns (Taonga puoro) and
John Psathas (Composer)
Governors’ Award
The Arts Foundation of New Zealand Governors’ Award
acknowledges an individual or an institution that has
significantly contributed to the arts in New Zealand. The Award is honorary and made on occasion. Recipients
are selected by Arts Foundation Governors and receive a
bronze plaque designed by Jim Wheeler.
Governors’ Award
University Of Otago
Radio New Zealand Concert
Govett-Brewster Art Gallery
27
Inspiring
Partnerships
A Real Contribution
to New Zealand
In the 1990s Founding
Arts Foundation Director and
Trustee, Sir Ronald Scott, rallied
together a number of dedicated
arts philanthropists to form the
Arts Foundation: an organisation
established to provide new ways
of encouraging arts philanthropy.
Ever since its launch, the Foundation
has maintained its independence and
its 100% private funding. This is
unprecedented in New Zealand.
We are proud of this fact and value
all the private support that we receive.
New Zealanders are talented. We are world class and unique.
New Zealand artists have extraordinary achievements; they enrich
our lives here and fly the flag on the world stage. Macquarie Private
Wealth New Zealand is as passionate about celebrating the success
of our finest artists, as it is of growing the philanthropic support for
the arts. We are very proud that they chose the Arts Foundation
to partner with as a way to demonstrate this commitment.
So in a country where only 3% of funding for the arts comes
from private philanthropy, how has the Arts Foundation
maintained its financial independence? The answer is through
the will of many inspiring individuals and the fact that arts, a vital
and exciting part of our society, are deserving of our support.
The Arts Foundation predicts that, by 2015, 82% of its
expenditure will be granted to artists and arts projects, 13%
will be spent on administration and 5% will be capitalised new
income. These amounts do not include reinvested funds from
capital growth, or large donations or legacies.
To maintain capital growth and its promise to donors that most
of the Foundation’s expenditure will be donated to artists and
projects, the Foundation requires dedicated supporters.
Without the support of Patrons, in kind volunteers including
Trustees, Governors and artists, trust funding, donor partners
and sponsors, there would be no Arts Foundation.
There is something extraordinary about private support for the
arts. None of the companies, people or trusts that support the
Arts Foundation has to do this, but they do because they
believe in the Arts Foundation and its impact. The Arts
Foundation is inspired by its sponsors, patrons and supporters:
New Zealand heroes dedicated to the development of
humanity, through the arts, for the benefit of us all.
You Call This Art
You Call This Art
MACQUARIE PRIVATE WEALTH
Macquarie Private Wealth New Zealand began
its relationship as Principal Partner of the Arts
Foundation in 2011 and has been the naming
partner of the Macquarie Private Wealth
New Zealand Arts Awards for the past two years.
Last year the Arts Foundation launched a new
event with Macquarie Private Wealth called You
Call this Art. The event was presented in Auckland,
Wellington and Christchurch and broadcast over
the summer on Radio New Zealand National.
“The Arts Foundation gives us an opportunity to
recognise and support top New Zealand artists
across many arts disciplines”, said Ian Witters,
Head of Macquarie Private Wealth New Zealand.
“With more than 140 artists honoured by the
Foundation, it is hard to find a New Zealander
who has not been influenced by one of the Arts
Foundation’s recipients. Who has not seen a film
by Sir Peter Jackson or read a book by Margaret
Mahy or Janet Frame? Macquarie Private Wealth
New Zealand is honoured to be helping recognise
artists of this calibre and excited to be supporting
established artists as well as the next generation
of talent”.
The Macquarie Private Wealth New Zealand
Arts Awards held in October 2012 were the first
time all of the Arts Foundation’s financial awards
were presented on one night. This has enabled
New Zealand to focus on the achievements of our
finest artists and celebrate with them as more than
$400,000 is donated to support their careers.
“The Awards play an important part in achieving
the Arts Foundation’s vision of having an annual
showcase event at which New Zealand can learn
about the talent we have in this country and
celebrate their success”, said Ian Witters.
“The Awards also provide an opportunity to
acknowledge patrons of the arts. These people
give their own resources freely to support the
arts and deserve our gratitude”, he said.
