NIGEL BROWN

NIGEL BROWN

Away and Towards

10 May - 4 June 2014 www.milfordgalleries.co.nz

Milford Galleries Dunedin 18 Dowling Street (03) 477 7727 info@milfordhouse.co.nz

Yeah Human (2004) acrylic on canvas, frame: 1400 x 2742 x 60 mm

1

2

Three Lamps (2007/08) stainless steel & oil on linen, frame: 852 x 645 x 58 mm

No Golden Age (2001) oil on board, frame: 817 x 616 x 30 mm

3

Pakeha Belongs (1997) acrylic & photocopy collage on canvas, frame: 950 x 647 x 36 mm

4

Legend for the West (1986) acrylic on board, frame: 639 x 1246 x 58 mm

5

Our Heritage (1987) oil on board, frame: 526 x 615 x 36 mm

6

Women are Women (1984) oil on board, frame: 437 x 588 x 65 mm

7

8

The Dog of Instinct (B) (1978) acrylic on board, frame: 613 x 484 x 57 mm

Reading with Volcano (1989) oil on board, frame: 293 x 230 x 20 mm

9

Away and Towards (1978) oil on board, frame: 349 x 403 x 58 mm

10

Clothes Line Ptg No 7 (1981) oil on board, frame: 710 x 640 x 56 mm

11

The Fruits of Our Labour (2010) acrylic & oil on canvas, frame: 797 x 647 x 36 mm

12

Blue Temple (1998) acrylic on canvas, frame: 688 x 587 x 28 mm

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14

A Poet as Christ (1980/81) oil on canvas, frame: 512 x 324 x 56 mm

Life Tree (B) (1983-87) oil on board, frame: 475 x 455 x 62 mm

15

Driving South (1999) oil on board, panel: 1203 x 2403 x 50 mm

16

Madonna Mountain (2007/08) oil & stainless steel on linen, frame: 1399 x 850 x 59 mm

17

Zhuo (1997) acrylic on canvas, frame: 1709 x 942 x 44 mm

18

Who Do You Trust Captain Cook? (2009) oil on canvas, frame: 803 x 653 x 59 mm

19

Life’s Not Fair (2007/08) acrylic on linen, unstretched canvas: 1680 x 4000 mm

20

Death of Cook - A Vision at Tolaga Bay (1992) oil on board, frame: 1249 x 2455 x 60 mm

21

Once If Your Curiosity Continued Insatiable (2007/08) oil on board, frame: 1845 x 1243 x 58 mm

22

All is Predatory (2009-11) acrylic on linen, unstretched canvas: 1980 x 1680 mm

23

Inner Truth (2006-09) acrylic on linen, unstretched canvas: 1680 x 1810 mm

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Saw (2005) oil on board, frame: 1244 x 837 x 58 mm

Lament for Earth (2011) oil on linen, stretcher: 1350 x 802 x 36 mm

26

Remains of the Day (1997) acrylic on canvas, frame: 666 x 512 x 35 mm

27

Glass Wall (2003/04) oil on board, frame: 1549 x 2750 x 63 mm

28

Te Reo (1984) oil on board, frame: 1549 x 2750 x 63 mm

29

Notes From a Stereo (1987) oil on board, frame: 1299 x 1224 x 60 mm

30

31

Let Time Be Still Ptg 1 (2006) oil on canvas, frame: 755 x 640 x 60 mm

Dictionary of Unusual Men (2011) oil & acrylic on board, frame: 1651 x 1247 x 58 mm

32

33

She’ll Be Right (2001) oil on board, frame: 829 x 627 x 36 mm

I Am a Pakeha New Zealander (2011) oil & acrylic on board, frame: 1651 x 1247 x 58 mm

34

Away and Towards (taking its title from a 1978 work) is a substantial exhibition covering thirty-three years and comprised of works primarily drawn from the artist’s private collection. As such it inevitably takes something of an overview or survey stance and clearly demonstrates – for all of Nigel Brown’s restless inventiveness – that his primary humanistic, environmental and social concerns (and narrative style) continuously traverse the questions of ‘who are we and what are we, where are we now and where do we come from?’ and that these concerns and questions have been remarkably consistent as well as insistent across the three decades represented.

