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1

Small Lattice No. 226 (1990) acrylic on canvas, stretcher: 815 x 815 x 35 mm

2

Lattice No. 172 (2005) acrylic on canvas, stretcher: 1066 x 1066 x 35 mm

3

Small Lattice No. 334 (2008) acrylic on canvas, stretcher: 455 x 455 x 32 mm

4

Lattice No. 62 (1979) acrylic on canvas, stretcher: 1145 x 1145 x 39 mm

5

Lattice No. 105A (1983) acrylic on canvas, stretcher: 1022 x 1022 x 41 mm

6

Lattice No. 33 (1978) acrylic on canvas, stretcher: 1017 x 1017 x 35 mm

7

Small Lattice No. 290 (2007) acrylic on canvas, stretcher: 608 x 608 x 32 mm

8

Small Lattice No. 284 (2007) acrylic on canvas, stretcher: 608 x 608 x 32 mm

9

Lattice No. 66A (1979) acrylic on canvas, stretcher: 1144 x 1144 x 40 mm

10

Lattice No. 164 (1989) acrylic on canvas, stretcher: 1070 x 1070 x 36 mm

11

Small Lattice No. 333 (2008) acrylic on canvas, stretcher: 505 x 505 x 32 mm

12

Small Lattice No. 350 (2008) acrylic on canvas, stretcher: 760 x 760 x 33 mm

13

Lattice No. 161 (1987) acrylic on canvas, stretcher: 1070 x 1070 x 36 mm

14

Lattice No. 40 (1978) acrylic on canvas, stretcher: 1013 x 1017 x 33 mm

15

Lattice No. 132 (1986) acrylic on canvas, stretcher: 1830 x 1830 x 32 mm

First exhibited in the late 1970s, Ian Scott’s ‘Lattice’ paintings represent a comprehensive engagement with modernist concepts of surface, medium and abstraction. Scott’s concentration on fields of colour, the integrity of the picture plane and avoidance of ‘painterliness’ links these works to American abstract painters such as Kenneth Noland and Frank Stella.

While Scott was aware of and interested in these concepts, he was much more interested in finding his own way in which to explore them. In his essay Ian Scott: Lattices, Edward Hanfling suggests that Scott was “looking for a system that took on board the implications of their work without overlapping with it – a system that was unequivocally his… and could not be mistaken for anything else.” (1) Scott has continued to develop the Lattice works parallel to representational series such as ‘Painters’ and ‘Signwriting,’ indicating that the ideas he addresses with this body of work remain relevant and central to his painting practice.

The collection of paintings seen in this exhibition provides a comprehensive overview of Scott’s Lattice series. As a very early example from the series, Lattice No. 33 (1978) is of particular interest; the familiar over-and-under patterning can be seen in this work, but Scott experiments with the roles of the ground/figure. Scott has not separated the quadrants of the picture plane and colours abut one another directly. Dissolving any suggestion of illusory depth, the thick white lines Scott uses are figures in their own right, integrated into the ground rather than sitting atop it.

Colours on Black No 6 (Lattice No 65) is a classic example of Scott’s fully-developed latticed forms. The diagonal bands extend fully across the surface of the canvas; the illusion of them weaving over and underneath one another creates a tension between the actual two-dimensionality of the surface and the artificial suggestion of background depth (also suggested in the title). It is this inner tension that gives the paintings vibrancy, the sense of movement drawing the eye across the painting’s surface and into an illusory space behind the painted bands.

Ian Scott’s contribution to the development of an abstract language in New Zealand painting cannot be underestimated. With works in all major public galleries in the country, his sustained and continuing exploration of abstraction places him foremost amongst this country’s modernist painters while the breadth and depth of his art practice cement his place in any discussion of New Zealand art.

