Friday, June 03, 2005

The No.8 Wire - Issue 35

Gondwanaland Ministry of Culture
Artists' Information Bureau


An Electronic Alert for 955 of Wellington's Creative People
Tail-end Octo-numerical Interview: Kate Kelly
Endnote: Footprints of the Giant


and, closer to home

and, all about the arts



The Artists and the Party People

In a bid to outsmart rival nations at the Venice Biennale, Australia and New Zealand have turned networking and marketing into something of a fine art

From the Jun. 06, 2005 issue of TIME Pacific Magazine
BY MICHAEL FITZGERALD,13673,503050606-1066954,00.html

Kiwi advertising guru Howard Greive is on the phone from Wellington. He's not talking about the Toyota HiLux ute, whose award-winning "bugger" campaign he helped create, but about the higher echelons of the international art world. And, more specifically, that celestial plane where, every two years, they come to worship: the Venice Biennale. "Have you seen that little QuickTime?" he asks. "I must send it to you." Within seconds, the short movie teaser for New Zealand's Biennale party on June 8 is zipping across the Tasman. Fashioned by Greive and vodka sponsor 42 Below, the clip uses cheesy footage of dance instructors from '70s TV with a cheeky Italian voice-over: "If you are coming to the New Zealand Biennale party, you must first learn to dance with the passion of fire," it begins. "See how we bend, with a firmness of thigh and buttock Ö It's so special."

Meanwhile in London, P.R. firm Brunswick Arts is fielding rsvps for Australia's own Biennale bash on June 9. While the New Zealanders promise "music from London; films by Len Lye," Australia is offering a more restrained reception at the seriously elegant Hotel Cipriani. The parties reflect the different approaches the two countries are taking to promote their artists this year: for the controversial collective called et al., New Zealand is going loud; with slacker-generation sculptor Ricky Swallow, "it's a much more subtle kind of approach," says Karilyn Brown, head of audience and market development at the Australia Council, which funds the show.

Come June 9, some 30,000 of the world's leading critics, collectors and curators will descend on the Giardini della Biennale, where nearly half of the 73 competing countries are clustered in exhibition pavilions. Up for grabs is a Golden Lion award for best national presentation, but even more sought after in Venice is cultural kudos. During Vernissage, the official preview before the Biennale opens to the public on June 12, countries have only three days to impress the world. While Australia has enjoyed its own pavilion since 1954 and New Zealand (now at its third Biennale) shows off-site, the two countries have much in common. Under the shadow of the G8 nations that dominate the Giardini, both have to rely on marketing campaigns every bit as artful as their exhibitions. "Because you're small," explains Greive, "you've just got to be smarter and work a lot harder to get some awareness."

To this end, Greive and his Creative New Zealand team-mates have concocted a Key Influencer strategy. This has identified the world's top 200 taste-makers bound for Venice and letter-bombed them with an introductory note from the artists of et al. "This is not a religious or philosophical organization," their manifesto-like leaflet reads. "However, this information has already prompted many individuals to devote their entire energy to the transitional processÖ" Following up on the ground, et al.'s commissioner Greg Burke has been traveling the world's art capitals. "This morning in L.A. I had breakfast with Rob Storr, who is, among other things, the director of Venice 2007," he reports. While Australia will host a series of intimate breakfasts in Venice, New Zealand opted for the preemptive strike. For the critics who count, "minds are being made up even before they get to the Vernissage," says Burke, who curated New Zealand's inaugural show in 2001. "So we've coined the phrase, We've got to win the battle before we get to Venice."

With an exhibition budget of $A1.4 million, triple that of New Zealand, Australia can afford to be more relaxed. Which suits the artist. While et al.'s installations often feature cyclone fencing and cacophonous sound loops, Swallow's pale wood carvings of skulls and suburban beanbags speak more softly. "The Biennale is about this explosion of shows, and you've got such little time to look at everything," Swallow says. "So the idea I want is almost like a cool room away from that experience." Not that Australia is resting on its laurels. As well as the usual bags and brochures, pavilion-goers this time around will be issued with badges bearing messages (killing time, salad days, come together), that are also the titles of Swallow's works.

