Art ideas 2016 by Auckland Art Gallery

Art & Ideas 2016 Auckland Art Gallery Toi o TÄ maki

dust jacket front

front cover

Judy Darragh Limbo, 2015 (installation detail) plywood, aluminium foil, sprayed polyurethane foam, adhesion promoter spray coating, florescent spray paint, plastic costume gems, adhesive, plate steel, steel cable and fixings commissioned by Auckland Art Gallery Toi o Tāmaki sponsored by Auckland Contemporary Art Trust, 2015

Maria Nepomuceno Grande Boca (Big Mouth), 2013 (installation view) ropes, beads, fibreglass, resin, plates, wooden paint brushes, acrylic, ceramic Auckland Art Gallery Toi o Tāmaki purchased 2016

dust jacket back

Ernesto Neto Just like drops in time, nothing, 2002 (installation detail) textile, spices Collection: Art Gallery of New South Wales — Purchased with assistance from Clayton Utz 2002 dust jacket inside front top

Len Casbolt Family Group, 1956 (detail) gelatin silver print Auckland Art Gallery Toi o Tāmaki purchased 2010 bottom

Yang Fudong The Coloured Sky: New Woman II, 2014 (installation detail) five-channel video installation, HD colour video, sound courtesy of Yang Fudong; ShanghART Gallery (Shanghai, Bejing, Singapore); and Marian Goodman Gallery (New York, Paris, London) dust jacket inside back

Frances Hodgkins Phoenician Pottery and Gourds, circa 1933 (detail) watercolour Auckland Art Gallery Toi o Tāmaki purchased with funds from the Winstone Bequest, 1954

Art & Ideas 2016

back cover

Andrew Barber Portrait: La Demoiselle, 2015 (installation view) flashe on sewn linen Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2016

Auckland Art Gallery Toi o Tāmaki

Published in 2016 by Auckland Art Gallery Toi o Tāmaki with the support of the Auckland Art Gallery Foundation Director: Rhana Devenport Editor: Clare McIntosh Foundation manager: Renée Tanner Publication management: Renée Tanner Clare McIntosh Image management: Jennifer French Proofreading: Tom Irwin Production assistance: Abi Donovan Photography: Jennifer French John McIver Geoffrey Heath David St George Design: Akin Print production: Producer

ISBN 978-0-86463-310-1 This book is copyright. Except for reasonable purposes of fair review, no part may be stored or transmitted in any form by any means, electronic or mechanical, including recording or storage in any information retrieval systems, without permission in writing from the publisher. No reproductions may be made, whether by photocopying or other means, unless a licence has been obtained from the publisher or their agent. Every effort has been made to reach copyright holders. © 2016 Auckland Art Gallery Toi o Tāmaki PO Box 5449 Cnr Kitchener and Wellesley Streets Auckland New Zealand aucklandartgallery.com

Contents

Introduction

Exhibitions & Publications

Acquisition Highlights

Research & Learning

Marketing & Communications

107

Advancement & Partners

110

2015 â&#x20AC;&#x201C;16 Acquisitions

116

— a hugely popular exhibition for families in our Creative Learning Centre which was forged through a spirited collaboration involving students from Balmoral Primary School, AUT’s TurnSpace Collective and Auckland artist Judy Darragh. Darragh was also our invited artist for the North Atrium commission, delighting audiences with the large scale sculptural installation Limbo. These exhibitions provided our highly skilled Registration and Exhibition Design teams with fresh challenges and opportunities to experiment.

Introduction Rhana Devenport Director

What might art museums be in the 21st century? They need to be spaces of wonder, sites of encounter, zones for experimentation, safe places for unsafe ideas, portals to empathy, and organisations which encourage the formation of thoughtful tomorrows. Art museums can activate cultural literacy and respond to the expressiveness of people’s lives in a time of radically shifting expectations and realities. They offer hope and persuasive arguments. Great museums are agile, nimble entities. They’re always listening. Artists sit at the heart of great museums and their artworks generate great conversations. It’s our role to invite people into these conversations, to stimulate their participation, to provide a laboratory for art and ideas. This past year, Auckland Art Gallery Toi o Tāmaki has created 19 exhibitions. Of these the most ambitious and impactful was Space to Dream: Recent Art from South America, a co-curated project which generated residencies and collaborations with universities and communities across the country for visiting artists, alongside a complex exhibition, engaging public programme and a bilingual publication. This project revisited the ambition of our Auckland Triennials in its international scope and depth of curatorial analysis. Other important exhibitions came out of the Gallery’s decision to partner with the Australian Centre for the Moving Image, to co-commission a new multi-screen

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

installation by Shanghai-based artist Yang Fudong; and our collaboration with India’s National Museum for The Story of Rama: Indian Miniatures from the National Museum, New Delhi. These signalled a fresh attentiveness to Auckland’s remarkable cultural diversity and an acknowledgement of its place in the world. The Gallery’s exhibitions of international extension notwithstanding, New Zealand art remains at our core. It was a pleasure to partner with City Gallery Wellington for an exhibition of photographs by the renowned Auckland-based Ngāi Tahu artist in Fiona Pardington: A Beautiful Hesitation. Two major projects showcasing contemporary New Zealand art practice were supported by the Chartwell Trust: Necessary Distraction: A Painting Show, which investigated the nuanced vitality of painting today; and John Ward Knox’s commission for the North Terrace, Hardly Held Lightly, which acknowledged the Gallery’s close relationship with our beautiful neighbour, Albert Park. The artist-curated project Wunderrūma: New Zealand Jewellery riffed off its earlier incarnations to include an unexpected play of works drawn from the Gallery’s collection. The importance of collectionfocused exhibitions continued with New Zealand Art: Insights and Connections, Adorned Histories, Frances Hodgkins: Forgotten Still Life and Len Casbolt’s Photography: From Soft Focus to Sharp Vision. The runaway success this year was Hole of Yellow Archipelago

We undertook co-publications for the Fiona Pardington and Yang Fudong exhibitions, and produced significant books ourselves to accompany both Necessary Distraction and Space to Dream. The latter broke new ground with its bilingual imperative and the commissioning of multiple essays which traced the radicalism and poeticism informing the practice of artists from the 1970s to the present day throughout South America. The Gallery is deeply committed to research, not only in our curatorial and publishing endeavours and the E H McCormick Research Library, but also in the work undertaken by the Conservation Research Centre. This involves new analysis and treatments on items in our collection and also artworks which come to us from outside the institution. The conservation of historical works by two British painters — Nazarene-trained Frederic Leighton and Victorian artist William Calderon — resulted in their reappraisal within the collection while strengthening links with partners and colleagues, including Manawatu Museum Services and AUT University.

year augmented our verbal description tours for visitors, offering conversation, sensory experiences and art making to those who are blind or have low vision. Recognition within our wider museum and design communities saw several nominations and awards. These included Hole of Yellow Archipelago being nominated for the Installation section of The Interior Awards; the publication Lisa Reihana: in Pursuit of Venus winning a Gold at the Best Design Awards; and the Museums Aotearoa award Best Metropolitan Exhibition for Lisa Reihana: in Pursuit of Venus [infected]. Internationally, our collaboration with The Gallery of West Bohemia for the successful exhibition Gottfried Lindauer: 1839 – 1926 Pilsen Painter of the New Zealand Māori earned the International Council of Museums ‘Czech Prize’ at the National Competition of Czech Museums awards in 2015. Finally, our newly established Advancement Team has initiated major transformations in our approach to partnerships and generated wider support for our work, as well as establishing an entirely new Membership programme. The Auckland Art Gallery Foundation has seen major growth since re-launching in May 2016 to establish itself as the Gallery’s foremost platform for philanthropy. The Gallery’s international reach, our close consideration of Auckland’s diverse populations, our deepening partnerships, our attention to Gallery-generated curatorship and our leadership in research are all significant features of this past year’s community-building and highly rewarding endeavours.

Professional development is essential for any cultural organisation and this year we continued the important Mayo Internship programme, supported by the John and Marylyn Mayo Foundation, with young professionals and scholars Hannah Murray and Jodi Meadows. These interns contributed significantly to our conservation and curatorial research and to our exhibition visitor programme development. Creating opportunities for the next generation of cultural professionals is also a priority for the Gallery’s Outreach Programme and we work with Manukau Institute of Technology and Unitec Institute of Technology to reach out beyond our building and take art and ideas into diverse communities. Learning Programmes continue to expand and this

I’m proud of what we’ve achieved for the Gallery and am very much looking forward to our future direction, with supporters like yourselves. Our Foundation Membership programme presents an opportunity to be truly involved in what the Gallery’s motivated and experienced team are achieving. In return, we watch the Gallery grow in strength and ensure its future for generations to come. We need to support the Gallery team by building an endowment fund and fostering arts philanthropy. To do so we have created a number of levels of philanthropy to reach a wide community of supporters.

Welcome Andrew Smith Foundation Chair

Art offers a means for communication and imaginative enquiry, and one of the roles of a public art gallery is to create opportunities for audiences to actively engage with art and with artists’ challenging perspectives. For this reason, Auckland Art Gallery Toi o Tāmaki works with artists, creates exhibitions, grows its collection and generates new research which situates art in both our national discourse and in the international context. The Auckland Art Gallery Foundation is directly involved in all of these activities through its support of the Gallery. At the Foundation, we share the Gallery’s ambition to grow the role of art in our culture. Art’s communicative and transformative power is important to all of us, and we believe our support can make a difference and a positive contribution. In May we held the Auckland Art Gallery Foundation Launch and inaugural Auckland Art Gallery Annual Appeal Dinner. Close to 160 guests attended a unique dining experience with cuisine by Peter Gordon and art direction by Judy Millar. This captivating event publicly launched the new direction of the Auckland Art Gallery Foundation and established its Annual Appeal. With its newly launched Foundation Membership programme, which has already attracted a significant and growing number of generous Foundation Members and Donors, the Foundation’s commitment to building a legacy for future generations is well underway. Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Our Foundation members enjoy a special relationship with the Gallery, receiving invitations to a range of events that offer intimate and in-depth perspectives on art and the Gallery’s work. These tailored events also provide an opportunity to meet fellow Foundation members and introduce new members to the Foundation. This year the Foundation supported the exhibition publication Space to Dream: Recent Art from South America, which accompanied Australasia’s first major exhibition of art from South America. The Foundation also supported the Auckland Art Gallery Annual Appeal, which will see the acquisition of a site-specific artwork commissioned from Auckland/Berlin-based artist Judy Millar for the Gallery’s South Atrium. We held a very memorable ‘colourful cocktail’ evening with the artist to celebrate the unveiling of the concept model. Thanks to all who joined us — we look forward to welcoming you again when the final work is installed in 2017. The Foundation is proud to have the exceptional support of our Foundation Partners, Business World Travel, Aesop, Amisfield, Dawsons Catering and Maison Vauron. Together with Aesop we’ve already created a bespoke product for Auckland Art Gallery’s shop — the Essentials for Itinerant Art-lovers’ kit, with travel-sized skin, hair and body care products of the highest quality. Profits from the sale of these kits support the Foundation. As Chairman of the Auckland Art Gallery Foundation,

Foundation Trustees Andrew Smith — Chair Alan McChesney — Deputy Chair Sue Gardiner Dayle, Lady Mace Simon Vodanovich Glenn Hawkins Jonty Edgar Rhana Devenport — Secretary Foundation Partners Aesop Business World Travel Maison Vauron Amisfield Dawsons Catering Foundation Donors Life Benefactor Friedlander Foundation Chairman’s Circle Andrew and Jenny Smith Sir Christopher, and Dayle, Lady Mace

The Foundation is a small but dedicated team comprising seven trustees — Alan McChesney, Sue Gardiner, Dayle, Lady Mace, Simon Vodanovich, Glenn Hawkins, Jonty Edgar and myself — and a manager based at the Gallery, Renée Tanner. We consider ourselves as a ‘start-up’, meaning that we want to develop with your interests in mind and work with you to grow the Foundation and its purpose. We welcome you to join us on an exciting journey of longterm support for this special and vital Auckland institution.

