A W Smith, Old Post Office Invercargill, 1895 [cat# 113] Presented by F Neuman
What does art bring to our city? Art for me is an integral part of my life. As manager/curator of Anderson Park Art Gallery, I am surrounded by and work with a fantastic collection of art every day.
Russell Beck, Confluence, Anderson Park
This presentation is focussed on the collection of art I am responsible for at Anderson Park Art Gallery. One of the misconceptions I often come across is that the collection had its beginning as part of the gift of Sir Robert Anderson’s estate. The collection actually predates his bequest and although there are now a number of items included from the Anderson family, it should be noted that the house was given to the city, emptied of all its possessions.
From my research, the beginnings of the APAG collection date back to at least 1944 and the Southland University Association, whose art committee were holding exhibitions and acquiring what would become the nucleus of the Invercargill civic art collection. With the lack of a public art gallery in the city, these exhibitions were held in the Civic Theatre.
Peter Siddell, South, 2006 [cat# 845] Donated by ILT
Victoria Park was gifted to the city of Invercargill by the family of Sir Robert
and Lady Elizabeth Anderson in 1951. As an avid collector of art and artefacts, it was Sir Robert’s desire that his former home be used as an art gallery, or similar public facility and that the grounds be kept to the standard he and Lady Elizabeth had achieved through their years of dedication.
The Mayor of Invercargill, Mr B W Hewat opening Invercargill Public Art Gallery, 1951
The burgeoning Invercargill Public Art Gallery Society set about making their home in Victoria Park, opening to the public later in 1951. The Gallery society included several city councillors and the mayor Mr B W Hewat. To this day the ICC continue to support the Gallery’s operations through an annual grant and representation on the Gallery’s council.
J P Faithful, Maria (detail of verso), 1970 [cat# 303]
In the first twenty years of its existence, the Invercargill Public Art Gallery Society worked hard to establish the collection as a significant and important regional asset, acquiring over half of the present collection in that time..
George Oliver Turner, Portrait of Sir Robert Anderson, undated [cat# 1] Ex R A Anderson Collection
In 1971 the Society voted to change their name and that of the gallery to honour the family who had gifted the house and grounds which were now known as Anderson Park.
Annual Spring Exhibition, Anderson House, 2013
Whilst the society relies on subscriptions and an annual grant from the Invercargill City Council to help cover its operating costs, they have built the collection independently of this funding to its current level through fund raising, commissions on exhibition sales, bequests and gifts. The Annual Spring Exhibition held every October attracts artists from all over New Zealand and is the major fund raising event for the society.
Collection Sample (approx. 16%)
The major achievement of the society’s work over the last 67 years is we now have around 1000 works of fine and applied art. The collection is considered by many in the art establishment as a significant regional collection and holds work by many significant New Zealand and overseas artists.
C F Goldie, Te Rerehau Kahotea, 1940 [cat# 584] Joint purchase with SBS
Important works have come into the collection through the generous support of regional funders including the ILT, Community Trust of Southland and SBS. Bequests by individuals such as Kathleen Kirkby and Franz Neuman have netted the Gallery large groups of work that add a great diversity to our collection.
Rembrandt van Rijn, Portrait of Jan Lutma, Goldsmith, 1656 [cat# 666] Bequeathed by K Kirkby
Examples of significant works that have come into the collection by way of bequest, that have indeed, helped give the collection its diversity and significance are by early European artists such as Rembrandt and Botticelli.
Nicholas Chevalier, Mountains and Fiord with Maori and Canoe, 1873 [cat# 759] Gifted by Ministry of Foreign Affairs
Significant early New Zealand work is represented by several 19th century artists including John Gibb, Nicholas Chevalier and John Bar Clarke Hoyt who depict a relatively unsettled country with majestic mountains and rugged coastline.
Frances Hodgkins, Farmyard with Rooster and Chooks, 1943 [cat# 745] Presented by ILT and CTS 2002
What we know of as the canon of New Zealand Art includes significant modernist and early contemporary artists who have achieved wide acclaim within the New Zealand art world. The collection includes work by many of these artists including Colin McCahon, Toss Woollaston,, Don Binney, Rita Angus and Frances Hodgkins.
Colin McCahon, Koru No.3, 1982 [cat# 538]
A number of the significant works in the Anderson Park Art Gallery collection are the only examples of these artist’s works in Southland.
A W S, Invercargill Estuary, 1895 [cat# 250]
One of the important aspects of a regional public collection is that it actively acquires work associated with its region. The Anderson Park Art Gallery
collection includes an important group of late 19th century water colours of Invercargill and Southland by Robert MacGoun. With photography in its infancy, early paintings such as this AW Steele oil of the Invercargill estuary are the best way of seeing the history of our place.