1. Edward Hanfling, Ian Scott: Lattices, Ferner Galleries, Auckland, 2005, p. 11

EXHIBITION PRICELIST 1

Small Lattice No. 226 (1990)

9,000

2

Lattice No. 172 (2005)

3

Small Lattice No. 334 (2008)

4

Lattice No. 62 (1979)

15,500

5

Lattice No. 105A (1983)

12,000

6

Lattice No. 33 (1978)

12,500

7

Small Lattice No. 290 (2007)

6,500

8

Small Lattice No. 284 (2007)

6,500

9

Lattice No. 66A (1979)

15,500

10

Lattice No. 164 (1989)

14,000

11

Small Lattice No. 333 (2008)

5,500

12

Small Lattice No. 350 (2008)

8,250

13

Lattice No. 161 (1987)

14,000

14

Lattice No. 40 (1978)

12,500

15

Lattice No. 132 (1986)

25,000

14,000 5,000

All prices are NZD and include GST; Prices are current at the time of the exhibition

IAN SCOTT b. 1945, lives Auckland

Lattice No. 132 (1986)

After immigrating to New Zealand from the United Kingdom as a 7-year old in 1952, Ian Scott grew up in West Auckland and knew from early on that he was going to be an artist. Prior to enrolling in the Elam School of Fine Arts in 1964, Scott went to Kelston Boys’ High School where his teachers included Rex Head and Garth Tapper, and also attended Colin McCahon’s evening art classes at the Auckland Art Gallery.

Scott had painted landscapes from an early age but once he started art school developed an interest in the works of US abstract artists such as Kenneth Noland and Jules Olitski, as well as New Zealand painters Milan Mrkusich, Don Binney and Gordon Walters. (1) The influence of these artists can be seen in Scott’s 1960’s ‘Girlie’ paintings, which feature flattened landscapes full of saturated colour, strong forms and stylised young women.

Scott began to experiment with abstraction in the 1970s; by the end of the decade this had developed into what came to be known as his ‘Lattice’ paintings. Featuring alternating colour bands, these works play with optical illusions of depth and movement, exploring the advancing and recessive aspects of colour as well as modernist concepts of surface, medium and abstraction. Scott never abandoned his interest in abstraction and has continued to produce Lattice works in parallel to other strands of his art practice through to the present.

Figurative painting was never entirely left behind by Scott, and through the 80s and 90s he created comprehensive series of works looking at the role of art and artists in a post-modern world. Works from this period often feature appropriated imagery from popular culture, advertising and historical sources.

Questioning the act of painting itself, Scott’s own paintings often contained references to the tools of his ‘trade’ (brushes, colour palettes, frames) and a number utilise instantly recognisable works of art by Colin McCahon. Rita Angus, and other well-known New Zealand artists.

From his early landscapes and Pop-Art influenced paintings of the 1960s, the complex abstraction of his ‘Lattice’ works to the controversial Playboy-type, lingerie-clad women in his 1990’s ‘Model’ series, Ian Scott reveals a control and mastery of his medium as well as a sustained interest in the concepts and theories of art. With works held in every major public institution in New Zealand, Ian Scott’s continued investigation into and engagement with the raison d’être of painting ensures his place in any discussion of New Zealand art.

1.