This exhibition charts Brown’s eclectic back and forth process and the development of an increasingly distinctive visual language. His modus operandi is to search for the universal in the local and to speak of the dislocation between the individual and society in that process. He has a highly refined and defined ear for the vernacular in our thought and behaviour, the argot of our words and deeds. He has referred to himself as a “symbolic expressionist” (1) and there can be little doubt such a phrase is accurate. He is also an “emphatically figurative painter” (2) of ideas and symbols and in this way he comes to blend “the surreal with the familiar” (3) as he builds allegories of belief, prophecy and warning. “Brown sees us facing the judgements of nature, society and ecology.”(4) There have been distinct phases and series in Brown’s career – firstly the domestic (interior) subject; then the backyard life, both real and imagined; the banded text followed and the role performed by words in his work became critically important to his pictorial concerns and narrative development. He began to use words in a noticeably literary manner to advance political, social and environmental issues and dialogues.

Brown’s development as an artist and with each of his subjects has been essentially sequential in nature. One thing has led on to another. In this manner his everincreasing lexicon of symbolic images has arisen. Similarly his use of words as text has

progressively developed from being phrases of declaration and/or incantation (The Dog of Instinct, 1978; A Poet as Christ, 1980/81; Women Are Women, 1984) to the noticeably “new level of complexity in which conflicting ideas and fragmentary thoughts” (5) are presented in repeated rectangular bands (Dictionary of Unusual Men, 2011; I Am a Pakeha New Zealander, 2011).

Less obvious perhaps to some, but equally significant, is the diverse vocabulary of religious symbols and this includes the inclined penitent’s head (Remains of the Day, 1997; Lament for Earth, 2011), the rosette sun (Blue Temple, 1998), the table and lamp (Three Lamps, 2007/08), the ark, and the arched window which appear again and again in numerous guises and roles.

The marae and the meeting house are primary symbols of the uniqueness of NZ culture (Our Heritage, 1987) and its nascent spirituality. Their deified importance is presented as sacred land and centrality of place. But in keeping with Brown’s restless questioning, it cannot be suggested he is acting as a born-again Maori apologist for he has openly and persistently debated and asserted human equality (Pakeha Belongs, 1997; I am a Pakeha New Zealander, 2011).

Equally fundamental to his humanistic concerns is the role of the family and gender equality. Superb early examples of this are Life Tree (B), 1983-87 and Te Reo, 1984.

The metaphors of the protective mother in the family, and life being a stage, reach an apogee in Madonna Mountain, 2007/08, where key pictorial devices are drawn from the world of the stage, behind which a mountainous landscape is presented as a waterfall-filled backdrop over which two koru-shaped waves loom beneath an arched window.

Nigel Brown’s move from Auckland to Southland resulted in numerous developments in his work. Driving South, 1999 is a large scale visual poem of anticipation, where isolation, observation and natural flora and fauna are the cultural imperatives. All is Predatory, 2009-11 places Cook and a black singlet Ned Kelly as protectors of a bird of prey. Irony abounds with the direct gaze of the harrier hawk making the viewer its prey.

In its courageous composition, Inner Truth, 2006-09 takes a metaphysical stance, suggesting that the life-long search for meaning and purpose is a contradictory modern-day compromise that requires entering the concrete jungle of the built city and journeying on the descending parapets and corkscrewing paths. Brown never offers easy answers - Yeah Human, 2004 is a bleak treatise where trees have been substantially modified and perhaps are seen to exist for some as sculptural objects only.

Glass Wall, 2003/04 is a substantial artistic achievement where Brown unites disparate items drawn from NZ’s history and contemporary cultural fabric. He includes gumboots, variously refers to different Maori carving styles, depicts monumental sculpted torsos and uses tables and buildings to lead the eye in and create spatial depth. He utilises modernist design elements, contrasts animals, birds, human and sculptural figures with objects of devotion. In this enthralling tableaux Brown quotes art history and references key motifs from numerous preceding series.

