Monday, December 10, 2012

Len Lye Centre plan

Click on plan to enlarge

Tuesday, December 4, 2012

Gallery sample

Anna Miles Gallery
Bartley + Company Art
Brett McDowell Gallery
Brook Gifford Gallery
Fox Jensen
Gow Langsford Gallery
Hamish McKay Gallery
Hopkinson Cundy
Ivan Anthony Gallery
Jonathan Smart Galleries
Mark Hutchins Gallery
Melanie Roger Gallery
Page Blackie Gallery
Paul Nache
Peter McLeavey Gallery
Sue Crockford Gallery
Two Rooms

Sunday, November 25, 2012


Top to bottom, left to right. Dick Frizzell, Ralph Hotere, Bill Hammond, Colin McCahon, Michael Smither and Colin McCahon

Friday, November 9, 2012

Te Papa art aquistitions 2011-2012

Historical and Modern International Art
Eleanor Porter, the artist's wife, by Frederick J. Porter, circa 1930, oil on canvas, 670 x 570 mm (h x w, with frame), purchase
Sketchbooks (3) by Frederick J. Porter, 1930s, pencil, pen, ink, wash and watercolour, 410 x 530 mm (h x w) (2) and 260 x 350 mm (h x w), 1930s, gift of Philip Bradshaw
Camera obscura drawings (4) by an unknown artist, 1830s, pencil on paper using a camera obscura, various measurements, gift of Simon Knight

Ditlev Gothard Monrad by Pietro Krohn, 1865, pencil and gray wash on thick wove paper, 203 x 182 mm (h x w), purchased with John Ilott Charitable Trust funds
Historical and Modern New Zealand Art
Portrait of Lawrence Baigent by Leo Bensemann, 1938, oil on canvas, 493 x 422 mm (h x w), purchase
Landscape by Graham Percy, circa 1959, oil on hardboard, 900 x 580 mm (h x w), purchase
Landscape theme and variations: series B by Colin McCahon, 1963, oil on canvas, 1765 x 7725 mm overall (h x l), gift of the Arts Council of New Zealand Toi Aotearoa
Koru, 1, 2, 3 by Colin McCahon, 1965, polyvinyl acetate on hardboard, 1218 x 2775 mm (h x w overall), purchase
Mr and Mrs L.F.M. by Toss Woollaston, 1969-70, oil on hardboard, 903 x 1208 mm (h x l), gift of Peter and Hilary McLeavey
Contemporary New Zealand Art
Angus, 2011, oil on canvas; Collins, 2011, oil on canvas; Cook, 2011, oil on silk, by Selina Foote, various measurements, purchase
Gesamtkunsthandwerk by Karl Fritsch, Martino Gamper and Francis Upritchard, 2011, an installation including an inlaid table, three chairs, a wooden stool, shelf, candlestick holder, cast bronze sculpture, wooden bowl, and ceramic vessel, various measurements, purchase

Bowls (4) and tumblers (3), part of Gesamtkunsthandwerk by Nicholas Brandon, Martino Gamper, Francis Upritchard, 2011, glazed ceramics, gift of Martino Gamper, Francis Upritchard and Hamish McKay
Wurst, from Gesamtkunsthandwerk by Karl Fritsch, 2011, ceramic, gift of Karl Fritsch, Martino Gamper and Francis Upritchard
The artist's father, 1987, etching and aquatint; Folly and error, avarice and vice, 1987, etching and aquatint; Seven years of labour for the instruments of time, 2003, monoprint; Gideon, 2003, monoprint; The Phaedra chain III, 2010, monoprint; Like the back of my hand, 2010, monoprint, by Jason Greig, various measurements, purchase
Robert Louis Stevenson's 'The strange case of Dr Jekyll and Mr Hyde' by Jason Greig and The Gumtree Press 2010, illustrated book, purchase
Water pillow by Jim Allen, 1969/2010, mixed media installation of plastic, water, flax fibre, plexiglass, black light and wood, 1100 x 1100 x 250 mm (h x w x d overall), gift of the artist and Michael Lett
Space plane, environment no. 1 by Jim Allen, 1969/2010, mixed media installation of transparent plastic, nylon, metal balls and a fluorescent light, 2345 x 4000 x 2000 mm (h x w x d), purchase
Kavaka by John Pule, 1996, oil on canvas, 2,320 x 1,820 mm (h x w), purchase
rws by Campbell Patterson, 2011, sultana bran pieces on towel, 900 x 1170 mm (h x w), purchase

