Landfall Review Online

New Zealand books in review

Metamorphosis

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Roger Blackley
Fiona Pardington: The Pressure of Sunlight Falling, edited by Kriselle Baker and Elizabeth Rankin, (Otago University Press, 2011) 160 pp., $120.
A ‘museological’ orientation distinguishes a range of photography that engages in fresh ways with historical spaces and artefacts. Thomas Struth’s long-term project ‘Museum Photographs’ observed the observers — the audiences that are such an essential component of displays in museums — while the uncanniness of Candida Höfer’s 2006 photographs of the Louvre’s galleries depended in part on the absence of any human users. In New Zealand, museums sit alongside other memorial sites in Laurence Aberhart’s oeuvre, while Neil Pardington’s recent series explored the aesthetics of museum storage. Occasionally, such projects succeed in completely redefining a historical topic. One example is Rauru: Tene Waitere, Maori Carving, Colonial History, edited by Nicholas Thomas and published by Otago University Press in 2009, which showcased Mark Adams’ photographs of Waitere’s innovative carvings and the international contexts they inhabit. Rauru also featured historical images, an essay by Thomas and insightful perspectives from James Schuster, a great-grandson of Waitere’s, and Lyonel Grant, a leading contemporary carver.
        Otago University Press now gives us Fiona Pardington: The Pressure of Sunlight Falling, an even more spectacular exploration of this fascinating interface of art and ethnography. Full-page plates reproduce Pardington’s sombre, almost monochrome photographs of casts made from living models by Pierre-Marie Dumoutier, the phrenologist serving on the last great scientific voyage by the French into the Pacific. The photographs are accompanied by an impressive array of images and essays that explore the significance of Dumoutier’s work and its relationship to nineteenth-century anthropology. The elegant design is the responsibility of Neil Pardington, the photographer’s brother.
            Usually termed a ‘pseudo-science’, phrenology was a popular pastime of the early nineteenth century that purported to reveal inner truths — much like psychoanalysis in our time. Naval commander Dumont d’Urville was flattered by a favourable reading of his cranial bumps received from a London phrenologist; when this was repeated in Paris he became a convert and secured Dumoutier’s services for the expedition to the South Seas. Charged with forming a collection of skulls and head-casts to support d’Urville’s racial mapping of the Pacific, the phrenologist produced the moulds for some fifty life-cast busts that — back in Paris — were photographed using the novel technique of daguerreotypy and published as lithographs in an atlas documenting the expedition’s anthropological discoveries.
Pardington’s connection with the casts, which are now held by the Musée de l’Homme in Paris, originated with Ngāi Tahu’s knowledge of the portraits made at Otago in 1840. Takatahara (known to Dumoutier as Taha Tahala) was a Banks Peninsula chief who played a leading role in the wars of the 1820s and 1830s between Ngāi Tahu and Ngāti Toa and is related to the photographer. The other Ngāi Tahu male portrait depicts Piuraki or John Love Tikao (Poukalem), who was taken prisoner by Ngāti Toa in 1831 and later travelled the world, living in Bordeaux and London. Fluent in French and English, Piuraki was also at Otago at the time of the French expedition’s visit in March 1840. Together with the portrait of a female subject, Heroua, these South Island casts represent the ancestral connection and catalyst for the project.
The subject of a life cast is effectively a co-author of the resulting artefact and, given the deployment of a negative mould to produce a positive image, Pardington recognises an affinity between life casts and photographs. While this series represents her first foray into digital photography, which transcends the negative-positive dialectic, the works are nevertheless imbued with an antiquarian aura. Apart from the impressive scale and immaculate surface of the exhibition prints, and the wilful manipulation of colour, it is noteworthy that Pardington consistently rejects the three-quarter orientation of European portraiture (which is how the busts were documented in the photographically derived lithographs of d’Urville’s atlas) in favour of a more severe pairing of frontal and profile views, and even some views of the backs of the busts. These formats are intriguingly reminiscent both of the racial profiling of nineteenth-century ethnography, and of the criminal profiling system developed for the Parisian police by Alphonse Bertillon.
Scholarly essays are interspersed with the plates, some of which fold out. The artist’s gradual discovery of and interaction with the life casts is discussed by the book’s editors, Kriselle Baker and Elizabeth Rankin, while David Elliott — artistic director of the 2010 Sydney Biennale where the photographs debuted — profiles the trajectory of Pardington’s career. Kriselle Baker’s essay, ‘The Truth of Lineage: Time and Tā Moko’, focuses on the significance of Māori tattoo and its representations, while anthropologist and Pacific historian Nicholas Thomas sketches the broader story of the voyage and the ‘archival turn’ exemplified by contemporary artists who engage with the legacy of colonialism. French curator Yves Le Fur, in ‘Dumoutier’s Artifacts’, and Elizabeth Rankin, in ‘Facing Difference: Casts as Documents and Display’, furnish interesting contextual information regarding the history and status of Dumoutier’s work. Further essays come from Stacy L. Kamehiro, whose ‘Documents, Specimens, Portraits: Dumoutier’s Pacific Casts’ offers a nuanced reading of the quest for races and types, and Ross Calman, who gives a Ngāi Tahu perspective. The final contribution is by anthropologist and Pacific historian Anne Salmond, who muses on the mechanics of casting a head in plaster and finds it difficult to believe that Māori chiefs would allow such a treatment of their heads. 
Fiona Pardington has formerly engaged with museums and their collections, photographing birds’ nests and feathers at the Otago Museum, huia specimens from the Canterbury Museum, and hei-tiki from the Okains Bay Māori and Colonial Museum. I was reminded of the hei-tiki photographs recently, when reading David Eggleton’s critique of Damian Skinner’s interpretation of the artefact photography of Brian Brake. Skinner argued that, by suppressing ethnographic clarity in his dramatically decontextualised images, Brake had ‘aestheticised’ the taonga of Te Maori. A similar play of dark and light — together with an equivalent decontextualisation — characterises Pardington’s approach to artefact-imaging. Far from the dispassionate objectivity of Mark Adams’ Rauru photographs, Pardington’s images of the plaster artefacts partake of a moody neoclassicism.
Elizabeth Rankin concludes her essay by discussing the renunciation of colour in Pardington’s photographs and claims that they will ‘write another chapter in the history of Dumoutier’s heads’. Since this book will now be the essential reference for Dumoutier’s Pacific work, Pardington’s draining of colour from her prints does present a slight problem. Dumont d’Urville claimed credit for mapping the racial divisions of the Pacific and named the darker-skinned islanders Melanesians, in distinction to the copper-coloured Polynesians. Yet this crucial distinction — signalled in part by Dumoutier’s careful painted calibration of skin tone — is precisely what Pardington has collapsed by filtering the colour and thereby blurring the full story of the busts’ contribution to an important episode of racial profiling. One remedy might have seen the book’s historical images supplemented with standard (‘non-aestheticised’) photographic documentation of selected busts.
Dumoutier’s life casts proved insufficient for their intended anthropometric purpose: the characterisation of separate Pacific races as determined by head formations. But with the passage of time they have become precious, almost magical documents that collapse time and distance: indexical imprints made through the collaboration of a French phrenologist and the Pacific peoples themselves. That is why the casts have had a busy exhibition itinerary in recent times, in which the Māori ‘specimens’ have played a prominent role. All four Māori busts returned to New Zealand in 1991 for a National Library exhibition of early French artists’ work in the country. A selection of the Pacific busts travelled to Sydney in 2002 for a Dumont d’Urville exhibition, at the same time as the elaborately tattooed Matoua Tawai (a portrait cast in the Bay of Islands in the month following the Otago portraits) was starring in exhibitions of life-casting staged in Paris and Leeds. The Musée du quai Branly, marking its 2006 opening with a vast exhibition of European depictions of the ‘other’, placed one of Dumoutier’s Māori busts into a compelling line-up of casts. Now, in the form of Pardington’s sumptuous digital photographs, these ethnographic artefacts have completed their metamorphosis into spell-binding works of art.