Ambassador Richard and Angela Seton Alan McChesney Stefan Liu Léonie and John Hynds Donor Mark and Lyndy Sainsbury Michael and Catherine Hapgood Richard and Elizabeth Ebbett Simon Vodanovich and Lynn Whitfield Art Partner David Nicoll and Rosey Eady John Carr Anna Nathan Viv Beck Mike and Debbie Whale Leigh and Donald Melville Charlotte Hellaby Tim Melville John Strowger Art + Object

Governor The Chartwell Trust John and Rose Dunn Glenn and Sonja Hawkins

Exhibitions & Publications

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Space to Dream: Recent Art from South America

Ernesto Neto Just like drops in time, nothing, 2002 (installation detail) textile, spices Collection: Art Gallery of New South Wales — Purchased with assistance from Clayton Utz 2002

7 May – 18 September 2016

The most substantial presentation of art from South America yet to be shown in Australasia, Space to Dream: Recent Art from South America charted new territory for the Gallery. It sat in accord with the Gallery’s aim to broaden our region of engagement across the Pacific. The project was collaborative in nature, involving the Gallery, Chilean co-curator Beatriz Bustos Oyanedel, who is based in Santiago, foundations, art schools, museums, private lenders, academic institutions and the selected artists. After several years’ research and exchange between the two co-curators, the project was conceived as an exhibition, publication, public programme and artist residencies in Auckland. A theme shared by the project’s different components was the idea of the Global South, which consists of countries south of the equator whose governments and economies have traditionally been positioned in contrast to the ‘old world’ of the northern hemisphere. The creation of an ongoing ‘Global South’ conversation between visitors to Space to Dream, artists and curators, as well as readers of the book was a driving objective. This exchange will continue with an exhibition of New Zealand art generated by the Gallery for South America in 2017–18. Space to Dream comprised work made from the 1960s to today by 42 artists and collectives from Argentina, Bolivia, Brazil, Chile, Colombia and Uruguay. Almost 100 artworks, including commissions, represented key

foundational figures such as Lygia Clark, Hélio Oiticica and the collective C.A.D.A., all of whom challenged the society and institutions of their day, alongside younger artists who have responded to their contemporary situations with urgency and poeticism. The breadth of artistic media shown — painting, drawing, collage, music, poetry, photography, video, performance, sculpture, interactive work and installations — produced an immersive exhibition experience and reflected the complexity of South America today. To provide additional experiences both inside and outside the exhibition, the Gallery devised an extensive public programme, which began at the opening weekend with performances, lectures and talks by five visiting artists, including the renowned Chilean artist, architect and filmmaker Alfredo Jaar. Over the course of the exhibition, four differently themed weekends and a South American film programme offered more interaction and brought people from South American communities together. With the assistance of the Foundation, we published an illustrated, bilingual book of essays and information on the artists. The publication — more than a catalogue as such because of the depth of discussion in the essays — was distributed through book stores and galleries in South America, Mexico, the United States and Spain, providing the project with a far-reaching and enduring legacy.

Joaquín Sánchez Chaco, 2012 (installation view) photograph on cotton with embroided ñanduti courtesy of the artist, Bolivia opposite

Space to Dream (installation views) left

Ignacio Gumucio Everybody knows our city was built to be destroyed, 2016 (installation detail) mixed media courtesy of the artist, Chile above

Bernardo Oyarzún Ekeko, 2014 (installation detail) mixed media 2140 x 1800 x 1900 mm courtesy of the artist, Chile

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Fiona Pardington: A Beautiful Hesitation 5 March – 19 June 2016

New Zealand photographer Fiona Pardington has created some of Aotearoa New Zealand’s most haunting, affecting and challenging images. Her practice draws on and combines visible and invisible forces, historical enquiry, the language of museums, mātauranga Māori (Māori wisdom), and themes of death, intimacy and cultural politics.

feminism and the fetishised body, disease and Western museology, showed the beginnings of Pardington’s distinctive vision. The artist’s newer digital series, including the exquisite still-life photographs which extend her longstanding interest in the transformation of found objects, completed this important survey and revealed Pardington’s inexhaustible creative energy.

This exhibition, curated by Aaron Lister of City Gallery Wellington and modified for its presentation in Auckland, included work from a 30-year period and beautifully illustrated the evolution of Pardington’s oeuvre. Early analogue photographs investigating ideas about

Gallery curators contributed texts to a substantial book, co-published by the Gallery, Victoria University Press, City Gallery Wellington and Baker+Douglas, which was produced in both printed and electronic forms.

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Fiona Pardington Akura Pupu Waireti/ Violet Snail, 2013 pigment inkjet print on paper Courtesy of the Artist and Starkwhite, Auckland

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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Fiona Pardington: A Beautiful Hesitation (installation views)

Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2016

Honoré Daumier: Mirror to the World 12 December 2015 – 24 July 2016

Nineteenth-century political satirist Honoré Daumier is famous for his scathing assaults on the privileges and perceived vices of the French upper classes and the selfsatisfied Parisian bourgeoisie. Daumier’s images acted as a mirror to the society in which he lived. Reflecting on urban life and social mores, he produced a vast array of lithographs that entertained as they critiqued.

The Gallery’s print collection makes up just over one-third of our entire artwork holdings, and includes bodies of work by significant artists and schools of practice. Honoré Daumier: Mirror to the World was the product of ongoing investigations into our print holdings. This research is being carried out with the view not only to create new exhibitions but also to publish research findings.

Honoré Daumier: Mirror to the World presented the majority of the Gallery’s 40 prints by the artist, which were usually produced for one of several left-leaning, republican newspapers then circulating in Paris. The fascinating mass-produced nature of Daumier’s lithographic works could be appreciated in this exhibition, particularly in those works where the newsprint on the reverse of the sheet was visible through the image.

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Honoré Daumier Vue prise sur n’importe quel Boulevard [A View on a Boulevard — Any Boulevard], 1854 Auckland Art Gallery Toi o Tāmaki purchased 1981

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

New Zealand Art: Insights and Connections 7 March 2016 – ongoing

The contemporary relevance of the Gallery’s collection of New Zealand art is found in the ways it reflects the history and culture of our country. The defining characteristics of Aotearoa New Zealand’s culture and key events in the nation’s life do not develop and take place in isolation. They result from dynamic connections between peoples of different cultures and nationalities, both inside and outside the country. New Zealand Art: Insights and Connections was the title given to a suite of exhibitions, each of which investigated distinct networks and associations present in the work of artists who draw inspiration from their immediate environments and from the wider world.

Topics represented in the discrete exhibitions making up this presentation of New Zealand art were wideranging. These included relations between the past and present in recent Māori art; ideas of appropriation and homage which created relations between New Zealand and international art in the 1980s and 90s; creative responses to the beauty and fragility of our shared Pacific environment; the disturbing and romantic power of the landscape; reflections on people and place in Aotearoa as seen through the eyes of 18thcentury voyagers and 19th-century colonists; and innovative perspectives on the familial and domestic in recent art. Presenting art dating from early colonial contact up to the present day, New Zealand Art: Insights and Connections signalled the robust and continued relevance of art across time in Aotearoa New Zealand.

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Julian Dashper Chain Frame, 1992 acrylic paint, wood Chartwell Collection Auckland Art Gallery Toi o Tāmaki Purchased 1993

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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New Zealand Art: Insights and Connections (installation views) left

Michael Stevenson Auckland Star “I HATE CHEAP CHAMPAGNE” Tuesday 22 December 1987, 2002 photocopy, screenprint and dye on paper Auckland Art Gallery Toi o Tāmaki purchased 2003

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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Yang Fudong: Filmscapes

26 September 2015 – 25 January 2016

The Gallery’s dedication to regional programming and to growing cultural networks, with a focus on building new and productive relationships with Asia, was progressed by this striking survey of one of China’s foremost contemporary artists. Yang Fudong is internationally renowned for his expansive, allusive film and video installations. His captivating artworks, with long and suspended sequences and escalating narratives, show the influence of traditional Chinese painting and international cinema. Combining Chinese history and culture with Western aesthetics, Yang builds visual worlds steeped in dreams and fantasy. Yang Fudong: Filmscapes was the artist’s first survey in Australasia. We partnered with the Australian Centre for Moving Image (ACMI) in Melbourne to tour the exhibition and to commission a new work — The Coloured Sky: New Women II, 2014. For the commission, Yang moved away from black and white film, which had been his signature, to produce a colour-saturated five-channel video work centred on the coming of age of three female characters. Under the shadow of China’s historic system of concubinage, the women search for their identities in a complex contemporary world.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Two other film works completed the exhibition in Auckland — the single-channel Yejiang/The Nightman Cometh, 2011, inspired in part by Federico Fellini’s 1963 film 8½; and the film noir drama The Fifth Night, 2010, shot using seven cameras simultaneously. Seen together in Filmscapes, the three works provided an in-depth view of this important Chinese artist’s evolving practice. For the first time in our exhibition history the interpretation inside the gallery space was presented in Chinese and English. This bilingual approach was popular with visitors and meant that the artist’s inspiration and many cultural and political references were accessible to the majority of visitors. Journalists took the opportunity to interview Yang while he was in New Zealand for the exhibition opening, and a number of print articles were published in both Chinese and English. An image-rich bilingual publication, co-published with ACMI, included an interview with the artist and a curatorial essay.