Taualuga: The Last Dance by Shigeyuki Kihara, single channel video work, 2006, gift of the artist
Contemporary Māori Art
He Korero Purakau mo Te Awanui o Te Motu: story of a New Zealand River by Michael Parekowhai, 2011, wood, brass, automotive paint, mother of pearl, paua, upholstery, 1670 x 2130 mm (h x w), purchase
Contemporary International Art
Estampas, Independencia y Revolución by various artists, 2010, portfolio of 50 limited edition prints and an editioned bronze sculpture, various measurements, diplomatic gift of the Federal Government of Mexico

Decorative Arts and Design
Jewellery (7 pieces) by Peter McKay, Square Brooch (after John Panting), 1976-77; Wave form, 1986; Bone brooch, 1986; The stone was rolled away II, 1991, New Tomb, 1992; Liberty Equality Fraternity, 1992; Incident on the high road I, 1995, various materials including sterling silver, copper and stainless steel wire, various measurements, purchase   
Frangipani Breastplate by Alan Preston, 1994, neckpiece of black lipped oyster shell, hibiscus fibre and sterling silver wire, measurements not available, purchase   
Circle Necklace by Warwick Freeman, 1995, pearl shell discs and gold beads threaded with black cord, 320 x 185 x 5 mm (h x w x d), gift of Helene Quilter 
Jewellery (necklace, bangle, ring, cuff and 3 brooches) by Joanna Campbell, 2003-12, various materials including gold plated sterling silver, beading thread, oxidised sterling silver, lace, gold metallic lace, various measurements, purchase
My Creatures by Bronwynne Cornish, 2007, earthenware installation hand-built with slips and stains, various measurements, purchase

Road Works necklaces (3) by Alan Preston, 2011, greywacke, paint and mixed cord, 52 mm (h), 2007, purchase
Clematis 3d by Pauline Bern, 2009, brooch
made from sterling silver, gold, industrial plastic and postage stamp paper, 70 x 60 x 8 mm (h x w x d), purchase
Metaphysical Heart by Peter McKay, 2010, sterling silver and gold brooch, 50 x 48 x 5 mm (h x w x d), purchase
Blanket Protection 1 by Victoria McIntosh, 2010, neckpiece constructed from woollen blanket, silver, pearls and thread, 230 x 220 x 70 mm (h x w x d), purchase
Winged vases (3) by Richard Parker, 2011, ceramic with black and cream glazes, various measurements, purchase
ice industry (neckpiece) and ice plane (brooch) by Kirsten Haydon, 2011, silver with enamel, photo transfer, copper, paint, reflector beads and steel, 250 x 140 x 15 mm and 80 x 80 x 10 mm (h x w x d), purchase
Rosa Myostidium and Nikau Flower, by Pauline Bern, 2011, brooches made from 9ct gold, nikau nut, shellac ink, rosewood, metal and sterling silver, 30 x 10 x 130 mm (h x w x l) and 22 x 22 x 73 (h x w x d) mm, purchase
Abstract R.E.G.A.R.D. Pendant by Octavia Cook, 2012, acrylic, epoxy resin, oxidised sterling silver, cubic zirconia and cord, 53 x 67 mm (h x l), purchase
Lidded tureen with ladle, circa 1880, manufacturer Hunkin and Heath, designer Christopher Dresser, electroplated silver and ebony, 155 x 205 x 145 mm, purchase
 Toast rack, 1879-1885, manufacturer James Dixon & Sons, designer Christopher Dresser, electroplated silver, 140 x 135 x 110 mm (h x w x d), purchase
Handkerchief by Snake Studios, 1974, ink on cotton, 350 x 352 mm (h x w), purchase

Photographs – New Zealand

Cartes de visite and cabinet prints of Māori (4) and Pākehā militia (1) by various and unknown makers, 1860s-1910s, albumen and gelatin silver prints, various measurements, purchase
Carte de visite and cabinet print depicting Māori sitters and postcard showing Pākehā dressed as Māori by various and unknown makers, 1870s‑1900s, various measurements, purchase

Photographs (11) by various and unknown pictorialists and photography studios, 1916-50s, silver gelatin prints and hand coloured silver gelatin prints, various measurements, purchase

Photograph of Mayme Chanwai by Crown Studios (attributed), early 1950s, silver gelatin print, 350 x 288 x 5 mm (h x w x d), gift of Mayme Chanwai

Photographs (negatives, transparencies and prints) from Big smoke, Tivaevae, Craft New Zealand, and Bone, stone, shell by John Daley, 1960s-90s, various measurements, gift of John Daley