Ian Witters has now had the chance to meet many
of the artists awarded by the Arts Foundation,
including Warren Maxwell, a New Generation
Award recipient who is a singer songwriter,
composer and performer. “It’s been great getting
to know Ian”, said Warren. “He has shown a real
interest in my artistic practice and the challenges
of being an artist”. The Arts Foundation is grateful
to Ian for his personal interest and for leading an
organisation that is making a positive contribution
to the New Zealand arts community.
Everyone has a different relationship with the arts. There are some things
we like and some we don’t. There is plenty that we know about the arts,
but there is always more to learn. Arts Foundation awarded artists have an
amazing insight into creativity and a fantastic ability to communicate about
their practice. Macquarie Private Wealth New Zealand and the Arts
Foundation set about creating an event in which artists could illuminate
audiences by providing insights into their work. The Arts Foundation
approached Awa Press and Radio New Zealand National with an idea and
You Call This Art was born. Presented in Auckland, Wellington and
Christchurch in November last year and broadcast on Radio New Zealand
National over the summer, You Call This Art featured three artists and
an author from the Awa Press Ginger Series. Each artist used a work to
demonstrate their creative process. For example, sculptor Neil Dawson
presented a model of a soon-to-be constructed sculpture for installation
in a vacant site in Christchurch. He explained how it was inspired by
Christchurch’s lost skyline of church spires and its new temporary skyline
of construction cranes. You Call This Art is available by podcast on the
Radio New Zealand website [search: You Call This Art].
“It was a wonderful occasion in Wellington. Thank you, your
trustees and benefactors so much. I was thrilled to be able to tell Warren Maxwell the Maori TV Series, Songs from the Inside
was one of the most honest and compelling television series
I’ve ever seen – great to catch up briefly with Mark Albiston –
and all in all a thoroughly entertaining evening. Many thanks
to the Arts Foundation for the joy, intelligence, – light and
laughter you bring to our lives!”
—Anna Cottrell, Documentary maker
Now future
In the arts every cent is precious. We have to be careful how
we spend funds today and also plan for the future.
The Arts Foundation is fortunate to have an endowment fund of over
$6 million. This fund provides income for the annual Laureate Awards
and part funds the New Generation Awards and donations relating to the
Award for Patronage. The fund grows through donations and income.
There is also $15 million expected in legacies in the future.
This page: Ian Witters (Macquarie
Private Wealth New Zealand)
and Fran Ricketts present Fiona
Pardington with her $50,000 Laureate
Award cheque. Image by Ken Baker
The Finance and Administration of the Arts Foundation monitors our fund
on behalf of the Trustees. The Arts Foundation has appointed Macquarie
Private Wealth New Zealand (MPW) to manage the fund for us “The
service provided the team at Macquarie Private Wealth has been excellent”,
said Andrew Harmos, Chair of the Finance and Administration Committee
of the Arts Foundation. “They established a well-structured portfolio for us
and is providing valuable recommendations for investment options.
Their personal interest in our objectives of capital preservation and growth
are clear in the way they manage our portfolio. We value the depth and
quality of communication from Macquarie Private Wealth”.
“I enjoy taking a personal interest in all of our clients’ investment objectives.
All good financial advisers should have this approach”, said James Malden,
Senior Adviser at MPW’s Wellington office. “I am aware that the
performance of the Arts Foundation’s fund is critical in providing almost
$300,000 in awards to artists. It’s very rewarding to be working in the
engine room of a fund that has contributed to such great outcomes
for New Zealand”.
Right page: Joe Sheehan Bulb, Jade,
oxidised brass, electric cable and plug.
LED bulb (2011). Courtesy of the
artist and Tim Melville Gallery
28
29
Going the extra mile
jaguar
Uplifted
STR ATEGY design and advertising
Commissioning an artist to launch a car, turning a car into a silver bullet and
creating a new currency! Jaguar’s fun and creative approach to its partnership
with the Arts Foundation certainly goes the extra mile.
Superb creative thinking. Clever and clear planning. Talent to burn and
inspirational. We could say more and yet we can’t say enough about Strategy
Design and Advertising in Auckland.
