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In 1964 von Meier opined, ‘There is a great mystery occurring to the east of Australia, in a country of green infertility . . . During the last few years in New Zealand, against all the odds, and after a century and a half of cultural degeneration under the double shadows of a miserable colonialism and a misdirected Calvinism, painting, for no apparent reason, has burst forth with a bright, wonderful challenge to the vapours of vestigial Victorianism.’27 Suzanne *ROGEHUJ·VZHUHSURPLQHQWDPRQJWKLVH΁RUHVFHQFH 1. Michael Brett, Auckland Star, 4 April 1973. 25. Paul Olds, op. cit. 2. Ernst Gombrich, ‘What I Learned from Karl Popper: Ernst 26. Suzanne Goldberg, in a letter to Alexa Johnston, 6 June 1993, Gombrich, interviewed by the editor’, in Paul Levinson (ed.), In 6X]DQQH*ROGEHUJÀOH(+0F&RUPLFN5HVHDUFK/LEUDU\\ Pursuit of Truth: Essays on the philosophy of Karl Popper, Humanities $XFNODQG$UW*DOOHU\\7RLR7ăPDNL Press, Atlantic Highlands 1982, pp. 203–20. 27. Kurt von Meier, op. cit. 3. See James Burns, ‘Early Years’, in Studies of New Zealand Painters No. 1: Suzanne Goldberg, New Zealand Publishing Society, Auckland 113 1967, pp. 4–9. 4. See online art auction records sites, such as www.mutualart.com, www.artnet.com, and www.askart.com. 5. Paul Olds, from a radio talk on a Goldberg exhibition in Wellington published in Barry Lett Galleries Newsletter, no. 15 (20 July 1965). 6. Tomory wrote a short essay for the catalogue of Contemporary Painting in New Zealand. 7. See Studies of New Zealand Painters No. 1. 8. Colin McCahon, in a letter to Charles Brasch, dated 25 Sept. [1963]. I am grateful to Peter Simpson for supplying this information. 9. I. V. Porsolt, ‘One man [sic] shows in Auckland’, Landfall, vol. 16, no. 3, September 1962, p. 296. 10. Kurt von Meier, ‘Contemporary Painting in New Zealand’, Art and Australia, vol. 2, no. 3, December 1964. See ‘The Artists of New Zealand—1963 [sic]’, http://www.kurtvonmeier.com/the-artists-of- new-zealand-1962. 11. Gordon Brown, ‘Directions in recent New Zealand painting: two views’, 10 Years of New Zealand Painting 1958–1967, Auckland Art Gallery, Auckland 1968, unpaginated. 12. Peter Tomory, Studies of New Zealand Painters No. 1, p. 3. 13. Ibid. 14. Terence Mullaly, Daily Telegraph, 25 March 1965, cited in Studies of New Zealand Painting No. 1, p. 7. 15. Robert Wraight, The Tatler, 17 March 1965, cited in ibid. -RKQ7DUOWRQXQLGHQWLÀHGQHZVSDSHURUPDJD]LQHFOLSSLQJ RQO\\¶:HHN·LVYLVLEOH2FWREHU6X]DQQH*ROGEHUJÀOH E.H. McCormick Research Library, Auckland Art Gallery Toi o 7ăPDNL$VHDUO\\DV'DYLQD-DFNVRQQRWHGLQWKHAuckland Star, 2 October, that critical responses to Goldberg’s art could be ‘black and white’/negative or positive: she was either the ‘No. 1’ painter in New Zealand, or ‘her paintings were not about anything’. Some reviewers claimed Goldberg’s work had become repetitive. 17. Elva Bett, New Zealand Art: A Modern Perspective, Reed Methuen, Wellington 1986, pp. 197–98. 18. T.J. McNamara, New Zealand Herald, 4 July 1973. 19. T.J. McNamara, New Zealand Herald, 4 July 1977. 6X]DQQH*ROGEHUJÀOH(+0F&RUPLFN5HVHDUFK/LEUDU\\ $XFNODQG$UW*DOOHU\\7RLR7ăPDNL7KHFOLSSLQJLVXQGDWHGDQG there is no clue to what the publication was. 21. I.V. Porsolt, Suzanne Goldberg, Barrington Gallery, Auckland 1976, unpaginated. 22. Mark Young, New Zealand Art: Painting 1950–1967, Collins, Auckland & London 1968, p. 24. Goldberg’s East Coast Landscape (1964) was reproduced in this book. In contrast, as recently as 1965, in his catalogue for the Commonwealth Institute exhibition, Tomory wrote that ’landscape continues to dominate and provide most of the visual stimulus’ for artists in New Zealand. 23. Gil Docking, Two Hundred Years of New Zealand Painting, A.H. & A.W. Reed, Wellington 1971, p. 30. 24. Mary Barwich, ‘The Lady Vanishes’ [philosopher Mary Hesse (1924–2016)], Aeon, http://aeon.co/essays/why-are-women- philosophers-often-erased-from-collective-memory, dated 18 April 2022, accessed 30 June 2022.