Photographs – International

Photograph album with images of New Zealand, Tahiti and Samoa by Burton Brothers and unknown makers, 1885-1900, album with albumen and gelatin silver prints, 243 x 305 x 65 mm (h x w x l), gift of Steve Karaitiana
Black & white photographs (ex Michael Seresin collection) by various makers, 1912-37, silver gelatin prints, various measurements, purchase
Colour photographs of Pacific peoples (20) by Glenn Jowitt, 1981-2001, inkjet prints, 305 x 407 mm (h x w), purchase
Colour photographs of Pacific peoples (5) by Glenn Jowitt, 1981-2001, inkjet prints, 305 x 407 mm (h x w), gift of the photographer
Photographs (4) from the 'Stopover' series on Fiji-Indian sugar cane workers by Bruce Connew, 2001-3, gelatin silver prints, 237 x 350 mm (h x w), purchase

Tuesday, November 6, 2012

Walters Prize rules


The Walters Prize was established and launched in 2001 and first presented in June 2002 as an initiative of founding benefactors and principal donors Erika and Robin Congreve and Dame Jenny Gibbs, working in partnership with the Auckland Art Gallery Toi o Tāmaki. The founding partners, each of them Patrons of the Gallery since the group’s inception in 1987, hoped that the conduct of the prize would enable the significance and meaning of contemporary art in New Zealand to become better known. They share a belief that if contemporary art was more accessible to a growing and culturally diverse community, then that community might better understand the work of contemporary artists.

Through the Walters Prize, the founding partners will endeavour to work with others to make contemporary art a more widely recognised, debated and prominent feature of New Zealand cultural life. Those other partners include, from 2001, founding principal sponsor Ernst & Young and founding sponsor Saatchi & Saatchi. From 2003 Dayle Mace, chair of the Patrons of the Gallery, joined with them to become a major donor. As organising gallery, the Auckland Art Gallery will work with its current and future project partners to position the Walters Prize as a biennial project of national importance, establishing it over time as a major public event in New Zealand’s cultural calendar.


The key elements of the Walters Prize are the prize exhibition, publication, public and education programmes, and the award dinner. A four-person national jury, selected by the Gallery but remaining anonymous until the day of shortlisting, nominate four works or bodies of work of New Zealand contemporary art. Following the jury shortlisting, the Gallery invites the four artists so nominated to install or reinstate their work or works in the Auckland Art Gallery for an 8-12 week exhibition. About 7-8 weeks into the exhibition, a visiting international judge selects one of the works as the winner of the Walters Prize.

The Walters Prize award is NZ$50,000 net cash payable to the artist selected by the prize judge (note, this sum is not taxable). This cash award component of the prize relies on the generosity of a biennial grant from founding benefactors and principal donors Erika and Robin Congreve and Dame Jenny Gibbs. In addition, from 2003, major donor Dayle Mace has generously provided a biennial grant of NZ$5,000 cash payable to each of the four (4) artists shortlisted for the Walters Prize (note, this sum is also not taxable). This contribution recognises the achievement, considered significant in its own right, of being shortlisted.

Further, Saatchi & Saatchi will invite the winning artist to travel to New York and exhibit their work in Saatchi & Saatchi Worldwide’s corporate headquarters. This includes a business class airfare for the artist, Auckland / New York / Auckland, 10 days accommodation, and a daily per diem allowance at the prevailing corporate rate. This invitation remains valid for 18 months from the date of the prize announcement, when it will lapse. Saatchi & Saatchi have several spaces (of different sizes) in their Hudson Street headquarters, which may be suitable for the display or installation of the work or works that represented the successful artist in the prize. Alternatively, the artist may choose to show other works, as agreed between the artist and the sponsor.

The New York exhibition component of the prize does not automatically include a direct contribution to return freight and insurance cost. However, Saatchi’s are willing to discuss meeting these costs with the artist – either all or in part – dependant on the scale, complexity and installation requirements of their work. If an exhibition proves feasible, Saatchi & Saatchi New York will host an opening event for the exhibition and, by mutual agreement with the artist, will endeavour to create opportunities for the artist to interact informally with its staff and the contemporary visual arts community in New York.

In summary, shortlisted artist’s are presented with NZ$5,000 each at the Walters Prize exhibition opening, with the prize award of NZ$50,000 being presented to the winning artist at the prize dinner. Note that these sums are additional to the NZ$1,000 exhibition participation fee (see Appendix VI) paid to shortlisted artists.


The partners in the project intend that the aspirations of the Walters Prize will become – and long remain – a lively and engaging catalyst for a national and international conversation around contemporary art and artists in New Zealand. With the Gallery, they want the prize to stimulate public discussion about contemporary art and its role in and relationship to the wider world. They also intend that the prize should be an on-going project presented biennially.