From the very start of their time with us, Jaguar has been determined to provide
unique experiences to stimulate the senses. Within days of signing with the Arts
Foundation, Jaguar commissioned visual artist and Laureate, John Reynolds, to
create a large scale art work to first cover, then to be lifted, to reveal the new XF.
Selected customers were invited to test drive a Jaguar in return for a section of
John’s art work, which was cut into sections and stretched over frames. The work,
called Racing Heart, evokes a rich hum of movement and horizon against a larger
arc of sky and stars, utilising John’s signature deployment of silver markers and
metallic spray.
The Arts Foundation’s creative partner says they are not too small to be
ignored, but not too big to be ignoring you. We think they are the perfect size.
Relationships and understanding are key elements in brand development and
we have that in spades from Strategy. Their commitment to us is on a par with
our most dedicated supporters and is receiving amazing results.
For the 2012 Macquarie Private Wealth New Zealand Arts Awards, Jaguar
covered an XF with chrome vinyl wrap. Brand Manager, Helen Sunley,
reported that the car turned heads all the way from St Lukes to the Cloud,
where the Awards were held.
To celebrate the launch of Boosted, Jaguar gave 28 people, who test drove a
car, $100 Boosted dollars to donate to a project of their selection on Boosted.
This brilliant idea introduced 28 people to Boosted and has resulted in $2,800
in donations to arts projects. It’s a great initiative, which the Arts Foundation
hopes will inspire other partners to investigate.
We are very grateful to Jaguar for their innovative support of the Arts
Foundation and direct contributions to the arts. And remember, if you buy a
Jaguar; be sure to let us know as Jaguar will donate more funds to the Arts
Foundation for every car sold to Arts Foundation supporters.
Both gentlemen are dedicated to the Arts Foundation and are inspiring to talk to.
We recommend you take time to meet them at the next Arts Foundation function.
The Arts Foundation is extremely grateful to Strategy and all its team. All have
gone well beyond what we thought was great service. It’s exceptional.
You can contact Strategy on 09 360 1944 or call Martin directly on 021 773 134.
Strategy’s first major contribution to the Arts Foundation has been the
development of the brand for Boosted. They have produced material for the
website and printed collateral. Beautifully executed, the black balloon motif
speaks for itself and has limitless possibilities. For example, it is a simple and cost
effective tool for arts projects to embrace in their own promotions. Strategy
helped us understand we needed a brand that could be uplifting and also
shared for re-working by the arts sector. Boosted’s brand has exceeded all our
expectations, it’s already becoming iconic in the arts world.
Strategy Design and Advertising has offices in Auckland, Christchurch, Wellington
and Sydney. Our relationship is with the Auckland office. In each office they have
two equal partners: one to focus on the business of the client, the other to provide
creative leadership. We see now, how this is a powerful combination.
The Arts Foundation is very fortunate to be working with Managing Partner
Martin O’Sullivan. Martin quickly understands the business objectives and
operational opportunities and constraints of clients, so Strategy can exceed the
needs of clients. Creative Partner, Gideon Keith, leads an amazing team of
talented designers with his own brand of creativity and insights that create
powerful brand worlds. He has a deep understanding of how brands move
people and ensures all their work is world class.
Above: Martin and Gideon
in the Auckland studio
THE GREAT CATERING
COMPANY
AUCKLAND INTERNATIONAL
AIRPORT
BOOSTED
line 7
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MY FOOD BAG
ABODO
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hunter valley
KATHMANDU
STRUCTURFLEX
Creative partners to the
Arts Foundation & many more...
Contact Martin O’Sullivan
021 773 134
www.strategy.co.nz
(09) 360 1944
Thank
you
Wine Exchange
NV INTER ACTIVE
When we built Boosted we knew it must
be world-class and, for this reason, it is
built by web developers NV interactive.
NV has numerous awards for its websites.
Its ability to understand, scope and deliver
a project exceeds clients’ expectations.
NV’s clear uncluttered sites and attention
to detail ensures a enjoyable experience
for users. NV has provided a generous
sponsorship towards the build of Boosted
for which the Arts Foundation is grateful.