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RSSRVLWH*HRͿ'L[RQLQKLV&DLUQV studio, 2021 (Photograph: Michael Marzik) ULJKW(XDQ0DFOHRGSDLQWV*HRͿ'L[RQDW the beach, in a still from Portraits of Us (below) GEOFF DIXON Space/Rain Forest 2005 Acrylic & oil glazes on board, 2400 x 2400 mm. (Photograph: Stephen A’Court) Macleod’s work you will recognise 12 Dixon’s tonsils were removed by subjects and viewers. Every now and Dixon’s pose and lanky frame. 'U*HRͿUH\\2UEHOOWKHPDQZKR WKHQDTXHVWLRQLVDVNHGIURPRͿ Macleod’s painterly eye admires UHGLVFRYHUHGWKHWDNDKďLQ)LRUGODQG camera, and you are reminded that this Dixon’s ‘perfect bone structure, almost And after art school he was employed is a mediated artform. Interviewees Egon Schiele, and massive [pauses] by Canterbury Museum, and spent LQWKHÀOPDUHJLYHQVSDFHDQGWLPH . . . nose’. two years drawing the genitals of the to talk, and the research behind this FDGGLVÁ\\IRU$OHF0F)DUODQHZKR project is impressive. The original The other relationship on screen would eventually write and publish a music is by Plan 9, and is a major is that between Dixon and fellow paper on the subject. IHDWXUHRIWKHÀOP:RUGOHVVVLQJLQJ artist Arone Meekes. Meekes is by Janet Roddick provides a human Aboriginal with tribal links in Far After 70 minutes of such stories, contrast to the drone sounds that North Queensland. The two relate how insight and mirth, Dixon is a familiar supply a suitable sonic background; a they met, fell in love and established and immensely likeable person— bowed saw evokes birdsong; a simple a life together, one that has lasted 21 playful, adventurous and almost two-chord mantra (played on a small years. Once again it is rare to see a fearless in his approach to his art double-strung Thai guitar, Mahalo long-term gay male relationship on and life. It is remarkable the extent to ukulele guitar and Chromoharp) screen, discussed and expressed in which the audience empathises with subtly underlines strong emotions. such an ordinary way that it becomes the artist, sharing his emotions and *HRͿ'L[RQLVDFRPSOH[PDQ extraordinary. experiences. with a straight-up demeanour, captured here with sensitivity and Dixon’s paintings fall on the It seems the directors of Portraits of deftness. Portraits of Us is a supremely extraordinary side of things and so Us have worked to make themselves rewarding documentary. the camera spends time cruising their almost invisible, creating a seemingly surfaces, which allows an appreciation GLUHFWFRQQHFWLRQEHWZHHQWKHÀOP·V 119 of their detail. They are textured to such an extent they could be called contoured, with lines, gouges and counterpoint that add layers to each painting. Dixon has several themes that he has rather obsessively explored throughout his career. Most of his works include birds, mainly endangered species. He celebrates the natural world, and warns against extinction and the destruction of our planet. ‘What are we doing to our natural world and when are we going to wake up?’ he pleads to the camera. He references technology by the inclusion of spaceships and UFOs, and creates psychological landscapes by painting these things together, with little regard for rules of perspective and scale. ‘Everything DͿHFWVHYHU\\WKLQJHOVH·KHVD\\VLQWKH ÀOPDQGLWLVDQDSWGHVFULSWLRQIRU the internal workings of each of his canvases. These works are reminiscent of Bosch, or of the energy of the best of medieval marginalia, the juicy bits on the side that cut to the truth of the text they surround. The time Dixon has spent in the tropics is evident in his use of vivid colour, and there is a VWURQJVHQVHRIVFLHQWLÀFREVHVVLRQ and a long-held love and respect for the environment. 7KHVFLHQWLÀFEHQWLQKLVDUWZRUN is the result of brushes with two important scientists: at the age of