To achieve that goal the partners acknowledge that the organising gallery will, in addition to its own direct funding and staff contribution, need to work with others.  The Gallery will endeavour to enlist a national television media partner to provide news, current affairs and arts coverage of the works, ideas, artists and events associated with the prize. This will allow the prize project – and the works of art and artists at its core – to speak to a public within and beyond the gallery’s walls.

The organising gallery will also seek support from other funding, trust body and corporate sponsor partners to help it realise its goals for the prize project and to ensure its long-term sustainability. To assist it in this endeavour, the Gallery will work closely with the founding benefactors and principal and major donors, and founding principal sponsor and founding sponsor, to develop and enlarge the support base, financial and non-financial, for the Walters Prize.


The Walters Prize seeks to determine and publicly acknowledge the most outstanding contribution made to contemporary art in New Zealand in the two-year period preceding its award, the so-called prize years. For these purposes, contemporary art in New Zealand includes an individual work or body of work predominantly created within New Zealand or in the context of the artist’s connection to or experience of New Zealand. The work must have been publicly exhibited for the first time during the prize years (i.e. from last jury meeting to current jury meeting), in either New Zealand or elsewhere in the world and have been seen by the jury member who nominates the work.

In this respect, the prize takes no regard of the artist’s actual or perceived identification as a New Zealand artist, whether they self-identify or are recognised as such. Moreover, an artist’s potential for inclusion in the prize should be determined without reference to their ethnicity, country of origin or current nationality. Regardless of the nominated artist’s background or experience, the prize endeavours to focus on the achievement of artistic excellence, demonstrated within a relevant work or body of work, as this is seen to impact on or exert influence over contemporary art in New Zealand.

While the prize jury will inevitably consider the artist’s reputation or professional standing when developing their shortlist, it is not the intention of the Walters Prize to honour career achievement. Artists whose work is shortlisted for inclusion in the prize exhibition might be considered to be young or emerging or mid or late career. No age limit is placed on those considered eligible for the prize. In placing emphasis on the most outstanding contribution made to recent practice within contemporary art in New Zealand, the prize does not set out in broad terms to recognise lifetime achievement, whether attained in New Zealand or elsewhere.

The Walters Prize seeks to acknowledge an artist whose work is outstanding in relative terms, in that it conspicuously contributes to enhancing the practice, understanding or reception of contemporary art in New Zealand. This includes work that either has demonstrably made or will potentially make that contribution, by having exerted a remarkable impact or influence on the nature, perception or development of contemporary art in this country. The prize partners recognise that, in the nature of such judgements, these determinations remain matters of informed opinion.

5.   MEDIA

There are no limitations placed on the media or contemporary visual artforms that may be considered for shortlisting for the prize exhibition and, therefore, eligibility for the prize itself. Nonetheless, the work or body of work shortlisted by the prize jury must be physically or – in the case of electronic or web-based work – virtually capable of public exhibition.

Work included under the scope of the prize could include, but is not limited to, any of the following media or visual artforms in potentially any combination of elements or materials: painting, sculpture, drawing, printmaking, photography, installation, ceramic, glass, sound, video, film, electronic, digital or World Wide Web internet-based work.

In broad terms, the prize encompasses autonomous works of contemporary visual art that are conceived or intended to be experienced and understood as such, regardless of the material of production or identified artform. In this respect, work shortlisted for inclusion in the exhibition should be of a kind broadly consistent with the Gallery's current contemporary art collection policy.


The Walters Prize includes a biennial exhibition presented at the Auckland Art Gallery. The prize jury is required to agree on four (4) shortlisted artists for inclusion in the prize exhibition. Further, the jury will also nominate two (2) reserve works, in the event one or more of the four shortlisted artists or works is unable or unprepared to participate in the prize. The prize exhibition will either fully comprise or otherwise be representative of the work or body of work that, in the opinion of the jury, merits consideration for the prize. The exhibition is approximately 8-12 weeks in duration, typically between September to November. The exhibition's scheduling may vary from time to time, where this assists the organising gallery to more effectively position the prize in its exhibition programme.

The co-ordinating curator assigned to manage the prize is responsible for negotiating the allocation of exhibition space to each shortlisted artist.  Dependent on the nature and scale of works, the first level galleries of the New Gallery building currently serve as the principal exhibition venue. However, the organising gallery reserves the right to make alternative spaces available for the purposes of the exhibition, either within the New Gallery or main Gallery buildings or at alternative Auckland venues or sites.

Prior to confirmation of the shortlisted works and advising the nominated artists of their selection, the Gallery will undertake a feasibility test of the nominated works. The test will be completed within two weeks of the jury meeting and will consider scale, cost of presentation, freight, availability for loan, etc. Should the presentation of the actual work nominated be impossible to realise due to scale, cost of presentation, freight, unavailability for loan etc, or its representation through documentation be deemed not to effectively represent the work, then the Gallery will contact the jury to make a further nomination from their reserve list. 

