Applause - Issue 16

Issue #16

December | 2008

IN THIS ISSUE

Applause is the biannual newsletter of the Arts Foundation of New Zealand. It provides news information on artists supported by the Arts Foundation, announcements about Awards and reports on other activities.

Applause is designed by Chrometoaster and printed by DSP Print at no charge.

If you would like Applause to be mailed to you, visit www.artsfoundation.org.nz and submit your mailing address, or call +64 4 382 9691

Across the arts and across time

2008 Laureate Awards•

2008 New Generation Awards•

Featured Icon – Alexander Grant•

Featured Laureate – Gillian Whitehead•

Featured New Generation Artist – •

Joe Sheehan

Private Support and Sponsorship•

Kate De Goldi interviews •

Neil Paviour-Smith

Sponsors – Forsyth Barr, Fosters •

and Testroom

The 2008 Arts Foundation Annual General Meeting was held on 3 December at the beautiful home of Patron Libby Sellars, at Little River, Banks Peninsular. A special thanks to Libby for hosting this event. Chair of the Arts Foundation’s College of Governors, John McCormack, reported to the meeting. This year he decided to take a ‘different tack’. Rather than the traditional report on what the governors have been up to over the past twelve months, John reported on the way Governor’s think about the Foundation and the possibilities it offers now and in the future.

John said “we love being governors! Here are a few reasons why we hold the Arts Foundation in such high esteem and are willing to dedicate so much of our creative energy and time to its work. First, it’s an artist-oriented arts organisation. Its prime role is to spot the talent, back it to the hilt and celebrate it. Second, artists don’t have to apply for funds. The lucky ones get a call out of the blue advising them that they are the recipients of a Foundation Award and that it comes with no strings attached. They are free to use the award monies any way they like. Third, we like the way the Foundation is beginning to work beyond the edge of ‘art’, embracing a wider variety of creative practices. When confronted with work that falls outside the traditional art forms we

Alex Monteith, New Generation artist, Looping Manoeuvre for four motorcycles for four-channel video installation 16 meters x 2.8 meters, 18 mins, 2008, Installation shot, Need for Speed, St Paul St Gallery, 2008

1ARTS FOUNDATION OF NEW ZEALAND | PRINCIPAL SPONSOR FORSYTH BARR

don’t ask “Is it art?” Rather we ask, “Where is the art in it?” This allows us to embrace exceptional work by people working in the wider [arts] culture… And fourth, we love the way the Arts Foundation works across time – looking back and honouring the great artistic legacies of the recent past … and looking forward by supporting the artists who are shaping and defining the current and future direction of the arts in New Zealand.

• We look back with the Icon Awards • We look to the present with the Laureate Awards • We look to the future with the New Generation AwardsWe know it all works beautifully, partly because the feedback from the art world is so positive, but also because it is attracting new, enlightened patrons with the will and private wealth to support artists. For example, over the past 18 months we have seen the addition of two new awards to the Foundation’s line up… The Marti Friedlander Photographic Award and… The Harriet Friedlander Residency Award… The Arts Foundation manages both awards and both are indicators of the success of the Arts Foundation as it continues to marry up arts patronage and arts development.”

From THE ArTS FoUNDATIoN oF NEw ZEAlAND

ISSN 1178-4687

2 ARTS FOUNDATION OF NEW ZEALAND | PRINCIPAL SPONSOR FORSYTH BARR

2008 lAUrEATE AwArDS

Generous Arts Supporters – Gillian & Roderick Deane

It was yet another great night of joy and celebration of our most important people - artists and Patrons – and my face ached from smiling with delight at all the terrific announcements. What a pantheon of amazing people the Laureates now describe. For each artist it must become more and more affirming to be in such a context.Louise Pether, Manager, Art and Access Programmes, Auckland Art Gallery Toi o Tāmaki

George Henare, Teddy Tahu-Rhodes, Ngila Dickson, Lloyd Jones and Shane Cotton – 2008 Laureates. Photo by David Hamilton

(Director o’kaioceanikaart Gallery, Auckland) and Deirdre Tarrant (Director Footnote Dance Company and Arts Foundation Governor). Thanks also to Patron Kathlene Fogarty, Laureate Donor Michael Shanahan, Governor John McCormack Chair of the Arts Foundation Ros Burdon, and to Managing Director of Forsyth Barr, Neil Paviour-Smith, for presenting the Awards on the night. Special thanks also to Fran Ricketts for loaning, and Kathleen Fogarty who assisted with stage-dressing and the installation of, a beautiful Ann Robinson bowl.

Neil Paviour-Smith, Managing Director of Forsyth Barr said “we are proud to welcome another spectacular group of Laureates to the Foundation’s family of honoured artists. The Laureate Awards programme is something we truly believe in as an investment in excellence, which makes a real difference in both the lives of the artists and for New Zealand as a whole through the work they create – and this is why we gladly extended our Principal Sponsorship of the Foundation to present the Laureate Awards and the Forsyth Barr Laureates On-Stage events. We have always enjoyed a close association with the Laureates and look forward to seeing this year’s recipient’s take their work to new heights both at home and on the world stage.”

On 3 November, at the Embassy Theatre in Wellington, the Arts Foundation, Presenting Sponsor Forsyth Barr, and a capacity audience welcomed five new Laureates to the Arts Foundation family: visual artist Shane Cotton, costume designer Ngila Dickson, actor George Henare, writer Lloyd Jones and baritone Teddy Tahu Rhodes.

The Awards were opened by previously awarded Laureates Phil Dadson and Don McGlashan with a sound-art piece exploring the stereotypes of artist isolation and artists’ role in society. Laureate Barry Barclay (1944-2008) was remembered through Gaylene Preston and the screening of an excerpt from Ngati, which Barry directed. Award recipients allowed the audience a glimpse into their lives through on stage interviews. The Laureate Awards theme of artists in full flight, reaching to great heights was represented through the inverse image of the tui from the Laureate statuette, and was further portrayed with birds-of-paradise flowers on the stage.

Laureates are selected without their knowing they are under consideration by a panel of arts experts, independent from the Arts Foundation. The 2008 Panel was Scilla Askew (Executive Director, SOUNZ), Graham Beattie (Publisher and literary blogger), Jenny Harper (Director, Christchurch Art Gallery), Gabrielle Huria (Senior Manager, Ngāi Tahu), Marilyn Kohlhase

The Arts Foundation of New Zealand Laureate Awards are awarded annually to celebrate five talented artists whose careers are in full flight. The Award of $50,000 each is made in recognition of the artist’s achievements to date and as an investment in their future. The Laureate Awards are presented by Forsyth Barr. The annual donation is made possible through income generated by the Foundation’s Endowment Fund which is expertly managed on a daily basis by Forsyth Barr. The Fund is growing through donations and legacies from Patrons and Donors. Annual contributions by Laureate Donors also contribute to the Award.

PrESENTED by ForSyTH bArr


History, politics and art are the subject of Shane Cotton’s work; finding his place within the matrix of New Zealand’s bicultural identity its genesis.

Shane Cotton was born in 1964 in Upper Hutt; his Māori heritage is located in New Zealand’s Northland. Shane has a Fine Arts Degree from the University of Canterbury and a Diploma in Teaching from the Christchurch College of Education and was a lecturer at Massey University in the Māori Visual Arts Programme until 2005.

Landscape references in Shane’s early paintings recall the symmetry of Māori carving and the work of Colin McCahon. Simple images, sepia-coloured and scaled metaphorically, derive from nineteenth-century Māori Folk Art, which Shane perceives as signifiers of Māori culture cleverly veiled within a Christian context. Op and Pop appropriations, Māori Biblical text and, after 2000, brightly coloured targets, preserved heads (moko mokai), birds, fluoro wands and majestic cliffs infused with human presence appear in his work. Most recently, Shane is interested in exploring the effects of spatial relationships in picturing change.

A major survey of Shane’s work was exhibited at City Gallery Wellington and Auckland Art Gallery in 2003. Prestigious international exhibitions followed at the Asia Society Museum, New York, the Museum of Contemporary Art, Sydney (both 2004) and, as New Zealand’s representative at the Prague Biennial (2005). His work was included in the 3rd Auckland Biennial at Auckland Art Gallery (2007).

Shane’s many awards include the Frances Hodgkins Fellowship (1998); the Seppelt Contemporary Art Award (1998); and the Te Waka Toi Award for New Work (1998, 1999). His work is represented in major collections, notably Te Papa Tongarewa Museum of New Zealand; Auckland Art Gallery; the Chartwell Collection; Museum of Contemporary Art, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; and Queensland Art Gallery, Brisbane.

Ngila Dickson is an award-winning costume designer. Born in Dunedin in 1958, she worked as a magazine editor, stylist and fashion designer, before entering the film industry.

Ngila’s costume design work includes New Zealand films Ruby and Rata and Heavenly Creatures. She also spent several years designing for the television series Xena: Warrior Princess and Hercules, receiving Best Contribution to Design Award at the New Zealand Television Awards for her work on Xena: Warrior Princess in 1997 and 1998, and the Best Costume Award at the 4th International Cult TV Awards.

Ngila has received numerous nominations and awards. Her work dominated the 2004 Academy Awards Costume Design category with a double nomination for Lord of the Rings: The Return of the King and The Last Samurai, winning an Oscar for Best Costume Design with Richard Taylor for The Lord of the Rings. She also received a Bafta Award and an American Costume Industry Award judged by her peers in the same year. Ngila’s costumes designed for The Last Samurai were displayed in Barney’s department store windows, Madison Avenue, New York in the build up to the 2004 Oscars. Also in this award season Ngila garnered the Costume Guild Award for The Lord of the Rings and a Saturn Award for The Last Sumurai.