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Yang Fudong The Coloured Sky: New Woman II, 2014 (installation details) five-channel video installation, HD colour video, sound courtesy of Yang Fudong; ShanghART Gallery (Shanghai, Bejing, Singapore); and Marian Goodman Gallery (New York, Paris, London) right

Yang Fudong Yejiang/The Nightman Cometh, 2011 (installation details) single-channel video installation, 35mm black-and-white film transferred to HD video, 5.1 surround sound courtesy of Yang Fudong; ShanghART Gallery (Shanghai, Beijing, Singapore); and Marian Goodman Gallery (New York, Paris, London) overleaf

Yang Fudong The Fifth Night, 2010 (installation view) seven-channel video installation, 35mm blackand-white film transferred to HD video, sound courtesy of Yang Fudong; ShanghART Gallery (Shanghai, Beijing, Singapore); and Marian Goodman Gallery (New York, Paris, London)

Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2016

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

Necessary Distraction: A Painting Show was an ambitious exhibition of largely abstract works by 19 emerging and mid-career New Zealand painters. It wrestled with the question: How can painting retain our and its own faith in the post-internet 21st century? Showing new and specially commissioned artwork the exhibition conveyed the way painters are using the medium’s flexibility to push against accepted ideas about what painting is and express its ongoing relevance and potency. To reference and complement the provisional nature of the painting at the core of the project, the Gallery’s Design team devised an exhibition that appeared deliberately unfinished or deconstructed, and which created discrete yet connected spaces for the artists’ suites of work. This design also reflected a theme of the exhibition — painting’s move away from concerns about cogency in depicted historical subject matter to deliberate, sought-after irresolution.

Near the end of the exhibition’s showing, with the help of generous supporters, we published a substantial, highly illustrated catalogue. The 224-page publication reproduces the more than 100 artworks in Necessary Distraction. Its first pages —a series of beautiful, clean installation views — convey the exhibition experience and will continue to allow readers to make meanings from the artworks’ juxtapositions long after the show’s deinstallation. Texts by the curator and three writers who contributed to the exhibition’s development extend the interpretation and suggest possible future directions for the painting medium — and for painting exhibition making.

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Necessary Distraction: A Painting Show (installation view)

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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Necessary Distraction: A Painting Show (installation views) left

Adrienne Vaughan Flug, 2013 oil and enamel on canvas courtesy of the artist and Anna Miles Gallery top right

Patrick Lundburg No title, 2015 (detail) acrylic, gesso and varnish on wood, 24 parts commissioned by Auckland Art Gallery Toi o TÄ maki, 2015 courtesy of the artist, Robert Heald Gallery and Ivan Anthony overleaf

Necessary Distraction: A Painting Show (installation view)

Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2016

Wunderrūma: New Zealand Jewellery 18 July – 1 November 2015

The title of this exhibition combines the German word Wunder (wonder) with the Māori word rūma (room) and evokes an Aotearoa-themed treasure box. And that was exactly what visitors found when they entered Wunderrūma: New Zealand Jewellery, a touring exhibition from the Dowse Art Museum in Lower Hutt. Curated by two of New Zealand’s leading contemporary jewellers, Warwick Freeman and Karl Fritsch, Wunderrūma presented work by the country’s most esteemed jewellery makers alongside carefully selected artworks from the Gallery’s collection, taonga Māori (Māori treasures) and Pacific and historical European jewellery.

The inclusion of paintings, sculptures, drawings and photographs from the Gallery’s collection encouraged visitors to consider the creative synergies between art and jewellery making. By grouping the jewellery pieces and artworks in themed ‘clumps’ — a term the curators borrowed from biology which describes the action of a species clustering together for mutual benefit — attention was drawn to an evolving conversation about the nature of adornment, particularly the way certain materials influence creativity, providing both anchors to tradition and points of inventive departure.

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Wunderrūma: New Zealand Jewellery (installation views) opposite left

Bob Mitchell Owl Ring, 2013 broken hammer handle courtesy of the artist opposite right

Lisa Walker Pendant, 2007 plastic, paint courtesy of the artist

Adorned Histories 30 January – 25 September 2016

Combining jewellery, a musical instrument and traditional Māori weapons created by contemporary maker Rangi Kipa with the lifelike portraits and genre paintings of Gottfried Lindauer, Adorned Histories illustrated the way Māori communicate cultural positions and show personal expression through body adornment practices. Lindauer’s portraits of Māori leaders and revered rangatira (chiefs) offer a rich record of the status and importance of people in Māori society. The esteem of the sitters depicted by Lindauer is signalled by the objects they hold and their body adornment, with the striking tā moko (facial tattoos) worn by some sitters

and the kākahu (woven cloaks) draped around their shoulders being two examples. Armaments also denoted the prestige of people, as did jewellery. From handheld weapons such as the mere pounamu (greenstone club) and taiaha (long fighting staff) to huia feathers, heitiki (pendants) and mako (shark tooth) ear lashings, items carried and worn signal rank and communicate whakapapa (lineage). The beauty of objects such as these and the skill required in their making is clear from Lindauer’s paintings, and in Adorned Histories was emphasised by the presence of Kipa’s remarkable contemporary interpretations.

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Adorned Histories (installation view)

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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Rangi Kipa Hakawai (Karanga manu — Bird Caller), 2015 sperm whale tooth, paua shell inlay, waxed nylon thread Private collection courtesy of the artist below

Gottfried Lindauer The Tohunga-ta-moko at Work oil on canvas Auckland Art Gallery Toi o Tāmaki gift of Mr H E Partridge, 1915 opposite top

Adorned Histories (installation view) opposite bottom

Rangi Kipa Patiti, 2011 repurposed colonial steel head, whalebone, paua shell inlay, sterling silver courtesy of the artist

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Hole of Yellow Archipelago / Limbo 5 September 2015 – 31 July 2016 / 2 December 2015 – 8 January 2017

The Gallery joined forces with contemporary New Zealand artist Judy Darragh, AUT University’s TurnSpace Collective and students from Balmoral Primary School to create the innovative, inventive and highly interactive Todd Creative Learning Centre installation Hole of Yellow Archipelago. Our Learning Programmes team and Darragh worked closely with a class of Year Four students in a series of creative workshops. Their drawings and models from the sessions were then interpreted by the TurnSpace Collective, and ideas were developed to create an imaginative parallel world in the Creative Learning Centre. Collaboration continued when Gallery visitors entered the space and themselves transformed the environment with creative play.

The immersive installation took its lead from Darragh’s vivid, multi-layered aesthetic, and shares her artwork’s alluring sense of fun and use of everyday materials with pop cultural references. Nine months after its September 2015 opening it had attracted 100,000 participants, clearly indicating the success of the ‘made for kids by kids’ design approach. The project was also a finalist in the Installation category of the 2016 Interior Awards. Following the opening of Hole of Yellow Archipelago we installed a large commissioned work by Darragh in the North Atrium, adjacent to the Creative Learning Centre. Limbo, consisting of a collection of massive bejewelled and brightly painted ‘space rocks’, brought Darragh’s signature ‘kitchen sci-fi’ into one of the Gallery’s most used spaces and created a vibrant extension of the fun taking place in the Creative Learning Centre.

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Hole of Yellow Archipelago (installation view)

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Hole of Yellow Archipelago (installation views) opposite

Judy Darragh Limbo, 2015 (installation detail) plywood, aluminium foil, sprayed polyurethane foam, adhesion promoter spray coating, florescent spray paint, plastic costume gems, adhesive, plate steel, steel cable and fixings Commissioned by Auckland Art Gallery Toi o TÄ maki Sponsored by Auckland Contemporary Art Trust, 2015

Auckland Art Gallery Toi o TÄ maki / Art & Ideas 2016

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John Weeks: Art in the Archive (installation view) below

John Weeks: Art in the Archive / Teststrip: Nostalgia for the Avant-garde

Teststrip: Nostalgia for the Avant-garde (installation view)

14 August –10 December 2015 / 11 December 2015 –28 April 2016

Exhibitions created from the E H McCormick Research Library’s archives are staged to align with shows on display in the main gallery spaces and to allow visitors access to select archival material. John Weeks: Art in the Archive and Teststrip: Nostalgia for the Avant-garde are two recent examples. The John Weeks Archive consists of paintings and drawings produced in various media, some fine and finished, others preparatory in nature. Items selected for Art in the Archive included personal articles, such as Weeks’ World War I identity tags, sketches based on the Golden Section and a pencil study towards the oil painting, Study for Composition, 1929 — one of a number of Weeks’ artworks on display in the concurrent exhibition Freedom and Structure: Cubism and New Zealand Art 1930 –1960.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Teststrip was a germinal artist-run space, open and active for five years from 1992. Founded by a group of Auckland artists — Judy Darragh being one — and located in Vulcan Lane then Karangahape Road, it staged exhibitions, held performances and produced a series of publications called the Teststrip Micrographs. The ephemera, collages, photographs and publications selected for display in Nostalgia for the Avant-garde, timed to coincide with Hole of Yellow Archipelago and Limbo, offered an intriguing snapshot of Teststrip’s activities and a glimpse into the milieu that influenced Darragh’s art.

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Frances Hodgkins Red Jug, 1931 oil on canvas Auckland Art Gallery Toi o Tāmaki purchased 1982 opposite top

Frances Hodgkins: Forgotten Still Life 22 August 2015 – 21 August 2016

The latest in the Gallery’s series of conservation exhibitions, Frances Hodgkins: Forgotten Still Life revealed the skilled work involved in the restoration of Still Life: Anemones and Hyacinths, circa 1925, and provided a detailed insight into the expatriate artist’s stilllife painting. Using oil and gouache Frances Hodgkins experimented with the still-life genre, incorporating architectural and natural features to create paintings that were progressively abstracted. Loaned works complemented oil paintings and watercolours from the Gallery’s collection, and a vitrine containing selected items from the Auckland Art Gallery Conservation Research Centre Collection showed the unusual technique Hodgkins used when she painted Still Life: Anemones and Hyacinths.

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Frances Hodgkins Still life: Anemones and Hyacinths, 1925 oil on canvas Auckland Art Gallery Toi o Tāmaki purchased 1956 opposite bottom

Frances Hodgkins: Forgotten Still Life (installation view)

An e-publication was produced which detailed the conservation treatment of the painting. The conservation work and research for this exhibition is part of a larger Frances Hodgkins research project being undertaken by the Gallery, which will culminate in an online catalogue raisonné, a publication and a large-scale exhibition.