Wharekahau Lodge
FOLEY FAMILY WINES
THE LION FOUNDATION
One of the newest members of the Arts Foundation’s family of sponsors, Foley Family
Wines, is owned by Bill Foley, an American businessman who has established the
Wharekauhau Country Estate in the Wairarapa.
Foley Family Wines supplies Vavasour wines for Arts Foundation events. They have been
a wonderful addition to our occasions; we’ve even had people call the office to find out
where they can buy the wine. The easiest way to purchase Vavasour is to visit the Wine
Exchange website at wine-exchange.co.nz. While you are there we recommend
becoming a member of the Wharekauhau Wine Society. As a member of The Society
you will be the first to hear about events such as the recent Society 1st Birthday Party
which was hosted by Bill and Carol Foley on March 2nd at Wharekauhau Country Estate.
Crowdfunding is a new idea. We quickly
realised we required some initial funding for
Boosted from a forward-thinking Trust that
believed in a hand-up not a hand-out and
wanted to contribute to a new future. We
found this support through our long-time
partner, the Lion Foundation. Boosted will be
self-sustaining, but it has received a helping
hand for its first two years. Lion Foundation’s
support has enabled the Foundation to
develop Boosted which will have a profound
impact on the arts sector.
CATHY CAMPBELL
COMMUNICATIONS
The Arts Foundation has loads of
amazing stories to tell. We have artist
success to trumpet and are determined
to promote philanthropic support for
the arts. Media today is full of new
opportunities to broadcast messages,
but it is complicated to navigate and
takes expert knowledge to ensure
stories get published and cut through.
We also extend a warm welcome to all who have newly
joined as patrons, registered to receive our email updates
and to followers on our Facebook page. Your interest and
support inspires us.
We want to make a very special mention here to all those
patrons and friends who have opened their homes and
offices to accommodate Arts Foundation meetings and
events. Particular thanks to David Carson-Parker & Jeremy
The Arts Foundation has a superb
public relations partner to help it reach
audiences. Cathy Campbell
Communications has been a sponsor
of the Arts Foundation since the
Macquarie Private Wealth New Zealand
Arts Awards last year. They hit the
ground running and made some
excellent headway in promoting the
Awards. This year they were critical in
gaining significant exposure for Boosted
at launch and in the weeks following.
Cathy Campbell Communications is
helping us ensure that our initiatives
engage a wider audience so we can
more effectively promote the arts.
Media and events specialist, Cathy
Campbell Communication’s clients
include Jaguar, Nespresso, Land Rover
and New Zealand Fashion Week. They
run a number of programmes that help
companies collaborate to reach target
audiences through sharing resources.
We love working with Anna Hood
and Vinny Sherry at Cathy Campbell
Communications and hope you
will make a point of introducing
yourself to them at your next
Arts Foundation function.
Gold
Bronze
Jill McDonald
Lloyd Williams & Cally McWha
Governors
Anne Coney
Charlotte & Rick Anderson
Julie McDowell
Sue & Terry Wood
Lloyd Williams Chair
Sir Eion & Lady Jan Edgar
Kathleen Fogarty & Gary Reynolds
Graham Atkinson
Caroline & Gerald McGhie
Kirsty Wood
Jim Geddes QSO