The world's oldest art fair, Venice is but one of a number of biennales the Australia Council targets to position its artists internationally: "it's part of a much bigger strategy and matrix of events and approaches," says Brown. But for New Zealand's Burke, it is the be-all and end-all; a one-stop shop for contemporary art. So when et al.'s "the fundamental practice" opens next Thursday, it will be the climax of a near-military campaign since the artists were chosen in July last year.

Refusing to identify their members (though believed to be the brainchild of Auckland artist Merylyn Tweedie), et al. have courted controversy. Their 2004 installation of Portaloos, rapture, was labeled "crap" by conservative M.P. Deborah Coddington, and their studied anonymity enraged TV presenter Paul Holmes. Even Prime Minister Helen Clark weighed in, saying the country's representative artists should "be able to articulate what this work is about." But all was forgiven in October, when et al. took out the nation's top art award for restricted access, an installation that included footage of Holmes chastising the artists. The Walters Prize judge was 2007 Biennale director Robert Storr, giving the artists a head start for this year's race.

Across the Tasman, it was announced in April that Swallow's Biennale show, "This Time Another Year" will travel to New York's P.S.1 Contemporary Art Center in December, immediately after Venice. According to the Arts Council's Brown, it's all about "using the opportunity to work toward longer-term outcomes." But with marketing strategies in place and party invites out, it's sometimes easy to overlook the art Ö Now, what were those dance moves again?

And closer to home…

A dunny by any other name - is art
By Tom Cardy,2106,3297549a10,00.html

The artist who created the controversial "donkey dunny" appears to be revisiting portaloos on a grander scale in her new work opening in Venice next week.

The Fundamental Practice by Merylyn Tweedie, who goes under the name et al, will be unveiled next Wednesday as New Zealand's entry in the Venice Biennale ­ the world's leading contemporary art show.

Ms Tweedie's work Rapture at City Gallery in Wellington was criticised last year because it included an old portaloo and the sound of a braying donkey.

Creative New Zealand, which is spending $500,000 to exhibit Ms Tweedie's new work in Venice for six months, won't say what it looks like, claiming it has to be first assembled in Venice. It will include five large grey structures that will move up and down on rails. The artist has called them APUs or "autonomous purification units".

Christchurch gallery owner Jonathan Smart, who has exhibited other et al works and will travel to Venice, said the APUs looked like toilets.

"I was probably looking for a synonym for APU and was vaguely inaccurate, or who knows? I think we should call them APUs till we see them."

Pressed further, Mr Smart said: "There could always be some room for whatever (interpretation). I think they're probably as dalek-like as they are toilet-like, to be honest...They've got that sort of retro institutional, almost sci-fi, feel about them."

Creative NZ chairman Peter Biggs, who arrived in London yesterday on the way to Venice, said he thought the APUs were something else again.

"As I understand, they're not toilets, they're far as I know. As I understand, they are autonomous purification units. The whole piece is an exploration of what fundamentalism is about and what causes fundamentalism."

Mr Biggs and Creative NZ spokeswoman Janice Rodenburg said the work was similar to another et al work, Restricted Access, which won the prestigious Walters Prize in Auckland last year. That exhibit included structures which looked similar to the old-fashioned portaloo exhibited in Wellington.





Midst lots of midsummer night dreams about shrews, Hamlets and Juliets will strut their stuff on the stage throughout Queen¹s Birthday at Shakespeare Globe Centre New Zealand¹s 2005 National Sheilah Winn Festival of Shakespeare in Schools.

Nearly 500 students from 43 schools from Kamo in Northland to Invercargill will descend on Wellington with at least as many supporters to participate in workshops, talks and perform to their peers and the public in Wellington East Girls College Hall.

Katherine (Student-Director, actor Rianda Roets) from Gisborne’s Lytton High School states: “Teenage daughters can be a handful, especially when boys are involved. But surely, they can’t be that difficult to control? Decide for yourself as you experience first hand, a typical day in the life of a father of two.”

“It is this relevance to everyday issues that makes Shakespeare so accessible for these young people,” said SGCNZ CEO, Dawn Sanders.

There is also no barrier with regard race, gender and multitalented students being involved. For Wesley College in Auckland, who have taken part only for the last two years, “It has been the most awesome experience. For the second year running one of our students has had the distinction of being chosen for direct entry to [SGCNZ’s week¹s long] National Shakespeare Schools Productions.Wesley College students are famous for their rugby skills, but we have proved that we are good all-rounders.”