Ngila has been working off-shore since 2004 on such diverse projects as The Illusionist, set in 1900’s Vienna, Blood Diamond in Africa, and The International, a soon to be released contemporary thriller set in Berlin, Istanbul, Milan and New York. Ngila has returned to New Zealand to work with director Dean Wright on the biblical epic, Kingdom Come.

Ngila is married to art historian Hamish Keith and lives in Auckland.

Shane Cotton visual artist

Ngāti Rangi, Ngāti Hine and Te Uri Taniwha

Ngila Dickson costume designer

Middle North by Shane Cotton. Photo courtesy the artist.

Ngila Dickson costume design for The Last Samurai.

ARTS FOUNDATION OF NEW ZEALAND | PRINCIPAL SPONSOR FORSYTH BARR4

Born in Gisborne, George spent his early life near Te Araroa on the East Coast of the North Island. He became involved in theatre in his late teens after brief stints as a postie and trainee teacher. His teaching career was abandoned after successfully auditioning with the New Zealand Opera Company where he sang chorus in productions such as Porgy and Bess and Il Trovatore.

From 1965 George worked with the New Zealand Opera Company, the Māori Theatre Trust, Wellington’s Downstage Theatre, Radio Drama and fledgling television, until joining Mercury Theatre, Auckland, in 1971. George has since played dozens of parts, Ratty, Dracula, Toad of Toad Hall and Snoopy to more serious characters such as Lear, Lenin and Caesar. His television and film work includes Rapa Nui, Crooked Earth, The Silent One, Once Were Warriors and Potiki’s Memory Of Stone (written by Laureate Briar Grace-Smith). George has also worked extensively in Australia with Melbourne Theatre Co, Sydney’s Ensemble Theatre and Belvoir Street Theatre in Sydney, and toured with Jesus Christ Superstar and Phantom of the Opera.

George received an OBE in 1988 for his services to theatre; the Best Theatrical Performance Award at the 1994 Entertainer of the Year Awards for his role in Jesus Christ Superstar; Best Actor at the 2000 TV Guide New Zealand Television Awards for Nga Tohu – Signatures; Talking Books Narrator of the year 1992 and 2001; and in 2006 he won a Chapman Tripp ‘Best Actor’ Award for his portrayal of Willy Loman in Circa Theatre’s Death of a Salesman. In 2008 George received Te Waka Toi, Te Tohu Toi Ke Award for his outstanding contribution to Māori theatre.

Lloyd Jones is described in The Oxford Companion to New Zealand Literature as someone who “writes narratives which are challenging, original and in some cases controversial”.

After graduating from Victoria University he worked as a journalist and consultant while remaining a committed writer. He has travelled widely, including spending 1989 as the Katherine Mansfield Fellow at Menton, France, and 2007-2008 in Berlin as Creative New Zealand’s writer-in-residence.

Selected published novels include Biografi, 1993 (short listed for the New Zealand Book Awards, and a New York Times notable book for the year); The Book of Fame, 2000 (Deutz Medal for Fiction, Montana New Zealand Book Awards 2001); Here at the End of the World We Learn to Dance, 2002 (short listed in the 2002 Montana New Zealand Book Awards); Paint Your Wife, 2004, and Mister Pip, 2006 which won the Commonwealth Writers’ Prize Overall Best Book Award 2007 and the Commonwealth Writers’ Prize for Best Book in the South East Asia and South Pacific region. The novel was also awarded the 2007 Montana Medal for fiction and the Reader’s Choice Awards at the same 2007 Montana New Zealand Book Awards. Mister Pip was further recognised internationally when it made the shortlist of the 2007 Man Booker Prize. It also won the 2008 Kiriyama Pacific Prize for fiction. Mister Pip has been published in 33 countries.

Lloyd was one of three writers to be honoured with a 2008 Prime Minister’s Award for Literary Achievement for their significant contribution to New Zealand literature.

George Henare actor

Ngāti Porou, Ngāti Hine

Lloyd Jones writer

George Henare, in the Downstage musical production, Urinetown, 2007. Photo by Dominion Post.


Making a Difference

The Laureate Award makes a genuine difference in the lives of the recipients in more ways than one. Artists have, for example, invested their cash Award in different ways. The Award enabled John Psathas to purchase a piano and to free up time and resources to focus on creating the scores and arrangements for the 2004 Athens Olympic Games opening and closing ceremonies music. Kate De Goldi invested her Award in her children’s book Clubs, (right) which went on to win Best Picture Book and Book of the Year in the New Zealand Post Book Awards for Children and Young Adults 2005.

In addition to the cash component of the Award, the associated honour has proven of significant value in itself. Oscar Kightly tells of how receiving the Award made him feel like a real New Zealander for the first time since moving here from Samoa aged four. Moana Maniapoto has said that the Award provided a huge boost to her confidence and that “the most wonderful part was it said there are people out there who believe in me, and where I am in my artistic journey.”

This year’s recipients have already pointed out the intangible benefits of the Award that they are already experiencing. George Henare has spoken of the mana, security, and the confidence the Award affords, while Shane Cotton has spoken of the related benefits in both a past and future context. “Receiving a Laureate gives you confidence in what you have contributed to this point. Beyond this, it allows the journey to continue.”

“It is said that for some people, the arts represents entertainment and escape. For others it satisfies intellectual, emotional, or spiritual needs…and for some, such as the artists honoured by the Arts Foundation, it is their life’s work. On all of these levels, the Laureate programme is a true investment in excellence that benefits us all.”

Neil Paviour-Smith, Managing Director, Forsyth Barr

Teddy Tahu Rhodes has established an international career on the opera stage and the concert platform. He sings a wide-ranging repertoire, notable for several world and Australian premiere performances including Bendrix The End of the Affair, Joe Dead Man Walking, The Pilot The Little Prince, Butterley’s Spell of Creation and Conyngham’s Fix. He is a frequent guest with major opera companies in the USA (Austin, Washington, Philadelphia, Houston, Cincinnati, San Francisco and Dallas), in Europe (Hamburg/Munich/Paris, Vienna) in the UK (Welsh National Opera, Scottish Opera) as well as Opera Australia. He has also performed with all the major Australian and New Zealand symphony orchestras.

Recent and forthcoming opera engagements include Al Kazam/L’Upupa (Hamburg), Escamillo (Paris, Hamburg, Munich and Scottish Opera), Stanley in A Streetcar Named Desire (Vienna and Opera Australia), Mozart’s Count and Don Giovanni (Opera Australia), Joe in Dead Man Walking in Sydney, Lescaut (Leipzig/OA) and Billy Budd (Santa Fe/OA). He recently debuted at the Metropolitan Opera to great critical acclaim and returns there in 2009 as Escamillo. Concert engagements include national tours with the Australian Chamber Orchestra (2002 and 2006), the prestigious BBC Proms, London Philharmonic Orchestra, Bundaleer Festival (2006 and 2007), Opera In The Vineyards, WA Symphony Orchestra, Auckland Philharmonia, New Zealand Symphony Orchestra, at Carnegie Hall and in Washington.

Teddy Tahu Rhodes’ discography includes Faure’s Requiem, Handel’s Messiah, Musical Renegades (both also on DVD), and solo discs including Mozart Arias, The Voice and Vagabond, all for ABC Classics. Other releases include The Little Prince (BBC/Sony International) and Hayley Westenra Live (DVD).

Awards include an ARIA (Best Classical Record for The Voice), two Helpmann Awards (Best Male Operatic Performer), an MO Award (Operatic Performer of the Year), a Limelight Award/Best Performance by a Soloist with an Orchestra/ACO/2006 and a Green Room Award (Don Giovanni/OA).

Teddy Tahu Rhodes baritone

It was an honour to receive the Laureate Award and I hope I can be a worthy contributor to its name in the future. It truly has inspired me to progress further and be better at my art.Teddy Tahu-Rhodes, following the 2008 Laureate Award ceremony

Teddy Tahu Rhodes in the title role of Opera Australia’s ‘Billy Budd’. Photo by Branco Gaica.


2008 NEw GENErATIoN AwArDS

The Arts Foundation, Principal Sponsor Forsyth Barr and Presenting Sponsor Freemason’s New Zealand welcomed five New Generation artists at a special occasion held in the Theatre Royal, Christchurch on 24 November. Ros Burdon, one of the introductory speakers said “The New Generation Awards are simultaneously about ‘now’ and about ‘the future’. As all artists engage in the moment, I imagine for them the work is very much about ‘now’. While this resonates with me when I see the work, I also feel like I am looking at the future and in a sense this is what we are here to do – to celebrate the artists for their achievements while looking to their futures with optimism”. Each artist was interviewed by a colleague or friend of their choice. These interviews revealed aspects of the artists, their various and diverse practices, a glimpse into their current work and provided some anticipation as to what might come in the future.

The artists have been selected by a curator, without their knowing they are under consideration. The curator makes his or her decision by working with a group of advisors, travelling and talking to arts experts around the country. Gregory O’Brien, Wellington-based writer, teacher, painter and curator undertook the role in 2008.

