Auckland Art Booming

Press, Volume CIX, Issue 32016, 17 June 1969, Page 9

Auckland Art Booming

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G. T. MOFFITT)

The general impression gained from conversations with Auckland artists and dealer-gallery directors last week is that 1969 has been an exceptional year for the visual arts there, both in the quality of work exhibited and in public support in the form of sales. Patrick Hanly's one-word reply when asked to describe the reaction to his recent paintings was, “Terrific.” Hanly is one of many Auckland artists who have had near sell-outs in exhi bitions thia year. A marked increase in the prices paid for paintings has brought many sales ranging from S3OC to 8400. Artists who have already exhibited this year with the Barry Lett Gallery are Robert Ellis, lan Nigro Milan Mrkusich, Richard Killeen. lan Scott. Donald Binny,

Patrick Hanly and Shay (Docking. I At present showing in the (Lett Gallery is an exhibition of environmental structures by Jim Allen. This uses clear plastic, water, ultraviolet light and movement and, in the artist's words, “is intended to occupy but (not dominate space.” Exhibitions at the Lett Gallery during the remainder of the year will include the work of two Christchurch painters, Quentin Macfarlane and Don Peebles, and Terry Powell, John Panting, Michael Smither, Ted Bracy, Pat Day and Colin McCahon. GARDEN OF DELIGHTS The New Vision Gallery was also presenting an environmental exhibition last week. This was by Herbert Kindleysides and was entitled “The Incredible Garden of Mysterious Visual Delights.” It consisted of richly decorated hanging papier mache forms, constantly changing lights and colours projected on one wail, and a large plastic shape inflating and deflating at intervals. In the evening this exhibition is accompanied by poetry readings and music. Paul Beadle, professor of

fine arts at the Ham School of Art, held a successful exhibition of his sculptures at The New Vision Gallery earlier this year, and at the same gallery and exhibition the Christchurch painter Phillip Trusttum was well received and supported. Hamish Keith, keeper of prints at the Auckland City Art Gallery, sounded a note of caution, however, when asked to comment on the situation. “The art scene in Auckland exhibits signs of cultural neuroses similar to those which appeared in London and New York in 1966 and 1967. “As in those places, the crunch will come when everybody starts to question their motives and the relevance of what they are doing,” he said. But it appears that Auckland artists are, in the meantime at least, enjoying an expanding and lucrative market. By no means the least encouraging development in Auckland is the buying of art works in worth-while numbers by some large corporations, This sort of patronage could be of considerable significance. The Auckland City. Art Gallery is at present undergoing major reconstruction, but even in its temporary absence from the scene the world of the visual arts in Auckland is very much a living thing.