No New Zealand artist has so directly, repeatedly or so diversely examined the role of Cook in our history and our present. In three of the major works of this exhibition, Brown rewrites aspects of that history and imagines Cook’s death at the point of first contact where he came ashore (Death of Cook – A Vision at Tolaga Bay, 1992). In the empathetic, resonant Life’s Not Fair, 2007/08, Cook is shown alone in front of a stage-set of Fiordland. There he is revealed as a flawed individual, dislocated, discombobulated and acted upon rather than in command. Once if Your Curiosity Continued Insatiable, 2007/08 implies Cook’s presence with the dog prow of the Endeavour anthropomorphised, overlooking Preservation Inlet and the rata branch that connected the ship to Observation Point.

Brown is an allegorical artist who uses the precepts of drama – that is he tells stories placing the narrative subject into spiritual context (Zhuo, 1997), specific geography (No Golden Age, 2001) and clearly delineated time (Let Time Be Still Ptg 1, 2006). He chronicles the endless clashes and struggles between materialism and humanity in society. Brown is a ceaseless questioner and experimenter also, but it must be emphasised that at heart he is unmistakeably a painter who delivers distinctive visual rhythms and compelling “harmonies of form and colour.”(6) 1.Richard Wolfe, “Bringing it All Back Home; Nigel Brown’s Quest for Identity,” Art NZ 143, Spring 2012, p.57.

2.Denys Trussel, “Three Paintings in the Architecture of Delusion,” essay in Allegories exhibition catalogue, Tinakori Gallery, 2005.

3.Ibid.

4.Ibid.

5.Richard Wolfe, “Bringing it All Back Home; Nigel Brown’s Quest for Identity,” Art NZ 143, Spring 2012, p.79.

6.Gregory O’Brien, Nigel Brown, Random Century, 1991, p.31

EXHIBITION PRICELIST 1

Yeah Human (2004)

37,500

2

Three Lamps (2007/08)

9,500

3

No Golden Age (2001)

9,500

4

Pakeha Belongs (1997)

12,500

5

Legend for the West (1986)

14,500

6

Our Heritage (1987)

8,500

7

Women Are Women (1984)

7,500

8

The Dog of Instinct (B) (1978)

8,000

9

Reading with Volcano (1989)

5,000

10

Away and Towards (1978)

7,000

11

Clothes Line Ptg No 7 (1981)

9,500

12

The Fruits of Our Labour (2010)

9,500

13

Blue Temple (1998)

9,500

14

A Poet as Christ (1980/81)

7,500

15

Life Tree (B) (1983-87)

7,500

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

16

Driving South (1999)

35,000

17

Madonna Mountain (2007/08)

17,500

18

Zhuo (1997)

22,500

19

Who Do You Trust Captain Cook? (2009)

20

Life's Not Fair (2007/08)

45,000

21

Death of Cook - A Vision at Tolaga Bay (1992)

35,000

22

Once If Your Curiosity Continued Insatiable (2007/08) 30,000

23

All is Predatory (2009-11)

30,000

24

Inner Truth (2006-09)

30,000

25

Saw (2005)

16,000

26

Lament for Earth (2011)

17,500

27

Remains of the Day (1997)

28

Glass Wall (2003/04)

40,000

29

Te Reo (1984)

19,500

30

Notes From a Stereo (1987)

22,500

31

Let Time Be Still Ptg 1 (2006)

9,500

32

Dictionary of Unusual Men (2011)

33

She'll Be Right (2001)

34

I Am a Pakeha New Zealander (2011)

9,500

9,500

30,000 9,500 30,000

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

NIGEL BROWN b. 1949, lives Southland

Nigel Brown: Glass Wall (2003/04)

Nigel Brown has established a reputation as one the most important figurative artists working in New Zealand and is acknowledged as New Zealand’s leading narrative artist. His distinctive works are a blend of symbolic and expressionistic approaches with a deep social concern.

Brown actively uses story telling precepts within the ‘confines’ of the image. He directly and selectively employs history, literature, politics, etc. as devices and in so doing examines the varied plights of the individual and environment with an emotional, intuitive sympathy which is accurate, incisive and clothed in a vernacular of the human condition.