Approaches are as varied as the number of groups. Paraparaumu College’s scene from Henry V is played out as a James Bond thriller, with Henry played as a triumvirate, while Scot’s College’s Henry is almost fascist.

“With scenes this year from seventeen of the Bard’s works, it is great to see the range of plays selected this year,” said Mrs Sanders. “Southland Girls’ High School is presenting a scene from Titus Andronicus, and Northcote College an excerpt from the Third Part of Henry VI.”

Workshop tutors include a collection of New Zealand¹s leading theatre practitioners including former SGCNZ International Artistic Resident at the Globe, Peter Hambleton, Dr Raymond Boyce, Sir Jon Trimmer, Dr Ida Gaskin, Robert Oliver, and many practising artists.

The Assessors of the performances will be prominent figures, Vanessa Byrnes, Peter Feeney and James Beaumont.

On the Sunday evening, two students selected from the Australian Shakespeare Schools Festival will perform, followed by members of SGCNZ Young Shakespeare Company, who will travel to the Globe to train and perform in July this year. The winners of the Bernina/SGCNZ Shakespeare Costume Design Competition, the Dymocks/SGCNZ Poster Design Competition, and the Dick Smith Electronics/SGCNZ Music Composition Competition will be announced, along with other award winners.

Performances are open to the public on Saturday 4 June from 11.00am till 5.30pm and Sunday 5 June from 9.00am till 4.30pm and 7.00-9.30pm.

Tickets are available by door sale only Students $4 Adults $6

Wellington East Girls’ College Hall

Enquiries, interviews and photographs contact: Dawn Sanders
(04) 476 8369 or 027 283 6016



Are you a creative worker in need of motivation? expanded knowledge?
networking opportunities? Okay, add this to your schedule: Thursdays
5-7pm, ground floor Gallery, Wellington Arts Centre, 61 -69 Abel
Smith Street.

Yes, starting from Thursday 23 June, the capital's creative citizens
can look forward to regular Thursday evening sessions designed to
dispel the discontent of winter. Creative enterprise proponents Arms
Ltd will be coordinating 120 minutes worth of mingling, yakking,
thirst-slaking and brainstorming. These are not workshops. Not
seminars. They are sessions devoted to expanding consciousness and
co-opetition and increasing the WOW factor in Wellington.

Mark Cubey and Michael Lockhart of ARMS are taking time from their
NZ-wide touring schedule to unsheathe a range of provocative
weaponry designed to bring creative individuals together and help
make the creative capital more than just a buzz phrase. They will be
joined by special guests, and spot prizes.

Anyone involved with the making, marketing, promotion or coordination
of visual arts, music, literature, photography, design, performance
is invited to attend.

More details next week.

Mark Cubey / /
Creative Motivator
ARMS Ltd /
"Helping artists help themselves."
PO Box 9699, Wellington, Aotearoa
phone 021 2200 400



Monday 6 June, 2pm
A unique opportunity to view ‘SHEILAS – 28 YEARS ON’ by Dawn Hutchesson and ‘ALLIE EAGLE AND ME’ by Briar March, two New Zealand-made films about women who were active feminists in the 1970's and the changes in their lives since.

This event is presented in conjunction with the 2005 Women’s Convention, Looking Back Moving Forward – Titiro Whakamuri, Haere Whakamua.

Sunday 12 June, 2pm

An inspiring and innovative concert featuring Victoria University’s School of Music students (including Lexus Song Quest winner Madeleine Pierard and runner-up Allison Cormack) performing 20th century British compositions in celebration of the exhibition, ‘Bridget Riley: Paintings and Preparatory Work 1961-2004’.

Allison Cormack (runner-up of the Lexus Song Quest 2005)
‘A song of Autumn’ by Edward Elgar.

Sophia Acheson and Francesca Hunt
‘Lament’ for two violas by Frank Bridge.

Rosel Labone
‘The Heart's Desire’ by John Ireland and ‘Love's Philosophy’ by Roger Quilter.