“I spent over a year whittling down a long list which included over fifty strong possibilities. It was an exciting, difficult yet also illuminating process. It set me thinking about some very basic things about what art is and what it is that artists do. When you look at this group of youngish artists, I think what you are seeing is a five individuals whose creative worlds are expanding around them. This, in due course, pushes back the boundaries of the real world as well. What a great time is this. We should revel in the energy, independence and dynamism.” Gregory O’Brien

“Freemasons New Zealand shares the Arts Foundation’s belief in the importance of awarding and celebrating young artists whose futures are as exciting as their past achievements, not just because the artists deserve support, but also because the arts enrich society.” Stan Barker, Grand Master, Freemason’s New Zealand

It’s important to not rely on external recognition to validate your purpose – some souls never receive the credit they are due in their lifetime. That said, tangible appreciation of one’s work makes an enormous difference. This Award has come at a great time for me. The rocket is about to re-launch.Jo Randerson

Madeleine Pierard, Jeff Henderson, Alex Monteith, Jo Randerson and Anna Sanderson, 2008 New Generation artists. Photo by David Hamilton

The Arts Foundation of New Zealand New Generation Awards celebrates achievements of artists who are at an early stage of their career. Biennially, five artists are awarded $25,000 each, donated by Freemasons New Zealand. Each artist must have developed an individual identity demonstrating strength and quality in their particular art form.

PrESENTED by FrEEmASoNS NEw ZEAlAND


Jeff Henderson is a Wellington based musician and an integral part of the New Zealand improvised music scene. Committed to alternative music and venues, Jeff is a well-known solo improviser and multi-instrumentalist. A specialist on saxophones and clarinet, Jeff also plays guitar, banjo, piano, percussion, uses voice, and anything else that the music requires.

Born in 1973, Jeff attended the Wellington Conservatorium of Music, graduating in 1992. He has performed with such internationally renowned musicians as Steve Lacy, Mark Sanders, Tony Buck, William Parker, Han Bennink, Clifford Barbaro, Mike Nock, Jim Denley, Thomas Lehn, Johannes Bauer, Tetuzi Akiyama, Marilyn Crispell, Anthony Pateras, Clayton Thomas, Anthony Donaldson, Gerard Crewdson, Richard Nunns, John Edwards and Kris Wanders.

Jeff has an extensive history as an accompanist and participant in, and composer for, live musical theatre and other collaborative works including numerous projects with Alan Brunton and Sally Rodwell of Red Mole Theatre, Stephen Bain and Madeline MacNamara. He has been involved in music for film, including recipient of the Harriet Friedlander Residency, Florian Habicht’s documentary feature Rubbings from a Live Man and has also performed with Stroma, placing a foot in the contemporary/classical camp. He has received several major commissions, often for large ensembles and features on numerous recorded releases. Jeff has performed at many major national and international festivals throughout Australia, Asia and Europe. He currently performs with Fertility Festival, The Melancholy Babes and Colin McCabre. He produces the Om the Space Festival, operates Happy performance venue and runs iiii records.

Jeff has also founded venues in Wellington that foster new and original music and performance; including at the Space in Newtown which changed to a central city location now known as Happy.

galleries, and film festivals, and been on television and radio both nationally and internationally.

Described as one of New Zealand’s most prolific experimental filmmakers, Alex’s technically sophisticated installations have been shown in galleries throughout New Zealand, including the Auckland Art Gallery Toi o Tamaki, Artspace, St Paul St Gallery, the Govett-Brewster Art Gallery, Museum of New Zealand Te Papa Tongarewa and the Physics Room. Her screen-based works have been programmed into new media shows, touring programmes and international film festivals including: Recontres Internationales, Centre Pompidou, Paris; the Raindance Film Festival London, and Multimedia Art Asia Pacific in Brisbane. Her work was included in Scratching the Surface: Experiments in New Zealand Animation after Len Lye, which toured venues including the Anthology Film Archives, New York, and Los Angeles Film Forum. Her work The Definitive Quantifier won a silver award for experimental animation at the Worldfest Houston 2000 and in 2004 Pause the Rising Tide won the overall festival prize at the International Surrealist Film Festival in Connecticut, New York.

Her short films, of which there are many, owe something to Bunuel, the early Surrealist film-makers and to Len Lye, while at the same time engaging with the history of animation and the new possibilities offered by digital media. As well as making shorter experimental films, she has also produced a 90 minute experimental documentary in the film essay genre on the transitional period of the Troubles in Northern Ireland. Recent projects involve collaborative performance events for projections using multiple screens in public gallery spaces.

Alex is also a competitive surfer. She was the Irish National Women’s champ in 2001, competed in both the New Zealand national circuit and the European championships in 2001, and the world championships in Durban in 2002. Alex lives in Auckland.

Alex Monteith is a new media artist and academic whose work incorporates sound, performance, photography, film, video, kinetic and network components, while her practice explores the politics, freedoms and limits of consumer technology. Her large-scale works involve collaboration with specialists from outside the art-world including sheep-dog triallists and New Zealand racing motorcyclists.

Born in Belfast, Alex grew up in Northern Ireland before moving to New Zealand in the late 1980s. She majored in photography at Elam School of Fine Arts (Auckland) for her Bachelor of Fine Arts, in Intermedia and the time-based arts for her Master of Fine Arts, and researched experimental film, video and performance for her Doctorate in Fine Arts.

Since 2000 Alex has taught in a new media/timebased or sculptural context at tertiary level and she currently lectures at the Elam School of Fine Arts at the University of Auckland. Over this time she has also regularly exhibited in art

Jeff Henderson music maker

Alex Monteith new media artist

Jeff Henderson in performance

Alex Monteith - 120 Sheep composite. Photo by Fiona Clark


Originally from Napier, Madeleine comes from a large family of musicians. She studied piano from an early age until attaining an ATCL, later turning to the voice as her instrument. Her vocal training began as a member of the New Zealand Youth Choir, Voices New Zealand and The Tudor Consort. Completing a Bachelor of Music (Honours, 1st Class) in performance, musicology and composition at Victoria University in Wellington, she then completed a Post Graduate Diploma with Distinction at the Royal College of Music and now studies with Lillian Watson at the Benjamin Britten International Opera School in London. She has been awarded a number of scholarships and a staggering array of awards, recently winning the prestigious Great Elm Vocal Award at the Wigmore Hall and the Les Azuriales Ozone Opera Competition on the Côte d’Azur in France.

Madeleine’s recent opera roles have received glowing reviews around London, especially as Meleagro in Atalanta during the London Handel Festival, ‘her voice rippling though the intricate settings with suppleness and purity of tone’ (The Independent, 28.4.08). Other recent opera roles include Gerechtigkeit Die Schuldigkeit des ersten Gebots with the Classical Opera Company in London and Marzelline Fidelio with the Auckland Philharmonia and NBR New Zealand Opera. She has made numerous concert and oratorio appearances throughout New Zealand and the United Kingdom. Highlights include appearing as a guest in concert with Dame Kiri Te Kanawa, with Jonathan Lemalu, and as soloist with the New Zealand Symphony Orchestra on tour in China. In March 2008, Madeleine made a solo appearance for HM Queen Elizabeth II and the Duke of Edinburgh at Westminster Abbey during the Commonwealth Day Observance.

Along with opera, Madeleine has a particular interest in performing contemporary works, premiering Symphony No. 2 by New Zealand composer, Ross Harris with the Auckland Philharmonia Orchestra. Madeleine has just completed two recordings with the New Zealand Symphony Orchestra, featuring works by Lyell Cresswell for voice and orchestra under the Naxos Label.

Jo Randerson is a unique theatre-maker with extensive experience in comedy, poetry, literature and theatre.

Majoring in Theatre and Film at Victoria University, Jo became involved as a writer, director and performer through Victoria University of Wellington Student Union’s Drama Club, performing at Bats (Wellington) and appearing on TV doing stand-up comedy.

Jo attended Victoria University’s Creative Writing Course and was awarded the Prize for Best Portfolio in 1996. With Trouble Theatre, she co-wrote The Girl Who Died, Black Monk, Mouth, The Lead Wait and Bleach which was part of the 1998 New Zealand Fringe Festival, the Edinburgh Festival and the Tramway Festival of site-specific theatre in Glasgow.

Her shows have won the Wellington Fringe Best Comedy (2001, 2002) and Most Original Concept (2006), the Melbourne Fringe Best Comedy (2003), and the Melbourne Comedy Festival Golden Gibbo Award (2004), and have toured independently internationally.

Her writing has been shortlisted for the IIML Prize (2006 and 2008), and earned her fellowships both nationally and abroad. She was a Robert Burns Fellow 2001 (Dunedin), a Winston Churchill Fellow 2003 (Russia) and held a Creative New Zealand/Department of Conservation Wild Creations Residency in 2002 at Cape Kidnappers. Jo won the Bruce Mason Award in 1997 with her first play Fold and was a Billy T James Comedy Award Nominee in 2005.

Jo’s writing includes The Knot, (1998), The Spit Children, (2000) and The Keys to Hell (2004). She has been involved in numerous joint works including participation in a project involving writers and physicists, resulting in the book Are Angels Okay? (2006).

Jo is founder of Barbarian Productions (an independent comic-theatre troupe). She lives in Wellington with her partner Thomas La Hood and baby Geronimo.

Madeleine Pierard lyric soprano

Jo Randerson writer/actor

Madeleine Pierard in Atalanta, the London Handel Festival, 2008. Photo by Chris Christodoulou.

Jo Randerson – Cracks In The Garden

Anna Sanderson was born in 1970 on the North Shore of Auckland. She studied at the Elam School of Fine Arts in Auckland, majoring in photography. She holds a Bachelor of Fine Arts and Bachelor of Arts (majoring in English and Art History) from the University of Auckland.

She began work as a photographer for the National Library of New Zealand and worked on a photography-based visual practice. In 1995, as a response to the dearth of in-depth art criticism she, with Anna Miles and Tessa Laird, founded and co-edited the short lived but celebrated Monica magazine. It was here that she began to write a kind of journalistic art criticism.

