Salient: Victoria University Students' Paper. Vol. 29, No. 10. 1966.
Kelliher show — NZ art's epitaph
Kelliher show — NZ art's epitaph
" The Object of the competition is to encourage artists to paint faithfully the beauty and the essential character of the New Zealand scene, and thereby develop a livelier public appreciation of the Fine Arts and of the infinitely varied aspects of our land."
These words are inscribed on the Kelliher Art Prize Competition catalogue and could well be the epitaph for contemporary New Zealand painting. You perhaps get bored at hearing and reading about the unfortunate state of New Zealand painting but any such statements surely have some grounding when the country's major art prize is the Kelliher.
Not all are capable, and less desire to understand what today is loosely termed "modern art." This, however, is no excuse for regarding only "beautiful" things as works of art and writing off whatever does not appeal to the viewer in this way. Joyce said that "Art is the human disposition of intelligible matter for an aesthetic end." It is not possible therefore to say a mountain is a work of art no matter how beautiful it may seem to the viewer—the symmetry, the ruggedness. or smoothness may appeal, but the matter is not disposed for an aesthetic end. This is true whether or not you believe Joyce's "definition" to be completely satisfactory. No matter what your artistic theory, it must be agreed that arrangement by an artist is required; products of nature are not works of art. It may also be noted that "aesthetic" although implying beautiful is not restricted to this—it means simply of, or pertaining to sensuous perception.
This is not to say that the exhibits in the Kelliher are not works of art—some are executed technically very well. What I am trying to say is that it is time that New Zealand viewers reassessed their appreciative values. It appears that at present viewers look not for the good work of art but rather for the beautiful scenery which alone they regard as important. The snap answer of the "true blue" is "What else do I look at pictures for? Surely the subject is most important." This is true only as long as the appreciation lies within the work of art as a work of art. I mean here, that, to say, "I like that picture because it reminds me of when I was at Lyttelton Harbour" is to speak of something other than aesthetics. It is referring to something outside and not connected to the painting. If romantic or sentimental reminiscences are needed, the Government Tourist Bureau has numerous full colour photographs which probably have a lot more accurate detail.
All right, Sir Henry got his knighthood, the socialmongers get their evening out and their status symbols in the form of pretty pictures of pretty New Zealand scenery. But why does this have to remain the biggest New Zealand exhibition (£500— first prize; second, £225; third. £150 and eight merits of £25)? Surely this implies that this is the exhibition of New Zealand artists —the main stream as it is today—only 80 years behind the other countries. Surely this is not going to "develop a livelier public egotism in their God's own country." Who knows, maybe next there will be large prizes offered to encourage artists to paint faithful portraits of All Blacks. The only two books already published on New Zealand painting are Peter McIntyre's New Zealand (a photograph album of the country would probably be cheaper) and New Zealand Artists Interpret The New Zealand Scene.
The Kelliher was instigated in 1956 and has been increasing in importance ever since. Several artists have made their names as "master" but it is unfortunate that their greatness will not be known of outside the New Zealand shores. Some of the "masters" are (with their prize moneys won in parentheses): Peter McIntyre (£1175 — probably the greatest), P. Mardon (£575), C. Wheeler (£525—including five merits). Perhaps if these artists felt strongly enough about the New Zealand art image and had attempted new and varied means of expression they would have done more for New Zealand painting (especially Mr. McIntyre).
First prize this year went to P. Mardon, Lyttelton Harbour. The painting consists of pale blue water and sky, pale grey-blue yacht, pale to darker grey cliff face with a touch of green grass. Ian C. Scott's Storm Shadows Waitakere, had pleasant, interesting colour and brush strokes but the influence of Mr. McIntyre shone through, as it does (far more apparently) in the works of R. Chilvers. The most exciting painting is Land-locked Port (J. Lindsey) and it is obvious that there is considerable talent there if used correctly.
Other points to note regarding the exhibftion are first that (this year anyway) exhibitors are on the selection committee; the paintings sold were mainly those who had received prizes (originality in appreciation?); the attendance numbers are the highest for any New Zealand exhibition, including those of overseas artists; some paintings are to be hung in New Zealand House. London. How important the economic considerations of the artists exhibiting are is difficult to evaluate but some indication can be obtained from the price tags. Many are over the hundred guineas mark—such a lot for so little!
There is no reason why everyone should love abstract paintings but there are plenty of reasons why New Zealand should awaken her artistic feelings, change her attitude to painting and develop new, more interesting and exciting, not necessarily "international styles (apology to Mr. Falrburn, Salientmarch 18). It is in a university that this can be stimulated.— M.J.R.G.