PHILANTHROPY The ART of LOVE! October 17th-November 17th 2015
Don Binney, The Madness of the Pipiwharauroa,1963, Oil on board, Collection of the Wallace Arts Trust
SELECTED WORKS FROM THE WALLACE ARTS TRUST COLLECTION Opening celebration : Friday 16th October 6pm
pierre peeters galleries
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i e r r e p e e t e r s g a l l e r y
48 SHORTLAND ST, VERO CENTRE, AUCKLAND STREET CBD +64 AUCKLAND 9 3774832 WWW.PIERREPEETERSGALLERY.COM VERO CENTRE 48 SHORTLAND T: +64 9 3774832
PHILANTHROPY The Art of Love
Reinventing the great tradition of artistic patronage for the 21st century This exhibition is for everyone. Anyone can be a philanthropist, anyone with an interest in giving to make the world a better place. Anyone with an interest in building healthy community foundations: valuing the arts, human creativity, endeavour and thoughtfulness. It is about being a Humanitarian. Let’s take our starting point in the root of the word philanthropy, meaning “love of humanity.” This is an elementary principle or requirement for the work of supporting people, projects, organisations and institutions that are in the business of improving life for all people. This also provides the most compelling argument for philanthropic funding for the arts. Art is a form of inquiry, and examination into our daily lives and the world around us. Art gives us new platforms for communication and through the arts we are able to see endless possibilities for ourselves and for our relationships with each other and our environments. The value of the Arts to New Zealanders was highlighted in research released in June this year, showing more Kiwis enjoy and value the arts than ever before.1 Creative New Zealand’s ‘New Zealanders and the Arts: Attitudes, attendance and participation in 2014,’2 was the fourth triennial look at New Zealanders’ level of involvement in, and attitudes towards, the arts and culture and shows that the arts and culture are a key part of what makes this country a great place to live. When Arts, Culture and Heritage Minister Maggie Barry launched the report in Parliament she commented on the positive findings, “Attendance is at record levels with nine out of 10 New Zealanders either participating or going to at least one arts event in the last year,” and yet individual philanthropic funding in New Zealand is at an all time low. “Nine out of 10 Kiwis also think the arts have a positive impact on their lives, eight out of 10 agree arts improve our society and 86 per cent feel arts help them learn about different cultures.” The results from young people are particularly encouraging. 74 per cent felt very positive when doing creative things and 83 per cent described, “being creative” as a favorite pastime. “It is a good sign for the future health of our cultural scene that so many young Kiwis value the arts.” “They are vital to how we connect with others, how we see ourselves as a society and how we present our unique New Zealand identity to the world,” Ms Barry says.
These studies confirm that there is substantial public support for the arts and culture and when we talk to New Zealanders, it is viewed as an important part of life, yet when it comes down to it - art and culture remain a difficult “sell” for many funders. There are many different responses or excuses from people with means as to why they do not put their money into art philanthropy. The New Zealand media, who often find easy targets in reporting on art, particularly on our participation at an international level, such as at the prestigious contemporary art event, the Venice Biennale, often do not help the cause. Robert Leonard, curator of New Zealand’s exhibition in this year’s Venice Biennale, compares the media bias with the appreciation of sport in this country, namely rugby, General reporters can take pot shots at the artist, at CNZ, and at art in general, without engaging in too much research or analysis. North and South titled their Venice story “But Is It Art?” I doubt that they would title an article on the Rugby World Cup “But Is It Rugby?” That would be silly. 3
There are many ways of wooing a new generation of museum and arts patrons – the Guggenheim on Fifth Ave in New York host an annual ‘Young Collectors Dinner Party’, they serve platters of donuts and a pixie DJ remixes Daft Punk. On these occasions the attention is not on the 74-year-old institution’s priceless artworks, instead the main attraction is the youthful, glamorous and moneyed New Yorkers. 4 Exclusive events such as these help museums cement connections with new benefactors and are seen as pivotal in many museums public programming. These events are doubly important – firstly as securing the future financial health of the museum with young donors, some of which will one day become trustees of the museum. Secondly, important as the museums also very much depend upon the new generation to come in, reinvigorate and breath fresh energy into often out-dated institutions. The new generation is needed to keep the old institutions young, sexy, progressive and relevant with a cultural landscape in flux. These events take the museum one step closer to cementing relationships with these rising philanthropists and their friends. There is no question that historically and in recent history in New Zealand we have had many extremely generous and altruistic philanthropists who have helped build our cultural landscape. We could name pages of families and individuals who have had the vision, seen the importance of the arts and donated money, art and time to the institutions and galleries around our country in order to build our country’s wealth of culture. Look at all the wings in galleries with the names of these generous donors engraved on the wall. Some might say it is an investment in prestige... but it must be more than this… an investment in the dissemination of culture, which makes you feel good. Most in New Zealand would have heard of the New York art collectors and philanthropists, Julian and Josie Robertson, who gifted 15 modernist works by major European artists to the Auckland Art Gallery in 2011. This was one of the most generous philanthropic acts in New Zealand history. The couple enjoyed a long-standing relationship with this country and wanted New Zealanders to be able to enjoy works of art usually only experienced in this number through travelling to major international museums.