In 1998 she left New Zealand and lived successively in Melbourne, Rotterdam and New York, developing, when not working for money, a writing practice which she describes as a mix of un-focused research and observational study. While in New York she took two adult education classes at the New School University: First ‘Creative Non-fiction’ and then ‘Fiction’. These classes provided her with the opportunity to consider which her writing practice might be.

On a short visa-renewal trip to New Zealand from America in 2004, Anna met her now partner, and stayed. They had their first child in 2005, in the same year that Anna studied for a Masters in Creative Writing at Victoria University of Wellington with Damien Wilkins. Integrating much of the material from the last few years the resulting manuscript, Brainpark, was a work of non-fiction which was published the following year by Victoria University Press.

Since then, Anna has been caring for two young children with her partner. In the background there have been the tentative beginnings of a new project and the occasional writing project, including an essay Dr Yang which received the Landfall essay prize in 2006.

Anna Sanderson writer

Glassworks by Christine Cathie were presented to the New Generation Award recipients on the evening of 24 November.



FEATUrED IcoN ArTIST

AlExANDEr GrANT

Alexander Grant, (Icon) as Petrouchka, in Wellington, 1964. Photo by John Ashton, Royal New Zealand Ballet Collection, Alexander Turnbull Library, Wellington, N.Z.

His name conjures up, for those who saw him, spectacular dancing – with no trace of ‘look at me’ – and above all the wonderful range of characters he brought to

life before our eyes. Ballet Magazine, UK, 1997

Russell Kerr, Icon artist and choreographer says “there was a building of excited expectation in 1964. The New Zealand Ballet announced its major production would be Petrouchka with a guest artist who was not only recognised as one of the world’s finest interpreters of the title role but also a New Zealander at the peak of his career. From the opening night to the end of a long and quite arduous tour, Alexander Grant’s powerful performances thrilled audiences and inspired dancers of the New Zealand Ballet through his artistic professionalism.“

In the mid 1970s, publications in New Zealand, England and Canada, featured articles on New Zealand ballet dancer Alexander Grant, who had just accepted a challenging new role as Artistic Director for the National Ballet Company of Canada. For the previous 30 years, Alexander had danced with the Royal Ballet Company, becoming known as its greatest demi-caractère dancer. A further 30 years on, in 2005, Arts Foundation Governors gathered to select six of the country’s most respected senior artists, to be honoured that year with an Arts Foundation of New Zealand Icon Award. Alexander Grant was chosen by the Arts Foundation Governors, in recognition of his spectacular dancing and in acknowledgement of his status as an internationally reputed character dancer.

Alexander was presented with his Award at the New Zealand High Commission in London, hosted by the Honourable Jonathan Hunt, High Commissioner. A number of the guests were New Zealanders associated with the Arts Foundation, on holiday in England at the time. This included then Chairman – Richard Cathie, Arts Foundation Project Co-ordinator Angela Busby, Alexandra Morley-Hall from Management, Governor – Jonathan Manewheoki, Laureate – John Pule, and a number of Patrons.

Alexander Grant was:

• Bornin1925andraisedinWellington.

• Begandancingclassesattheageofsix.

• WonaRoyalAcademyofDancescholarshiptostudyattheSadler’sWellsBallet School in London when war intervened. He was 20 before he could travel to England to continue training.

• LessthanayearafterhisarrivalbackinLondonhewasasoloist,andFrederick Ashton created the first of 19 roles specially for him – ‘The Boy Who Jumps Through A Hoop’ in Les Sirènes.

• Firstnotablesuccessescamein1947as‘TheDandy’inLeonideMassine’sThe Three-Cornered Hat and the technically difficult dance Symphonic Variations of Frederick Ashton.

• PartneredMargotFonteynin Mam’zelle Angot, a Massine Ballet, in 1947.

• ReturnedtoNewZealandin1964,oneofanumberofvisits,asaguestofthe Royal New Zealand Ballet, to dance the leading role in Russell Kerr’s (Icon) production of Fokine’s Petrouchka.

• MadeaCommanderoftheBritishEmpireinrecognitionofhisservicestoballet, 1965.

• WhilestillperformingwiththeRoyalBallet,wasDirectorofthecompany’ssmall touring group Ballet For All, 1971-75.

• DirectoroftheNationalBalletofCanada,1976-83.

• AprincipaldancerwithLondonFestivalBalletnowEnglishNationalBallet1985-1991.


• TheBostonGlobe,USA,reportedAlexanderas“thebestmanforthejob”as Producer at Boston Ballet in 2003, where a performance of Sir Frederick Ashton’s La Fille Mal Gardee was under production. (The principal role of Alain was created for Alexander in 1960).

• IconAwardpresentedin2005atNewZealandHouse,London,byNewZealand’s High Commissioner Jonathan Hunt.

• ReceivedtheQEIICoronationAward,thehighestAwardgivenbytheRoyalAcademy of Dance for his services to dance in 2007.

At the age of 83 Alexander continues to work with ballet companies in Europe, America, China, Turkey, Russia and Japan with the staging of their productions of La Fille Mal Gardee.

The life of a ballet dancer, like that of an athlete is rather short. However, in the world of dance - teachers, notators, ballet masters, choreographers, directors and producers, etc, can continue to work in the art they love when their dancing days are over. I for one was still performing in my sixties and I am still extremely busy staging ballet at the age of 83, proving it is possible for a very long career.Alexander Grant, 14 October 2008

Portrait: Alexander Grant, Icon medallion presentation at New Zealand High Commission 2004. Photo by graham.reading.com Photo below: Alexander Grant (Icon) and Rosemary Johnston, Wellington. Shows Johnston working out for the first time with Grant, for her role as the ballerina in Petrouchka. Photo by John Ashton. Royal New Zealand Ballet Collection, Alexander Turnbull Library, Wellington, N.Z.

The Arts Foundation of New Zealand Icon Awards honours art makers that have achieved the highest standards of artistic expression. Limited to a living circle of twenty, Icons are pioneers and leaders from all arts disciplines, living and working around the world.


FEATUrED lAUrEATE ArTIST

GIllIAN wHITEHEAD THE GrANDE DAmE oF comPoSITIoN

More than anything else, having spent close to thirty years moving between Europe, Australia and New Zealand, receiving an inaugural Laureate

Award made me realise how strongly Aotearoa/New Zealand is my country. The Award was visionary, supportive, so affirming, and an unimaginable surprise; the joy of it is there for ever.

In June 2008 Gillian was made a Distinguished Companion of the New Zealand Order of Merit (DCNZM) in the Queen’s Birthday honours for her services to music. This is one of the country’s highest honours. Congratulations Gillian!

A free-lance composer, Gillian Whitehead was one of five inaugural Arts Foundation Laureates in 2000. After studying with Peter Maxwell Davies, Gillian worked as a free-lance composer in Europe, Australia and New Zealand. A steady stream of works over the years has established her as one of Australasia’s most important working composers, with her music widely performed and broadcast; many pieces published, and many recordings released on disc. These include monodramas, operas, orchestral, pieces for other large ensembles, numerous chamber, choral, instrument and solo works, pieces involving taonga puoro and improvisational content.

Gregory O’Brien describes Gillian and her music in his writing entitled Gillian in Harwood and Fiordland, following their visit to Dusky and Doubtful Sounds in Fiordland in 2007. The visit included ten artists on a motor yacht for six days, to highlight the ecological degradation of this area and was the initiative of the Caselberg Trust (of which Gillian has recently been made Patron) as a

fund-raising venture towards the purchase of the Otago Peninsula house that belonged to John and Anna Caselberg, for use as an artists’ residency.

Gregory says “we were watching a parachute-surfer on a wheeled board struggling out on the mudflats in front of Gillian Whitehead’s cottage at Harwood, facing Otago Harbour. The rider was trying, unsuccessfully, to deal with violent changes in wind direction and intensity. The birds above seemed to chirpily ride out the irregularities, but our man kept falling on his face and being dragged around.

It is in the nature of Nature, you might say, to be changeable, difficult and particularly rough on us humans. Gillian’s music, to my ear, has a closeness to Nature, not only in its most alluring manifestations, but also in its toughness and uncompromising manner. Many eddies and currents run through her music – expanses of musical history, cultural history, biology and some not inconsiderable meteorology.

In October 2007 I spent six days on a yacht in Fiordland, with Gillian and a group of other artists. Exactly one year later I found myself reciting three poems from that trip in St Paul’s Cathedral, Dunedin. Gillian had composed a setting for the poems using piano and bassoon. Three Windows in the Weather captured something of the coastal energy I had witnessed in Harwood and, earlier, in Doubtful Sound. The music swayed gently and then, a moment later, it was tearing up the stage. The pianist at her keyboard reminded me of someone frantically adjusting fittings on the deck of a yacht, with a force nine gale only a moment away. The bassoon fitted the music perfectly – as if the low wooden reed-instrument was, at once, the last remaining tree of the Fiordland native forest, and the last singing bird out on its weather-beaten bough.

I remember Gillian recording bird-song on a digital device in Fiordland, her head inclined a certain way – immersed in an intense process of listening. As I watched from the stage in the Dunedin cathedral a year later, the audience had the same manner about them – all of them captivated. Gillian had produced a shifting, tense, at times visceral, yet strangely beautiful world of sound – and she had drawn us, performers as well as audience, into it.”