Laurel Hungerford
‘April’ on piano from John Ireland’s Two Pieces

Francesca Hunt
‘Elegy’ for solo viola by Benjamin Britten

Madeleine Pierard (winner of the Lexus Song Quest 2005)
Performing three songs from ‘On this Island’ by Benjamin Britten: ‘Let the florid music praise’, ‘Nocturne’, and ‘As it is plenty’.

gateseven (Wellington’s premiere contemporary music ensemble)
‘Orange and Yellow’ by Paul Newland on clarinet, electric guitar, viola, cello; ‘See Our Lake’ by Laurence Crane on alto flute, bass clarinet, violin, cello and vibraphone; and ‘White & Light’ by Harrison Birtwistle on clarinet, clarinet, soprano, cello on bass.

Admission charges apply for the exhibition: $7 Adult, $5 concession, $14 three-visit ticket, $20 family ticket (2 adults, 2 children)

Tuesday 14 June, 10:30am

Mums, Dads and little bundles of joy are invited to join a tour of ‘Bridget Riley: Paintings and Preparatory Work 1961-2004’, in a family-friendly environment. Please book with Robyn Walker, email or phone 04 801 3987.

Admission charges apply for the exhibition: $7 Adult, $5 concession, $14 three-visit ticket, $20 family ticket (2 adults, 2 children)

‘Lucien Rizos … where I find myself’
Michael Hirschfeld Gallery at City Gallery Wellington
20 May – 19 June 2005

Lucien Rizos’ living room is a laboratory where artistic formulae are developed and tested. On the north-facing wall of his living room Rizos arranges and rearranges photographs, drawings, photocopies and other materials. ‘… where I find myself’, Rizos’ solo exhibition project, sees this wall transplanted into the main area of the Michael Hirschfeld Gallery. This wall is contrasted to Rizos’s recreation, in the smaller space of the Gallery, of a family sitting room filled with personal snapshots.

‘…where I find myself’ is not so much about the differences between two kinds of photography – the family snapshot and the image taken for ‘artistic’ purposes – as about the dialogue that exists between them. The exhibition is a conversation between the two rooms in the Michael Hirschfeld Gallery, neither of which is, as the artist says, ‘exactly public or private’.

Lucien Rizos was born in Wellington in 1953. Although he has been taking photographs for many years and has amassed a vast body of work (much of which is housed in the National Library archives), he seldom shows his work. Rizos currently lives in Hataitai and has been an orchestral violinist in the New Zealand Symphony Orchestra since 1974.

24 March – 26 June 2004

Described by one reviewer as “one of the most important solo shows to be seen in New Zealand for many years”, ‘Bridget Riley: Paintings and Preparatory Work 1961-2004’ brings together 40 years of painting by one of Britain’s leading artists, Bridget Riley.

Using a simple vocabulary of colours and abstract shapes, Riley produces paintings that shimmer and dance, generating sensations of light, movement and space, and creating emotional and physical experiences for viewers. Bridget Riley was been personally involved in the selection of works for this exhibition, and many of her pivotal works are included in the show.

Admission charges apply for this exhibition: $7 Adult, $5 concession, $14 three-visit ticket, $20 family ticket (2 adults, 2 children)



BATS has no shows on this week or next due to a much deserved maintenance week when we will lavish some TLC on our busy theatre space. But in the meantime there are great shows to be seen in Wellington, with 'Wednesday To Come' by Renee on at Downstage, Chekhov's 'The Cherry Orchard' on at Circa, and 'The Mercy Seat' by Neil La Bute at Circa Studio.

Our next shows are the Young and Hungry Festival of plays - three newly commissioned New Zealand plays - which open on Friday 17th June and run until Saturday 2nd July (no shows Sundays/Mondays). They are:
6.30pm : 'The Many Faces of Kelly J Loco' by Stephen Bain, directed by Paul McLaughlin
8pm : 'Exchange' by Lauren Jackson, directed by Kerryn Palmer
9.30pm : 'Collective Agreement' by Whiti Hereaka, directed by Larry Rew

The first two nights' performances are already sold out for all three plays, so don't leave it too late to book. Tickets are $15 waged or $12 unwaged - or you can buy a season pass and see all three plays for $36 waged or $24 unwaged. Just hit reply to this email to book or call the BATS booking line:
(04) 802 4175. Please let us know the play you would like to see, the night you'd like to come, how many tickets and your name and contact phone number.
Further details about these plays follow below...