ROGER BLACKLEY teaches art history at Victoria University of Wellington. He was formerly curator of historical New Zealand art at Auckland Art Gallery Toi o Tāmaki.

Dominion of Signs: Three Photo-books

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David Eggleton
Bold Centuries: A Photographic History Album, by Haruhiko Sameshima (Rim Books, Auckland, 2009, $60.00); Alan Miller — New Zealand Photographs, by Alan Miller (Anglesea house, 2009, $70.00); A Man Walks Out of a Bar: New Zealand Photographs 1979—1982, by Lucien Rizos (Rim Books, Auckland, 2011).

‘The camera sits alongside the axe, the gun, the Bible and the specimen jar as colonial tools of preservation’ suggests Aaron Lister in his essay included in Haruhiko Sameshima’s kaleidoscopic Bold Centuries: A Photographic History Album. Sameshima’s Album is an ambitious project, almost a history of New Zealand photography, but presented in a non-chronological and thematic way. Enlisting a number of commentators to provide short texts, he’s gathered together a number of his photographic preoccupations from the past two decades or so, mingling his own photographs (colour, and black and white) with historical photographs, and assembled it all into meticulous arrangements according to subject matter.

            The result is an idiosyncratic enquiry into ‘New Zealandness’, with the unit of the photograph as an identifier, a form of measurement, a way of mapping — and perhaps claiming. Sameshima tells us he emigrated from Japan with his family in 1973 when he was fourteen: ‘Why exactly my father made the decision to leave Japan and settle his family in New Zealand remains a mystery to me, but the project seemed like an exciting adventure . . .’. In a way, Bold Centuries reflects that sense of excitement and wide-eyed wonder: he lays out his images as a seductive mosaic of pictorial souvenirs — as a scrapbook, reminiscent of the kind that many of us, as Kyla McFarlane points out in her essay, may have assembled as children.
            Except that Sameshima is also, by his juxtapositions, implicitly subjecting what he shows us to quizzical examination, rather than merely positioning them as objects of reminiscence. Making historical comparisons — placing found postcards and found cigarette cards alongside photographs by mid-twentieth century National Publicity Studio photographers, and late nineteenth-century scenic photography firms such as Muir and Moodie, and the Burton Brothers, as well as beside topographic photographs by expeditionary colonial photographers — Sameshima highlights the utopian quest behind New Zealand’s settlement.
            Sameshima’s ‘album’, with its consideration of the epic, with its taxonomies that group various photographs by subject, from ‘beautiful’ waterfalls to beautiful photographs of the  ‘visual pollution’ of twenty-first-century wind farms, Sameshima challenges us to look again at how we arrive at our visual conventions — how we ‘see’.
             Bold Centuries — journeying from close-ups of the antique wallpaper in the Kerikeri Mission House, to dioramas in the Auckland war Memorial Museum, to the Cook Strait Ferry Terminal to ‘picturesque Lake Manapouri’ — is imbued with a doubting sceptical quality about touristic ‘image factories’ of all kinds. Is the photographer essentially an unreliable witness? Do cameras make good liars? On the cover of the book, a wide river swirls and foams and then cascades as a cataract into a cauldron of froth. This might stand for today’s image torrent, at once powerful, threatening, evanescent and disorientating, which we must navigate.
            Active in many areas of New Zealand photography, Sameshima reveals himself here as a broad-spectrum searcher of our accumulated nationalist photographic depictions — from the clichéd iconic tropes of the lone kowhai flower or crowded sheep run, to the repackaged eco-friendly landscape-as-theme-park experience — for what they might reveal, playing different photographic traditions off against one another.
            Sameshima shows how that the mysterious and rarefied Sublime of landscape art rhetoric has become the ‘sublime’ of galloping consumption, to be ordered from a catalogue. But if capitalist advertising now ‘owns’ much of this imagery, making it contentious, even untrustworthy, adept use of photographic technologies also allows that ownership to be contested, critiqued and even subverted.
            Sameshima’s witty archives of imagery relish the paradoxes and complexities of the photograph. A photograph can be at once realistic and illusionistic, superficial and profound — a veneer, or surface, invested with emotional depth. The photographer as collector, he employs repetition and monotony to tease us with the scrapbook as scrapheap  — photographs of obsolescent industrial objects gathering dust — and destroys the notion of uniqueness by producing, in his ‘typologies’, images interchangeable with those of Wayne Barrar, David Cook and Mark Adams by way of ‘quotation’. Yet, examined carefully, Sameshima retains his own signature touches, and perhaps most characteristically a certain complex mood: gentle longing undercut by wry self-awareness; a delicate, even sweet, hovering melancholy.

If Sameshima’s methodology resembles that of scientific enquiry, Allan Miller’s photographic stance in Allan Miller — New Zealand Photographs is that of a nature mystic. As Martin Edmond puts it in a short accompanying essay, Miller’s photographs of the landscape ‘seem to raise the quotidian to another power’ . . . his photographs ‘marvel’ at the world and its numinous mysteries, its ‘true face’.
            Technically, Miller is old school: for these images he’s used a classic Leica camera and Kodak black-and-white film. So, in a way, he is a magician of the darkroom, emphasising the alchemical, his camera’s black vault a progenitor of dreamy musings. The prints have a granular quality, at times a sticky-as-tar quality. They are, design-wise, painterly; in an interview in the book with Kriselle Baker Miller invokes Colin McCahon as a force for revelation of what landscape might be — an exemplary visionary.
            Miller works then with the primal, with shadows and radiance. His is the rhapsody of things as they are, but his wish is to push on past that recognition, seeking the mystery at the heart of rhapsody. Put simply, his subjects are the seasons, as in the shrouded, autumnal aura of ‘Full moon, Bay of Islands, April 2002’, and the organic, as in the close-up of a seed-pod in ‘Nikau, Punakaiki, 2004’.
            We think of photography as a fast medium. Miller’s self-appointed task is to slow it down, and then examine the edges of perception thereby made visible. His weighty images offer a sense of estrangement from the everyday; his skewed shadowplay seeks evocations of spookiness and spirit-beings, traces of the Gothic sublime, the consideration of a Romantic poet’s eye-view, where everything is a metaphor for time and decay, collapse and entropy, transcendence and eternity.
            Light, here, is a material substance: smearing and streaking, glistening on the sea, muffled by mist, veiled by condensation, twinkling through rain from a sunshower that steams off a corrugated iron roof in the backcountry. A charred-looking tree set starkly against the winter snows of Mount Ngauruhoe and slithery surfaces of a Rotorua mudpool forming ominous whorls suggest a world of portents and messages.
            Broody and moody, but also exhilarating, Miller is the photographer as believer. Showing us ragged plumes of toe-toe blending harmoniously with travelling clouds, or taking us deeper into the mottled chiaroscuro of a chrysalis, or tree bole, and promising resurrection of a kind, or at least regeneration, he makes you a believer too.