Gillian’s full biography can be viewed on: www.artsfoundation.org.nz/whitehead.html

Portrait: Gillian Whitehead at Dusky, 2008, acrylic on board by Nigel Brown Large image: Gillian Listening, Fiordland, 2007, photo by Alan Roddick


SPONSORS

Through his flawlessly carved works Joe Sheehan traverses cultures, time and tradition as he asks questions and seeks common threads.

Rhana Devenport, Director, Govett-Brewster Art Gallery, New Plymouth

Joe Sheehan has been carving stone since the age of fourteen. Learning his craft from his father John and completing a contemporary jewellery degree at Unitec in the mid-90s, Joe has now held solo exhibitions at Avid, Objectspace, FHE Galleries and Tim Melville Gallery and has most recently exhibited at the The Song Remains the Same, 2004. He is represented in leading public and private collections, including the Museum of New Zealand – Te Papa Tongarewa, Chartwell Collection and Christchurch Art Gallery.

At a joint Arts Foundation/Freemasons New Zealand hosted event ART NOW: New Generation Artists Talk About Their Work, held in Dunedin early in 2008, Joe spoke of his life and the philosophy behind his artworks.

While working in his father’s studio Joe began to question “the reasons why greenstone carvings still looked like carvings found in museums” He felt this creative stasis was due to the commercialisation of the industry and a cultural apprehension of Pounamu use. In response to this history of greenstone, embedded in commonplace practices, Joe’s carvings have dealt with everyday items – for example a working lightbulb, a cup and saucer and a set of keys.

Joe explained that his work aims to wrest Pounamu away from what he sees as stagnation in the tourist market, with the amount of jade carving produced for this industry as limiting its potential as art, telling nothing of its time and place.

As the Pounamu resource in New Zealand has become scarcer, Joe has visited jade deposits throughout the world sourcing material. Following a recent trip

to China, he was struck by the toxicity of the industry there. This, coupled with dwindling supplies of jade, has led him to consider new materials. In recent works he has moved to use more commonplace Greywacke, a sedimentary rock found in riverbeds throughout the country. Grey is the New Green (2007) is a paint-tube made from this “underdog” material.

The forms and jewellery Joe has created are playful, witty and exquisitely rendered. For example The Song Remains the Same (2004) is a fully functional cassette tape that plays the recorded sounds of its place of origin – the river. The theme for this year’s New Generation Awards were themed around Joe’s working lightbulb made of Pounamu.

Joe and his family moved to Auckland in 2008 where he has established a new studio in Henderson with other artists, including in the same complex, glass-artist Ann Robinson (Laureate) and nearby her husband, stone-mason, John Edgar. Joe continues to make objects that reflect his workshop and the industrial nature of today’s processes – “a modern place full of power-tools and high-speed machinery”.

The next year or two will see Joe busy with more grey works, some collaborative projects with friends and a larger solo show.

Portrait of Joe by Robert Catto. Large image: The Song Remains the Same, 2004; Photograph by Nick Barr. Inset image: Grey is the New Green, 2007. Photograph by Nick Barr.

FEATUrED NEw GENErATIoN ArTIST

JoE SHEEHAN From PoUNAmU To GrEywAckE


Through interest earned from a Fletcher Challenge donation received in 2000 for the Arts Foundation ‘Heritage Project’, the Arts Foundation has been able to interview and deposit four oral histories with the Alexander Turnbull Library: Icon Artists Diggeress Te Kanawa, Pakariki Harrison and Arnold Manaaki Wilson, interviewed by Carol Archie, and Hone Tuwhare, interviewed by Gaylene Preston.

The Arts Foundation is also grateful for the support of the Ministry for Culture and Heritage, through its Australian Sesquicentennial Gift Trust Awards in Oral History Awards. The Ministry awarded an amount of $6,500 towards oral histories under the Foundation’s “Heritage Project”, which has assisted

with a further four oral histories which are also now deposited. These are Maurice Gee, Margaret Mahy, Don Peebles and Sir Miles Warren who were interviewed by Hugo Manson. A warm thank you to Fletcher Challenge, the Ministry, the interviewers and all artists involved. Further oral histories are planned.

Arts Foundation Chairman Ros Burdon considers the Heritage project to be of major significance. “It will contribute substantially to New Zealanders’ understanding of its artistic heritage and prove a valuable resource to future researchers into the lives and works of these artists,” she said.

Thank you to David Carson-Parker for funding an oral history, through the Arts Foundation, of patron and arts supporter Constance Kirkcaldie. Constance had a wealth of knowledge of some of New Zealand’s pioneering arts organisations, with over-lapping icon artist stories. Sadly, Constance died in September. A wonderful, caring person, full of smiles and laughter, Constance is sadly missed by the Arts Foundation.

The Heritage Project

Focus on Literature

NEwS

A number of books written by/or about Arts Foundation supported artists have recently appeared in bookshops since the last issue of Applause. These include:

• Barry Barclay, 1944-2008 (Laureate) is the subject of Images of Dignity: Barry Barclay and Fourth Cinema written by Stuart Murray. This is the first major study of Barry’s films and draws parallels between his work and that of other indigenous film makers and activists working in the last 20 years. Published by Huia.

• The Rocky Shore by Jenny Bornholdt (Laureate). This is a collection of “long(ish) poems. In these talky poems [Jenny] ranges over a wide variety of territory – love, death, children, illness, bread-making, and the garden. All the big themes. Published by Victoria University Press.

• Len Castle – Making the Molecules Dance, is described as a sister publication to Ron Sang’s Montana Award winning publication Len Castle Potter. This hardback edition on Len Castle (Icon), and his work, includes full colour photographs throughout. Published by Lopdell House Gallery, Len Castle – Making the Molecules Dance can be ordered by phoning 09 817 8087 x 201 and will also accompany.

• The Ten PM Question by Kate De Goldi (Laureate). “A new novel which defies all age categories. It does so with a sparkling wit and an operatic cast of characters so delightful and maddening they become dear to us”. Published by Longacre Press.

• Elizabeth Knox (Laureate) had two book releases in November. One – a limited hardback edition of The Vintner’s Luck celebrates the tenth anniversary of this novel which debuts next year in a film by Niki Caro. And a new book The Love School, which collects more than twenty years of Elizabeth’s non-fiction writing.

• The Story of a Master Carver, by Māori historian and commentator Dr Ranginui Walker. Dr Pakariki Harrison QSO, Ngāti Porou, (Icon), had this major biography on his life and work launched in Auckland in early November. The biography tells of Paki’s childhood and upbringing on the

East Coast, the genesis of his entering into carving, through to his working on landmark houses. Published by Raupo/Penguin.

• Peter Peryer Photographer (Laureate). A new book of photographs illustrating the largest body of work of Peter’s yet assembled. Featuring a selection of over 80 images chosen by Peter himself, the book also includes an autobiographical essay with a thorough discussion on the artist’s practice by academic/curator/writer Peter Simpson. Published by Auckland University Press.

• Sir Miles Warren’s (Icon) autobiography is due in bookshops now. Published by Canterbury University Press.

• Chinese Opera by Ian Wedde (Laureate). “A dark and dazzling novel set in an all too plausible New Zealand of the near future” published by Victoria University Press.

Significant literary achievements have also occurred including:

• Patricia Grace (Icon) was honoured as the 2008 Laureate with the $50,000 Neustadt International Prize for Literature at a ceremony in September, at the University of Oklahoma’s Norman campus. An international jury representing ten countries selected Patricia as the recipient of the Award.

• Margaret Mahy (Icon) joins Joy Cowley as one of two New Zealand candidates, out of an international total of 153, nominated for the 540,000 EURO Astrid Lindgren Memorial Award 2009 for children’s literature. A total of 60 countries worldwide are represented amongst the nominees.

• Dreamquake by Elizabeth Knox was a Michael L. Printz Award honor book for 2008 and was chosen as an Adult Library Association Best Book for Young Adults in the same year.

There have been many achievements by artists honoured through the Arts Foundation’s Award schemes. You can keep up to date with Arts Foundation supported artists, their successes and events, by registering to receive emailed ‘updates’ on www.artsfoundation.org.nz


There is growing interest in the charitable sector in the potential for increased financial donations. This is due to the removal of the rebate cap in April 2008 for tax deductions deriving from donations to charity.

It now costs donors who give over $1,400 less to donate than it did this time last year. With the tax rebate set at 33% of the donation, significant donors will benefit from this the most. For some, this may encourage higher giving, but as to whether it will result in more people giving; only time will tell.

The United States of America is often given as an example of a leader in philanthropy. Americans donate billions annually. Some commentators say that the reason New Zealanders are not as generous per capita is because the tax system in this country is not as favourable. Others say that it is the absence of a welfare state in the United States that compels Americans to take responsibility for giving to society. It is clear that philanthropy is part of the culture in the United States. The question is, is it part of the culture here?

The removal of the rebate cap has increased the public discourse on charitable giving. Charities have responded by calling to their supporters and mounting new campaigns to attract attention. New organisations are forming to find dynamic ways of encouraging giving. One such example is the online initiative Koha, of which the Arts Foundation is a featured charity (see article same page). Ultimately, it will be up to New Zealanders to respond to the call to

give or give more. Or, will we discover that New Zealanders are already prolific givers but it is just not part of the culture to talk about it?

Charities must also lead by demonstrating that they are effect, efficient and are real contributors to society. The Arts Foundation’s directs all income from its Endowment Fund to the arts while relying, in the main, on corporate philanthropy and sponsorship for its administration. This is one way it can demonstrate that donations are being used efficiently. But what is the impact of the Foundation on society? To tell the full story would take up three editions of Applause. However, two salient points come to mind. Firstly, the direct impact on artist. The Awards offer not just financial support, but add confidence by reflecting the value of the arts back to artist through gathering a community of generous donors. Secondly, through exploring the arts by discussion with artists, New Zealanders are engaged in meaningful arts discourse. Both of these outcomes are an investment in intellectual development as well as enabling participation in the arts by donors.

