detail, Tony Fomison, "Lucifer-Evil Flower" 1980, Ellerton Trust Collection, Auckland

Art History, NZ, page 10

Printmaking had regained it's vitality during the 1960's with some of the most active printmakers being John Drawbridge (image below)..

John Drawbridge: Red Cloud II, Final State

Eileen Mayo..

Eileen Mayo: Sunflower

Kate Coolahan ..

Kate Coolihan: Reclamation

..Patrick Hanley..

Patrick Hanley: Paradise Bird Escapes Bather

.. Vivian Lynn, Barry Cleavin, Stanley Palmer, Marilyn Webb, Mervyn Williams (image below)..

Mervyn Williams: Horus Series XIII, 1980

.. Denys Watkins, Robin White (image below)..

Robin White:Michael at Allan's Beach 1995

..Rodney Fumpston and Victoria Edwards.

Abstract painting from the mid-70's emphasised the repetitive motif as in Allan Maddox, Ian Scott, Robert McLeod, Phillipa Blair (image below) and John Hurrell.

Phillipa Blair: Indian Mat, Red Tips

Since the early 1970's sculpture has undergone radical changes and although Carl Sydow, Terry Stringer, Christine Hellyar and Neil Dawson have produced, considerable energy has gone into environments such as Leon Narby's "Real Time" (1970), the conceptual art of Billy Apple, or performance art by Jim Allan, Bruce Barber, and Andrew Drummond.

Don Peebles, 1950, modernism

Such flexibility of media divisions is also exploited by Don Driver, Don Peebles (image above) - one of the most committed exponents of Modernism - and Vivian Lynn, Phillipa Blair and others.

If any factors distinguished the trends of the 1970's then they were a tendency towards expressionistic idioms, a greater consciousness of womens' role in art, the contribution of Maori artists and, for contemporary New Zealand art and traditional Maori art, a modest sense of international recognition.

William Sutton, 1988, "Plantation Series"

Within and beyond New Zealand, Colin McCahon, through paintings such as "Victory Over Death 2", was recognised the country's major living artist. "Mondrian, it seemed to me" he said, "came up in this century as a great barrier - the painting to END all painting. As a painter, how do you get around either a Michelangelo or a Mondrian? It seems that the only way is not more 'masking tape' but more involvement in the human condition"



in collaboration with
Gordon H Brown, DipFA, DipNZLS

Gordon H Brown, 1954, 'the ghost of life echoded in books'


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