Young and Hungry Festival of New Works
Bats Theatre
1 Kent Terrace
June 17th ­ July 2nd 2005
Bookings Ph 802 4175
Ticket prices $12 /$15 or season pass for all 3 plays $24/36

Since 1994 the Young and Hungry Festival of New Works has been getting together the hottest young theatre talent to bring Wellington an annual festival of new plays. Young actors, designers and technicians get to stretch their creative legs under the guidance of professional directors, writers and mentors.

This year’s Young and Hungry Festival of New Works at Bats Theatre premieres new plays by Stephen Bain, Whiti Hereaka and Lauren Jackson.

“With 54 participants, 5 mentors, 3 directors, 3 writers and 1 animator the
2005 Festival is shaping up to be the greatest Young and Hungry ever. The line up for this year includes a completely animated character, German speaking teenagers and a mafia style shoot out.” says Young and Hungry Producer Angela Meyer.

The Many Faces of Kelly J Loko
By Stephan Bain
Directed By Paul McLaughlin
Laptops, i-pods, chat rooms and text messaging - welcome to the world of Kelly J Loko.
Watch as young Kelly discovers that people aren¹t always what they seem to be in the age of the Œinvisible friend¹ and ŒBig Brother¹. Can Kelly learn to establish herself in the physical world as well as she can in the virtual? Or will she get lost in cyber space forever?
Director Paul McLaughlin takes on the challenge of this innovative new play written by Stephen Bain. A self-confessed technophobe, Paul is keen to get up with the play in Kelly J.

By Lauren Jackson
Directed By Kerryn Palmer
Break out your lederhousen and moisten your strudel ­ cos here comes the class of 1994. Five Kiwi kids are about to experience the trip of a lifetime when they take on Germany. How will they cope with the culture shock and the numerous stereotypes?

Is there more to New Zealand than pavlova, All Blacks and buzzy bees?
An OE is as Kiwi as BBQs and gumboots, both writer Lauren Jackson and Director Kerryn Palmer have experienced this rite of passage.

Collective Agreement
By Whiti Hereaka
Directed By Larry Rew
How do you survive bad pay, snotty superiors and the monotony of retail hell? ­ rob the customers, of course!

Step 1: Nod and Smile (the customer is always right!).
Step 2: Maintain the illusion of the perfect employee, always on time, always tidy and always polite.
Step 3: Rip off the buggers and frame someone else.
Larry Rew a member of the Director¹s Guild of Great Britain and former retail assistant Whiti Hereaka have joined in a Collective Agreement to expose what¹s really going on at our department stores.

BATS Theatre
1 Kent Terrace
Wellington, Aotearoa
bookings 802 4175
office 802 4176
fax 802 4010



The on-going “Get Your War On” site continues to amuse, provoke, and archive the follies of early 21st century superpowerdom. Have a scan of the latest instalment, and click back to any of the previous comic editions…



Attention Wellington Actors !
But first: an exciting audition opportunity for the actors out there:

"Baghdad, Baby" - a new full length play by Dean Parker, has scored funding for a professional production at BATS 3-30th August, rehearsing July, to be directed by Jean Betts.

There are several great parts, male/female 20s-30s. If you are interested & available, please don't wait to be contacted! - leave details/queries on immediately. There may also be auditions for some parts during June for unknowns.

What's it about?
"How in war-torn, war-ravaged, war-devastated - etc - Baghdad, two Iraqis, beset by Americans and New Zealanders, failed to be shining twin beacons of democracy and the free market."
Very funny, moving
and tough.



Wellington Welcomes World of WearableArt
Excessive Accessories Street Parade

Get involved with Wellington City Council’s colourful and imaginative street parade that will welcome the Montana World of WearableArt™ Awards to town and celebrate the creativity in this city.  We are looking for community artists and designers to register their interest in creating a work of art to be part of the parade.

The parade will be held at lunchtime on the opening day of the Montana World of WearableArt™ Awards on Friday 23 September. The city will be buzzing with excitement and many visitors and media will also be in town. This is a fantastic opportunity for individuals and groups to be selected to create huge, amazing works that form the major part of the parade.

Excessive Accessories
This theme is about enhancing and exaggerating accessories in wild and wonderful ways and turning them into pieces of art. Everyday we use bags, suitcases and hats, and we ornament our body with jewellery, hats and scarves – this theme is a chance to recreate these ideas but in a much larger, colourful and wacky way!