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Contributors Don Abbott, Deputy Editor of Art New Zealand, is the author roles that champion art and its makers. of Vivid: The Paul Hartigan Story and Elizabeth Rees: I Paint. Hanahiva Rose is the assistant curator of art at Te Papa and Kirsty Baker is a Wellington-based writer and art historian, former assistant curator at the Govett-Brewster Art Gallery. whose research focuses on women artists in New Zealand. She is a co-editor of the Uneven Bodies Reader (2020) and curator of exhibitions including Mikala Dwyer: The silverings Grant Banbury is a Christchurch art consultant and writer. (2022) and Stars start falling (2021). Leonard Bell is an independent art and cultural historian, Nina Seja is a writer and historian. She writes on recently retired from teaching art history at the University of photography and visual culture more broadly. Auckland. His most recent publications are Strangers Arrive: Emigrés and the Arts in New Zealand, 1930–1980 (2017) and Peter Simpson’s most recent publication is a chapter on Marti Friedlander: Portraits of the Artists (2020). McCahon’s Catholic symbolism in Bridget Hackshaw’s The Architect and the Artists: Hackshaw, McCahon, Dibble (Massey Connie Brown is an Auckland-based writer. She has been University Press, 2021). published in The Art Paper and Contemporary Hum, as well as by galleries both here and in Ireland. She also works part- Amy Stewart is an Auckland-based arts writer. She has been time as assistant curator at Te Uru in Titirangi. writing about and alongside Aotearoa-based artists since 2012. Malcolm Burgess is a Wellington-based arts writer and adviser. Mark Stocker is a semi-retired art historian who has published widely on New Zealand and British sculpture of David EggletonLVDZULWHUEDVHGLQľWHSRWL'XQHGLQ+LV the nineteenth and twentieth centuries. He is the author of collection of Laureate poems 2019–2022 is forthcoming from When Britain Went Decimal: The Coinage of 1971 (Royal Mint/ Otago University Press early in 2023. Spink, 2021). Stuart Greenhill is a novelist, poet and co-owner of Samuel Te Kani is an Auckland-based writer whose work Stratford’s Fenton Street Arts Collective and gallery with spans critical art features, artist statements and journalism artist Jo Stallard. He is also the owner of Fenton Street Gin. EURDGO\\+LVÀUVWFROOHFWLRQRIVKRUWVWRULHVPlease, Call Me Jesus was released in November 2021. (GZDUG+DQÁLQJ lives in Careys Bay and teaches at the Dunedin School of Art, Otago Polytechnic. Jill Trevelyan is a Wellington curator and writer. Her most recent book, edited with Sarah Farrar and Nina Tonga, is Joanna Osborne is a researcher in art history with interests Robin White: Something is Happening Here (Te Papa Press, in studies of religion and spirituality. Recent publications 2022). include a contribution to Joanna Margaret Paul: Imagined in the context of a room. Richard Wolfe has a BFA and a PhD in Art History. He has written and co-authored some 40 books and, since 1990, Catherine Anderson Rhodes is based in New Plymouth and over 60 articles for Art New Zealand. for the past 20 years has worked across public institutions, private galleries and international art events, in a variety of ALL ABOUT ART SINCE 1987 Subscribe today online from AU$30 per year for Australasia’s best critical art writing each quarter. www.artmonthly.org.au/subscribe

Gregor Kregar Fragile Construction 21 September - 15 October 2022 Image GOW LANGSFORD GALLERY Crystal Shovel-Lagoon, 2022 CNR KITCHENER ST & WELLESLEY ST AUCKLAND NEW ZEALAND 1400 x 260 x 100mm cast lead crystal and aluminium PO BOX 5461 T: +64 9 303 4290 WWW.GOWLANGSFORDGALLERY.COM Photography by Stephen A’Court