Warwick Brown, Ian Scott. Marsden Press, Auckland, 1998, p. 9

Ian Scott 2013 CV P a g e |1

Milford Galleries Dunedin

www.milfordgalleries.co.nz

IAN SCOTT b. 1945, lives Auckland EDUCATION 1967

Diploma in Fine Arts (Hons), Elam School of Fine Arts, University of Auckland

SELECTED SOLO EXHIBITIONS 2013 2012 2004 2001 1998 1995 1994 1993

1992

1991

1990

1989 1987 1986 1985 1983 1981 1980 1979 1978 1977

1975 1974 1973 1970

Lattices, Milford Galleries Dunedin Late Models, Gow Langsford Gallery, Auckland Girls, Girls, Girls, Ferner Galleries, Wellington There and Back, Ferner Galleries, Wellington Paintings from the Lattice Series, Millennium Art Gallery, Blenheim There and Back: Ian Scott 1960 – 1996, Waikato Museum of Art & History, Hamilton Six Paintings from 1966, Warwick Brown Gallery, Auckland Warwick Brown Gallery, Auckland Homage and Appropriation: Ian Scott Paintings 1986-1989, touring exhibition, Centre for Contemporary Art Hamilton; Robert McDougall Gallery, Christchurch; Wallace Trust Gallery, Auckland Warwick Brown Gallery, Auckland Centre for Contemporary Art Hamilton Robert McDougall Art Gallery, Christchurch Wallace Arts Trust, Auckland CSA Galleries, Christchurch Peter McLeavey Gallery, Wellington Napier Art Gallery, Napier Works on Paper Gallery, Auckland Ian Scott Paintings 1968-1982, touring exhibition, Lopdell House, Auckland; Centre for Contemporary Art Hamilton; Napier Museum & Art Gallery CSA Galleries, Christchurch Warwick Brown Gallery, Auckland Drawings 1967-1970, Portfolio Gallery, Auckland Peter McLeavey Gallery, Wellington CSA Galleries, Christchurch Fox Street Gallery, Auckland Ellerton Gallery, Auckland CSA Galleries, Christchurch Peter McLeavey Gallery, Wellington CSA Galleries, Christchurch CSA Galleries, Christchurch Peter McLeavey Gallery, Wellington Peter McLeavey Gallery, Wellington CSA Galleries, Christchurch Peter McLeavey Gallery, Wellington Peter McLeavey Gallery, Wellington Peter McLeavey Gallery, Wellington Peter McLeavey Gallery, Wellington Petar/James Gallery, Auckland Peter McLeavey Gallery, Wellington Petar/James Gallery, Auckland Bosshard Galleries, Dunedin Petar/James Gallery, Auckland Peter McLeavey Gallery, Wellington Petar/James Gallery, Auckland Barry Lett Galleries, Auckland Peter McLeavey Gallery, Wellington

Ian Scott 2013 CV P a g e |2

Milford Galleries Dunedin

www.milfordgalleries.co.nz

SELECTED GROUP EXHIBITIONS 2012 2005 2004

2003 2002 2001 1997 1996 1991 1983 1982 1981 1978 1977 1976 1974 1969

Summer Show, Milford Galleries Dunedin Spring Catalogue, milford galleries queenstown Flagworks, Pataka: Museum of Arts and Culture, Porirua High Chair, AUT Gallery, Auckland Art & Up, Te Manawa: Museum of Art, Science and History, Palmerston North New Art New Zealand: Telecom Prospect, City Gallery, Wellington Everyday Minimal, New Gallery, Auckland Art Gallery, Auckland The Dowse Foundation Exhibition, The Dowse Museum, Lower Hutt 35K, Artspace, Auckland Vuletic and His Circle, Gus Fisher Gallery, Auckland Representation and Reaction: Modernism and the New Zealand Landscape Tradition, Touring Exhibition, The Sarjeant Gallery, Wanganui New Visions: Beginning the Contemporary in New Zealand Art, Auckland Art Gallery, Auckland Primary Structures, Robert McDougall Gallery, Christchurch New Zealand Real, Milford Galleries Dunedin Signatures of Place, Govett-Brewster Gallery, New Plymouth The Grid, Auckland Art Gallery, Auckland Seven Painters The Eighties, , Sargeant Gallery, Wanganui Print Sampler, Auckland Art Gallery, Auckland Auckland Artists, Auckland Art Gallery, Auckland New Zealand Young Contemporaries, Auckland Art Gallery, Auckland New Zealand Drawing, Auckland Art Gallery, Auckland Abstract Attitudes, Auckland Art Gallery, Auckland New Zealand Art, Commonwealth Games, Christchurch Richard Killeen & Ian Scott, Barry Lett Galleries, Auckland

AWARDS 1984 1982 1979 1978

1977 1969 1968 1967 1966 1965

Second, Montana Art Award Winner, Tokoroa Art Award Merit Prize, Tokoroa Art Award Recipient Air New Zealand Travel Grant Winner, Benson and Hedges Art Award Winner Pakuranga Art Award Recipient QEII Arts Council Grant Winner Pakuranga Art Award Finalist Manawatu Art Prize Finalist Benson and Hedges Art Award Fowlds Memorial Prize, Elam School of Fine Arts, University of Auckland Merit Award, Kelliher Art Prize Winner, Junior Section Kelliher Art Prize