“Philanthropy is integral to the culture of the Arts Foundation. The Foundation looks forward to wider recognition of the importance of philanthropy in the arts and across society.” Simon Bowden, Executive Director of the Arts Foundation

A Change in the Culture of Giving?

PrIVATE SUPPorT AND SPoNSorSHIP

We’ve got just the right thing for you!

Arts Foundation events provide audiences an opportunity to glance into the world of artists. These events never fail to stimulate the minds of all that attend them. But it’s thirsty work! Enjoying a glass of something together after participating in the more formal part of Foundation events is an essential part of the evening. This is why the Foundation is particularly pleased to announce a new sponsor in its family. Fosters New Zealand is a supplier of some of New Zealand’s best brands as well as imported wines and beers including; Penfolds, Rosemount, Lindemans, Matua Valley, Shingle Peak, Crown Lager, and Carlton Pure Blonde to name a few.

Cameron MacFarlane, Marketing Director, is pleased to be able to support the Arts Foundation. “We are proud to give Foundation audiences

the opportunity to celebrate the achievement of awarded artists with some of our great existing and new products”. Audiences at Art Now: New Generation Artists Talk About Their Work enjoyed the new premium range of Matua Valley Regional Reserves, wines that showcase the best of each chosen varietal in the region from which it is renowned. The Laureate audiences enjoyed a selection from the Rosemount range, a brand aligned strongly with innovation & design. And New Generation Award audiences enjoyed the Shingle Peak Reserve range, created specifically to highlight the premium qualities of the Marlborough region. The Arts Foundation is looking forward to further opportunities to try new wines and beers as their release coincides with future Foundation events.

Sometimes you don’t have to ask

Testroom NZ Ltd is a Wellington based computing and electronic integration and service/support business. Having been in operation for 8 years, their staff brings more than 20 years experience to each solution they provide. Testroom works in the education, arts, small and medium business and home office sectors, delivering technical audits, onsite design and installation, supply of hardware and software, call out technician support and service contracts. They pride themselves in not being geeks but rather, more helpful technically-minded people, willing to share their knowledge and experience.

When Angela Busby called in her former work colleague Glenn Stanley, to help with some early computer issues, Glenn learnt about the Arts Foundation and its technical requirements, thought it a great cause and offered the Arts Foundation sponsorship. Simon Bowden says that “since Testroom rebuilt the Arts Foundation’s computer system, the frequency of breakdowns has significantly diminished. However, it seems to be in the nature of computers that there is always a glitch at the busiest moments. At these times, Testroom is always there making sure that the show can go on. They have literally kept us ticking. Thanks Glenn and Fergus!”

Koha

The Arts Foundation has been selected as one of the lead charities in a new online giving programme called Koha.

Koha’s main aim is to raise money for New Zealand charities in an ethical and sustainable way. It does it with a difference. Members pay an annual fee of $75 of which $50 is donated to the charity of their choice. In return the donor gets access to discounts and special offers in participating restaurants, cafes and bars. Members’ send a text message containing the code of a participating venue to Koha and receive a discount voucher by reply text. To become a member of Koha and make a donation to the Arts Foundation through this means go to: www.koha.org.nz/charities/afnz.

Shingle Peak, profiled on Stage-set, 2008 Laureate Awards


ForSyTH bArr AND THE ArTS

After observing Forsyth Barr’s Managing Director, Neil Paviour-Smith, at lunch with this year’s Laureates, the Foundation was inspired to gain a better understanding of Neil and his interest in the arts. This interview by Laureate Kate De Goldi is the result.

Neil Paviour-Smith is well known to Arts Foundation audiences as the face of sharebroking and investment management firm Forsyth Barr. As Managing Director he was instrumental in Forsyth Barr’s decision in 2002 to become Principal Sponsor of the Arts Foundation – a partnership that has in turn greatly facilitated the Arts Foundation’s own substantial growth and increasing prominence in the New Zealand arts scene, and their growing support for artists.

By any measure Neil is highly successful for one so relatively young – he is just 39 and took over the reins at Forsyth Barr at 31. His ability and achievements were recognised in 2005 with an Emerging Leader Award from the Sir Peter Blake Trust. The brief citation on the Trust website includes this statement: “He believes respect for leaders develops by demonstrating a willingness to take a view, making the necessary decisions, including the tough ones, and working hard.”

It was abundantly clear during our recent conversation that just such focus, determination and discipline are the qualities Neil has found connection with in his personal association with the Arts Foundation.

We met in Forsyth Barr’s Wellington office on the 22nd floor of Vodafone on the Quay. It’s a typical corporate space with magisterial views of Wellington city and harbour. The Managing Director is, by contrast, warm and very approachable. He has a particularly engaging smile that seems somehow straight from the boy who, he says modestly, ‘did quite well at school’, read adventure stories and spy fiction, played cricket and soccer with dedication and – during a seven year period in Melbourne, between the ages of eight and fifteen – played Aussie Rules and barracked for Collingwood.

Wellington is home, but Neil attributes the formative experience in Melbourne to his early immersion in sport, moreso than ‘cultural’ pursuits. “My parents were young and not particularly affluent, so there was no conspicuous consumption of art. Sport was the dominant culture. Cricket was the national game, so I played it. We went to Aussie Rules games every Saturday, like everyone in Melbourne. Apart from the usual kind of reading, my interest in the arts came with music.”

He learned the piano, but it was, he says, the emergence of FM radio, the introduction – in both Australia and New Zealand – of music quotas, and the quality and access of CDs, that developed and deepened his interest, especially in local music.

Contemporary music has remained a passion. As with many successful businessmen – and with his four children as a priority – he finds there’s

frustratingly little time to read; that’s for holidays. At the end of a tiring day, good television is the ticket: House, Boston Legal, The Sopranos. Although he has been enjoying reading John Dix’s classic Stranded in Paradise, a history of New Zealand rock music.

Since he’s not in the least inclined to sing his own praises, it’s hard to get Neil to talk about his swift rise in the financial world. The most he’ll say is that he was good at mathematics, that economics interested him at school and, in the entertaining bull market of the mid eighties, an early interest in the stockmarket was born. He did accounting at university without knowing quite where it would lead – and didn’t love it. Nor did he much love university. He began working in his second year and finished his commerce degree while working.

“The idea of working and earning money was pretty alluring. My first job was as an investment accountant, I got some good breaks and good early positions… it all worked out along with my personal interest in the industry. But I worked very hard.”

Is economics a science or an art? I ask. (Throughout our conversation I’m eager to make cunning analogies between the arts and financial worlds, but he’s arrived there well before me.)

“It’s a bit of both, surely,” says Neil. “There’s the theory and the application… it comes down to judgement and experience. Rather like art, isn’t it? There’s a technical component to art – a craft aspect – and then the ability to write or paint or dance requires skills and judgements you either do or don’t have.”

Similarly, he suggests that though the 6 o’clock news portrays an investment world of ceaseless melodrama – manic brokers glued anxiously to phones, arms thrown wildly about, disaster imminent – in fact the bulk of investors are reasonably considered and pragmatic. “The reality is a lot more dull much of the time.”

Much like writing a novel. Or learning an operatic role. Or working out the engineering of a sculpture. Or…

“Think of an exhibition opening at a gallery,” Neil says. “It’s glamorous perhaps, the work’s impressive, the artist sells well. People often don’t think about the years of hard, hair-tearing work that’s led up to that moment.”

I like this rather literary alignment between sharebroking and art, but Forsyth Barr’s decision to sponsor the Arts Foundation was of course based on more than just metaphorical aptness.

“It was time for a rethink of our sponsorship money. We gave money to many different things – often through our local offices. Beyond Forsyth Barr’s long history of generosity in the community, there was no particular strategy behind it nor was there necessarily a means to really demonstrate our support and commitment.

So we got a bit more focussed in our thinking and it boiled down to this: we wanted to do something that demonstrated visibly our support, that was also aligned with our clients and their interests. We wanted something that was very New Zealand and had a length of tenure – as distinct from one-off shows, etc. We wanted to celebrate success.

Kate De Goldi interviews Neil Paviour-Smith

Photo by Ken Baker


failure – like everyone else – but they’ve kept at it. Even when, at Laureates on Stage events, there’s work presented that’s a bit more out there, that doesn’t suit my taste, I’m still always interested to hear the artist’s story, the technical and craft challenges they’ve faced, the obvious drive to succeed they’ve shown.”

Is private investment in the arts the way of the future for New Zealand? I ask.

“It’s just a matter of time,” says Neil. “As New Zealand art becomes more favourably acknowledged and generally accepted – by more than a small group – as a crucial part of the cultural mix, then certainly we’ll see an increasing move towards private sponsorship and endowment. A wide acceptance of what our artists do as valid: it’s really only happened in the last twenty years.

Think about Donald Munro back in the fifties – what an incredible story: starting an opera company when rugby, racing and beer reigned. He had zero support. We’ve come a long way…

The sense of community that has grown through Laureates meeting their peers across art-forms has been a highly valued component of the Laureate programme and is widely stated as one of the best things about being a Laureate. When asked what it means to be a Laureate by Gaylene Preston at a recent Forsyth Barr Laureates On-Stage in Napier, Briar Grace Smith said “…you really do feel [like] you are in a family. It is not a one-off Award where after the night it is all over. It continues and the family grows. It is never-ending.” To further enhance this aspect of the programme, Forsyth Barr hosted a special lunch for previously awarded Laureates to meet and congratulate the 2008 Laureates on the day of the Awards.