In French critic Roland Barthes’ book Camera Lucida: Reflections on Photography, Barthes describes early cameras with their wooden cabinets as ‘clocks for seeing’. You could apply the same metaphor to the retro-vision offered by Lucien Rizos’s photo-book A Man Walks Out of a Bar: New Zealand Photographs, 1979—1982. Its sixty-six black-and-white photographs, selected from an accumulation of thousands made while Rizos was a violinist on tour with the New Zealand Symphony Orchestra, offer the sensation of time travel, and also something of the sensation of their instantaneous making. Essays by Damian Skinner and Ian Wedde ruminate on lost time recovered in these photographs. What once was urgent has been locked into the permanent Now of yesterday.
            This book, a homage of sorts, as Ian Wedde points out, to Robert Frank’s famous 1959 road trip selection of photographs The Americans, and steeped philosophically in the climate of post-World War Two existentialism, has transferred its analogue images into the digital age by smoothing them seamlessly into grey-on-grey. Thus Rizos’s New Zealand is rendered in an atmospheric Parisian grisaille. But in this artful rendering of time lost, arranged loosely into a narrative of riffs and sequences and ‘movements’ that imply the flicker of moving film, of a road movie, what we miss, or what our attention is drawn to, is the absent soundtrack, and how it is signified visually.
            The title offers the first droll signpost. It implies, perhaps, the beginning of a shaggy dog story, to be followed by appreciative chuckles, as well as being a literal description of the cover photograph, but a second look at that photograph suggests that the missing noise is not bar chatter, but some interior music, to the beat of which the man in question is skipping along, with a sway in his step, his pace quickening, his tempo accelerando, in keeping with the images inside the book. The photograph also implies the snatched glimpse of the passer-by, a consequence of the good hand-eye coordination and reflex actions of the alert snapper.
            It signals, too, the scope of the project. Rizos is photographing the rhythms of daily existence in the form of chance encounters. He photographs people caught unaware, or barely aware, or else surprised and curious. Moments of exposure made on the fly taken together constitute a sustained momentum, a series of punctuation points, the sensation of movement confirmed, for example, by the way the man walking out of a bar meets the photographer’s sideways glance, his gaze, as if to mirror his curiosity.
            Rizos, meanwhile, hurries on in search of more arrested moments, in search of the spirit of New Zealand, hoping to make something of consequence from the inconsequential. If Haruhiko Sameshima is interested in examining what varnished photography might consist of, Rizos aims to be the unvarnished photographer, reacting to strangers.
            A study of the lull before the watershed, the last of the Muldoon Years, AMWOOAB forms an interesting counterpoint to Ans Westra’s photo-book of a decade earlier, Notes on the Country I Live In (1972), which presents us as New Zealanders as static, hieratic, often heroic figures. By comparison, Rizos has photographed people who look boxed-in, squeezed into their small British cars, or peering out of a tea-room window disconsolately; they are the grey ghosts and pale doubles of Westra’s people — the same people, perhaps, at the fag-end of a decade of euphoria. In these studies of small-town settings, even the outdoors seems claustrophobic; the skies are permanently overcast — this is Fortress New Zealand.
            Editorial choices are made so that Rizos avoids flashpoints such as political protest rallies, instead his wanderings and his body language diagnoses imply a country locked in space and time, whose scruffy and scrubby surroundings convey a sense of imprisonment, with the Great Escape taking the form of mass exodus to Australia.
            Improvising like a jazz musician, Rizos plays an air upon the theme of emotional repression. It’s as if he’s gone looking for crowds, for camaraderie, and found mostly solitaries wrapped in gloom, like a nation of professional mourners. He’s trying to make a sense of isolation palpable, trying to make anxiety palpable, scenting it in petrol fumes and scorched rubber, in beery but mostly deserted lounge bars, and in smoky tea-rooms, where over the formica table-tops, with their freight of metal ashtrays, individuals are engaged in sour tea-swilling and irritable newspaper-rustling interludes. This is period-era comedy or drama which could have found its inspiration in the writings of Samuel Beckett.
            Pedestrians trot or shuffle, pushchairs squeak. All is locomotion. The mutton-chopped long-hair in his white woolly cardigan drives by, glowering, his elbow plonked on the sill of the open car window. Everyone is preoccupied, solipsistic, oblivious. This is a corpus of imagery with a single-minded conviction.
            Then Rizos, too, moves on — down a state highway, photographing through the car window a house almost by accident. He snatches the moment and renders it as sensation. The subject is the sandblasted leaping gazelles on the glass front doors. Clouds lour and the hills are bare and stark. The doors are caught centre-frame, but they are emphatically shut.

DAVID EGGLETON is the editor of Landfall and The Landfall Review Online.

5 (Or More) Things About ‘This is Not writing’ by Julian Dashper

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David Herkt

This is not writing, by Julian Dashper, (Clouds & Michael Lett, 2011), $39.95.


‘Why should one understand anything? Should we not just experience it?’ – Julian Dashper (p. 75)


1. Memento Mori
In September 2010, the first anniversary of the death of New Zealand artist Julian Daspher was marked in New York by exhibition of a single artwork by him. 
        Entitled ‘Future Call’, a telephone was installed in MINUS SPACE, a Brooklyn art gallery, and then periodically phoned from New Zealand, nominally ‘ahead’, time-wise, from much of the world — but the call was left ringing and unanswered.
        ‘Future Call’ was usually undertaken by the artist himself, but in the Brooklyn show the call was now placed by the artist’s wife, Marie Shannon.

        What had been a trenchant commentary on the nature of time, presence and distance, New Zealand art in a global environment, and technology and mediation, ‘Future Call’ now became a poignant reminder of the absence of the artist from his artwork.1
        And this was Dashper’s great skill: he made artworks that often had an existence apart from their embodiment. They were frequently works that could be carried anywhere, a nomad’s art gallery, curated in the mind, and changing with circumstance.

        This is not writing is a near-definitive collection of Dashper’s public writings, compiled from gallery catalogues, interviews, magazine articles, and the artist’s archives, and selected by the artist himself prior to his death. Not only are these texts descriptive and revelatory of intent and circumstance, they are often works of art in themselves, performative utterances by an artist whose material range frequently seemed subsidiary to a state of being.
         With Dashper’s death, these texts take on new resonances, just like Curriculum Vitae (various dates), the title of a piece consisting of Dashper’s written biography and list of exhibitions that was simply pinned to a gallery wall, taking more space each time. Now, while the exhibitions are still added to the exhibition-listing, the biography pages of Curriculum Vitae are considered to have been completed.   