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The Story of Rama: Indian Miniatures from the National Museum, New Delhi

Guler style, Pahari The Great Battle between Rama and Ravana, circa 1780 opaque watercolour on paper National Museum, New Delhi, India

5 September 2015 – 17 January 2016 The intricate beauty and powerful storytelling capacity of Indian miniature painting was evident in fine detail in this touring exhibition from India’s National Museum. One hundred and one artworks from the early 17th to mid-19th centuries revealed the rich diversity of regional painting styles and illustrated the Ramayana — one of the world’s great epics. Named after Rama, the story’s hero, the Ramayana dates from 5th to 4th centuries BC and is a tale of love, loyalty, betrayal and, ultimately, the victory of good over evil. The Story of Rama filled the upper level of the Gallery’s historic wing and adjacent spaces. Aligning with the tale’s chapters and key narrative moments, the exhibition was divided into seven sections which, for visitors wanting the suspense of an unfolding narrative, were best experienced in sequence. Meticulous labels written by one of the Gallery’s curators following research into the regional

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

painting styles of India, and the Ramayana itself, helped unlock the action depicted and convey aspects of an art history rarely discussed in New Zealand. Throughout the day the gallery spaces were filled with people engaged in lengthy visits as they pored over the paintings and digested their descriptions to follow the hero Rama’s fate. Diwali, the Hindu festival of lights, was celebrated in Auckland while The Story of Rama was on display, and the Gallery opened its doors to festival goers through a programme of related events. In addition to fostering new associations with the Indian communities of Auckland, the exhibition has also helped the Gallery forge a connection with India’s National Museum. A contemporary Māori art exhibition is in development at the Gallery for exhibition at the National Museum, New Delhi, in August 2017.

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The Story of Rama: Indian Miniatures from the National Museum, New Delhi (installation views) left

Basholi style, Pahari The Portrait of Rama, circa 1730 opaque watercolour and gold on paper National Museum, New Delhi, India

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Len Casbolt’s Photography: From Soft Focus to Sharp Vision 6 February – 21 August 2016 New Zealand photographer Len Casbolt was, by the 1950s, one of the country’s leading camera artists. This exhibition, drawn from the Gallery’s extensive holdings of the artist’s work, showed the way Casbolt’s style changed following inspiration from overseas movements, seen particularly in the pictorialism which characterised his work in the 1930s, and the cooler, modernist quality of his 1950s compositions. The almost 80 photographs on display in the exhibition not only provided an important account of the evolution of photographic practice and the professionalism of the craft in New Zealand, but previously unknown information about the images was uncovered during research for the exhibition and after it opened to the public. On the Gallery’s Facebook page the photograph Family Group, 1956 (opposite), was posted with a request for people to help identify the five sitters. After being shared 1575 times on the social media site, whānau (family) of the sitters contacted the Gallery. A story by current affairs programme Seven Sharp saw a Gallery curator travel to Rotorua to meet relatives of the people in Family Group and learn about the moving life stories behind the photograph.

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Len Casbolt Family Group, 1956 gelatin silver print Auckland Art Gallery Toi o Tāmaki purchased 2010 above

Descendants of the people depicted in Family Group, Rotorua 2016

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Len Casbolt’s Photography: From Soft Focus to Sharp Vision (installation view)

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

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Gallery publishing 2015–16

Publications

Books are tireless agents of ideas. They circulate in the world — whether as traditional hardcopies which you hold and engage with, shelve and return to, or now, in the digital age, as e-publications that can be read on any screen anywhere. The Gallery’s publishing this year reflected our commitment to making sure that the research underpinning our exhibitions finds its way to people beyond the building’s walls. Producing two bilingual books in the world’s three most spoken languages was important in expanding our audiences and building regional networks. The first of these, Yang Fudong: Filmscapes, is a Chinese–English co-publication produced with the Australian Centre for the Moving Image (ACMI). Published on the occasion of an exhibition of the same name, the beautifully illustrated book conveyed the beguiling richness of Yang Fudong’s immersive film and video practice while offering insights into the cultural and political subjects he masterfully addresses in his art. Space to Dream: Recent Art from South America is the Gallery’s most ambitious bilingual book to date. Its six essays, by the exhibition’s co-curators, influential cultural critics and academics, were written in each contributor’s native language and then translated to produce Spanish and English versions of the texts. The book’s designers deftly used the project’s guiding idea of a Global South conversation — one which challenges the dominance of Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

the northern hemisphere in art discourse. The Spanish and English essays were presented in a design that removed any sense of hierarchy between the languages. Because of the book’s substantial Spanish quotient, it was possible for the Gallery to sell the title in South America, Mexico and Spain, where it works as an ambassador for our ideas and programming initiatives. The catalogue for Necessary Distraction: A Painting Show reproduced every work on display in the exhibition and captured the experience through a series of evocative installation images. Four different covers, each reproducing details of an artwork from the show, convey both the shared and singular qualities of the many paintings in Necessary Distraction. Along with Space to Dream, this catalogue was shortlisted for a Best Design Award. Another e-publication was added to those permanently available via the Gallery’s website. Frances Hodgkins: Forgotten Still Life outlined the extensive conservation treatment of Still Life: Anemones and Hyacinths, a painting which prior to this work was unable to be exhibited. The superbly produced co-publication Fiona Pardington: A Beautiful Hesitation showcased and celebrated the 30-year career of one of New Zealand’s pre-eminent photographers. This large-format, highly illustrated book is the most thorough investigation into Fiona Pardington’s oeuvre to date and proved to be a very popular souvenir of the exhibition it accompanied and extended.

TITLES PUBLISHED BY AUCKLAND ART GALLERY Necessary Distraction: A Painting Show Space to Dream: Recent Art from South America Still Life: Anemones and Hyacinths (e-publication) TITLES CO-PUBLISHED Yang Fudong: Filmscapes (with ACMI, Melbourne) Fiona Pardington: A Beautiful Hesitation (with Victoria University Press, Wellington, City Gallery Wellington and Baker+Douglas)

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Exhibition Summary

THE GALLERIES 6 Jul 2015–6 Apr 2016 John Reynolds: Epistomadologies Curator: Natasha Conland 18 Jul –1 Nov 2015 Wunderrūma: New Zealand Jewellery Curators: Warwick Freeman & Karl Fritsch 18 Jul –1 Nov 2015 Inside Outside Upside Down: Five Contemporary New Zealand Artists Curator: Natasha Conland

22 Aug 2015–21 Aug 2016 Frances Hodgkins: Forgotten Still Life Curators: Sarah Hillary, Catherine Hammond & Caroline McBride 5 Sep 2015 –17 Jan 2016 The Story of Rama: Indian Miniatures from the National Museum, New Delhi Touring exhibition: National Museum, New Delhi 26 Sep 2015 –25 Jan 2016 Yang Fudong: Filmscapes Curators: Ulanda Blair (Australian Centre for the Moving Image), Zara Stanhope (Auckland Art Gallery)

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24 Oct 2015–5 Jun 2016 John Ward Knox: Hardly Held Lightly Curator: Natasha Conland 28 Nov 2015–28 Mar 2016 Necessary Distraction: A Painting Show Curator: Natasha Conland 2 Dec 2015–8 Jan 2017 Limbo Curator: Natasha Conland 12 Dec 2015 –24 Jul 2016 Honoré Daumier: Mirror to the World Curator: Mathew Norman 12 Dec 2015 –21 Aug 2016 Yuki Kihara and John Pule Curator: Ron Brownson

30 Jan –25 Sep 2016 Adorned Histories Curator: Nigel Borell 6 Feb –21 Aug 2016 Len Casbolt’s Photography: From Soft Focus to Sharp Vision Curator: Ron Brownson 5 Mar–19 Jun 2016 Fiona Pardington: A Beautiful Hesitation Touring exhibition: City Gallery Wellington 7 Mar 2016–ongoing New Zealand Art: Insights & Connections Curators: Nigel Borell, Ron Brownson, Natasha Conland, Emma Jameson, Zara Stanhope, Julia Waite

7 May –18 Sep 2016 Space to Dream: Recent Art from South America Curators: Beatriz Bustos Oyanedel & Zara Stanhope E H MCCORMICK RESEARCH LIBRARY 14 Aug–10 Dec 2015 John Weeks: Art in the Archive Curators: Caroline McBride & Julia Waite

TODD FOUNDATION CREATIVE LEARNING CENTRE 5 Sep 2015–31 Jul 2016 Hole of Yellow Archipelago In collaboration with Judy Darragh, AUT University’s TurnSpace Collective and students from Balmoral Primary School, Auckland Project manager: Meg Nicoll

11 Dec 2015–28 Apr 2016 Teststrip: Nostalgia for the Avant-garde Curators: Catherine Hammond & Caroline McBride

Acquisition Highlights

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Dan Arps Gutter Witch (Linda’s Sunset), 2015 polyurethane, paint, grout, clear acrylic, epoxy Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 below

Oscar Enberg Imagination Dead Imagine (lilt for tenor and Jean Arp electric guitar), 2015 brass, bronze, copper-plated, powder-coated, rusted steel flue, stainless steel cowl, hand-woven willow, wrought iron, custom electric guitar (Fijian kauri, mahogany, rosewood, paua shell veneer) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Photo: Alex North opposite

Julia Morison Headcase 24, 2015 glazed stoneware Auckland Art Gallery Toi o Tāmaki purchased 2015

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Kate Newby Mr + Mrs Hands, 2014 (installation detail) fired porcelain, earthenware and stoneware, hand-formed glass, table, ink on paper Auckland Art Gallery Toi o Tﾄ［aki purchased 2015 left

Daniel Malone Titirangi Apocrypha, 2015 (detail) mixed media Chartwell Collection Auckland Art Gallery Toi o Tﾄ［aki purchased 2015 opposite

Gavin Hipkins Erewhon: The Book of the Machines, 2014 (video stills) single-channel video, HD, colour, sound Auckland Art Gallery Toi o Tﾄ［aki purchased 2015

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Yuki Kihara A Study of a Samoan Savage: Nose Width with Vernier Calliper, 2015 c-type print Auckland Art Gallery Toi o Tﾄ［aki gift of the Patrons of the Auckland Art Gallery, 2015 below

Studio of Hobbema, Meindert Hobbema Woodland Scene, 17th century oil on canvas Auckland Art Gallery Toi o Tﾄ［aki purchased 2015 opposite

Martin Creed Work No. 2575, 2015 dual-channel digital video, colour Auckland Art Gallery Toi o Tﾄ［aki on loan from the Thanksgiving Collection

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Michael Parekowhai The Past in the Present, 2013 (detail) bronze parts, paint, carpet, golf balls Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015 above

Marco Fusinato The Infinitive 4, 2015 white UV halftone ink on black aluminium Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 left

Fanny Osbourne Maikuku, a Ground Orchid — Thelymitra longifolia, late 19th century–early 20th century watercolour on paper Mackelvie Trust Collection Auckland Art Gallery Toi o Tāmaki bequest of Mrs S M M Nicol, 2015

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Billy Apple® Billy Apple Bleaching with Lady Clairol Instant Crème Whip, November 1962 1962/2004 (printed) gold-toned silver gelatin print with screen-printed text Auckland Art Gallery Toi o Tāmaki purchased 2015 below left

