Inclusion Of Art In U.E. Welcomed

Press, Volume CIX, Issue 31881, 8 January 1969, Page 12

Inclusion Of Art In U.E. Welcomed

“The Press'’ Special Service WELLINGTON, January 7. The inclusion of art and art history as examination subjects for University Entrance candidates in New Zealand could do a great deal to stimulate an awareness of art and an improvement in cultural standards, says the director of the National Art Gallery (Mr M. Day).

This .could have a marked effect on many facets of the national life, not least upon our export potential, Mr Day says. “If this training programme gets off the ground properly, it will be of immense benefit,” said Mr Day. “It will tend to lift standards. There will be a higher awareness of art in the community. | "This has effects in many fields. It could mean betterproduced goods, better-pack-aged goods. In many ways New' Zealand could become a much more interesting place to live in.”

A wider, deeper education in art could mean betterbuilt, more harmonious highways and bridges, better buildings, better and more beautiful household appliances, from furniture to chinaware and pottery, he said.

"The attitude to the American tourist here appears to be that he is interested in shooting wapiti, catching swordfish and climbing mountains,” he said. “This seems to me to be a misunderstanding of the

I situation. Not all are of that I type. ! “The things visitors look I for are the different cultural attitudes of the place. They are interested in the people and the different thing? they produce typical of this place. “This could be highly important in terms of tourist dollars,” he said. “European countries such as Denmark have specialties. Think of one, and you think of specialised attractive furniture, or glassware, or pottery.”

New Zealand’s creative image appeared to be buried under mounds of rich golden butter which no-one else appeared particularly to need at this moment, he said. “When you think of all the timber we produce, and what we make with it, the major output seems to be newsprint,” said Mr Day. Mr Day was commenting on his impressions of New Zealand after three months in the nation’s top art post. He succeded Mr S. B. Maclennan, gallery director for some 30 years.

The new director studied |in Britain from 1963, has painted extensively in New Zealand and Britain, and, winning a B.A. honours degree after three years at the Courtauld Institute, had considerable experience as a lecturer in art with the University' of London until 1968.

“At an earlier age than in New Zealand, young painters —students—in England have a much greater attitude of professionalism. They are technically ahead in their construction of a painting and more sophisticated in their use of materials,” he said. “I don’t want to be derogatory. These are just impressions,” said Mr Day. “There are heatening signs in the new University Entrance syllabus which includes art and art history, which I think over a period of time will raise critical standards. I don’t meant just newspaper critical standards, but man-in-the-street criticism.” Asked to comment on the observation that the Maori in pre-European days had achieved a cultural level higher than New Zealanders had

achieved since, Mr Day replied that the culture of the Maori was completely integrated within the social system of the race.

This gave it a strength and impact because it stemmed from the social and religious system of the Maori. “It is likely that the Maori did achieve a cultural level which we haven’t yet achieved.” A European cultural integration which could be compared with that of the Maori was the Gothic period in which men built cathedrals to show their faith in God, and worked as a community to achieve a magnificent result.

“A good cultural level is tied up within the social fabric of a community,” he said. “It is not just an isolated activity, which, unfortunately, art has tended to be in New Zealand.”