For the sake of clarity, if the shortlisted work is unavailable for inclusion in the exhibition then the artist may ultimately choose to represent it through preparatory or associated works, or video, photographic or electronic forms of documentation. If required, the organising gallery will assist the artist to produce such documentation as part of funding their participation in the exhibition. However, it remains the strong preference of the organising gallery that the actual work or body of work that is shortlisted will be included in the exhibition for review by the prize judge.

While shortlisted works might be represented either partially or wholly through other existing or newly produced but related works, particularly given the nature or some contemporary practices, shortlisting is not intended to stimulate the production of entirely new work that may have gone unseen by the prize jury. It is important to reiterate in this context that the prize is awarded for "the most outstanding contribution made to contemporary art in New Zealand" in the prize years, as initially scoped and shortlisted by the jury.

In addition to the review of the exhibition by the prize judge, and the award of the prize based on his or her decision, the organising gallery might also conduct a People's Choice vote throughout the course of the exhibition. The People's Choice prize, if applicable, will be determined in association with the founding principal sponsor.


The Gallery, through the co-ordinating curator, will prepare a small-scale catalogue of between 20-32pp, four-colour, in association with the prize exhibition. The design and format for the catalogue will generally include the following elements: a statement from the founding benefactors and principal donors and/or other partners; a foreword by the Gallery's director; background on the judge; summary observations on the prize years and/or shortlisted artists from the jury; overview on each of the shortlisted artists written by the co-ordinating curator; shortlisted artists portraits, statements and illustrations.


The selection of artists shortlisted for representation in the biennial prize exhibition will be made by a New Zealand based group of invited experts, the prize jury. Membership of the jury will be determined and appointed, from prize to prize, at the discretion of the Gallery. The final determination of the prize award is based on the shortlisted artist’s representation in the exhibition and is made by the prize judge. 

The jury will comprise no less than three (3) and no more than five (5) individuals with recognised expertise in the visual arts and/or in allied contemporary cultural arenas. Jury membership can include but is not limited to those who are senior practising artists, art critics, writers, curators, art museum directors, art historians, or those otherwise prominent in allied contemporary cultural arenas.

The Gallery is required to keep membership of the jury confidential until the announcement of the shortlist. At the same time, members of the jury are required to retain confidentiality as to their membership until that time. The purpose of maintaining confidentiality over membership of the jury is to ensure that they can more effectively undertake their role from the relative anonymity of being a regular and interested observer of contemporary art exhibitions, thereby more easily retaining their critical independence and freedom to act.

In appointing jury members, the Gallery will endeavour to provide the prize with the best possible overview of exhibition activity in the five major metropolitan centres of Auckland, Christchurch, Wellington, Hamilton and Dunedin. To optimise that coverage, the Gallery will aim to include members from, at least, Auckland, Wellington and Christchurch and, at best, seek to encompass as many other centres and/or regional areas as is achievable within its resources. The jury is not restricted to nominating works from their designated major metropolitan centre/s and/or regional zone/s.

The jury is required to meet only once as a formally constituted group on a date to be fixed by the organising gallery, ideally some six (6) months from the opening of the prize exhibition. On meeting, they will determine their four (4) shortlisted works for inclusion in the exhibition and consideration by the judge. The jury will also nominate two (2) reserve works, in the event one or more of the four shortlisted artists is unable or unprepared to participate in the prize, or that due to scale, cost of presentation, freight, availability for loan, etc the work is unable to be included. Again, it remains the strong preference of the organising gallery that the actual work or body of work that is shortlisted will be included in the exhibition for review by the prize judge.

In shortlisting works, the jury are not required to adopt a curatorial perspective on how each will work together as an exhibition. Instead, work should be selected solely for its deservedness as a nominated work. Designing the exhibition is the role of the co-ordinating curator and the gallery designer, working in close collaboration with the shortlisted artists.


The founding benefactors and principal donors, in consultation with the Gallery, select and invite the prize judge. The judge will be an eminent national or international figure in the world of the visual arts or an allied cultural arena. He or she will be of such standing as to act to focus public, critical and media attention on their role. Those invited to be prize judge may include but are not limited to being senior practising artists, art critics, writers, curators, art museum directors, art historians and the like.

The judge will, by preference, be a person able to deliver an associated public lecture on their field of interest or expertise in the contemporary visual arts or an allied field. The decision of the judge in making the prize award will be considered final and binding. For the purposes of the inaugural prize, the judge will be invited to Auckland for a minimum 4/5-day period, at a time to be mutually agreed.