1. Liz Maw Battle Fairy, 2010, oil on board, 1700 x 1040mm
They wanted to give back something meaningful to a country they love. The Robertson’s, like the majority of active philanthropists in recent history around the world, are of the baby boom generation. The issue here is that, as that generation age and come to the end of their philanthropic days, the baton will pass to the Gen X and the Millennials. Will they rise to the challenge in a consumerist world, which lures their disposable income in so many directions? Never before has there been so much opportunity to spend money in pleasurable and indulgent ways. In America charitable giving has remained stable for the last 40 years, but there is concern because boomers control 70% of the nation’s disposable income, according to data compiled by the American Alliance of Museums. Generation X and Millennials do not have nearly much cash on hand. And those who do, the alliance found, are increasingly drawn to social rather than artistic causes. Now, as wealth becomes more concentrated, tax laws change and a younger generation develops new philanthropic priorities, museums — like other nonprofit organizations — are confronting what, if unaddressed, could become an existential crisis. 5 This is a call to the next generation of philanthropists Gen X and Millennials – private philanthropy is needed to continue the arts and culture as a valuable part of our world. For centuries, culture and private philanthropy have been inextricably linked. Early in the first century AD, the Roman poet Horace dedicated his first poem in Odes: I to his patron, Maecenas. The great painters of the European Renaissance were supported by wealthy individuals and rulers of states – both secular and religious. In pre-European Maori history, those with creative gifts were nurtured by their iwi or hapū. In modern Aotearoa New Zealand, the generosity of philanthropists over the decades has played a critical role in the growth of this nation’s cultural ecology. However, for culture to flourish truly and sustainably, it’s vital we boost the level of private philanthropy in Aotearoa New Zealand. 6 The intention behind the Minister for Arts, Culture and Heritage Hon Christopher Finlayson’s establishment in 2009 of the Cultural Philanthropy Taskforce was clear - to explore whether there are new opportunities to encourage private investment in the arts in New Zealand over the next five to ten years. The Minister also made it clear that his intention is not to replace government funding but to grow the cultural philanthropy pie. The taskforce investigated best practice in philanthropy around the world and consulted within New Zealand with organisations and individuals. The taskforce and Minister make clear in the report summary that the issue is not with Government funding, “The government has done its bit, directly through grants and indirectly through establishing a favourable tax environment for charitable giving that requires very little refinement. Government support can only ever be one part of an overall strategy for the cultural sector. It’s now time to ensure the cultural sector plays its part.”7
2. Tahi Moore Cognititive Dissonance 2008 , mixed media, 1500 x 800 x 800 mm
The recommendations were to: • Develop a fundraising capability building initiative to mentor and advise cultural organisations on a one-to-one basis • Promote knowledge and awareness of the recently introduced tax incentives • Introduce Gift Aid to boost private giving • Explore the workability of a cultural gifting scheme • Recognise and value the generosity of philanthropists • Reward with matched government funding cultural organisations that succeed in increasing their levels of income derived from private giving. 8 Earlier this year a number of funders who support the arts and a number of arts organisations and artists from around the world were invited to answer just one question: “Why should Philanthropists fund the arts?” 9 Their answers were wide and varied which suggests that the reasons for support resist narrow classification: the arts are neither just a minority or elite interest for those with money to spare, nor simply a means to achieve social change for those who do not.
