Sensuous expressions of landscape and the human form made Edward Bullmore (aka Ted Bullmore) a pioneer of surrealism in New Zealand art. This Kaleidoscope report interviews the painter’s colleagues and family, and surveys the artist’s life and career: from an unlikely mix of Balclutha farm boy, Canterbury rep rugby player and Ilam art student, to success in 60s London – exhibiting with René Magritte and Salvador Dali, and having his works used by Stanley Kubrick in film A Clockwork Orange – before returning to teach in Rotorua (and obscurity), and his untimely death in 1978.
The format for New Artland was to film a leading Kiwi artist devising an artwork, in collaboration with a community that they have some kind of bond with. In this episode host Chris Knox meets Karl Maughan, known for his vibrant paintings of garden flowers. Maughan returns to Palmerston North's Freyberg High School (where he was encouraged to enrol at Elam School of Art) and enlists 20 students over a week to make a 30 metre long mural. He explains why rhododendrons are his main subject, and gets permission from the principal to help the kids graffiti the art block.
Taika (Boy) Waititi's first feature is an offbeat comedy about two lonely misfits and their attempts to find love. Lily (Loren Taylor) is a shy fast-food cashier with a crush on clueless gaming geek Jarrod (Conchord Jemaine Clement). When Lily crashes Jarrod's fancy dress party wearing a shark costume and impresses the self-styled ‘Eagle Lord' with her gaming prowess — excerpted here — she gets her man. But their budding romance is sorely tested by Jarrod's obsession with a childhood nemesis. Empire called the film, "a comic delight destined for cult adoration."
Wellington artist Gordon Crook was known for his bold, colourful prints and tapestries. In this documentary, director Clare O’Leary mixes Crook’s biography (from UK foster care to London Central School of Art lecturer, then decades in Wellington) and interviews with Crook, dealers, students and mates. In this excerpt Crook discusses his work, and collaborating with weaver Lesley Nicholls; and friend Edith Ryan recalls first seeing Crook’s massive Michael Fowler Centre banners. The documentary premiered at the 2010 NZ Film Festival. Crook died in August 2011, aged 89.
This BBC2-screened film is a look at the European art world of the late 1960s, and a meditation on the nature of art and the pricing of art, shot by Tony Williams. The origins of this film are suitably cosmopolitan. It was initiated by an Iranian student – and underwritten by Jeremy Fry from Cadbury Fry Hudson. Its focus is Takis, a Greek artist who creates kinetic sculptures out of discarded electronic objects (at times reminiscent of Len Lye’s work), and plans to mass produce cheaper versions of his work to make his art accessible. But will it still be art?
In the early 1960s two North Island schools — Oruaiti and Hay Park — experimented with an innovative method of practical education. This episode of Survey sees principal Elwyn Richardson revisiting Oruaiti, and reminiscing on how the two schools functioned. He offers his views on traditional textbook learning — the more “American” system, as he calls it. Ex students reflect on their time at the school, and how an education based on arts, building and play shaped the people they’ve become. Modern schooling in Aotearoa now follows the example set in those early days.
Future film producer Fiona Copland (The Price of Milk) is the reporter for this September 1984 piece on the New Zealand School of Dance in Wellington. Flashdance (1983) is in the air and Lionel Ritchie hit 'Running with the Night' is the soundtrack, as the wannabes aim to impress the likes of Limbs director Mary Jane O'Reilly. The students include Taiaroa Royal and Fenella Bathfield. Bathfield would shortly find local fame as host of after school programmes 3:45 LIVE! and The Bugs Bunny Show. The report screened on long-running arts programme Kaleidoscope.
In 1968 eight Japanese teenagers won an art competition; their prize was a week long visit to the country they'd imagined on canvas. It's a busy itinerary — the students land in Wellington and take an obligatory cable car ride before visiting Parliament and the museum. The steamy wonderland of Rotorua is next, a dairy farm visit is a big success and Sir Edmund Hillary joins the teens for an authentic Kiwi barbeque. Shy smiles abound when one student meets her Kiwi pen pal for the first time. This is a rare example of a New Zealand television documentary from the 1960s.
Comedian turned producer Paul Horan interviewed more than 100 people for the Funny As series. In the 100th interview for the show, he finds himself in the hot seat. Horan ranges across Kiwi comedy history as well as his own, including: How making John Clarke laugh was like qualifying for the Olympics — and how the distinctive voice of Clarke's character Fred Dagg was influenced by horse racing commentator Peter Kelly His theory that David Lange's beloved "smell the uranium" joke from 1985 may have influenced New Zealand's emerging comedians How comedy festivals provided a valuable education for Kiwi stand-up talents — from talking with visiting comedians after a show, to witnessing Bill Bailey spin "an extraordinary routine out of the most absurd idea" How Facial DBX (Horan was a member) transformed "from a group of stupid students, through to performers, through to people who ran a venue" (Auckland's Classic Comedy Club) Feeling "extraordinarily proud" to be part of the Kiwi comedy tradition — an art form that forged its own path and thrived despite criticism and a lack of government support
Mareko, Savage and Alphrisk from Dawn Raid act Deceptikonz offer a rhyme filled hip hop primer in this episode from a series for secondary school music students. Their vision of hip hop has little use for American-style guns and gangster rappers, but fighting with words is another matter and there are tips on the art of writing a battle verse (along with unlikely endorsements for The Discovery Channel and English classes). They also stress the importance of understanding an industry where artists arrive as musicians but need to leave as businessmen.