His work expresses fundamental spiritual and humanistic concerns common to mankind. These are infused with the particularity of cultural location and reference, the specific of place and event, the dynamism of individual character and personality with the narrative (artist as author) point of view.

A potent myth-maker, Brown articulates the conscience of a country reinterpreting and revisiting its past. He translates this and expresses its (discordant) present with the expectation of better things to come.

Born in Invercargill, New Zealand in 1949, Nigel Brown (ONZM) gained a Bachelor of Fine Arts from Elam School of Arts, University of Auckland in 1971 and began his full time artist career in 1972. Since then he has exhibited extensively in public and private galleries throughout New Zealand and has had several touring exhibitions including in 2000-2001 ‘Points Along the Way’ (a survey). After many years living in suburban Auckland, he moved to a coastal property in rural Southland in 2000. He has received numerous awards, commissions and residencies and is represented in most New Zealand public collections and many private collections. Brown was awarded the Order of NZ Merit for Services to painting and printmaking in 2004 and in 2005 was awarded a three week residency in Russia hosted by NZ’s ambassador in Moscow, Stuart Prior.

In addition to his painting, Brown is also a printmaker and he has undertaken two significant stained glass window designs – St Mary’s Catholic Church, Auckland (1991) and Auckland Cathedral, Parnell (1998). In 2009 Brown completed ‘Seven Last Words’ a suite of lithographs commissioned by Chamber Music NZ in association with String Quartet in honour of the 200th anniversary of Haydn's death.

Nigel Brown 2014 CV P a g e |1

Milford Galleries Dunedin

www.milfordgalleries.co.nz

NIGEL BROWN b. 1949, lives Southland EDUCATION 1968-71

Elam School of Fine Arts, University of Auckland (BFA) (Tutors include McCahon and Ellis)

SELECTED SOLO EXHIBITIONS 2014 2013 2012

2011

2010

2009

2008

2007 2006

2005

2004

2003

2002

2001

2000

1999

Away and Towards, Milford Galleries Dunedin Waterfalls, Solander Gallery, Wellington Doors Flung Back, The Diversion Gallery, Picton Invented Lives, milford galleries Queenstown Black Paper Works, Milford Galleries Dunedin Short Lives of Birds, Te KĹ?putu a te whanga a Toi, WhakatÄ ne Library & Exhibition Centre Joe Taihape, whitespace, Auckland Dusky Doubtful, milford galleries queenstown Travel to Travel, Rotorua Museum Travel to Travel, Southland Museum, Invercargill; Lopdell House, Auckland Mitre, Milford Galleries Dunedin Short Lives of Birds, whitespace, Wellington Short Lives of Birds, whitespace, Auckland New Lemon Tree, Williams Gallery, Petone The Written Word: Works from the Artist, Wallace and Museum Collections, Tairawhiti Museum and Art Gallery, Gisborne Selected Works, milford galleries queenstown All Our Days, Milford Galleries Dunedin The Haydn Lithos, Touring Papergraphica Exhibition, Launch Futuna Chapel, Karori, Wellington Art of Reading, Williams Gallery, Petone Conversations, milford galleries queenstown Lamp, Warwick Henderson Gallery, Auckland Antarctic Visions, Williams Gallery, Petone Gold Miner, Milford Galleries Dunedin Will To Meaning, Warwick Henderson Gallery, Auckland Worded Image, Warwick Henderson Gallery, Auckland Southern Odyssey Project Commission: Painting for Railway, Mossburn Hotel Iconic Way, milford galleries queenstown Personage, Eastern Southland Gallery, Gore Yeah, Human, Warwick Henderson Gallery, Auckland Allegories, Tinakori Gallery, Wellington A Russian Journey, Lithographs, Muka, Auckland Russian Works, New Zealand Embassy, Moscow, Russia I Am IV, CoCA, Christchurch Human Condition, Tinakori Galley, Wellington Dance of the Origin, Milford Galleries Dunedin Points Along The Way, Aigantighe Art Gallery, Timaru I Am III, Warwick Henderson Gallery, Auckland Deco Echo, Statements Gallery, Napier Points Along the Way, Ashburton Art Gallery; Forester Gallery, Oamaru I Am II, Tinakori Galley, Wellington This Human Place, Warwick Henderson Gallery, Auckland Points Along the Way, Pataka Porirua Museum of Arts and Culture; Fisher Gallery, Auckland; Sarjeant Gallery, Wanganui I Am, Warwick Henderson Gallery, Auckland Points along the Way, touring show by Milford Galleries Dunedin; Suter Gallery Nelson Hard Pressed, Portfolio Gallery, Auckland Road Works, Statements Gallery, Napier Encounter and Discovery: Pacifica, Rotorua Museum of Art and History

