For this screen showcase of NZ visual arts talent, critic Mark Amery selects his top documentaries profiling artists. From the icons (Hotere, McCahon, Lye) to the unheralded (Edith Collier) to Takis the Greek, each portrait shines light on the person behind the canvas. "Naturally inquisitive, with an open wonder about the world, they make for inspiring onscreen company."
This documentary looks at the life and work of New Zealand's most celebrated painter, Colin McCahon. The first excerpt looks at McCahon's beginnings in Timaru and Dunedin, and his explorations of modernist techniques in paintings that reconceived 'the promised land' in an endemic landscape. The second excerpt covers McCahon's time in Muriwai in the 60s and 70s, and the influence of the environment and Māori spirituality on his work. Sam Neill reads from McCahon's letters and writings. Directed by Paul Swadel, it won best documentary at the 2005 Qantas Awards.
This short documentary series looked at New Zealand's landscape art from the arrival of Pākehā up until the 1980s. The four episodes moved from the development of a local version of the European tradition (through artists such as John Gully and Petrus van der Velden) through to the homegrown modernism emerging in the 20th Century: the distinct hard-edged styles of Binney, White and Smither, the spiritual abstracts of McCahon and Woollaston, to the later impact of Māori artists like Hotere, Whiting and Kahukiwa.
This 2001 Mercury Lane episode is based around pieces on author Maurice Shadbolt, and OMC producer Alan Jansson. With Shadbolt ailing from Alzheimer’s, Michelle Bracey surveys his life as an “unauthorised author” (Shadbolt would die in 2004). Next Colin Hogg reveals Jansson as the “invisible pop star” behind OMC hit ‘How Bizarre’ and more. The show is bookended by readings from Kiwi poets: Hone Tuwhare riffs on Miles Davis, Fleur Adcock reads the saucy Bed and Breakfast, and Alistair Te Ariki Campbell mourns a brother who fought for the Māori Battalion.
David Sims' impressionistic National Film Unit short film explores the responses of four NZ painters to a landscape illuminated by a distinctive light, but yet to feel the full impact of human settlement. The award-winning film examines Brent Wong’s floating architectural shapes, Colin McCahon’s religious symbolism, Toss Wollaston’s earth-hued palette and Michael Smither’s hard-edged realism. Their works are taken from safe gallery confines and moved closer to their subject matter, while the words of writers (Katherine Mansfield, Charles Brasch, Bill Pearson) provide another angle.
This documentary is a portrait of Wellington art-dealer Peter McLeavey, who spent over 40 years running his influential Cuba Street gallery. In the Leon Narbey-shot film, McLeavey talks about his life: a roving North Island railway childhood, an early love of art, discovering his New Zealand identity while living in London, and returning home to run over 500 plus exhibitions, initially from his flat — including key showcases of artists such as Toss Woollaston, Gordon Walters, and Colin McCahon.
Episode 10 of season two of The Big Art Trip kicks off in Timaru, birthplace of artist Colin McCahon, where hosts Fiona and Douglas check out a collection of his paintings. Next it’s Dunedin to meet designer Vita Cochran, who makes handbags and other objects, and they visit the studio of Jeffrey Harris who talks about his evolving painting style. Dancer and choreographer Shona Dunlop MacTavish describes her career and life as a young woman in 1930s Europe and artist Grahame Sydney discusses landscapes, nudes, surrealism and his love for the Otago countryside.
This 1983 Hamish Keith-presented documentary is subtitled 'Housing New Zealand in the Twentieth Century'. Part two picks up from Michael Joseph Savage’s 1930s state housing scheme. Keith argues that as the emphasis shifted from renting to owning, middle class suburbia became the foundation of Kiwi postwar aspirations. He looks at changing demographics in the cities — as home owners fled on newly built motorways — and argues that the suburban ideal has become bland and out of reach, as New Zealand once again becomes a country of “mean streets and mansions”.
This 1991 story from magazine show Sunday profiles Logan Brewer: production designer on Kiwi TV classics (C’Mon, Hunter’s Gold), and producer of Terry and the Gunrunners and live ‘spectaculars’ like the 1990 Commonwealth Games opening ceremony. He talks through his career: learning about performing at England's National Theatre, and selling Aotearoa as “the last paradise” for Expo '92 in Seville — for which he is shown wrangling an extended shot of Kiri Te Kanawa and the NZ Symphony Orchestra, promoting fibreglass pohutukawa, and working with designer Grant Major.
Waking up with a vicious hangover after a big night out, Seff (Dahnu Graham) wanders Karangahape Road in need of keys to get into his house. Seeking only his flatmate and a flat white, Seff finds himself harrassed by all about a lewd act he has no memory of. Matters are made worse by the dubious company of Jeremy, who provides a running commentary while playing constant guitar. The black comic short was made as part of the K’ Rd Stories series, which celebrate the quirks and qualms of Auckland’s most notorious, and beloved road. Warning: contains some offensive language.