The Gallery will appoint a co-ordinating curator at the beginning of the prize years to act as its representative in all substantive dealings between the Gallery, the prize jury and the artists nominated for inclusion in the prize exhibition. The co-ordinating curator will be available to brief the jury as necessary on the exhibition potential and constraints of the Auckland Art Gallery spaces dedicated to the prize.

Finally, when the exhibition is being assembled and its content is known, the co-ordinating curator will advise the director if, in their opinion, a nominated work or works should be excluded from the exhibition. The purpose of this advice is to protect the Gallery where the nature or content of a work or works is deemed to be in breach of the law, therefore making it an offence to exhibit it, or is otherwise considered to be in serious conflict with Gallery policy.

The co-ordinating curator will prepare an associated catalogue to the Walters Prize exhibition that will include a short essay on each artist. There will also be interpretive material in the form of wall texts and videos made available to assist the public.

A comprehensive education and public programme will be mounted by the Gallery in association with the exhibition,

11.   DINNER

A prize award dinner will immediately follow the selection of an awarded artist by the prize judge. The dinner will be scheduled on a date convenient to the Gallery, the judge and the founding benefactors and principal donors and project partners. This is most likely to occur no less than four weeks following the opening of the prize exhibition.

The award dinner is conceived as being a distinct, separately sponsored and high profile element of the prize. It will be the occasion on which the prize award is announced by the judge to an audience including the shortlisted artists, members of the jury and founding benefactors and principal donors and project partner representatives. The Patrons of the Gallery and other key organising gallery donors and stakeholders will also be invited to attend.

It is the goal of the founding partners in developing the prize that the dinner is in some part given coverage by the national television media partner enjoined to support the prize. Coverage would ideally include a live cross to the judge’s announcement of the awarded artist. Further, it is hoped it can include coverage of the highlights of the media conference scheduled to be held immediately following the announcement.

Friday, October 19, 2012

Top 100

1. Carolyn Christov-Bakargiev 2. Larry Gagosian 3. Ai Weiwei 4. Iwan Wirth 5. David Zwirner 6. Gerhard Richter 7. Beatrix Ruf 8. Nicholas Serota 9. Glenn D. Lowry 10. Hans Ulrich Obrist & Julia Peyton-Jones 11. Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani 12. Anton Vidokle, Julieta Aranda & Brian Kuan Wood (e-flux) 13. Cindy Sherman 14. Alain Seban & Alfred Pacquement 15. Adam D. Weinberg 16. Annette Schönholzer, Marc Spiegler & Magnus Renfrew 17. Marc Glimcher 18. Marian Goodman 19. Massimiliano Gioni 20. Jay Jopling 21. François Pinault 22. Klaus Biesenbach 23. Matthew Slotover & Amanda Sharp 24. Barbara Gladstone 25. RoseLee Goldberg 26. Eli & Edythe Broad 27. Patricia Phelps de Cisneros 28. Bernard Arnault 29. Nicholas Logsdail 30. Liam Gillick 31. Ann Philbin 32. Victor Pinchuk 33. Maja Hoffmann 34. Tim Blum & Jeff Poe 35. Marina Abramović 36. Dakis Joannou 37. Udo Kittelmann 38. Monika Sprüth & Philomene Magers 39. Matthew Marks 40. Gavin Brown 41. Damien Hirst 42. Rosemarie Trockel 43. Wolfgang Tillmans 44. Agnes Gund 45. Chus Martínez 46. Isa Genzken 47. Iwona Blazwick 48. Anne Pasternak 49. Sadie Coles 50. Daniel Buchholz 51. Toby Webster 52. Adam Szymczyk 53. James Lingwood & Michael Morris 54. William Wells & Yasser Gerab 55. Michael Ringier 56. Theaster Gates 57. Pussy Riot 58. Jeff Koons 59. Steve McQueen 60. Takashi Murakami 61. Boris Groys 62. Emmanuel Perrotin 63. Richard Chang 64. Tim Neuger & Burkhard Riemschneider 65. Slavoj Zizek 66. Thaddaeus Ropac 67. Chang Tsong-zung 68. Elena Filipovic 69. Tino Sehgal 70. Christian Boros & Karen Lohmann 71. Luisa Strina 72. Claire Hsu 73. José Kuri & Mónica Manzutto 74. Brett Gorvy & Amy Cappellazzo 75. Tobias Meyer & Cheyenne Westphal 76. Budi Tek 77. Walid Raad 78. Cuauhtémoc Medina 79. Massimo De Carlo 80. Bernardo Paz 81. Christine Tohme 82. Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo 83. John Baldessari 84. Sheikha Hoor Al-Qasimi 85. Dasha Zhukova 86. Vasif Kortun 87. Anita & Poju Zabludowicz 88. Candida Gertler 89. Gisela Capitain 90. Carol Greene 91. Franco Noero & Pierpaolo Falone 92. Jacques Rancière 93. Miuccia Prada 94. Maureen Paley 95. Don, Mera, Jason & Jennifer Rubell 96. Paul Chan 97. Victoria Miro 98. Adriano Pedrosa 99. Johann König 100. Gregor Podnar