Nigel Brown 2014 CV P a g e |2

Milford Galleries Dunedin

www.milfordgalleries.co.nz

1998 1996 1993

1988

Antarctica, touring show Government House, Wellington & Auckland, Southland Museum and Art Gallery, Canterbury Museum Pacifica V Southland, Museum and Art Gallery, Invercargill Living Here Aotearoa, Aigantighe Art Gallery, Timaru; Robert McDougall Art Gallery, Christchurch Living Here Aotearoa, A Survey, Manawatu Art Gallery, Palmerston North 1984 and After, Manawatu Art Gallery, Palmerston North

SELECTED GROUP EXHIBITIONS 2014 2013 2012 2011 2010

2009

2008

2007

2006

2005

2004

The Royal Queenstown Easter Show, milford galleries queenstown The Review, milford galleries queenstown Digital installation of ‘On This Beautiful Morning (2004),Peacock Gallop ,Sumner ,Christchurch Sum of the Parts, Museum of the Vernacular, The Depot, Devonport, Auckland Significant Works, Milford Galleries Dunedin Large Works, Milford Galleries Dunedin Delights, Medallion Artists New Zealand, Remuera Gallery, Auckland My City, Whitespace, Auckland 58th Peace Art Exhibition, Yokohama Red Brick Warehouse #1 (Yokohama New Port), Japan Medallion Show, Remuera Gallery, Auckland Masterworks, milford galleries queenstown 57th Peace Art Exhibition, Tokyo Metropolitan Museum, Ueno, Japan Garden of Delights, New Zealand Medallion Group, Auckland Botanic Gardens Visitor Centre Artists to Save Our Water, Chamber Gallery, Rangiora Taste, Auckland Art Gallery The Captain, Tauranga Art Gallery Nine Artists in Fiordland, St Paul’ Cathedral (Caselburg Trust) Dunedin Eden Arts Sketchbook Project: For Artists in Eden Day Select, Old School Puke Ariki, New Plymouth 56th Peace Art Exhibition, Tokyo Metropolitan Museum, Veno Japan Sinfonia Antarctica, The New Dowse, Lower Hutt Te Kauri, Zealandia, Warkworth (2008-2009) Guest Artist (With B. Brickell) NZ Academy of Fine Arts, Wellington Artists to Save our Water, NG Gallery, Christchurch Showcasing Southland Artists, Southland Museum and Art Gallery Adornment, Medallion Group, Waiheke 55th Peace Art Exhibition, Tokyo Metropolitan Museum, Veno Japan Art for Conversation, Michael Fowler Centre / Government House, Wellington The Printmakers, Catchment Gallery, Nelson The Shock of the New, CoCA, Christchurch Ten Renowned Artists, Remuera Gallery, Auckland Driving Creek collaborative ceramic sculpture with Barry Brickell The VAANA Fragments, Outreach, Auckland VAANA Mural, Digitised Version, Karangahape Road, Auckland Editions, Catchment Gallery, Nelson Masterstrokes, Gallery 33, Wanaka Inview: Works from VVA Art Collection, Curated by Adam Art Gallery, Wellington Everyday Moments, (with Cathy Helps), CoCA, Christchurch The Hocken Collections in Auckland, Portraits of Artists, University of Otago House A Celebration of the Life of Lyndsay Crooks, Dunedin Community Gallery In From the Cold, Christchurch Public Art Gallery 45˚ Below, An Antarctic Summer, Forrester Gallery, Oamaru 53rd Peace Art Exhibition, Ueno, Tokyo, Japan Medallion Group Exhibition, Catchment Gallery, Nelson McCahon’s Legacy, Ferner Gallery, Wellington Transit of Venus, milford galleries queenstown Three Notable Printmakers, Williams Gallery, Petone A Comparison of Scale, The New Zealand Medallion Group, Percy Thomson Gallery, Stratford Pacific Rim, Contemporary New Zealand Medallic Sculpture, Medalia, Rack and Hamper Gallery, New York