Dame Jenny Gibbs
Holdsworth Charitable Trust*
Anne & Tony Baird
Selene Manning & Anthony Wright
Anonymous (3)
Bill Gosden MNZM
Fran & Geoff Ricketts
Andrew & Sheridan Harmos
Michael Baker & Katie Chalmers
Estelle Martin
Sir John & Teena, Lady Todd
National Business Review**
John & Elizabeth Balmforth
Jenny May
Legacy Donations
Elizabeth Knox ONZM
Sir James H Wallace
Denver & Prue Olde*
Paul Baragwanath
Joy Mebus
Carole Ada Cliff
Jonathan Mane-Wheoki
Monique Pinsonneault &
Pravit Tesarim
Harry & Susie Bashford
Pauline Mitchell
Kelvin & Valerie Grant
Gaylene Preston ONZM
Lisa Bates & Douglas Hawkins
Lesley & Michael Shanahan*
Barbara & Roger Moses
Sylvia & Brian Bennett
Adrienne, Lady Stewart
Catherine Muir & Patrick Costelloe
Notified Legacies
David & Ewa Bigio
Jane Vesty & Brian Sweeney
David Nicoll & Rosie Eady
Alistair Betts
John & Janet Blair
Sir Tim & Prue, Lady Wallis
Rob & Jacqui Nicoll
Jamie Bull
Burmark Industries
David Wilton
Mervyn & Francoise Norrish
David Carson-Parker
John & Lyn Buchanan
Helen & Wayne Nyberg
John Dow
Chris & Marguerite Burr
Trish & Roger Oakley
Dame Jenny Gibbs
Silver
Michael Burrowes & Kate Mahony
Hon. Margaret Austin
Terrence & Elizabeth O’Brien*
Lorraine Isaacs
Brian & Dorothy Carmody
Wayne Boyd & Ann Clarke
Jaenine Parkinson
Helen Lloyd
Bryna O’Brien
Bruce & Margaret Carson
Pamela & Brian Stevenson
Boosted Project Administrator
Richard & Frances Cathie
Nell & Simon Pascoe
Suzanne Carter
Anna Cottrell & Paul Herrick
Alison and Barry Paterson
Sir John Todd
Andrew & Niki Cathie
Paul & Christelle Dallimore
Neil and Phillipa Paviour-Smith
Anonymous (9)
Kim Chamberlain & Henrietta Hall
Alfons & Susie des Tombe
Sam Perry
Rick & Lorraine Christie
Marti & Gerrard Friedlander
Rachel & Neil Plimmer
Key
Errol & Jennifer Clark*
Ross & Joséphine Green
Joe & Jacqueline Pope
* Laureate Donors
Bruce & Jo Connor
Sir Michael & Lady Hardie Boys
James & Rachel Porteous
** Gold Corporate Patron
Anna Crighton
Philip & Leone Harkness
Jack & Lynn Porus
*** Donor
Mayford Dawson
Greg & Shelly Horton
Chris & Sue Prowse
**** New Generation Award Patron
John & Pip Dobson
Margot Hutchison
Don & Moira Rennie
+ New Generation Award Patron
Dinah & Robert Dobson
Michael Laney & Monica Ryan
Gavin & Felicity Rennie
John Dow
Murray & Denise Lazelle
Nicky Riddiford & John Prebble
All other names listed are Arts
Foundation Patrons
John & Karen Eagles
Chris & Dayle Mace
Marjorie Robson*
Richard & Elizabeth Ebbett
Richard Nelson
Sir Bruce & Lady Lyn Robertson
Robyn & Christopher Evans
Mike Nicolaidi & Michael Houstoun
Melanie Roger
Tim & Judy Finn
Collin Post & Brenda Young*
Frances Russell
Rie Fletcher
Andrew Robertson & Niina Suhonen
Jane Sanders & Mike Stanton
E M Friedlander
Noel & Sue Robinson
Gregg & Rosie Schneideman
Allan Galbraith
Suzanne Snively & Ian Fraser
Sir Ronald & Lady Beverley Scott
Alison & Gus Gardner
Pamela & Brian Stevenson
Antonia Shanahan*
Jim & Marcella Geddes
Lady Philippa Tait
Jan & Don Spary
Stephen Gentry*
Faith Taylor
Martin & Catherine Spencer
Sue Gifford & Simon Skinner
Jenny Todd & Kerry Morrow
Ross Steele
Peter & Nellie Gillies
Katrina Todd
Gordon Stewart
John & Trish Gribben
Sheelagh A Thompson
Bea & Brian Stokes
Roger & Dianne Hall
Scott & Vicki St John
Tim Herrick
Deirdre Tarrant
Copper
Gay Hervey & Bob Schmuke
Margaret & Warren Austad
Rose Thodey
John & Barbara Heslop
Pip & Russ Ballard
Kathleen Tipler & Chris Parkin
Professor Les Holborow