Gordon Walters Untitled 17 Mar 1955 gouache Auckland Art Gallery Toi o Tāmaki purchased 2015 below

James Cousins plate.3 (Strip), 2015 oil and acrylic on canvas Auckland Art Gallery Toi o Tāmaki purchased 2016 opposite

Hiroshi Sugimoto Lightning Fields 220, 2009 gelatin silver print Auckland Art Gallery Toi o Tāmaki gift of the Auckland Contemporary Art Trust, 2015 © Hiroshi Sugimoto, courtesy Pace Gallery

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Francis Upritchard Big Bowl, 2012 modelling material, foil, paint Auckland Art Gallery Toi o Tāmaki purchased 2015 Courtesy of the artist and Kate MacGarry, London

Mark Adams Nine Fathoms Passage — 27. 6. 2014 – 1. 7. 2014 After William Hodges 'Waterfall in Dusky Bay with a Maori Canoe, 1775 –7’, 2015 c-type prints Auckland Art Gallery Toi o Tāmaki purchased 2016

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Melvin Day Still Life with Scottish Thistles, 1955 oil on board 1290 x 1020 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015

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Jeena Shin Motus III, 2014 acrylic on canvas Auckland Art Gallery Toi o Tāmaki purchased 2015

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Secundino Hernández Untitled, 2015 acrylic, oil and alkyd on canvas Auckland Art Gallery Toi o Tāmaki gift of Richard and Angela Seton through the Auckland Art Gallery Foundation, 2015 left

Rita Angus Mother and Child, 1945 oil on canvas Auckland Art Gallery Toi o Tāmaki purchased with assistance of The Ilene and Laurence Dakin Bequest, 2015 above

For a full list of acquistions, see pp 117–123 Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Diena Georgetti COMMUNITY of the People/ Nordic, 2015 acrylic on canvas Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Research & Learning

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Items from the John B Turner Archive

E H McCormick Research Library

The Research Library is a vital, ever-growing resource for Gallery staff, academics and members of the public, and its unique holdings include over 30,000 books, 4000 artist files and close to 160 archives. Complementing the Library’s physical collections are its digital, website and publication projects, which extend information access to people outside the Gallery. This year the Library received almost 7000 visits and enquiries and just over 3700 items were added to its collection. The Library team continued to progress ongoing projects this past year, including its e-files initiative which involves the creation of e-ephemera archives — fixing short-lived material for future consideration. Work done this year on the Gallery’s Frances Hodgkins Project, which will culminate in an online catalogue raisonné, a large-scale exhibition and a publication, included the digitisation of a collection of postcards from places Hodgkins visited and painted, and over 250 biographical photographs gifted by art historian Linda Gill.

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One of the Library’s richest resources is its archives. These crucial information assets preserve many otherwise ephemeral objects of historical significance and contain the kinds of primary material that researchers need in order to produce ground-breaking work. This year a substantial gift from John B Turner, an academic, practising photographer and founding member of PhotoForum, was accessioned into the archives. The John B Turner Archive tells the story of one man’s working life and points to the cultural and societal changes that took place over that time. It includes over 1200 files he created about New Zealand and international photographers and photography, correspondence with artists, vintage prints, information relating to PhotoForum, and ephemera connected with his activism, including copies of letters he sent during the campaign to make New Zealand nuclear-free. For researchers interested in understanding and contextualising the history of New Zealand photography during a period of technological advancement and worldwide cultural change, the John B Turner Archive offers an encyclopaedia of possibilities.

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Paris, Le Tour Eiffel, circa 1920 hand-coloured postcard Private collection below

E H McCormick Research Library right

Frances Hodgkins at St Valery-sur-Somme, 1912 sepia-toned photographic print E H McCormick Papers, E H McCormick Research Library Auckland Art Gallery Toi o Tāmaki gift of Linda Gill

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Conservation Research Centre

The Gallery’s Conservation team is responsible for the care of our artworks — just over 16,000 paintings, works on paper, sculptures, installations, digital artworks and more. The team consists of specialists who focus on specific media, performing conservation work and carrying out research which supports exhibition making. Highlights of this past year’s endeavours are two painting conservation projects, both carried out on works of considerable size. Research by a Gallery curator revealed the true artist of a painting in our collection — the important 19th-century English painter Frederic Leighton. Leighton is renowned for the decorative and symbolically informative nature of his artwork. He studied in Florence and Frankfurt, and in the latter place was taught by Nazarene painter Edward von Steinle, whose emphasis on the translucency of the painted image influenced Leighton’s style. It was to regain this translucency that the conservation of A Dream, 1859–60 was undertaken. The conservators removed the discoloured varnish coating the painting and replaced losses — small patches on the canvas where paint is missing. After the work was complete more detail in the painting was visible, allowing further curatorial research to be undertaken. The findings of this and the

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story of the painting’s identification and provenance was published in the highly prestigious art history journal The Burlington Magazine in January 2016. Additional research was conducted into the artwork’s original frame and a beautiful replica was created for the painting by Manawatu Museum Services. The second significant conservation project, for which AUT University provided financial support, was carried out on a painting almost two meters in height and close to four metres long. The Victorian painter William Calderon’s arresting On the Sea-Beat Shore, Where Hardy Thracians Tame the Savage Horse, 1905 had suffered losses and cracking to its surface, probably due to being rolled up and stored at some stage during its life and travels. These were attended to, the surface was cleaned and the massive canvas was re-stretched. Three blogs on the Gallery’s website describe the work required and illustrate the painting’s remarkable transformation.

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Painting conservator cleaning A Dream, 1859–60 opposite

Frederic Leighton A Dream, 1859–60 oil on canvas Mackelvie Trust Collection Auckland Art Gallery Toi o Tāmaki purchased 1925

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Detail of the damaged On the Sea-Beat Shore, Where Hardy Thracians Tame the Savage Horse, 1905 left

Painting conservators treating the artwork opposite

Detail of the painting after conservation

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Secondary school students taking part in a Schools programme overleaf

Outreach, Schools & Visitor Programmes

Our Outreach Programmes create new and strengthen existing connections and dialogues between communities and the Gallery. We focus on underrepresented groups and collaborate with community networks, particularly those with whom we share the goal of creating meaningful engagements with art. Established in 2013, the Outreach Programme has now diversified to include professional internships, art making, artist talks and other events, both in the Gallery and offsite. The Internship Programme is an especially important component of our outreach.

Participants in the Gallery’s pilot programme with the Blind Foundation

institution located between Auckland’s CBD and the outer suburbs. The programme has resulted in first-time visitors enjoying bespoke tours in the Gallery by interns, and seen interns going out into the community and delivering programmes — taking art and ideas out of the Gallery and into Auckland’s diverse communities.

Launched in 2015, the Internship Programme began as a partnership between the Gallery and Manukau Institute of Technology (MIT). It consists of placements for MIT students undertaking professional and community practice modules in their degrees. Because of MIT’s location in Manukau, the heart of the largest Polynesian population in New Zealand, and the fact that it has a high level of attendance by Pasifika and Māori students, the partnership perfectly aligns with Outreach’s ambition to develop engagement with Pacific and Māori visitors.

Another innovative endeavour, the Visual Text Partnership Project, was created by our Schools team in collaboration with The University of Auckland and Tangaroa College. The project employs community resources — in our case the Gallery’s exhibitions and teaching team — to open students’ minds to new ways of thinking about creativity. The importance of this project lies in its focus on equipping students for a life of creative participation in our unpredictable and rapidly changing world, where originality and the ability to develop new perspectives is vital to real engagement and success. Using art to unlock creativity and encourage lateral thinking, this teaching approach delights students at the same time as educating them.

Selected students travel into the Gallery every week to learn about the work carried out by our different departments. The Gallery’s Outreach team programmer helps the interns to create projects that focus on particular groups within their local communities and which utilise each intern’s skills to meet the needs of the chosen group. This internship model has been successfully replicated with Unitec Institute of Technology, another tertiary

Every year thousands of people are welcomed into the Gallery by the Schools and Visitor Programmes teams, and this year was no different. A packed and lively programme of structured teaching and public events saw the Gallery filled with people of all ages attending floor talks, participating in studio art-making activities and school visits, enjoying seminars, film screenings and live performances. 99

Secondary school students being taught in Necessary Distraction: A Painting Show above

School students in Grand Designs after their lesson right and opposite

Safari Mums playgroup programme for new migrant mothers and preschoolers visiting Te Noho Kotahitanga Marae, Unitec

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Marketing & Communications

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The new Membership pack designed by Marketing opposite bottom

The Gallery’s new website design left

An article about the Gallery’s call-out for lost Lindauer paintings, published in The New Zealand Herald

An important thread in our work is engaging with communities outside the Gallery, and the Marketing team plays an important role in that. As part of their day-to-day work they advertise our exhibitions and public programmes, garner publicity and critical responses to our shows, and manage what is among the Gallery’s most potent marketing tools — the website. Following an extensive design and content development process, the Marketing team launched our new website in December 2015. Its enhanced features include mobile responsiveness — the site now adapts display depending on the device being used to view it; a collection search option that allows you to explore information from our extensive archives; the option to share pages to social media sites; and embedded videos. These features, combined with the new fresh and open feel of the design, have transformed the website into a space that provides meaningful interactions with the Gallery from anywhere in the world.

This was applied across print materials, signage, products, online communications and more, and helps to ensure that these supporting groups are recognisably related to the Gallery. In addition to the television and social media publicity gained for the Len Casbolt exhibition, a story about work being done in preparation for the Gallery’s summer 2016/17 Gottfried Lindauer exhibition was published on the Guardian newspaper’s website, featured on television news, in regional press across the country and on National Radio. The story, a call-out for ‘lost Lindauer paintings’, resulted in 46 Lindauer paintings being brought to the attention of the Gallery, six of which will be featured in the exhibition.

The creation of graphic identities for the Gallery’s exhibitions and the design of publicity materials is also carried out by our Marketing team. This year, with the establishment of the Advancement division, the team extended the Gallery’s brand by developing a cohesive visual style for the ‘family’ of Contemporary Benefactors, Foundation, Members and Patrons.

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Advancement & Partners

The Advancement team was established in August 2015 to develop an agile and strategic approach to revenue generation and fundraising for the Gallery. The team’s endeavours focus on the Gallery’s Foundation, Membership and Sponsorship, but they also work with other supporter groups to achieve the shared goal of realising the Gallery’s important cultural mandate. This first year has seen outstanding results. We have created new brand identities for our supporter groups, inaugurated a Membership programme that provides novel ways for art-interested people to engage with the Gallery’s programmes, and launched the newly purposed Foundation — the philanthropic platform charged with building an endowment and supporting the Gallery.