SELECTED COLLECTIONS Auckland Art Gallery, Auckland Te Papa Tongarewa: Museum of New Zealand, Wellington Suter Art Gallery, Nelson Christchurch Art Gallery, Christchurch Dunedin Public Art Gallery, Dunedin Te Manawa: Museum of Art, Science and History, Palmerston North Govett-Brewster Gallery, New Plymouth Waikato Museum of Art & History, Hamilton Dowse Art Museum, Lower Hutt Sarjeant Gallery, Wanganui Victoria University, Wellington Canterbury Public Library, Christchurch Hocken Library, University of Otago, Dunedin Ministry of Foreign Affairs & Trade, Wellington

Ian Scott 2013 CV P a g e |3

Milford Galleries Dunedin

www.milfordgalleries.co.nz

Bank of New Zealand, Wellington National Art Gallery of Australia, Canberra, Australia Wallace Arts Trust, Auckland

SELECTED BIBLIOGRAPHY Bett, Elva, New Zealand Art: A Modern Perspective, Reed Methuen, Auckland 1986 Bogle, Andrew, The Grid, Lattice and Network (Aspects of Recent New Zealand Art), exhibition catalogue, Auckland City Art Gallery, Auckland, 1983 Brown, Gordon & Hamish Keith, New Zealand Painting – an Introduction, 1839 – 1980 (new and revised edition), Collins, Auckland, 1982 Brown, Warwick, Ian Scott: Early and Late Landscapes, Art New Zealand 59, 1991, pp. 55-57 Brown, Warwick, Ian Scott: Paintings 1986 – 1989, exhibition catalogue, Auckland 1993 Brown, Warwick, 100 New Zealand Paintings, Godwit Publishing, Auckland 1995 Cape, Peter, New Zealand Painting Since 1960, Collins, Auckland, 1979 Caughey, Liz and John Gow, Contemporary New Zealand Art 1, David Bateman, Auckland, 1997 Curnow, Wystan, Seven Painters The Eighties, Art New Zealand 28, 1983, pp. 34-38 Curnow, Wystan, Scott’s Change, Art New Zealand 48, 1988, pp. 58-61 Docking, Gill and Michael Dunn, Two Hundred Years of New Zealand Painting (revised edition), David Bateman, Auckland, 1990 Dudding, Robin, Nineteen Painters: Their Favourite Works, Islands, Vol. 3, No. 4, Auckland, 1974, pp. 373400 Dunn, Michael, Ian Scott Talks About his Lattice Series, Art New Zealand 13, 1979, pp. 32-35 Dunn, Michael, A Concise History Of New Zealand Painting, David Bateman and Craftsman House, Auckland, 1991 Dunn, Michael, Ian Scott Paintings 1968 - 1982, exhibition catalogue, Lopdell House, Titirangi, Auckland, 1991 Dunn, Michael, Contemporary Painting in New Zealand, Craftsman House, Australia, 1996 Johnston, Alexa, Ian Scott: Colour Chords and White Lattices, Artists Project No. 3, exhibition catalogue, Auckland City Art Gallery, Auckland, 1982 King, Richard, The Kelliher, MOA, Auckland, 1979 McLaughlin, Gordon, The Illustrated Encyclopaedia of New Zealand, David Bateman, Auckland, 1986 Parr, Chris, The Grid, Lattice and Network, Art New Zealand 28, 1983, pp. 42-45 Pound, Francis, Forty Modern New Zealand Paintings, Penguin Books, Auckland, 1985 Pound, Francis, Signatures of Place (Paintings and Place Names), exhibition catalogue, Govett-Brewster Art Gallery, New Plymouth, 1991 Schultz, Derek, Seven Painters The Eighties, exhibition catalogue, Sarjeant Gallery, Wanganui, 1982 Taylor, Alister, New Zealand Who’s Who Aotearoa, Auckland, 1992 Thomson, Keith, Art Galleries and Museums in New Zealand, A.H. and A.W. Reed, Wellington, 1981 Wilson, Rodney, Formal Abstraction in Post War New Zealand Painting, Art New Zealand 2, 1976, pp. 1320

Lattice No. 161 (1987)

Ian Scott 2013 CV P a g e |4

Milford Galleries Dunedin

www.milfordgalleries.co.nz