100 designs will be selected to be made and Council will make a $75 contribution towards the resources needed for the work. For more information and a design submission form, please email Design submission entries close on Friday 17 June.

Get creative and help make some WOW in Wellington!!



Main Trunk Lines - an exhibition celebrating New Zealand poetry
22 July to 30 October 2005 at the National Library Gallery

A major exhibition of New Zealand poetry from the past 150 years opens at the National Library Gallery on 22 July.

Drawing extensively on the book and manuscript collections of the Alexander Turnbull Library, Main Trunk Lines: New Zealand poetry samples some of the country's best-known poems alongside the more peripheral, experimental and surprising

Exhibits range from Eileen Duggan's teapot to a cartoon about James K Baxter by Chris Knox. Also included are book-designs, voice recordings, Anna Livesey's series of commissioned poems on a set of beer coasters, and two poems written by James K Baxter on the wallpaper of Michael Illingworth's house.

From the widely accepted to the radical - Thomas Bracken's 'God Defend New Zealand' to Cilla McQueen's 'Dogwobble' - Main Trunk Lines offers visitors a bearing on the broad imaginative map of New Zealand poetry.

Collaborations between visual artists and poets have long been a feature of New Zealand cultural life. Photographs by Alan Knowles, Robert Cross and others will provide a composite group-portrait of the poets behind the lines. Works by Waiheke-based Denis O'Connor incorporate poems by Allen Curnow, Janet Frame and others. Further artists in the exhibition include Ralph Hotere, Colin McCahon, John Reynolds, Saskia Leek, John Pule, Fiona Pardington, Virginia King, John Baxter, Toss Woollaston and Michael Illingworth. The short poem-films of Richard von Sturmer are also included.

The 'main trunk lines' in the title are the lines of poetry that run through the books and art works in the exhibition - the lines that have shaped and influenced the imaginative life of New Zealand. Featuring the most significant poems and publications of the past 150 years, the exhibition looks at poetry today, how it got here and where it's going in the future.

A well-stocked reading room will be a feature of the exhibition, allowing visitors to sit back and savour a huge range of current poetry titles. A diverse programme of related events will also be offered during the course of the exhibition.

Main Trunk Lines is curated by Jenny Bornholdt (current Te Mata Estate Poet Laureate) and Gregory O'Brien.

For further information and high-resolution images, please contact:
Susan Bartel, Public Relations Manager, National Library Gallery
Phone: 04 474 3119 or 027 223 5159



Young Voices Fill the New Wellington Arts Centre: Local music educator Sharon Thorburn invites Wellington’s young creative people to participate in a major new musical initiative

The sound of young voices expressing themselves in harmony is now ringing through the halls of Wellington’s new arts centre. Student singers from years 3 to 8 are invited to become part of “Little Big Voice,” a growing choral effort to nurture the music skills of local young people. Weekly choir rehearsals are now underway, and the growing ensemble welcomes new voices from all parts of the Capital City. The innovative programme, developed by Thorburn, provides an inclusive approach to music performance and a repertoire of New Zealand and international songs.

“My son has attended Sharon’s classes and now at 7 ½ years, has the confidence to sing and dance in front of an audience and enjoy it!” said local parent Heather Ware. “And my daughter in year 5 has developed a way to express how she feels through composition and music. She’s better equipped to deal with the life challenges that face young people today.”

A second initiative, “Lights, Camera, Action!” is being developed by Thorburn to foster composition, scripting, rehearsal, and stage talents in local young people. Her multi-disciplinary workshops are designed to build performance confidence, identity and creativity through music, drama and dance. Both opportunities are based at the new Wellington Arts Centre in Abel Smith Street, and the accolades are already coming in.

“Congratulations on a strong compassionate vision with the inspired energetic leadership required to achieve highly successful outcomes for our children and for our city,” said Catherine Gibbs, Music Curriculum Facilitator for the Ministry of Education.

Sharon Thorburn is an award winning composer and music educator with international primary and secondary school experience. Her Wellington-based choirs and a cappella groups have won national competitions at secondary school level and represented New Zealand internationally at primary and intermediate level. She has a passion for promoting the original voice of our young people, who discover their identity and creative potential through music.

“These exciting new initiatives will identify and develop the talent of our children…providing the foundation of artistic excellence for our city,” said local bank executive and parent Sam Knowles. “My children have attended Sharon’s composition classes and choirs, which have all achieved an outstanding international performance standard. Sharon has been inspirational in bringing out their natural talent and creativity.”