‘An Act of Faith: Why Should Philanthropists Fund the Arts?’ Rania Elias of the Palestinian Yabous Cultural Centre argues that the arts can have tangible impact. “Philanthropic money directed to the arts can influence economic and neighborhood growth and maturity,” he says. “Some in the private sector have already come to this conclusion and collected great return on that investment. Arts revive communities and reinforce the economy, create an active and vibrant society, and enhance safety.” 10 None of the people who were surveyed see art and culture as something distinct from the rest of life, a diversion from the dour business of living. They view art as part of the wider universe. Omar Al Qattan, of the A M Qattan Foundation, makes this point eloquently: “Art is part of culture, and culture is that wider universe containing what we see and hear, smell and eat, renege and accept, analyze and consume, and hate and delight in every day.”11 Ruby Lerner, founder of Creative Capital adds, “No matter what philanthropists or foundations seek to support, they can find their missions manifested in cultural form, whether it be a documentary film or an art installation.”12 Sir James Wallace has been deeply committed to art philanthropy since a young man both through his direct patronage of the arts and his work with the Wallace Arts Trust. Many artists have received encouragement, not only through their first sale from arts school, and into their emerging art career, but by continuing support through ongoing collection of their work and exhibition opportunities over their years of development. In many cases he has enabled this through patronage – so the artist can make a living. Sir James Wallace believes that true philanthropy is not just about giving money to support artists, but also giving time.
3. Jarad Bryant, Living on the bones of my ass, 2006, acrylic on canvas, 1500 x 1000mm
The Trust supports many other Arts organisations in New Zealand, such as the Auckland Writers Festival, the Auckland Philharmonic and the Auckland Theatre Company. Sir James Wallace is patron, trustee or board member of some 20 such institutions. As the founder of one of New Zealand’s largest agribusiness, Wallace Corporation, Sir James is now known better for his arts philanthropy through the Wallace Arts Trust. Sir James Wallace has journeyed through five decades of collecting and philanthropic life since his first purchase of art in 1964, a lovely water -colour by Toss Woollaston titled ‘Otago Cob Cottage’. From that beginning to the present day the collection has expanded exponentially “Even if it is helping with the administration or fundraising, it really has its own rewards; to see the results and be a part of it. My rewards are vicarious.” Wallace has a collection of over 8,000 pieces (and continually growing), many of which are on display to the public for free at Pah Homestead when they are not travelling on loan to some 50 other New Zealand institutions, such as schools and hospitals. Greater public access has been given to the Collection by making it accessible for educational purposes. Sir James says all sorts of people visit the Pah Homestead, “The house is so beautiful it breaks down the barrier between people and seeing contemporary art. That’s why they keep coming back.” Sir James Wallace’s focus has always been to collect emerging artists work. He says “I never set out to invest in art, although you could say that I invested in the artist.”15 This comment speaks of the relationship with the artist and the warm heart of art philanthropy. Art is an expression of human creativity, it brings alive your imagination, challenges you and breaks the daily routine because art is a reflection of the diversity of the human condition and our ever changing environments. When the world is in crisis art matters more than ever because its power to excite, soothe, provoke and inspire. When we are bombarded with a 24-hour news cycle of white noise, world doom and catastrophe, art can offer relief and escape from the information overload. The sensory experience of art restores our