1. The exhibition can be seen in ‘Julian Dashper (1960–2009) It Is Life at MINUS SPACE’. The clip includes the telephone in ‘Future Call’ ringing through to answerphone: 



2. Physics (Fetish)
This is not writing is a book published by Clouds and Michael Lett in June 2011.
        Hefted in the hand, it weighs in at 670 gm, feeling pleasant to lift and to hold, one of those exact weights of both delight and use. It is not problematic to read in bed or on a desk, though the binding is of such quality that the book itself prefers closure — perhaps oddly, in view of its content.
        The volume measures 166 x 236 x 23 mm, and is thus not pocketable, though easy carried, and possibly with some social cachet (eye-catching design and colour) in the carrying.
        Hardcover and cloth-bound, This is not writing is a pleasing light pink (JHT #0008), more old-fashioned prosthetic than primrose. The cloth has a slight nap that furs under the fingers nicely. It was bound, as it was printed, by Everbest, in China.
        The cover is titled on the upper left front, in black 18-point font, discreetly. The spine contains the title and the names of author and publishers in 10 point, even more discreetly. The font is Helvetica Neue (Linotype), which is used throughout the volume. 
        The paper is 140 gsm SUN woodfree, with no sense of flimsiness, but rather an appropriate gravitas. It does not take fingermarks.
        Importantly, the acknowledgements page of This is not writing contains an editor’s note by Gwyneth Porter, the writer, curator, and former editor of the NZ periodical Log Illustrated, which states that the book was based on a list and materials provided by Dashper to gallerist Michael Lett in 2008.
        The tone and formal qualities of Dashper’s writings (particularly his use of the dash and ellipsis) have been retained by the editor, as was Dashper’s titling (unitalicised, initial uppercase only). The versions of the texts are those chosen by Dashper.
        At 188 pages it is an ideal length for a book that aims for a ‘complete’ status. It is without any size-of-a-doorstop portentousness. It is approachable and companionable.
        This is not writing has been produced in an edition of 1000, giving the book some of the quality of an artist’s limited edition for the purchaser.
        The book was designed by Luke Wood, of Christchurch, co-editor of online-design journal The National Grid. Wood’s work ‘seeks to centralize the role of the physical artefact — the publication — in the development of an engaged network of participants in such a project.’ It’s readily apparent that in This is not writing Wood has succeeded in this aim.
        The unique International Standard Book Number identifier of This is not writing is ISBN 978-0-9582981-9-3.
        Each copy is individually shrink-wrapped.


3: Contentious Content
A key moment in the reception of Dashper’s art occurred at the Institute of Contemporary Art, Newtown, Sydney, in 2008, when Dashper’s video installation The Last Second of the Last Venice Biennale 2007 (DVD, Edition 1 of 5) containing a repeating loop of the last second of that biennale for 90 minutes, was turned-off. 1
        A member of the public had apparently assumed the display unit was simply malfunctioning.
It wasn’t the first time that Dashper’s brand of reductive art — ‘They thought there was nothing there’  — had been subject to change by viewers or exhibitors. As Dashper relates, even his own technicians on occasion could not find or see the art-work they were being called upon to witness.
        An expert at maximalisation; a constructor of enigmas; an adaptor of conceptualism, of abstract expressionism, and of minimalism to his own ends; a former Fulbright Fellow and holder of a Marfa Artist’s Residency; and also famous as an exhibitor of drum kits in art galleries: it is possible to claim that Julian Dashper was one of great showmen of recent New Zealand art practice. 
        But Dashper’s work was never appearance without content, and it was never without contention.
The texts collected in This is not writing, written or produced between 1986 and 2008, record Dashper’s development and form a bracketing of  — a commentary on — modes and means of creating art in a contemporary context.
        Dashper’s texts also straddle the line between artwork and documentation — enough in his case as to put the distinction profoundly in question.
        And in an age of brevity, blogs, Youtube clips, inevitable links, and cut-and-paste, the relevance of Dashper’s own complexly reductive works (often with a self-enclosed commentary) is immediately apparent.
        Emblematic of this contemporaneousness is Dashper’s intensive utilisation of lists as an art-form, as for instance in: ‘Sydney 2000’, ‘Favourite Things’, and ‘100 thoughts as an artist in residence at the Chinati Foundation, Marfa, Texas’.
        Dashper’s listings become autobiography, speculation, philosophy, autobiography — and riddling statement: ‘57: I imagine it would be hard for a critic to resist making a critical comment about this’; ‘59: Colin McCahon was born in Australia. Not many people know this.’
        Dashper also reveals himself to be an acute observer of the contemporary world as in the 1993 interview with an airline pilot (‘Pilot Essay’) which offers trenchant remarks on the nature of speed, time, global spaces, and our experience of them: ‘The cockpit is just the same as the simulator, but when you get out the destination is different’ (p. 43)
        Dashper’s texts also forefront the role of an artist in contemporary culture, not only with regard to Dashper’s own practice, but also in terms of of an entire contemporary art movement. He proves himself to be a sharp observer of the strategies and styles of both himself and his peers.
        ‘Things I remember Philip Clairmont saying today’ (a typical Dashperian title) offers cumulatively revealing glimpses of that artist: ‘Don’t let the landlord see past the front door’; ‘I’m an inside person’; ‘If you turn it up past here, the neighbours ring up’; ‘Try painting outside, if your studio is too small. Outside is big’.
        Curiously, the weakest texts in This is not writing are the interviews  — perhaps the archetypal twentieth-century literary style — where Dashper explains, contextualises, and situates his work for the benefit of various interlocutors. These interviews might have historic and personal interest for students, art historians, and those interested in contemporary art — and they are nothing if not engaging  — but when they are flatly juxtaposed with the elan and intensely wrought succinctness of Dashper’s practice as documented by the volume’s more performative texts, they suffer by the comparison.