Thursday, August 9, 2012

Movie quizz

Top to bottom left to right: Jean-Michel Basquiat, Francisco De Goya, Pablo Picasso, José Clemente Orozco, Andy Warhol, Frida Kahlo, Paul Gauguin, Amedeo Modigliani, Vincent Van Gogh, Vincent Van Gogh (again), Henri Toulouse-Lautrec, Francis Bacon, Vincent Van Gogh (and again), Gustav Klimt, Egon Schiele

Saturday, June 23, 2012

CNZ Press release

New Zealand has secured a prime site for the world’s most prestigious contemporary art event, the Venice Biennale. The New Zealand Pavilion for the 2013 event will be at the Istituto Santa Maria della Pietà (La Pietà), on the city’s main pedestrian thoroughfare between Piazza San Marco and the Giardini, (the principal venue of the Biennale). La Pietà features four different exhibition spaces, including a spacious corridor in which Vivaldi once taught violin. 

Acclaimed New Zealand light sculptor and installation artist Bill Culbert, announced as New Zealand’s representative at the 55th Biennale last October, will create site-specific works for the Pavilion. “The venue worked very well for the New Zealand presentation in 2005,” says New Zealand Arts Council Chair, Alastair Carruthers, “and it is exciting that we have been able to secure a larger exhibition complex for 2013, allowing Bill to respond to and create a journey through some very different spaces, and extending New Zealand’s presence to the busy edge of the Grand Canal.’’ “Many of Bill’s most fascinating works have appeared in settings that are not conventional art gallery spaces,” says 2013 Venice Biennale Commissioner, Jenny Harper. “Even now, it’s tempting to imagine the play-off between his light works and the historic textures and broader context of Venice.” 

Bill Culbert began as a painter at Canterbury University’s School of Art and at the Royal College of Art, London. In the 1960s, he began to experiment with light and movement, and since the 1970s his art has encompassed photography, electric light and found objects. Since 1960 he has had more than 100 solo exhibitions in New Zealand, England, Europe, the United States and Australia, and appeared in many group exhibitions. 

Culbert has also produced major public sculptures in spaces ranging from the Millennium Dome in London to the Wellington waterfront in New Zealand. New Zealand’s arts development agency, Creative New Zealand, funds and administers New Zealand’s presence at the Venice Biennale. Creative New Zealand acknowledges the support of Christchurch Art Gallery and Massey University in the realisation of the 2013 exhibition. New Zealand has exhibited at the Venice Biennale since 2001. 

New Zealand artists who have previously represented New Zealand are: Peter Robinson and Jacqueline Fraser (2001), Michael Stevenson (2003), et al. (2005), Judy Millar and Francis Upritchard (2009) and Michael Parekowhai (2011) . The 2013 Venice Biennale runs for six months from June to November. 

For further information, go to or 

For media or image queries contact:, +64 4 473 0187 or +64 (0) 21 244 4016

Thursday, May 31, 2012

Wish list

• The principle that the arts and culture occupy a ‘critic and conscience’ role in relation to society. To combine the ideology of the arts in with the motives of “entertainment” would seriously distort and limit the scope and freedom of voices that need to be heard in the arts.

• A clear demarcation between the expertise of commercial (RFA) and fine-arts (AAG) interests and responsibilities.

• Protection and separation from the event-centre imperatives that the gallery is currently being obliged to fulfill.

• Independence and freedom for the gallery director and staff to envision, curate and manage exhibitions to the best of their professional abilities. The director must have overall authority and responsibility for management of resources, cultural and financial. This equates with proven international best-practice for art museums.

• Confidence in the gallery directorate to develop strong visionary leadership that reflects local and international contemporary art-culture.

• The appointment of one or more experienced art advisors to the RFA whose expert knowledge and advise would support and assist the management goals of AAG and the governance requirements of Council.

• The Art Gallery to inform and inspire the community with regular programming of culturally adventurous and risk-taking exhibitions alongside the proven and sure. Such exhibitions enhance visitor experiences, contribute to growth in audience numbers, achieve cultural goals of excellence and build the professional status of the institution for the benefit of all.