AUCKLAND ART GALLERY FOUNDATION The Foundation is passionate about the value of art and the power of creative thinking, and is committed to building a legacy for future generations by supporting the Gallery’s work. Providing philanthropic support helps to ensure that the Gallery remains the leading visual art museum in New Zealand and benefits Aucklanders, other New Zealanders and our many international visitors. Donations to the Foundation made the Gallery’s building redevelopment possible. That project was completed in 2011 when the expanded Gallery reopened. The focus now has shifted to providing support in a range of areas including exhibitions, acquisitions, publications, research, conservation, learning and outreach programmes. PATRONS OF THE GALLERY Under the leadership of Dayle, Lady Mace, the group’s chairperson, the Patrons of the Gallery continue to work with the Gallery’s curatorial team and support our contemporary New Zealand art collection and programmes. Established in 1987, to date the Patrons have contributed in excess of $1,000,000 to acquisitions. Their assistance in the crucial area of collection development helps us to present high-calibre exhibitions.

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Foundation Chair Andrew Smith, artist Judy Millar and Auckland Art Gallery Director Rhana Devenport at the unveiling of Millar’s commission for the South Atrium

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CONTEMPORARY BENEFACTORS

MEMBERSHIP

SPONSORSHIP

The Contemporary Benefactors group was established in 2013 as a new tier of philanthropic support for contemporary New Zealand and international art at the Gallery. The Benefactors’ programme consists of a wide variety of exhibition and behind-the-scenes talks, studio visits and collection tours both in New Zealand and abroad. In conjunction with curatorial staff, an energetic committee chaired by Charlotte Swasbrook manages the Contemporary Benefactors. Highlights of the past year’s programme include a private evening discussion with artist Lisa Reihana in the exhibition in Pursuit of Venus [infected], a cocktail evening launch of John Ward Knox’s sculpture commission and a special preview of the large-scale summer exhibition Necessary Distraction: A Painting Show.

In May 2016 we launched our new membership programme with an inaugural Members Preview Day which coincided with the opening of Space to Dream: Recent Art from South America. By the end of June we had signed up just over 1000 new Members. Since launching, close to 500 Members have enjoyed bespoke events, highlights of which include a talk and book signing by Fiona Pardington, panel discussion of Walters Prize finalists Joyce Campbell, Nathan Pohio, Lisa Reihana, and Shannon Te Ao with Natasha Conland, Curator, Contemporary Art and an introduction to Space to Dream by co-curators Beatriz Bustos Oyanedel and Dr Zara Stanhope.

Partnering with corporate entities, tertiary institutions, private benefactors, donors and sponsors provides the Gallery with streams of tiered support. Identifying and building on synergies between the Gallery and its sponsors reinforces our role as a cultural leader by opening new avenues through which we can share art and ideas.

Membership would like to thank its partners: Rialto Cinemas Newmarket and Mojo Café

Premier Corporate Partner EY University Partner AUT university Supporting Partners Resene Pullman Hotel and Resorts Villa Maria Epic Videopro Chow:Hill Architects Walters Prize Benefactors, Donors and Sponsors Erika and Robin Congreve, Principal Donors Dame Jenny Gibbs, Principal Donor Dayle, Lady Mace, Major Donor Charlotte and Christopher Swasbrook, Major Donors Maison Vauron, Walters Prize Dinner sponsor

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Sponsorship and collaborations are crucial to the successful delivery of our exhibitions, symposia and research publications. We would like to thank: Resene, The University of Auckland Elam School of Fine Arts, Glenn and Sonja Hawkins, Roger and Jo Wall, James Searle Trust for Necessary Distraction: A Painting Show. EY, AUT University, Air New Zealand, Ministry of Foreign Affairs and Trade, Auckland Art Gallery Foundation, the Embassy of Brazil, Creative New Zealand, Auckland Art Gallery Contemporary Benefactors, Sue Fisher Trust, John and Jo Gow, and Davis Trading for Space to Dream: Recent Art from South America. Regional Facilities Auckland, Rajna Patel and Tarun Kanji for The Story of Rama: Indian Miniatures from the National Museum, New Delhi. EY, AUT University, Videopro and Australian Centre for the Moving Image, for Yang Fudong: Filmscapes. The Creative Thinking Project Partners University of Auckland, Auckland War Memorial Museum and Auckland Art Gallery Toi o Tāmaki

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The Auckland Art Gallery Foundation Launch and inaugural Annual Dinner, May 2016 left

Judy Millar Foundation DADA Dinner for AAG Foundation, 2016 (detail) archival print courtesy of the artist

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PURCHASES New Zealand

2015–16 Acquisitions

Mark Adams Nine Fathoms Passage — 27. 6. 2014 — 1. 7. 2014 After William Hodges ‘Waterfall in Dusky Bay with a Maori Canoe, 1775–7’ 2015 c-type prints 1200 x 11000 mm Auckland Art Gallery Toi o Tāmaki purchased 2016 Rita Angus Mother and Child 1945 oil on canvas 592 x 407 mm Auckland Art Gallery Toi o Tāmaki purchased with assistance of The Ilene and Laurence Dakin Bequest, 2015 Billy Apple® Billy Apple Bleaching with Lady Clairol Instant Crème Whip, November 1962 1962/ 2004 (printed) gold-toned silver gelatin print with screen-printed text 408 x 575 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 James Cousins plate.3 (Strip) 2015 oil and acrylic on canvas 1700 x 1500 mm Auckland Art Gallery Toi o Tāmaki purchased 2016 Gavin Hipkins Erewhon: The Book of the Machines 2014 Single-channel video, HD, colour, sound 26:38 min Auckland Art Gallery Toi o Tāmaki purchased 2015 Gavin Hipkins The Port 2014 Single-channel video, HD, colour, sound 17:24 min Auckland Art Gallery Toi o Tāmaki purchased 2015 Saskia Leek Untitled 2014 oil on board 580 x 470 mm Auckland Art Gallery Toi o Tāmaki purchased 2016 Para Matchitt Standing Figure — Warrior 1965 totara 775 x 240 x 180 mm Auckland Art Gallery Toi o Tāmaki purchased 2015

Julia Morison Headcase 03 2015 glazed stoneware and porcelain, wire 295 x 200 x 215 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Julia Morison Headcase 15 2015 glazed stoneware, oxidised iron filings 295 x 160 x 220 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Julia Morison Headcase 24 2015 glazed stoneware 310 x 165 x 190 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Kate Newby Mr + Mrs Hands 2014 fired porcelain, earthenware and stoneware, hand-formed glass, table, ink on paper variable dimensions Auckland Art Gallery Toi o Tāmaki purchased 2015 Jeena Shin Motus III 2014 acrylic on canvas 1800 x 2400 mm Auckland Art Gallery Toi o Tāmaki purchased 2016 Ngatai Taepa Tane Mahuta — Manos Nathan Legacy 2015 various timbers 1686 x 892 x 65 mm Auckland Art Gallery Toi o Tāmaki purchased 2016 Francis Upritchard Archer Plate 2012 modelling material, wire, paint 520 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Francis Upritchard Big Bowl 2012 modelling material, foil, paint 230 x 230 x 230 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 Gordon Walters Untitled 17 Mar 1955 gouache 310 x 245 mm Auckland Art Gallery Toi o Tāmaki purchased 2015

PURCHASES International Studio of Hobbema, Meindert Hobbema Woodland Scene 17th century oil on canvas 741 x 922 x 45 mm Auckland Art Gallery Toi o Tāmaki purchased 2015 GIFTS New Zealand Melvin Day Working Men’s Huts, Rotoiti circa 1947 oil on board 340 x 350 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Landscape, near Waiotapu 1948 oil on board 571 x 396 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Still life with Bottle, Fruit and Glass [Verso: Unfinished Landscape] 1948 oil on board 571 x 396 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Maori Meeting circa 1949 tempera on card 630 x 520 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Shenfield Common, Essex II 1949 oil on canvas laid on board 450 x 420 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Waimangu (Japanese Style) 1950 oil on board 530 x 615 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Factory Scene 1950 oil on paper 405 x 535 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015

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Melvin Day Cubist Still Life with Mandolin 1951 oil on board 650 x 620 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Still Life with Scottish Thistles 1955 oil on board 1290 x 1020 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Rehabilitation equipment 1955 oil on board 800 x 510 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Melvin Day Red Cliffs 1961 oil on canvas 830 x 805 mm Auckland Art Gallery Toi o Tāmaki gift of Melvin and Oroya Day, 2015 Yuki Kihara A Study of a Samoan Savage: Nose Width with Vernier Caliper 2015 c-type print 800 x 1000 mm Auckland Art Gallery Toi o Tāmaki, gift of the Patrons of the Auckland Art Gallery, 2015 Yuki Kihara A Study of a Samoan Savage: Subnasale-nasale Root Length with Vernier Caliper 2015 c-type print 800 x 1000 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015 Yuki Kihara A Study of a Samoan Savage: Bicep with Skinfold Calliper 2015 c-type print 680 x 1000 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015 Yuki Kihara A Study of a Samoan Savage: Subscapular with Skinfold Calliper 2015 c-type print 680 x 1000 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Yuki Kihara A Study of a Samoan Savage: Head with Pelvimeter 2015 c-type print 1000 x 800 mm Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015 Max Oettli BSA, High St, Auckland 1969 2001 {reprint} gelatin silver print 248 x 355 mm Auckland Art Gallery Toi o Tāmaki gift of the artist, 2014 Michael Parekowhai The Past in the Present 2013 bronze parts, paint, carpet, golf balls Auckland Art Gallery Toi o Tāmaki gift of the Patrons of the Auckland Art Gallery, 2015 Clive Stone Noel Stone, Orewa 1973 The Hibiscus Coast Project, Residents: Self Portrait from TV set: ‘Review’ Arts Programme 1973 The Hibiscus Coast Project, Residents: Noel Stone, Orewa 1973 The Hibiscus Coast Project, Residents: David Cooper, Whangaparaoa 1973 The Hibiscus Coast Project, Residents: Adele Stone and twin sister Beryl Radcliffe 1973 The Hibiscus Coast Project, Residents: Allan and Marjorie Minola, Whangaparaoa 1973 The Hibiscus Coast Project, Residents: Jenny Kidd, Silverdale 1973 The Hibiscus Coast Project, Residents: Gary Cooper, Whangaparaoa 1973 The Hibiscus Coast Project, Residents: Rose McGuire, Orewa 1973 The Hibiscus Coast Project, Residents: Shirley Barrett, Red Beach Road 1973 The Hibiscus Coast Project, Residents: Beryl Kirkwood, Red Beach Golf Course 1973 The Hibiscus Coast Project, Residents: John Willis, Orewa 1973 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Wreath circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Receding Hairline circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Hands Clasped circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Spotted Tie circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Glasses and White Hair circa 1975–88