1. See particularly the Simone Horrocks and Richard Flynn film Julian Dashper My Space, a document/documentary supported by The Screen Innovation Production Fund, filmed in 2008 and released in 2010, as per the artist’s wishes, on Youtube. It is also fascinating to discover in Dashper’s video and on-line documentation that he speaks as much as he writes.

4: Assured Wit
The real history of wit remains to be written, but Dashper can be seen, in some ways, to be the heir of both John Donne and Oscar Wilde. Donne’s use of an extended metaphor, where two very different ideas are combined in a single conceit, and Wilde’s epigrams are perhaps the true precursors to much of Dashper’s written art.
        Dashper’s works and his writings are invariably tight, taut, condensed — and audacious. More often than not they open up a field, rather than close it down. They contain worlds.
But while the texts of This is not writing dissolve distinctions  — between high and low, work and commentary, object and practice — many of Dashper’s works, such as ‘Untitled (Portrait of Ben Curnow)’/‘The work consists of Ben Curnow sitting at a desk in the gallery’, contain a profound finality at their core.1 In each exhibition of the work, Curnow ages and changes. In each exhibition, he inhabits a different environment. It is a portrait in practice. It is abbreviated, sure, changing and terribly finite.
        Like the portrait of Curnow, the texts of This is not writing almost inevitably encourage metaphysical flights of thought. They are surprisingly brief. The best of them are a sentence long. They are conceits, intent on capturing fragility and transience — the profound and frequently joyous ephemerality of our deadly passage through time.
        Julian Dashper died in April 2009, at the age of 49.


 1. Images of the artwork can be found here 

5. Experience (Last Glimpse), 2009


The creation of ‘Untitled (I’m afraid of red, yellow and blue)’ Acrylic paint on wall, 2009, dimensions variable.

DAVID HERKT is an Auckland-based television producer, writer and poet.

Late and Early

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Peter Entwisle                                                 
Mary Kisler, Angels & Aristocrats Early European Art in New Zealand Public Collections, (Random House, 2010), 399 pp., $74.99.