As marketing and PR transform how art institutions are presenting and processing art, we are also witnessing a radical change in the way art is produced in New Zealand. This time the change agent is an acronym. PBRF (Performance-Based Research Fund).

This is the process by which the Government now allocates around 60% of the research funding tertiary education receives (another 25% goes into postgraduate degrees and that’s a story in itself). In the 2012 about $1.6 billion was up for grabs. And remember a billion seconds takes 31 years where as a million would only rack up 13 days. It’s a lot of dough. 

Behind all this is a whole army of bureaucrats producing a forest full of methodologies, Q&As, guidelines and tips&tricks all with a single goal: to increase the quality of research. If you are employed in the tertiary system, quality research has been the name of the game since 2003 (the year the PBRF was introduced). 

Now if you are a biologist or an historian, the ways quality is assessed are pretty straightforward: you need to present at quality conferences, have papers accepted for peer-reviewed quality journals, write books accepted by quality publishers . Everyone in the field pretty much agrees on what counts and what doesn’t. But transforming artists into academics from around the 1990s has radically changed the whole idea of quality in the visual arts. 

Since the wider tertiary sector is not interested in minor exceptions to its quality research framework, artist academics have to squeeze themselves and their work into the common framework, and it's not easy. And this is why we now hear so much talk about “research-based art”. This is not a big new artist type ism, it’s an institutionally driven piece of bureaucracy. 

At first it was kind of comical as artist academics scoured the planet for obscure phenomena (out of the way architecture, forgotten moments of modernism, the entire sub continent, fringe cultures etc.) to research. But there is serious money at stake and serious implications for art museums, artists outside the academic system and the market.

Thursday, May 17, 2012

Organisational Review

Outcomes for Auckland Art Gallery

As you will be aware, over the past five weeks a consultation process has been underway with senior Gallery management regarding the proposed management restructure. After considering all the written and verbal feedback from the affected managers, the new management structure has now been finalised. As in any genuine consultative process, the proposed changes have gone through numerous iterations and I am confident that the final outcome positions the Gallery well going forward.
Key Changes
The key elements of the management restructure are outlined below:
•                  There will be minor changes to the responsibilities of the Director – Auckland Art Gallery, whose role will have a stronger focus on developing the artistic programme whilst retaining overall line management responsibility for the Gallery’s operations.
•                  A new position of Deputy Director will be established, with defined delegated responsibility for management of Gallery operations.
•                  A new title of Head of Collection Services will be the only change to the former Operations team. The Head of Collection Services will report to the Deputy Director.
•                  The new positions of Head of Visitor Services and Head of Learning and Gallery Services will be established, both reporting to the Deputy Director.
•                  The Visitor Services team will comprise the gallery guide and retail functions.  
•                  The Learning and Gallery Services team will comprise the learning programmes and security
and building management functions.
•                  The curatorial services team will be headed by the new position of Principal Curator, reporting to the Director. The Principal Curator position has been established by restructuring the vacant curatorial programmes manager role.
•                  A new position of Manager, Special Exhibitions will be established, reporting to the Director.
•                  Marketing and communications and administration staff will report to the Deputy Director.
•                  Due to the above changes, the positions of Head of Programmes, Head of Development, Head of 
Services, and Curatorial Programmes Manager will be disestablished.

Filling of New Positions
External advertising for the new positions of Deputy Director and Principal Curator will commence as soon as possible. The positions of Head of Visitor Services, Head of Learning and Gallery Services, and Manager, Special Exhibitions will be filled by redeployment of managers whose positions have been disestablished as a result of the restructure.

Organisational Charts
The new organisational charts will be made available for all Gallery staff by the end of this week.

Other Changes Resulting from the Organisational Review
As I have previously outlined, the following changes will also be implemented at the Gallery:
•                  Marketing resources will, on occasions as necessary, be centrally coordinated across the RFA group of business units to assist the Gallery to promote exhibitions, events, etc. A draft protocol has been developed to guide the coordination process.
•                  Functions and events will be managed by Auckland Conventions across the RFA group and will assist the Gallery to increase utilisation of functions space and commercial returns.
•                  The Centre for Performing Arts will extend its public performing arts programme to the Gallery to assist in increasing visitation and enhancing the customer experience.

Moving Forward
The Gallery will spend the upcoming period progressively transitioning to the new arrangements outlined above. During this stage of the transition, business will continue as usual. Staff will be advised of implementation timelines and dates as soon as practicable.
I am confident that the changes we will be making will place Auckland Art Gallery on a stronger artistic, managerial and financial footing, not only to best meet the challenges that lay ahead, but also to maximise the opportunities that arise.

Robert Domm Chief Executive Officer