eyes and minds and gives us a chance to muse, to think and to look. It enables us to connect with our inner spirit, which is rich in thoughts, feelings and dreams. This is a primitive or instinctual inner part of us that is not affected by external stimuli. It is our curious desire, and nothing can be more rewarding than learning how to decipher how different works of art make you feel and the pleasure when a piece really speaks to you. Art matters. A month before he died in Dallas, John F. Kennedy said, “We must never forget that art is not a form of propaganda, it is a form of truth.” When asked what is about art that captivates him, Sir James Wallace says he sees it as a necessity, if society doesn’t have the arts and culture then it is missing out on a dimension of what life is about. He sees it as a vital element. Sir James Wallace has a passionate message to share - that there is a drought of collectors and philanthropists currently in New Zealand to take up the mantel following his 55+ year example. Sir James Wallace also believes that this is why the gap between the rich and the poor in New Zealand is growing. 16
4. Alexis Hunter Passionate Instincts, 1983 oil on canvas 655 x 660mm
A society who values art and culture is never poor. Sir James Wallace feels that money doesn’t belong to any of us. We simply manage it for the good of our community and our society. If we do the job well, “then many more people will benefit than just yourself.”17 Auckland and New Zealand is vibrant in the arts, but not vibrant in the philanthropists. “The sad thing about it is the people who have the ability to contribute back [and don’t] ... are missing out on the absolute return you get for supporting, say, the arts,” he says. “It results in really exponential returns. There is a joy in giving support to things that matter.” 18 In the Queen’s Birthday honours list of 2011, James Wallace was honoured with a knighthood for his services to the arts. Although he was embarrassed about his award, he said that he accepted it in the hope it might encourage others to see the rewards that come through support of the arts.19 Understanding the 21st century donor... Sir James - a Renaissance man? He breaks this mould also; Sir James gives artists an opportunity to create freely - without initial commission demands and control as in the way of the Renaissance patrons. He buys what the artist makes and in so many cases keeps following the artists’ creative path. We are pleased to welcome you to Philanthropy: The Art of Love - Selected works from The Wallace Arts Trust Collection. An exhibition offering a snapshot of an extensive, wide and varied collection showing the depth of human experience - the artists experience, which we can all learn from and be inspired by. We would like to see a radical shift in philanthropy, this could be what characterizes the 21st Century - a reclaiming of the root meaning of philanthropy: love of what it means to be human. We can all be philanthropists, by inspiring and facilitating generosity and valuing creativity and freedom of expression in our world. Steve Jobs, creative entrepreneur and one of the greatest tech minds of the 21st Century, said “technology alone is not enough – its technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing.” 20
Claire Ulenberg
5. Richard Orjis We are all made of stars, 2014 unique photographic print, 630 x 430mm
6. Martin Basher T.B.C. (I.D.: 3013.07), 2013, oil on board, 1380x 1150mm
7. Gavin Hurley A Boy Who Thinks He... , 2006 paper collage 565 x 440mm
8. Simon Denny Recent Haircuts 1, 2008 Office laminated laser prints with plastic gloves 1030 x 3530mm
9. Peter Peryer Zoo Music,1983
b/w cibachrome print 250 x 350mm
10. Peter Stichbury Jim Jewel, 2008 acrylic on linen 850 x 650mm
11. Seraphine Pick Untitled, 2000 acrylic on paper framed + glazed 325 x 235mm
12. Patrick Malone Grupundra, 2003 bronze 270 x 100 x 60mm
13. Garth Tapper The Guy Next Door, 1994 oil on Kauri panel 455 x 485 mm
14. John Ward Knox Untitled, 2008 ballpoint pen on paper 340 x 252mm
15. Alan Taylor Maui and Jesus in Auckland (ud) oil on board 490 x 390 mm