Nigel Brown 2014 CV P a g e |3

Milford Galleries Dunedin

www.milfordgalleries.co.nz

2003

2002

2001

2000

1996 1994 1987 1985

Fidem XXIX 2004, Seixal, Portugal 52 Anniversary Peace Art Exhibition, Tokyo Metropolitan Art Museum, Uneo, Japan The Sublime Metaphor, NZ House, Haymarket, London; City University of New York (CVNY) Oxford University Museum; Leedy-Volkous Art Centre Gallery, Kansas City Ranges of Inspiration, Corban Estate Arts Centre, Waitakere City Art in the Woolshed, Tawharanui 51st Anniversary Peace Art Exhibition, Tokyo Metropolitan Art Museum, Ueno, Japan Connectedness, Hawkes Bay Museum Barking Mad, The Suter, Nelson On Location, Te Papa Touring Exhibition, Included Southland Museum The Wind in the Fences, Dunedin Public Art Gallery Overview, AS IS, Landscape and Metaphor, Milford Galleries Dunedin Artists Against Aqua, Forrester Gallery, Oamaru Annual Spring Exhibition, Anderson House, Invercargill Pacific Rim, Simons Gallery, London, England Southern Exposure, Artists Residence, Cosy Nook 50th Anniversary Peace Art Exhibition, Tokyo Metropolitan Museum, Uneo, Japan Pacific Rim, Brooke Gifford Gallery, Christchurch Spiritual Art, Auckland Cranleigh Barton Drawing Awards, McDougall Gallery, Christchurch (Finalist 2001) Pacific Rim, Cliff McPherson Gallery, Christchurch Millennium Medallions, Auckland Museum 49th Anniversary Peace Art Exhibition, Tokyo Metropolitan Art Museum, Ueno, Japan Sheep, CoCA, Christchurch The Artists Chair, milford galleries auckland Millennium Medallions, Wellington City Art Gallery Annual Spring Exhibition, Anderson House, Invercargill Text and Image, Lopdell House, Auckland XXVII Fidem 2000 Internationalle Medaillenkunst, Berlin Weimar 48th Anniversary Peace Art Exhibition, Tokyo Metropolitan Art Museum, Ueno, Japan Murals for Auckland Town Hall Restoration Project and Green Peace.

Visiting Artist, Hawkes Bay Polytechnic 1987 Print Series, City Gallery, Wellington Living in the Bomb Age, Dunedin Public Art Gallery

AWARDS & COMMISSIONS 2014 2011 2010 2009

2007 2006 2005 2004 1998

1995 1993 1991 1986 1981 1978

Guest Artist, Dancing Star Foundation based in California.

Black arches series for Dudley Benson’s album ‘Live Series: Volume One’ Backdrop for Dudley Benson’s ‘Forest’ tour “The Haydn Lithos”, Printed Papergraphica, Christchurch. Commissioned by Chamber Music NZ in association with NZ String Quartet (performance) and Sara Brodie (video included in the performance). Performance touring New Zealand, 2009 Cover for Courses and Careers, Cervin Publishing Work for Railway Hotel, Mossburn, Southern Odyssey Trail Awarded a three week residency in Russia hosted by NZ’s ambassador in Moscow, Stuart Prior, and partially funded by private contributors in NZ ONZM for services to Painting and Print Making Inaugural member Artists to Antarctica Stained glass window commission Auckland Anglican Trinity Cathedral, Parnell, Auckland Southern Odyssey Project Commission: Painting for Railway, Mossburn Hotel Finalist Visa Gold Artist in Residence, Wanganui Regional Polytechnic Stained glass window commission St Mary’s Catholic Church, Auckland Awarded QEII Arts Council Grant Awarded QEII Arts Council Grant for travel to USA, UK & Europe Awarded QEII Arts Council Grant