Angels & Aristocrats is a landmark, a useful reference, and one can simply enjoy its fine illustrations – though it has limitations and flaws. There has been very little published about the old European art in New Zealand public collections, so it was good to hear of Mary Kisler’s project when it was in preparation. 
            Peter Tomory and Robert Gaston’s Summary Catalogue European Paintings Before 1800 in Australian and New Zealand Public Collections, which came out in 1989, is the only other book-length study to cover the ground, or much of it, because unlike Kisler, the authors restricted themselves to paintings. Moreover, within its narrower compass, Tomory and Gaston’s review was not comprehensive. For example it didn’t include the Dunedin Public Art Gallery’s Madonna and Child by Zanobi Machiavelli (1418–79), a fairly glaring omission considering the significance of the work. And Tomory and Gaston scarcely discuss questions of attribution or identity, which are numerous in this field and often contentious. By contrast, Ms Kisler does venture into those matters, so her scope is potentially more useful.
            There are a few other sources people can use to background Ms Kisler’s efforts. There is my Treasures of the Dunedin Public Art Gallery, which came out in 1990, and Beloved: Works from the Dunedin Public Art Gallery, with thirty contributors, which was published in 2009. Each of these covers some of the DPAG’s European old master works, and from them it is possible to see that some attributions have changed, as well as the identifications of some subjects. Similarly, there is the Auckland Art Gallery’s summary catalogue of its holdings, which included a number of its European old masters.
            For the purposes of her study, Ms Kisler looked at the collections of the public galleries in Auckland, Whanganui, Christchurch and Dunedin, and at the collection held in the national museum, Te Papa in Wellington. Such a survey covers the great majority of European old master paintings in public ownership in New Zealand, as well as the many prints and other works on paper, and the rather scant holdings we have of related sculpture. Some things have escaped her net, such as the Flemish statuette and the Della Robbia Madonna in the Otago Museum. But the demands of making a study like Ms Kisler’s are considerable, and searching around institutions not wholly or overtly devoted to art may have seemed too laborious for the likely returns.
            One significant resource of publicly owned old European art she has not reviewed is this country’s holdings of illuminated medieval manuscripts, concentrated in a few public libraries — mostly in Auckland and Dunedin. This too may be forgiven because it was covered well, at least descriptively, in a catalogue published by Vera Vines, Margaret Mannion and Chris de Hamel in 1989. More regrettably, she hasn’t attempted to review the Classical holdings, mostly figured ceramics, in the Fels and Logie collections of the Otago and Canterbury museums, the latter sadly damaged in the September earthquake last year.
            We also need to keep in mind that Ms Kisler’s book is not really so widely encompassing as its subtitle suggests. Perhaps its ‘early’ is the New Zealand vernacular for ‘old’? However that may be, her horizon is actually late. European art has been around since at least the days of Mycenae and Knossos, which were flourishing in the thirteenth and fifteenth centuries BC, respectively, both represented in the Otago Museum’s Fels collection. The oldest work Ms Kisler reviews is from the twelfth century AD.
            Angels and Aristocrats is not aimed solely at an academic audience. It is intended for the general reader, and Ms Kisler means to locate New Zealand-owned works in the larger context of their time and place of making, which she does very well. What does give cause for concern is the number of mistakes, some minor, others less so. I’ve mentioned these before when I discussed the book in my column in the Otago Daily Times. It would be unkind to needlessly list them all again. A few will do as examples.
            On page 26, William Mathew Hodgkins is said to have died in 1895, while his death actually occurred in 1898. At page 27, Ms Kisler says the Dunedin Public Art Gallery moved to its building in the Octagon in 1990, whereas that happened in 1996. She has also, at page 26, misidentified the Lady McLean who successfully raised funds for a new building for the Dunedin gallery in 1907 with the wife of the Honourable John McLean, and, with a certain disregard for actual geography, has her living ‘in Lumsden near Oamaru’.
            Producing a long text requires particular attention to detail to avoid small errors, and occasional slips are to be expected, perhaps; but there seem rather too many of these little ones for an authoritative text. And there are others which suggest a more worrying cloud of confusion. On page 28, we are told about the de Beer siblings’ generosity to Dunedin, and of Esmond de Beer in particular that ‘a number of very fine purchases for Dunedin’s collection came about through his administrations on the gallery’s behalf in London.’ 