The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With Striped Tie circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Two Veterans Sitting With Backs To Sun Umbrella circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Two Veterans Sitting With Backs To Barbeque Table circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran With White Hair In Front Of Cyprus Tree circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: St. Johns Ambulance Woman With Wreath circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Three Veterans With Hands Clasped circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran Couple Under Sun Umbrella circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Three Veterans in Car Park circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Bearded Veteran With Chairs circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran Couple in Carpark A circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran in Cardigan circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran Couple in Carpark B circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Balding Veteran circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran in Carpark circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran Under Sun Umbrella circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Two Veterans with Hands Clasped in Front circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Two Veterans in Carpark, One with Beer Glass circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran Leaning against Hurricane Fence circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran with Arms Folded Across Knee circa 1975–88 The Hibiscus Coast Project, ANZAC Day Veterans: Veteran with War Memorial circa 1975–88 The Hibiscus Coast Project, Residents: Rev Stephen Clark, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Julie Anstiss, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Margaret Stevenson, Silverdale Museum 1977

The Hibiscus Coast Project, Residents: Bruce (Jack) Williams, Red Beach Road 1977 The Hibiscus Coast Project, Residents: Judith, Bradley and Justine Hall, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Denis and Bette Cockerill, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Brian Murati, Orewa 1977 The Hibiscus Coast Project, Residents: Margaret Stevenson, Silverdale 1977 The Hibiscus Coast Project, Residents: Raye Green, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Charles Murati and Nicholas Steele, Orewa 1977 The Hibiscus Coast Project, Residents: Rod, Dianne, Patrick and Theresa Jenden, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Bernard and Joan Stone, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Ray Hall, Whangaparaoa 1977 The Hibiscus Coast Project, Residents: Leonie Horobin, Orewa 1977 The Hibiscus Coast Project, Residents: Star Simpson, Orewa 1978 The Hibiscus Coast Project, Residents: Gregory Horobin, Orewa 1978 The Hibiscus Coast Project, Residents: My parents’ living-room, Red Beach Road 1978 The Hibiscus Coast Project, Residents: Charles and Jennifer Wooton, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: John and Olga Murphy, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: William and Vernon Freeman, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Jan Pardington, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Hal Christian, Orewa 1978 The Hibiscus Coast Project, Residents: Ruth Aikin, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Pania Watling and her niece Tenille, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Wattie Watling Te Haara, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Lillian Johnson, Orewa 1978 The Hibiscus Coast Project, Residents: Cyril Stanford, Red Beach 1978 The Hibiscus Coast Project, Residents: Bob Claque, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Theresa and Corina Wakelin, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Marion Dixon, Orewa 1978 The Hibiscus Coast Project, Residents: Harry Holder, Orewa 1978 The Hibiscus Coast Project, Residents: Morris Stokes, Orewa 1978

The Hibiscus Coast Project, Residents: Marjorie Salter, Red Beach 1978 The Hibiscus Coast Project, Residents: Paul and Neil Pardington, Whangaparaoa 1978 The Hibiscus Coast Project, Residents: Gary and Ruth Walker 1978 The Hibiscus Coast Project, Residents: Phyllis Smith, Orewa 1979 The Hibiscus Coast Project, Residents: Ross Jenkins, Whangaparaoa 1979 The Hibiscus Coast Project, Residents: Bruce Hopper, Whangaparaoa 1980 The Hibiscus Coast Project, Residents: Joe Hodges, c. Whangaparaoa circa 1980 The Hibiscus Coast Project, Residents: Joe and Doreen Hodges, Orewa circa 1980 The Hibiscus Coast Project, Residents: Philip Jenkins, Orewa 1980 The Hibiscus Coast Project, Residents: Harry Stone with Triumph 2500, Red Beach Road 1981 The Hibiscus Coast Project, Residents: Harry Stone, 32 Red Beach Road 1981 The Hibiscus Coast Project, Residents: Ross Hemera, Whangaparaoa 1981 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Cap and Moustache 1982 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Grey Sideburns 1982 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Surf Skiff on Head 1982 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Towel Around waist 1982 The Hibiscus Coast Project, Campers and Lifesavers: Robert and Thea Muldoon, Hatfield’s Beach 1982 The Hibiscus Coast Project, Campers and Lifesavers: Robert and Thea Muldoon, Hatfield’s Beach (alternative) 1982 The Hibiscus Coast Project, Campers and Lifesavers: Woman on Red Beach 1982 The Hibiscus Coast Project, Campers and Lifesavers: Bearded Lifesaver Wearing Cap and Flotation Device 1982 The Hibiscus Coast Project, Campers and Lifesavers: Bearded Lifesaver Wearing Flotation Device 1982 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Muscular Arms Leaning on Surf Boat 1982 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Folded Arms Wearing Flotation Device 1983 The Hibiscus Coast Project, Campers and Lifesavers: Peeling Lifesaver 1983 The Hibiscus Coast Project, Campers and Lifesavers: Two Girls in Bikinis with Kitten 1983 The Hibiscus Coast Project, Campers and Lifesavers: Mouth of the Year Award 1983

The Hibiscus Coast Project, Campers and Lifesavers: Hirsute Lifesaver 1983 The Hibiscus Coast Project, Campers and Lifesavers: Frank Barnard Holding Can of Beer 1983 The Hibiscus Coast Project, Campers and Lifesavers: Man Leaning against Chevrolet Car 1983 The Hibiscus Coast Project, Campers and Lifesavers: Two Boys on Small Motorcycle 1983 The Hibiscus Coast Project, Campers and Lifesavers: Two Young Women with Canaries 1983 The Hibiscus Coast Project, Campers and Lifesavers: Family Group with Small Sun Umbrella 1983 The Hibiscus Coast Project, Campers and Lifesavers: Family Group with Large Sun Umbrella 1983 The Hibiscus Coast Project, Campers and Lifesavers: Stirrer and Mouth of the Year Award Winners 1983 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Sunglasses Sitting on Trailer 1983 The Hibiscus Coast Project, Campers and Lifesavers: Man in Camp Kitchen 1983 The Hibiscus Coast Project, Campers and Lifesavers: Woman with Silver Sandals 1983 The Hibiscus Coast Project, Campers and Lifesavers: Young Man in A Large Car 1983 The Hibiscus Coast Project, Campers and Lifesavers: Man with Eagle Tattoo 1983 The Hibiscus Coast Project, Campers and Lifesavers: Man in Caravan with TV 1983 The Hibiscus Coast Project, Campers and Lifesavers: Tattooed Man: “Tiger” 1983 The Hibiscus Coast Project, Campers and Lifesavers: Couple Barbequing Pipis 1984 The Hibiscus Coast Project, Campers and Lifesavers: Two Women on a Car 1984 The Hibiscus Coast Project, Campers and Lifesavers: Large Woman in Tent 1984 The Hibiscus Coast Project, Campers and Lifesavers: Man with Sunglasses Barbequing Steak 1984 The Hibiscus Coast Project, Campers and Lifesavers: Man with Barbeque and Shadow 1984 The Hibiscus Coast Project, Campers and Lifesavers: Group at a Barbeque 1984 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Spanner 1984 The Hibiscus Coast Project, Campers and Lifesavers: Mother and Small Son in Caravan with Two Electric Jugs 1984 The Hibiscus Coast Project, Campers and Lifesavers: Mother and Small Son in Caravan with Two Electric Jugs 1984 The Hibiscus Coast Project, Campers and Lifesavers: Body Builder with Two Sons 1984 The Hibiscus Coast Project, Campers and Lifesavers: Cyclist with Hikers Tent 1984 119

The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Flotation Device Sitting on Surf Boat 1984 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Flotation Device Sitting on Surf Boat 1984 The Hibiscus Coast Project, Campers and Lifesavers: Man with Outsized Sunglasses Barbequing Sausages 1984 The Hibiscus Coast Project, Campers and Lifesavers: Couple Leaving Caravan for Camp Kitchen 1984 The Hibiscus Coast Project, Campers and Lifesavers: Three Boys in Kitchen 1984 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Flag 1985 The Hibiscus Coast Project, Campers and Lifesavers: Young Lifesaver with Cap Around Neck 1985 The Hibiscus Coast Project, Campers and Lifesavers: Man in Caravan with TV And Electric Fan 1985 The Hibiscus Coast Project, Campers and Lifesavers: Woman in Caravan with Curlers and Cross-Word Puzzle circa 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver Holding Surf Skiff 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver Holding Surf Skiff 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Sandy Torso 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver Tying Cap 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Cap and Hands on Hips 1985 The Hibiscus Coast Project, Campers and Lifesavers: Mother and Daughter in Caravan 1985 The Hibiscus Coast Project, Campers and Lifesavers: Very Young Lifesaver 1985 The Hibiscus Coast Project, Campers and Lifesavers: Lifesaver with Mirrored Sunglasses 1985 The Hibiscus Coast Project, Campers and Lifesavers: Three Women Knitting in a Caravan 1985 The Hibiscus Coast Project, Campers and Lifesavers: Led Zeppelin Fan 1986 The Hibiscus Coast Project, Campers and Lifesavers: Woman in Camp Kitchen 1986 The Hibiscus Coast Project, Campers and Lifesavers: Girl Sitting Cross-legged with Striped Pants 1986 The Hibiscus Coast Project, Campers and Lifesavers: Woman in Bikini in Tent 1986 The Hibiscus Coast Project, Campers and Lifesavers: No. 98 and No. 99 1986 The Hibiscus Coast Project, Residents: Robert and Thea Muldoon, Hatfields Beach circa 1986 The Hibiscus Coast Project, Campers and Lifesavers: Woman with Sponge Bag 1986 Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

The Hibiscus Coast Project, Campers and Lifesavers: Young Woman Standing next to Tree Stump 1986 The Hibiscus Coast Project, Campers and Lifesavers: Woman with Bath-towel 1986 The Hibiscus Coast Project, Campers and Lifesavers: Two Boys in a Caravan 1986

Marco Fusinato The Infinitive 4 2015 white UV halftone ink on black aluminium 2500 x 6250 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

John Nixon Untitled (AUK) 2015 mixed materials on canvas 360 x 270 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Andrew Blythe Untitled 2015 Indian ink on paper 810 x 1040 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016

Stella Corkery Dog House 2015 oil on canvas 1300 x 940 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

silver gelatin prints dimensions variable Auckland Art Gallery Toi o Tāmaki gift of the artist, 2015

Diena Georgetti COMMUNITY of the People/Nordic 2015 acrylic on canvas 730 x 450 x 20 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

John Nixon Untitled 2015 enamel and mixed materials on canvas 470 x 350 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Andrew Blythe Untitled 2015 Indian ink on paper 810 x 1040 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016