Nigel Brown 2014 CV P a g e |4

Milford Galleries Dunedin

www.milfordgalleries.co.nz

COLLECTIONS Hocken Library Dunedin Alexander Turnbull Library Auckland Art Gallery Sarjeant Gallery Robert McDougall Art gallery Te Papa Tongarewa Manawatu Art gallery Dowse Art Museum Waikato Museum of Art & History Lincoln College University of Auckland University of Otago Chartwell Trust Collection Aigantighe Art gallery Creative NZ University of Canterbury Porirua Court Massey University University of Waikato Gisborne Museum & Arts Centre The Rutherford Collection Anderson Park Art Gallery Christchurch City Council Ministry Of External Relations and Trade

The Suter Hawkes Bay Polytechnic ANZ Bank BNZ Fletcher Challenge Bank of NZ Bromhead Design Centra Hotel Russell McVeagh Simpson Grierson Eastern Southland Gallery Canterbury Museum Fletcher Challenge Petroleum Natural Gas Corporation PricewaterhouseCoopers Westpac Trust Buddle Findlay NZ Insurance Tower Corporation AMP Millennium Hotels Tauranga Art Gallery New Zealand Portrait Gallery

SELECTED BIBLIOGRAPHY 2012

2011 2010

2009

2008

2007

2004 1991

‘Cultural Icons’, Jam Radio, The Depot, Devonport, Auckland. Richard Wolfe interviews Artist Wolfe, Richard, ‘Bringing it all Back Home; Nigel Brown’s Quest for Identity’, Art New Zealand, Spring 2012, Number 143, p54-57, 79-80 Nigel Brown: Travel To Travel, (catalogue) Southland Museum and Art Gallery; Invercargill, 2011 Wolfe, Richard and Stephen Robinson, Artists At Work, Penguin Books, London, England Ed. Paul Millar, James K Baxter, Selected Poems, Fyfield Books, Carcanet Press Ltd Manchester and Auckland University Press, Auckland (work on the cover) Carey, Peta, The Waterfall, Watershed Films for TVNZ ‘Cultural Icons’, Jam Radio, The Depot, Devonport, Auckland. Denys Trussell interviews Artist Wolfe, Richard and Stephen Robinson, Artists @ Work, Penguin ‘North South’, Handwritten/illustrated by Artist. Glenn Colquhoun poem. Steele Roberts. CNZ Funded ‘The Christian Symbolism of Nigel Brown’, Alastair Lane, Stimulus, Vol 17, Issue 1, February 2009 The Brown Years, exhibition catalogue, Tauranga Art Gallery. (essay by Penny Jackson) Gifford, Adam, ‘Shadows of McCahon and More’, Herald, October 11, 2008 Orton, Mark, Nine Artists in Fiordland, A DVD of Break Sea Girl Trip Kim Hill Interview, Radio NZ, 19 April 2008 The Real Art Show (Promotional pack for touring show) ‘Talk Talk’, Finlay McDonald, Free Air, Recorded June 2008 Johnstone, Christopher, The Painted Garden in NZ Art, Random House NZ, 2008 Wolfe, Richard, NZ Portraits, , Penguin, 2008 Trussell, Dennis, The Expressive Forest, Brick Row Publishing, Auckland, 2008 K.M., Bravado (Cover), Issue 14, 2008, (Included Katherine Mansfield Conference Paper by P. Jackson, London) ‘Te Ara’, the Encyclopaedia of NZ, Online, Ministry of Culture and Heritage Fallow, Michael, ‘Vulnerable Stuff’, Southland Times, 2007 Eyley, C.P., No Nukes is Good Nukes, CD, 2007 Clairmont, Sunday Programme, 4/11/2007, TV1 Footage and interview Will To Meaning, Catalogue 2007, W.H. Gallery, Auckland. (Note by B. Brickell) Dance of the Origin, DVD material (unedited) of Milford Galleries Dunedin exhibition, 2004, (TV1 coverage, rehearsal, paintings) O’Brien, Gregory, Nigel Brown, Random Century

Nigel Brown 2014 CV P a g e |5

Milford Galleries Dunedin

www.milfordgalleries.co.nz