In 2002 Forsyth Barr and the Arts Foundation instigated a touring programme called Forsyth Barr Laureates On-Stage. At these events, which have now been presented to over 20,000 people around the country, the arts are explored through discussion amongst Laureate artists from different disciplines. As a result, artists’ thinking is stimulated beyond their own art form and allow audiences to gain a unique insight into creativity. During the Award ceremony that evening, Neil Paviour- Smith, Managing Director of Forsyth Barr, said “just observing Laureates together gives you a sense of the excitement in the arts… the sharing of ideas and meaningful dialogue… the potential for collaboration is endless. It demonstrates why these awards are such a powerful investment in excellence…and an investment in New Zealand’s culture for all of us to enjoy” This exchange between Laureates has been one of the most positive outcomes of the Arts Foundation/Forsyth Barr partnership. In fact, 2001 Laureate recipient Kate De Goldi believes these events are quite unique.

Laureate Family Connects

The Arts Foundation measures up beautifully on all those counts. Moreover, its stretch was nationwide (like Forsyth Barr) and pan-art form. By sponsoring this organisation that ‘does one thing and does it well,’ Forsyth Barr were also able to give their clients access to artists across a wide variety of art forms and practice.

That access has largely been facilitated by the Forsyth Barr Laureates on Stage events – for which Forsyth Barr is Naming Sponsor; these events are, Neil says, easily the most successful aspect of their sponsorship, feedback from clients and the artists has been enormously positive.

A particular advantage of the Laureates On Stage events, he believes, is their variety – and relative brevity. “You have three quite different artists up there on stage each time, so the audience is getting three different experiences; some art forms might not appeal, but nothing’s too long, and there is generally something for every taste and inclination.”

But perhaps the heart of the events – and a major reason for their appeal to clients – is their demystification of various arts and their practices, and a kind of humanising of the artist.

“There’s a ‘live’ performance component, which is good – but then, even better, the artist talks about why and how this piece of work came about. So, maybe you don’t particularly like opera or art installations or poetry, but then you hear Helen Medlyn on the preparation and pitfalls around an operatic performance, or John Reynolds talk about painting 7,073 tiny canvasses with New Zealandisms from the Orsman Dictionary of New Zealand English, or Bill Manhire explain a life in poetry – and you appreciate it more. It increases your understanding.”

Perhaps some people in the audience might go on from the event and explore some of that work a little more? I suggest. It might increase overall involvement in the arts?

Maybe, says Neil. “But at the very least, if it continues to support the belief of New Zealanders in what New Zealanders can do, and how successfully they do it – specifically in the arts, but more broadly too – then it helps us all on our way to accepting ourselves more as a country.”

This is a point Neil reiterates several times – the evolution over the last twenty years of New Zealand’s sense of self, and the importance of encouraging and continuing that growth to ‘adult’ nationhood. It’s clear he views Forsyth Barr’s support of the artists through the Laureate Awards and Laureates On Stage sponsorship as part of this maturing process.

And what of his personal experience of the Laureates? Have any previous prejudices or misconceptions been overturned? Or confirmed? (Here, I confess my own earlier resistance to contemporary dance – an ignorance that’s been well skewered by seeing and hearing Shona McCullagh and Neil Ieremia).

“I don’t think I had any particular prejudices,” he says. “But, for example, I don’t listen to classical music, then I hear John Psathas tell the story of his composition for the Olympic Games, and that was incredible… impressive… it’s not really about whether I enjoy the music, but about the amazing story.

“Take Neil Ieremia. I’m not particularly interested in dance – but he’s an amazing person… what he’s done personally, and with Black Grace, sums up the Arts Foundation for me. It’s about private enterprise and recognising the hard work and success. He’s aspired – and worked incredibly hard – to be self-sustaining, to have a viable commercial dance company. That’s a fantastic story, especially in the context of his own background.”

If there has been a surprise for him it’s just how normal practising artists are.

“I guess the portrayal of artists in the media generally leans a little to the celebrity model. Maybe you come into an experience like this supposing artists are going to be that way inclined. But, of course, the Laureates are like everyone else – worried about how they’re going to pay the next bill, how they’re going to pay for – do – their next work. They’re working hard and living life much like everyone else – some relatively commercially successful, but generally speaking, most are still evolving.”

The artists’ evident focus and commitment to their work has particular appeal for him, I suggest.

“I do like that. All the Laureates have had to work very hard, they’ve experienced George Henare at 2008 Laureate lunch


THE ArTS FoUNDATIoN IS:

Many individuals and organisations contribute to the Foundation’s vision through participation at a number of levels. The role of all members of the Arts Foundation’s family is gratefully acknowledged.

Vice-Regal Patron

His Excellency The Hon Anand Satyanand, PCNZM, QSO, Governor-General of New Zealand

Trustees

Ros Burdon CNZM (Chair), Richard Cathie MNZM, Leigh Davis, Eion Edgar DCNZM, CNZM, Elizabeth Ellis CNZM, Fran Ricketts, Sir Ronald Scott, Brian Stevenson , Sir Miles Warren ONZ, KBE, and Sue Wood

Honorary Vice Patrons

Sir Michael & Lady Hardie Boys

Governors

John McCormack (Chair), David Carson-Parker, Dr Robin Congreve, Briar Grace-Smith, Roger Hall QSO, CNZM, Elizabeth Knox ONZM, Jonathan Mane-Wheoki, Helen Medlyn, Justin Paton, Gaylene Preston ONZM, Deirdre Tarrant MNZM, Hon Georgina te Heuheu QSO, Marilynn Webb ONZM, Gillian Whitehead DCNZM, ONZM, Lloyd Williams & Rodney Wilson CNZM.

Staff

Executive Director Simon Bowden

Project Co-ordinator Angela Busby

Administrator Jaenine Parkinson

Icon Artists

Raymond Boyce THEATRE DESIGN Len Castle POTTER Janet Frame (1924-2004) WRITER Maurice Gee WRITER

Peter Godfrey MUSICIAN Patricia Grace WRITER Alexander Grant BALLET DANCER Dr Pakariki Harrison CARVER Ralph Hotere VISUAL ARTIST Russell Kerr CHOREOGRAPHER Donald McIntyre OPERA SINGER Margaret Mahy WRITER Milan Mrkusich VISUAL ARTIST Donald Munro OPERA PIONEER Don Peebles PAINTER Don Selwyn (1935-2007) ACTOR, STAGE & SCREEN Diggeress Te Kanawa WEAVER Hone Tuwhare (1922-2008) POET Sir Miles Warren ARCHITECT Ans Westra PHOTOGRAPHER Arnold Manaaki Wilson SCULPTOR

Laureate Artists

Barry Barclay (1944-2008) FILM DIRECTOR/WRITER Jack Body COMPOSER Alun Bollinger CINEMATOGRAPHER Jenny Bornholdt POET Shane Cotton VISUAL ARTIST

Phil Dadson INTERMEDIA ARTIST Neil Dawson SCULPTOR Kate De Goldi WRITER Ngila Dickson COSTUME DESIGNER Warwick Freeman JEWELLER Alastair Galbraith SOUND MUSICIAN Briar Grace-Smith WRITER George Henare ACTOR Michael Houstoun CONCERT PIANIST

Sarah-Jayne Howard DANCER Michael Hurst ACTOR/DIRECTOR Neil Ieremia DIRECTOR/CHOREOGRAPHER Humphrey Ikin FURNITURE MAKER Lloyd Jones WRITER Oscar Kightley WRITER/ACTOR/DIRECTOR Elizabeth Knox WRITER

Derek Lardelli TA MOKO/KAPA HAKA Colin McColl THEATRE DIRECTOR Shona McCullagh CHOREOGRAPHER/DANCE FILMMAKER Don McGlashan MUSICIAN Bill Manhire POET Moana Maniapoto MUSICIAN

Helen Medlyn SINGER

Julia Morison VISUAL ARTIST

Simon O’Neill OPERA SINGER

Michael Parekowhai VISUAL ARTIST Peter Peryer PHOTOGRAPHER

Gaylene Preston FILMMAKER

John Psathas COMPOSER

John Pule VISUAL ARTIST/POET

Jacob Rajan PLAYWRIGHT/ACTOR

John Reynolds VISUAL ARTIST

Ann Robinson GLASS SCULPTOR

Teddy Tahu Rhodes OPERA SINGER

Ronnie van Hout VISUAL ARTIST

Ian Wedde POET/WRITER

Gillian Whitehead COMPOSER

Merilyn Wiseman CERAMIC ARTIST

Douglas Wright CHOREOGRAPHER

New Generation Artists

Eve Armstrong VISUAL ARTIST

Jeff Henderson MUSIC MAKER Warren Maxwell MUSICIAN Tze Ming Mok WRITER Alex Monteith NEW MEDIA ARTIST Madeleine Pierard OPERA SINGER

Jo Randerson WRITER & ACTOR Anna Sanderson WRITER

Joe Sheehan STONE ARTIST & JEWELLER Taika Waititi FILMMAKER/THEATRE

Award for Patronage (AND THEIR DONATION RECIPIENTS)

Denis and Verna Adam Dave Armstrong & Oscar Kightley (Jointly) PLAYWRIGHTS John Chen PIANIST

John Drawbridge (Posthumously) VISUAL ARTIST Tom Scott CARTOONIST & POLITICAL JOURNALIST

Jenny Gibbs Gretchen Albrecht VISUAL ARTIST Artspace, Auckland Auckland Writers and Readers The New Zealand Opera School

Gillian and Roderick Deane Jonathan Lemalu OPERA SINGER

Anna Leese OPERA SINGER

Delia Matthews BALLET DANCER

New Zealand Youth Choir

Governors’ Award

University Of Otago Radio New Zealand Concert

The Marti Friedlander Photographic Award

Edith Amituanai PHOTOGRAPHER

The Harriet Friedlander Residency

Florian Habicht FILMMAKER

Arts Foundation of New Zealand PO Box 11-352, Manners Street, Wellington 6124

Tel: 04 382 9691 Fax: 04 382 9692

Email: [email protected] Website: www.artsfoundation.org.nz

Award recipients

New Zealand and Beyond

The Arts Foundation community spans the nation and reaches out to the world.