Chris Flavell, To Deceive, 2009 [cat# 857]
The Society has continued to add works with Southland connections including contemporary paintings by Nigel Brown and Chris Flavell. The significance of works like Flavell’s are in the ideas that the artist is presenting. Whilst
representational art presents the world pretty much as we know it, abstract and conceptual works explore ideas and ask questions. They often challenge you to look differently at the world through encouraging you to spend more time processing what it is the artist might be saying.
Janet Paul, Night Station, 1956 [cat# 85]
Ultimately, what the viewer takes away from seeing an artwork or exhibition is a personal understanding and experience from what they have seen. Good art can work on many levels and is open to different interpretations. Artists and curators can only help guide the viewer in a certain direction.
Lyle Penisula, ID (True Tears of Joy), 1993 [cat# 685] Winner of Macalister Award, 1993
The public art gallery functions as a store of treasures for the people who ultimately own the collection. Art functions not just as a record of a particular time, place or person, but also as a reflection of who we are collectively and how our view of ourselves has developed and changed.
Perfect Match, collaborative exhibition with Eastern Southland Gallery, 2014
A collection should be viewed as a living thing that needs to be interacted with. It has the ability to provide individual and unique experiences as well as add a vitality to our lives. It can do no one any good and add very little to our community if it is shut away. Art is made to be seen, to be admired, to be interpreted, to be argued about.
Donna Demente, Spectre, 2012 [cat# 867]
And this is an important note to finish on. That is, that there are no real
universals in art. It will always be argued as to what is good or bad, beautiful or abhorrent. The best art will cause you to react. Not always in a positive way, because art is not just about beauty, it is about how we live and see our selves.
Uniqueness Brings community together Different perspectives Diversification Interest/discussion/debate Outside world in Inspiration Escapism Culture/history Sense of nationhood Multicultural and intergenerational Historically – brings past close to us Positive affirmation Community asset
Valuable learning tool Challenges our thinking Links us with ad reflects ourselves Brings in an international perspective Links with town and country Window into us as a community
Who owns public art? The public – for future generations/prosperity, we are caretakers, public art allows the ability to share work that would otherwise be inaccessible. We do! Ie public need a mechanism to keep possession of any public art Usually art galleries, also the artist – can make a contribution for life. Don St – who owns the art there – do they have a specific collection?
Private – some, the city, what does own mean? Sculpture – the creator owns the concept. The community can feel a sense of ownership – legal ownership– intellectual property What does art bring? Historical record reflects our culture and diversity of culture, establishes uniqueness, exposes people to art/culture. Exposes people to diverse ideas, can be interactive. Identity, history, social context, characters, fun, educational opportunities, understanding, something to engage with community People cultures – bring vibrancy; people become engaged ie wool round trees, create curiosity, performance art – children – Buskers, Shakespeare, Keeps people creative Status, different types, styles, scale of art – variety, interactive qualities. Diversity, values (personal), heritage our past, energy, culture, discussion, beauty, sense of community, tells a story, discussion on who created/who owns the concept, pride – contributors. How can art engage people? Generating discussion, gallery can be a central place to gather, connection to art and artists, adds life and richness to life. How can art engage with the visitor? Important to have it visible, at present it isn’t integrated with everything else, needs a medium available to express it – and share it with others not there (social networking, post it notes) Based on individual opinion everyone can engage differently, it can inform, art is in the eye of the beholder, tactile experience. Burt Munro statue, kid zone, theoretical arts, computer art, WWI Commemoration at Te Papa Is the sculpture and public art catalogued anywhere? (Ask Russell Beck– did he do an inventory? We wonder where this info can be found?) How do students access the pieces?
What does art bring to Invercargill? Colour, icons, mosaics at Glengarry, water tower umbrella, names in bricks, queens park, whale tale, SIT Timelines, Burt Munro, tuatara, new wood sculptures, conversation, challenging, identity, creates, coats of arms, blade of grass, reactions, memories – must we contribute? What we gain? Provocation and stimulation, broadening of ones thinking, social connectivity, freedom of expression promotes cultural diversity, food for the soul, journey of arrival, connection with history/geography, who selects purchase? – policy Why is the collection locked away? Why is Andersons Park closed? Why can’t the collection be shown or be on permanent exhibition in the CBD? Richardson collection is being centralised why not the same with the art collection? Plenty of old buildings available for wall space ie Scottish Hall. Interest joy, enlightenment, maybe challenging – challenge concepts, in public places can cause debate, ratepayers own public art. Art is valuable in recording our history. It is a snapshot on time/place provokes thought and can be a tourist attraction giving visitor an insight. Art is for everyone and can be exhibited everywhere – dedicated galleries, indoor/outdoor spaces, there are no limits and every single piece of art in places can be draw cards Art is everything. Public art needs to be supported by the ratepayer