            I take it Ms Kisler is referring to services Dr de Beer performed on the gallery’s behalf. He did know London dealers and museum people, and sometimes acted as the gallery’s ears and eyes, for instance in the case of the Salvator Rosa Rocky Landscape which Ms Kisler discusses, although she doesn’t mention the role he played in its acquisition. This was in addition to buying works with his and his sisters’ money, and presenting them to the gallery in all of their names. Ms Kisler notes such acts of generosity, but appears to have overlooked Dr de Beer’s considerable connoisseurship which was of significant value to the gallery.
            Her treatment of some attributions and identifications is also a matter of concern. In Beloved I attributed the Dunedin gallery’s Birth of the Saviour to the studio of Bartholomaus Bruyn, following an overseas authority. At page 77 Ms Kisler gives it to the artist himself, a not inconsiderable change. She may have her reasons, but she doesn’t give any. Indeed she doesn’t even note there has been a change.
            Similarly, at page 356, the Dunedin painting of Saint John, which was formerly attributed to Bartolomeo Schedoni, she gives to the circle of Francesco Cozza without mentioning this is a change. Again, while Beloved changed the identification of the sitter in Dunedin’s portrait by Cornelius Johnson, which Ms Kisler followed at her page 267, neither Beloved nor Angels and Aristocrats mentions the argument, present in the gallery’s records, for supposing the sitter is King Charles I’s Queen, Henrietta Maria.
            Historians generally, and art historians more particularly, are not always very good at giving the reasons for their judgements, even when these are markedly different from earlier ones. They are sometimes careless about mentioning opposing views at all, let alone bothering to tell us why they differ. A recent case was Martin Kemp’s book making a case for a new proposed Leonardo.
            Such claims are bound to attract attention. Kemp’s one became controversial, not only because other Leonardo specialists emphatically disagreed, but because some people said the contention was proved by the presence of a fingerprint on the work matching one on a known Leonardo. But the match and its maker were soon shown to lack credibility. Kemp’s book marshalls other evidence for his attribution, and other specialists support him. But his book has been described as advocacy, rather than art history. The man who said this, Richard Dorment, complained that Kemp, and his co-author Nicholas Turner: ‘at no point … acknowledge any of the strong counter-arguments that have been voiced by the many scholars and curators specialising in fifteenth-century Italian art.’
            The trouble is this is not infrequently the case, I have found, in things written by distinguished art historians and which are taken as serious scholarly texts. I certainly wouldn’t describe Angels & Aristocrats as advocacy. There is no sign Ms Kisler has any axes to grind. But she has not been as careful as good scholarship really demands to point to changes and opposing views.
            Despite the flaws the book has much to recommend it. Ms Kisler is not trying to establish an order of merit. This permits hers to talk about works of minor, or even negligible, aesthetic distinction in order to illuminate the things their artists were trying to achieve – the conventions, artistic as well as social, which lay behind their making. She uses the works to illustrate not only European art history but, to some extent, European cultural history from the late middle ages to the nineteenth century. She is well-informed. Her prose is clear and her text has some nice, light touches.
            At page 55, she tells us of the significance of the goldfinch in images of the Virgin and Child, which represents the flight of the human soul at the moment of death. She mentions that portraits too ‘also showed children clutching goldfinches, any escape being thwarted by a fine string tethered above their claws. Pity the poor goldfinch.’
            The numerous colour plates are a very useful record, and the book puts together information and images you can’t find anywhere else in a single volume. At present it represents the broadest cover we have of its subject. It would be good to have a supplementary volume covering our older European material. Perhaps one day we will.

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PETER ENTWISLE is a Dunedin-based writer, art historian and curator. He writes a regular column about the arts for the Otago Daily Times.

The Eye and Hand in Action

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Jodie Dalgleish
Richard Parker: Objectspace Masters of Craft, by Richard Fahey (Objectspace, Auckland, 2010), 119 pp., $35.00.