The back page of Applause illustrates the location of members of the Foundation community and where events have been presented. A national presence has been a key element in the Foundation’s development ensuring that it is relevant to New Zealanders throughout the country. This directly benefits the Foundation with many people having the opportunity to provide comments about the direction of the Foundation and what being part of the organisation means to them. The development of a national community would not have been possible without the touring programme – Forsyth Barr Laureates On-Stage.


Founding Patrons

Roderick & Gillian DeaneEion & Jan Edgar Jenny GibbsFran & Geoff RickettsJohn ToddJames H. Wallace

Platinum Lifetime Patrons

Nancy & Spencer Radford

Platinum Patrons

Peter TathamAnonymous (1)

Gold Lifetime Patrons

Ros & Philip BurdonJohn & Jo GowDiana, Lady IsaacPeter & Joanna MasfenFay PankhurstDeborah SellarAnonymous (1)

Gold Corporate Patron

National Business ReviewGold PatronsPhilip Carter Gus & Irene Fisher Kathlene Fogarty & Dr Gary ReynoldsNoel & Sue RobinsonHazel, Lady TaitSir Miles WarrenDavid WiltonAnonymous (1)

Gold Laureate Donors

John & Rose Dunn Holdsworth Charitable TrustDon and Jannie HunnDenver & Prue OldeLesley & Michael ShanahanAndrew & Jenny Smith

Silver Patrons

Trish ClarkWayne Boyd & Ann Clarke Robin & Erika CongreveAlfons & Susie des TombeDiana & Bob FenwickGilbert & Patricia GlausiussLaurie GreigSir Michael & Lady Hardie BoysMargot HutchisonJillian & Dick JardineChris & Dayle MaceAndrew Robertson & Niina SuhonenRonald Sang & Margaret ParkerRon & Margaret SaundersMary SmitSuzanne Snively & Ian FraserPamela & Brian Stevenson David and Hilary StockJenny ToddCaroline & Henry van AschWalker & Hall TrustHaydn Wong

Silver Laureate Donors

Donald & Susan Best Collin Post & Brenda YoungChris Parkin & Michelle Robertson

Bronze Patrons Charlotte AndersonMichael & Gaye AndrewsArts WaikatoGraham AtkinsonJohn BarnettAlexandra & Charlie BartonCaroline BonzonLiz Bowen-Clewley & Greg ClewleyBill Brien & Frances RussellChris & Lyn BrocketJulie & Robert BrydenBill & Meg BusbyBruce & Margaret Carson Brecon & Jessica CarterSuzanne CarterAndrew & Niki CathieRichard & Frances CathieKim Chamberlain & Henrietta HallHelen ChambersRick & Lorraine ChristieMargaret ClarkSarah & Graham CoxheadBruce & Jo ConnorAnna Crighton Fay & Peter CropperMayford DawsonTim & Gillie DeansDinah & Robert Dobson John & Pip DobsonRocky & Jeanie DoucheRobyn & Christopher EvansKaryn Fenton-EllisHelen & Keith FergusonCharlotte & Robert FisherRie FletcherE. M. FriedlanderJohn & Marelda GallaherJim GeddesSue Gifford & Simon SkinnerJohn & Trish GribbenPhilip & Leone HarknessAlister HarlowGay Hervey & Bob SchmukeJohn & Barbara HeslopWilli HillKen & Jennifer HornerJoan ImrieChris & Sue InesonHugo Judd & Sue MorganPeter KeenanGrant KerrRoger King & LIffy RobertsMichael & Monica LaneyHilary LangerAnnie K. H. LeeAngela LewisKen Lister & Barbara BridgerEugenie LoomansRobert & Jenny LoosleyMary LynskeyJan & Rod MacleodCaroline & Gerald McGhieShirley, Lady McKenzieSue & John MaaslandJenny MayJoy MebusPauline MitchellBarbara & Roger MosesRobert & Freda Narev Caroline & Gerald McGhieMike NicolaidiRob & Jacqui Nicoll Mervyn & Francoise NorrishTrish & Roger OakleySimon & Nell PascoeBarry & Alison PatersonNeil & Phillipa Paviour-Smith

Sam Perry Rachel & Neil PlimmerJoe & Jackie PopeJames & Rachel PorteousMichael PrenticeChris & Sue ProwseProfessor Hilary RadnerDon & Moira RennieNicky Riddiford & John PrebbleLyn & Bruce RobertsonRita SalmonGreg & Rosie SchneidermanSir Ronald & Lady Beverley ScottSuzanne ShandLindsay SheltonMax & Laraine ShepherdJan SparyJohn & Robyn Spooner Jane Sanders & Mike StantonRoger Steele & Christine RobertsRoss Steele Bea & Brian StokesKathleen Tipler & Michael ColeTurnovsky Endowment TrustGerrit & Marianne van der LingenPhilip van DykKerrin & Noel VautierThe Waimarama Trust Fredricka E. M. Walker-MurrayJames L. D. & Eve WallaceMargaret WheelerHelen & Geoff WhitcherMichèle Whitecliffe & Adrian FarnsworthGillian WhiteheadEdna WilliamsLes & Marie WilliamsGeoff Winstone & Jenny MacdonaldRichard & Joanna WoodsJohn & Rosemary WorleyHelen YoungAnonymous (11)

Bronze Laureate Donors

Margaret & Warren AustadRichard & Trish BarnesSylvia & Brian BennettErrol & Jennifer ClarkKaty CampbellDorothy & Stephen GentryPatricia HurleyDenis & Jane KirkcaldieAnn MallinsonJohn & Mary MarshallTerrence & Elizabeth O’BrienSir Geoffrey & Mrs Margaret PalmerMarjorie RobsonAntonia ShanahanJudy & Roscoe TurnerSusan & Peter WebbLindsay & John WeststrateKirsty Wood

Notified Legacies

Alistair BettsJamie BullDavid Carson-ParkerAnne ConeyJohn DowJenny GibbsLorraine IsaacsHelen LloydPamela & Brian StevensonJohn ToddAnonymous (7)

Principal Sponsor A New Zealand owned company, Forsyth Barr is proud to partner the Arts Foundation to achieve its bold and inspiring vision. A vision that includes empowering New Zealand artists to achieve their full potential so that as a nation we can celebrate our highest achievers at home and on the world stage.

Presenting Sponsor – Laureate Awards Forsyth Barr enables the annual investment in artistic excellence through the celebration and honouring of five distinguished, high achieving New Zealand artists.

Naming Sponsor – Forsyth Barr Laureates On-Stage Initiated in partnership by the Arts Foundation and Forsyth Barr, these events provide a unique opportunity for guests throughout New Zealand to experience the lives and works of Arts Foundation Laureates.

Presenting Sponsor – New Generation Awards and Art Now; New Generation Artists Talk About Their Work As funder of both the Awards and event, Freemasons New Zealand is providing significant support to artists in the early stages of their careers.

Presenting Sponsor – Award for Patronage Perpetual Trust enable a significant Patron to be honoured for their contributions to the arts in New Zealand.

Supporting providers The following companies provide generous support through the provision of high quality services.

Printing of all marketing and stationery

IT services, including maintenance and equipment

purchase

Print, web and moving image designers

Photocopier and print supplier

Strategic ICT and management systems

support

Beer, wine and soft drink supplies for all events

Public relations advice

Trust support Philanthropic trusts provide valuable donations to support infrastructure and events.

Thanks also to ASB Trust, Central Lakes Trust, Community Trust of Otago, Eastern and Central Community Trust, Eureka Trust, Lysaght-Watt Trust and the Perry Foundation.

Thanks also to David Hamilton for his donation toward 2008 Laureate photography costs.

…AND GrowING

Ken and I love being Patrons of the Arts Foundation. Because of our distance from the action [Hawera] we particularly value the opportunity to stay informed of the New Zealand art scene. The Arts Foundation is a great melting pot for all New Zealand arts, and provides us an up-to-date overview of what is happening, and an opportunity to meet and hear what the country’s artists are doing.Jennifer Horner, Patron

Icon Artist

Laureate Artist

New Generation Artist

Award for Patronage Recipient

Marti Friedlander Photographic Award Recipient

Harriet Friedlander Residency Recipient

Governors Award Recipient

Events

Patrons

Trustees

Governors

London

Sydney

Melbourne

New York

Washington, DC

lEGEND

Symbols indicate where Patrons and artists reside plus the location of events and Awards. Symbols do not indicate the frequency of events nor the number of Patrons or Award recipients.

www.artsfoundation.org.nz

THE ArTS FoUNDATIoN coNNEcTS THE DoTS

Applause - Issue 16

Documents

Transcript of Applause - Issue 16