Chris Corson-Scott Bulldozed Farmland in Albany 2014 archival pigment print 1350 x 1660 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Andrew Blythe Untitled 2015 acrylic on paper 810 x 1040 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016

Chris Corson-Scott Land Development Beside Waikumete Cemetery 2014 archival pigment print 1300 x 1590 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

GIFTS International Secundino Hernández Untitled 2015 acrylic, oil and alkyd on canvas 2090 x 1560 mm Auckland Art Gallery Toi o Tāmaki gift of Richard and Angela Seton through the Auckland Art Gallery Foundation, 2015 Hiroshi Sugimoto Lightning Fields 220 2009 gelatin silver print 1825 x 1525 mm Auckland Art Gallery Toi o Tāmaki gift of the Auckland Contemporary Art Trust, 2015 LONG-TERM LOAN Chartwell Trust (International) Hany Armanious Untitled 2015 dye on cut pile nylon carpet 1000 x 1600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 David Cox Sing Out Spring: Yiyili Country 2013 natural ochre and pigments on canvas 600 x 2000 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Martin Creed Work No. 2566 2015 acrylic on canvas 406 x 305 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Diena Georgetti COMMUNITY of the People/Bouquet 2015 acrylic on canvas 730 x 450 x 20 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Mabel Juli Garnkiny Ngarranggarni 2010 natural ochre and pigments on canvas 1200 x 1800 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Sister Corita Kent Words of Prayer 1968 screen print 584 x 892 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Tomislav Nikolic Bring your mind to everylasting liberty 2015 acrylic, marble dust, 22.5 CT Champagne gold leaf on canvas and wood 1530 x 1275 x 90 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Tomislav Nikolic vestige of now: 7 2015 acrylic, marble dust and 9.6 carat white gold leaf on linen and wood 635 x 735 x 60 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 John Nixon Silver Monochrome 2015 enamel on hessian 300 x 230 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

LONG-TERM LOAN Chartwell Trust (New Zealand) Matt Arbuckle Ten Seventeen 2015 oil on board 800 x 600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Matt Arbuckle Identity Parade 2015 oil on board 800 x 600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Matt Arbuckle Red Lines 2015 oil on board 800 x 600 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Dan Arps Gutter Witch (Linda’s Sunset) 2015 polyurethane, paint, grout, clear acrylic, epoxy 640 x 930 x 225 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Nick Austin Negative Production 2014–15 acrylic on canvas 510 x 710 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Andrew Blythe Self Portrait 2005 charcoal on paper 865 x 625 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Helen Calder Stack 2012 acrylic paint skins and steel frame 1040 x 430 x 340 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Fiona Connor Community Notice Board (Riverside) 2015 custom freestanding bulletin board, paint, silkscreen and UV print on aluminium plates, pins, staples, tape, concrete 2500 x 1700 x 300 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Stella Corkery Black, Orange, Red, Yellow 2015 oil on canvas 1250 x 1000 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Stella Corkery Aim High 2015 oil on canvas 1250 x 1000 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Phil Dadson Heavy Metal (Schmidtsche Schak Factory Percussion Ensemble) 2015 2-channel synchronised digital video, colour, sound 16min Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Julian Dashper Untitled (Slides 46–65) 1980–90 35mm photographic slides, binder sleeves, L hooks 210 x 6740 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Julian Dashper Sing in a Concert 1989 watercolour and gouache on paper 600 x 800 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Simon Denny NSA Slide Redesign Proposal (FAZ) 2013 photographic print from a newspaper scan Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist to the Patrons of New Zealand at Venice, 2015

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Oscar Enberg Imagination Dead Imagine (lilt for tenor and Jean Arp electric guitar) 2015 brass, bronze, copper-plated, powdercoated, rusted steel flue, stainless steel cowl, hand-woven willow, wrought iron, custom electric guitar (Fijian kauri, mahogany, rosewood, paua shell veneer) 2000 x 4500 x 1200 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Alicia Frankovich Intensities #5 2016 pen on paper 310 x 240 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Alicia Frankovich Intensities #7 2016 pen on paper 310 x 240 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Alicia Frankovich Intensities #11 2016 pen on paper 310 x 240 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Alberto Garcia-Alvarez 1982–34 1982 acrylic and galvanised metal on wood 720 x 620 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Alberto Garcia-Alvarez 1976–27 (Cross Section) 1976 mixed media on wood 710 x 570 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 W D Hammond Cornwall Road 9 2011 graphite on paper 395 x 305 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016

Auckland Art Gallery Toi o Tāmaki / Art & Ideas 2016

Gavin Hipkins Block Painting III 2015 unique archival pigment print 750 x 1040 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Judy Millar Untitled 2014 oil and acrylic on paper 1020 x 660 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Gavin Hipkins Block Painting XXI 2015 unique state archival pigment print 800 x 800 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Shannon Novak Myers Playground 2014 Single-channel high-definition (HD) digital video, colour, sound 3:02 min Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Gavin Hipkins Block Painting IV 2015 unique pigment print 1000 x 670 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of the artist, 2015 Ronnie van Hout Fish 2015 three-channel high-definition digital video, colour, sound 11:56 min Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Simon Ingram Paintings of the Sun 2014 Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 with the generous assistance of John Gow, Gary Langsford and the artist Richard Killeen Untitled 1975 acrylic and ink on paper 570 x 440 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Richard Killeen Untitled 1975 oil and acrylic on canvas 1450 x 1350 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2016 Daniel Malone Titirangi Apocrypha 2015 mixed media 3471 x 6923 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Campbell Patterson new normal music 2 & 3 2015 single-channel high-definition (HD) 16:9 digital video, colour, sound 19:39 min Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Graham Percy A Comedia dell’Arte troupe in rehearsal, interrupted by surges of paint and the arrival of a tin motorcycle 2006–07 ink, pencil and acrylic 460 x 610 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of Marianne Percy, 2015 Graham Percy Untitled [extracts from a visual diary] circa 1989 mixed media and collage on diary pages 240 x 164 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of Marianne Percy, 2015 Oliver Perkins Untitled 2015 ink, rabbit skin glue, acrylic, pine, canvas 950 x 650 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Oliver Perkins Chorister 2015 ink, rabbit skin glue, acrylic, filler, pine, tulipwood, canvas 470 x 330 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015

Oliver Perkins Who’s afraid of walking Frida (Hacienda Fire Remix) 2015 acrylic, primer, ink, rabbit skin glue and canvas on aluminium stretchers 1600 x 4800 mm Chartwell Collection commissioned by Auckland Art Gallery Toi o Tāmaki purchased 2015 Margot Philips Waikato Scene 1966 oil on canvas on board 800 x 660 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki gift of Richard and Elizabeth Ebbett, 2015 Peter Robinson Die Cuts and Derivations 2015 cut wool felt 2400 x 2400 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Theo Schoon Reflected Memories mixed media on cardboard 634 x 505 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Geoff Thornley Construction March 1982 oil on canvas on board 1700 mm (diam) Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Gordon Walters Untitled 1954 gouache 575 x 630 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 John Ward Knox Hardly Held Lightly 2015 steel chain variable dimensions Chartwell Collection commissioned by Auckland Art Gallery Toi o Tāmaki gift of the artist, 2016

John Ward Knox Web 2015 sterling silver 800 x 1000 mm Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 Rohan Wealleans Spider Woman Dreaming 2015 acrylic paint, air-dry clay, fishing wire, faux pearls variable dimensions Chartwell Collection Auckland Art Gallery Toi o Tāmaki purchased 2015 LONG-TERM LOAN Mackelvie Trust (New Zealand) Fanny Osborne Pohutakawa (New Zealand Christmas Tree) — Metrosideros excelsa late 19th century–early 20th century Rengarenga or Rock Lily — Arthrapodium cirratum late 19th century–early 20th century Karo or Stiffleaf Cheesewood — Pittosporum crassifolium late 19th century–early 20th century Pua o te reinga, pua reinga (Flower of the Underworld) or waewae atua, (Feet of Gods) — Wood Rose or Hades Flower — Dactylanthus taylorii late 19th century–early 20th century Kohurangi or Kirk’s Daisy — Senecio kirkii late 19th century–early 20th century Mairehau — Phebalium nudum late 19th century–early 20th century Putaputaweta — Carpodetus serratus late 19th century–early 20th century Karo — Pittosporum crassifolium (Cream Flowers) late 19th century–early 20th century Manuka or Tea Tree — Leptospermum scoparium (Pink) late 19th century–early 20th century Hinau — Elaeocarnus dentatus late 19th century–early 20th century Houhere or Lacebark — Hoheria populnea late 19th century–early 20th century Puarangi or Starry Hibiscus — Hibiscus trionum late 19th century–early 20th century Kohekohe — Dysoxylum spectabile late 19th century–early 20th century New Zealand Mistletoe — Elytrantheadamsii late 19th century–early 20th century Archeria — Archeria racemosa late 19th century–early 20th century Taurepo or New Zealand Gloxinia — Rhabdothamnus solandri late 19th century– early 20th century Kaihua or Maori jasmine — Parsonsia heterophylla late 19th century–early 20th century

Titoki — Alectryon excelsus late 19th century–early 20th century Whau or New Zealand Mulberry — Entelea arborescens late 19th century–early 20th century Tātarāmoa or Bush Lawyer — Rubus. cissoides late 19th century–early 20th century Maikuku, a Ground Orchid — Thelymitra longifolia late 19th century–early 20th century Koromiko — Hebe macrocarpa var. latisepala late 19th century–early 20th century Toropapa or Shrubby Honeysuckle — Alseuosmia macrophylla late 19th century– early 20th century Akakura or Rata Vine — Metrosideros fulgens late 19th century–early 20th century Manuka or Tea Tree — Lentospermum scoparium (red) late 19th century–early 20th century Powhiwhi or Purple Morning Glory — Ipomoea palmata late 19th century–early 20th century Puawhananga or New Zealand Clematis — Clematis paniculata late 19th century–early 20th century Ngaio or Mousehole Tree — Myoporum laetum late 19th century–early 20th century Prostrate Fuchsia — Fuchsia procumbens late 19th century–early 20th century Kowhai — Sophora microphylla or Sophora chathamica late 19th century–early 20th century watercolours on paper variable dimensions Mackelvie Trust Collection Auckland Art Gallery Toi o Tāmaki bequest of Mrs S M M Nicol, 2015 LONG-TERM LOAN Private collections Unknown artist (Roman) Roman Torso of a Naked Youth circa 1st century–circa 2nd century marble 470 mm (h) Auckland Art Gallery Toi o Tāmaki on loan from a private collection Martin Creed Work No. 2575 2015 Dual-channel digital video, colour 2:07 min Auckland Art Gallery Toi o Tāmaki on loan from the Thanksgiving Collection

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