16. Wayne Youle Cooky the Clown, 2008 acrylic ink on New Zealand 1 pound note 270x210mm
17. Len Lye Self portrait (with night tree), 1947 Gelatine, silver, photogram( print) 370x320mm
18. Ava Seymour Rubber Utopia, 1994-1995 Fuji Crystal Archive paper 605 x 545 mm
19. Don Binney The Madness of the Pipiwharauroa, 1963 oil on board 760 x 880mm
PHILANTHROPY THE ART OF LOVE
17th OCTOBER - 17th NOVEMBER
1. Liz Maw
Battle Fairy 2010
oil on board
2. Tahi Moore
Cognititive Dissonance 2008
1700 x 1040mm
mixed media
1500 x 800 x 800mm
3. Jarad Bryant Living on the bones of my ass 2006 acrylic on canvas 4. Alexis Hunter Passionate Instincts 1983
1500 x 1000mm
oil on canvas
655 x 660mm
5. Richard Orjis We are all made of stars 2014 unique photographic print 6. Martin Basher T.B.C. (I.D.: 3013.07) 2013 7. Gavin Hurley
oil on board
630 x 430mm 1380x 1150mm
A Boy Who Thinks He... 2006 paper collage
565 x 440mm
8. Simon Denny Recent Haircuts 1 2008 Office laminated laser prints with plastic gloves
1030 x 3530mm 9. Peter Peryer
Zoo Music 1983
10. Peter Stichbury Jim Jewel 2008 11. Seraphine Pick
Untitled 2000
12. Patrick Malone
Grupundra 2003
250 x 350mm
acrylic on linen
850 x 650mm
acrylic on paper framed + glazed
13. Garth Tapper The Guy Next Door 1994 14. John Ward Knox
b/w cibachrome print
Untitled 2008
bronze oil on Kauri panel
270 x 100 x 60mm
ballpoint pen on paper
15. Alan Taylor
Maui and Jesus in Auckland (ud) oil on board
16. Wayne Youle
Cooky the Clown 2008
325 x 235mm 455 x 485 mm 340 x 252mm 490 x 390 mm
acrylic ink on New Zealand 1 pound note
270x210mm
17. Len Lye Self portrait (with night tree) 1947 Gelatine silver photogram(print) 370x320mm 18. Ava Seymour Rubber Utopia 1994-1995
Fuji Crystal Archive paper
19. Don Binney The Madness of the Pipiwharauroa 1963 oil on board
605 x 545mm 760 x 880mm
pierre peeters galleries 48 SHORTLAND ST, VERO CENTRE, AUCKLAND CBD +64 9 3774832 WWW.PIERREPEETERSGALLERY.COM
Endnotes to introductory essay 1 hp://www.national.org.nz/news/news/media-releases/detail/2015/06/17/Value-of-arts-to-New-Zea landers-highlighted 2 ‘New Zealanders and the Arts: Attitudes, attendance and participation in 2014’ this is a three-yearly research survey carried out by Creative NZ, which began in 2005 and was repeated in 2008, 2011 and 2014. It delivers on-going information to the arts sector about New Zealanders involvement and attitudes towards the arts. http://www.creativenz.govt.nz/assets/paperclip/publication_documents/documents/391/original/ new_zealand_and_the_arts_research_publication_-_final.pdf?1437364227 3 Robert Leonard interviewed by Virginia Were, “Feel the Love in Venice,” Art News, Spring 2015, p94 4 David Gelles, “Wooing a New Generation of Museum Patrons”, The New York Times, MUSEUMS SPECIAL SECTION MARCH 19, 2014 http://www.nytimes.com/2014/03/20/arts/artsspecial/woo ing-a-new-generation-of-museum-patrons.html?referrer=&_r=1 5 ibid 6 Foreword from “Growing the pie: Increasing the level of cultural philanthropy in Aotearoa New Zealand,” Report of the Cultural Philanthropy Taskforce to the Minister for Arts, Culture and Heritage Hon Christopher Finlayson Presented Dec. 2010. http://www.mch.govt.nz/sites/default/files/Cultural%20Philanthropy%20Dec_0.pdf 7 ibid 8 ibid 9 ANDREW MILNER, CAROLINE HARTNELL http://philanthropynewsdigest.org/columns/alliance-pnd/ an-act-of-faith-why-should-philanthropists-fund-the-arts, APRIL 15, 2015 10 ibid 11 Ibid 12 Creative Capital, supports innovative and adventurous artists across the country through funding, counsel and career development services http://www.creative-capital.org. 13 http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=1074147 14 ibid 15 http://www.thebigidea.co.nz/news/interviews/2011/jun/88448-arts-patron-sir-james-wallace 16 http://www.stuff.co.nz/business/money/70675180/nbr-rich-lister-calls-out-the-super-wealthy 17 ibid 18 ibid 19 ibid 20 Steve Jobs, in introducing the iPad 2 in 2011, http://www.performingartsconvention.org/advocacy/id=28
pierre peeters galleries
48 SHORTLAND ST, VERO CENTRE, AUCKLAND CBD +64 9 3774832 WWW.PIERREPEETERSGALLERY.COM