Peter & Claire Bruell
Judy & Roscoe Turner
Omer & Don Hooker
Sarah Eliott & Mark Weldon
David & Rachel Underwood
Rachel House
Helen & Keith Ferguson
James & Eve Wallace
Don & Jannie Hunn
Ken & Jennifer Horner
Warren & Virginia Warbrick
Chris & Sue Ineson
Grant Kerr
Lindsay & John Weststrate*
Susan & Nigel Isaacs
John & Mary Marshall*
Margaret Wheeler
Hugo Judd & Sue Morgan
Ema O’Brien
Michèle Whitecliffe
Denis & Jane Kirkcaldie*
Bronwyn Simes
Dame Gillian Whitehead
Hilary & Reinhart Langer
Kerrin & Noel Vautier
Edna Williams
Glynne Mackey & Oscar Alpers
Anonymous (1)
Katie & Evan Williams
Jan & Rod Macleod
Platinum Lifetime Patrons
Harriet Friedlander Scholarship Trust
Ann Mallinson
Nancy & Spencer Radford
Gold Lifetime Patrons
Ros & Philip Burdon
The Chartwell Trust
David Levene Foundation
Sir William & Lois Manchester Trust
Peter & Joanna Masfen
Fay Pankhurst
Dian & David Ross
Deborah Sellar
Jim & Susan Wakefield
Sir Miles Warren
Anonymous (1)
Honorary Lifetime Partner
Forsyth Barr
Platinum
+ John Barnett
boosted partner
+ Malcolm Brow
+ Michael & Dianne Fisher
vehicle partner
creative partner
+ Susannah & George Gould
+ Caroline Hutchison & Henry van Asch
+ Fiona & Tom Hutchison
+ Lily Sellar & Hugh Rebbeck
+ Elizabeth & William Sellar
* Andrew & Jenny Smith
+ Sharon van Gulik
+ Gavin & Sue Walker
business partners
TRUST SUPPORT
32
+ Lucy Whyte
SUPPORTING PARTNERS
Many individuals and organisations contribute to the
Foundation’s vision at a number of levels. All support
is gratefully acknowledged.
Sir Roderick & Gillian, Lady Deane
Ernest & Catherine Henshaw
principal partner
Commons, Helen & Keith Ferguson, Andrew & Sheridan
Harmos, Lady Diana Isaacs, Trish & Rodger Oakley,
Collin Post & Brenda Young, Lesley & Michael Shanahan,
Fran & Geoff Ricketts, Kensington Swan and
The Todd Corporation.
Founding Patrons
John & Jo Gow
For a detailed description of how these wonderful organisations partner with us, go to www.thearts.co.nz.
A special acknowledgement and thanks to the many people and
organisations that support the Arts Foundation through their time,
donations, gifts, bequests and sponsorships.
Elizabeth Kerr
Deirdre Tarrant MNZM
Staff
Simon Bowden
Executive Director
Angela Busby
Project Co-ordinator
Jennifer Hale
Administrator/Events Co-ordinator
Renee Tanner
Boosted Manager
The Arts Foundation
PO Box 11352, Manners Street,
Wellington 6142,
Level 3, 45 Tory Street,
Wellington 6011
T +64 4 382 9691
F +64 4 382 9692
W www.thearts.co.nz
E [email protected]
Charities commission
Vice-Regal Patron
# CC2425 6
His Excellency Lieutenant General
The Right Honourable Sir Jerry
Mateparae, GNZM, QSO,
Governor-General of New Zealand
Honorary Vice-Patrons
The Right Honourable Sir Michael
Hardie Boys GNZM, GCMG, QSO and
Lady Hardie Boys QSO
Trustees
Fran Ricketts Chair
Richard Cathie MNZM
Sarah Eliott
Garth Gallaway
Desek Handley
Andrew Harmos
Caroline Hutchison
Derek Lardelli ONZM
Neil Plimmer
David Ross
Brian Stevenson
Lloyd Williams
33
Ralph Hotere – Visual Artist
ONZ, Te Aupouri
1931–2013
“There are very few
things I can say about my work that
are better than saying nothing.”
—Ralph Hotere
Ralph Hotere, A Wind Goes Out,
acrylic and dye on unstretched canvas, 1260 x 500.
Brian and Pamela Stevenson Collection.
Image courtesy of Ron Sang Publications

Issue 19 - The Arts Foundation

Transcription

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