Together with curator and author Richard Fahey and photographer Haru Sameshima, Auckland’s Objectspace gallery has produced a thoughtful and generously illustrated exhibition publication and monograph on the distinctive work of Richard Parker. As Objectspace Director Philip Clarke states in his Foreword, this publication is intended to position Parker as a Master of Craft in the first of what, it is hoped, will be a series of small books telling the stories of New Zealand’s master makers. In doing so, it is also intended to confirm the gallery’s dedication to the artful and craft-centric practice and process of object-making in this country. Richard Parker: Objectspace Masters of Craft augurs well on both counts. This reader’s only reservation is its slightly awkward structure that distributes similar information on Parker’s art across three chapters and an Afterword, in a manner that diffuses a full understanding of the richness of the artist’s craft. 


 Although craft has for centuries been a central part of human life, both its international and national history, and a theory of what it is and why it is important, has been largely neglected. It was only in 1997, for example, that American theorist Howard Risatti published an inaugural and internationally relevant theory of craft. Responding to this absence at a local level, Fahey begins his essay with an attempt to summarise a history of craft in New Zealand. In his first chapter entitled ‘The background to a practice: Positioning craft’, Fahey explains that Parker was initially swept up by a national obsession for utilitarian and faux-primitive pottery, before striking out in his search for objects that were more personal and alive.
Fahey’s outline is useful and necessary, but he does not mention his subject, Richard Parker, until he is four pages into his first chapter. Beginning with a telling quote from the artist, he goes on to discuss Parker’s fascination with craft’s physiological effect. Specifically, he introduces the artist’s notion of a natural ‘peripheral vision’– one that engages the eye and mind in an instinctive search for a variety of line and form – and links this to the historical concept of the restorative capacity of craft. Thus it can be said – with deference to Risatti’s view of the essential importance of contemporary craft – that Parker’s work is informed by a historically charged understanding of the life-supporting function of hand-made craft objects, and of how that function provides a dynamic link to the natural world today. For, as Fahey eventually explains, Parker’s lively pots seem to talk, walk, hustle and dance on the periphery of the uniform and ordinary, and in their liveliness remain open to reinvestigation and rediscovery.
The second chapter, ‘The precarious art of nonchalance: Positioning the ceramics’, goes into more detail and provides a richer discussion of Parker’s works and oeuvre. Fahey begins with a discussion of William Hogarth’s view of beauty and his notion of the serpentine line, which Parker could be said to have discovered in his own practice of drawing a wire through a block of inert clay. From there, the author more fully describes the physiological impact of Parker’s pots. Significantly, Fahey states that Parker’s vases are animated and petition us to become animated: they are optimistic, celebratory objects.
Fahey begins the next part of his second chapter with an exposition on the way in which Parker’s works acknowledge the importance of a vessel’s function, even while they flirt with  subversion of that practical use. As the author explains it, the artist’s works deny the courteous decorousness of a vase’s traditional form, and consequently deceive us about their interior volume through their studied and emphatic demonstrations of ornament and decoration. For, as the author points out in summary, it is the three-dimensional movement of Parker’s vessels that makes them what they are: the pointing of their toes, the lift of their chins, the upholding of their arms, the swing of their feral hips – their particular life, which he has explored and played around with over years with a singular intensity.
Finishing his chapter with an outline of the formal quirks – the decorative glazing and calligraphic syntax – of the artist’s oeuvre, Fahey seeks to further substantiate his central contention that the artist’s mastery is in his light touch, the deftness of his myriad and subtle variations on a theme, his ‘art of nonchalance’. Although use of the word ‘nonchalance’ grated against the idea of mastery for this reader, Fahey’s contention is persuasively illustrated by Sameshima’s photographs, which are well-spaced throughout the chapter and beyond. Most effectively, two central images lay out a double-page spread of vase alongside vase and aperture alongside aperture. Without fail, Sameshima’s carefully lit and composed photographs capture the characterful life of each work, the conversations implied between them, and the delightful intricacies of their surface.
Fahey’s third chapter, ‘Serendipity & single-mindedness: Positioning the man’, outlines the family upbringing and serendipitous series of events and decisions that led Parker to build his first kiln on a rented property in Northland in the late 1970s. Through this narrative, the author appropriately emphasises the hand-led experiments of the artist and his determination to make a particular kind of pot. At the same time, he recognises the importance of the support of Parker’s immediate family and the encouragement of other artists. Following this, Fahey makes it clear that this ceramicist has paid his dues and established his credentials. He goes on to substantiate his claim that Parker is now well known within the local and international ceramic fraternity as an artist with a distinctive point of view.
An ‘Afterword’ closes Fahey’s extended essay by offering a final exploration of Parker’s art. Entitled ‘Positioning the artist’, it’s a summary in which the author returns to Parker’s special world of perception: his mission to capture and share the dynamics of an inquisitive attention that defies predictability, his pursuit of a deep sensory appreciation of natural variety in the simplest of decorative rhythms. Drawing further on the author’s commentary, I add my own conclusion: that Parker’s pots perform the role of bringing human memory into the present for the constant pleasure of discovering the potential of the human eye and hand in action.

JODIE DALGLEISH is a curator, critic and author currently living in Wellington. She is a regular contributor to online art journal EyeContact, and she has a Masters of Creative Writing from AUT University.