Thorburn is one of many creative people hiring the spaces at the new facility at 61-63 Abel Smith Street. The Wellington Arts Centre offers meeting rooms, art workshops, an exhibition gallery, and project administration room for use by people and organisations involved in local creative developments. The new centre opened its doors in April, and a grand opening is set for late July.

To learn more about “Little Big Voice” or “Lights, Camera, Action!” contact organiser Sharon Thorburn at or by phoning 04 9340585.



This years 48HOURS - Furious Filmmaking challenge attracted 270 teams throughout New Zealand. Nearly 6000 people joined forces to create short films in one weekend.

Audiences attended heats in cinemas in Auckland, Wellinton, Christchurch and Dunedin. Judges then chose the top films from each city to compete in a city final. Over seven and half thousand people attended the cinema heats.

The best short film from each city will soon compete live on network television. The 2005 48HOURS Grand National Winner will be chosen from 5 incredible short films (four city winners + one wild card) by home viewer voting on Sunday June 12th, 9pm on C4.

The overall winner takes home a prize package that includes; a trip for two to Hollywood from Voyage Affaires, an Apple G5 courtesy of Apple Computer Division (Renaissance Limited), five thousand dollars from the NZFC, a Sony Ericcson s700i mobile phone from Vodafone, a chance to pitch for a music video from CRS Management, the full Loop Records catalogue, a years worth of 'V' and more.

And of course the highly desired, beautifully crafted "Apee", the short film equivalent of the Oscar statuette, designed by the same folks who worked on King Kong.

The City Winners of this years 48HOURS are found below.

Best Film Auckland "A Fairly Good Tale" - Team Crash Zoom Fairytale A cheeky, slightly creepy male babysitter entertains his charge by creating a fairytale where they are the heroes in an enchanted land.

Runner Up Auckland "The Donor" - Team Film Destruction Mystery An arrogant bastard wakes up with his kidney removed and begins to question the prime suspects; his friends from the previous nights raucous party.

Best Film Wellington "Chip & Manny" - Team Locked And Stapled Buddy Flick The buddies are who you least expect and the outcome is pure relief, all helped along by a freaky meditation sequence set at Wellington Zoo.

Runner Up Wellington "Rangimoana's Magical Murder Mystery" - Team meekong delta Mystery It's "Blue's Clues" with a street-corner hussy, sock puppets and te reo Maori to create a twisted, adults-only murder mystery.

Best Film Christchurch "Bruised Gold" - Team Evil Genius Labs Mockumentary A warning about the dangers of doing "B" that follows Detective Hans de Rezney as he trys to avenge the death of his monkey loving brother Bodil and capture notorius "B" kingpin, Mr Big.

Runner Up Christchurch "Guys & Dolls" - Team Cockabullie Productions Musical A painstakingly animated in Lego, telling a tender love story of one mans romantic obsession with the girl of his dreams - who knew that Lego people could portray such pathos? A great little toe-tapping showstopper. Best Film Dunedin "Mosgiel Tonight" - Team Jo Seager Megadrive Mockumentary The Hollywood of the south celebrates its unique cultural identity in the 5000th episode of that gritty current affairs flagship, 'Mosgiel Tonight'.

Runner Up Dunedin The Sicilian Defence - Team Dogtown Tunnelers Action Identical twins, a three-legged dog, a three-fingered man and the Masons, feature in a pacy Lynch-esque film of visual intensity.

For a full list of all the other winners including audience favourites, please visit the 48HOURS WEBSITE

Hundreds of teams compete. Hundreds of thousands watch.




Wellington’s Roar! Gallery is hosting a reception for artists on 9 June 2005
In honour of

Ingrid Jenner
“In the Limelight”
Geoffrey gaskell
“The curate’s egg”
Landscapes & ceramics
Work from Rimutaka prison

The artists’ reception will be held at the gallery from 5 - 7pm. Please come along. The exhibitions run from 9 - 19 June 2005. For details…

Roar! gallery
22 Vivian Street



The Complete Works of William Shakespeare (abridged). All 37 Plays in 97 Minutes at Te Papa’s Soundings Theatre from 8 to 19 June

Get set for a roller coaster ride of comedy, hold on to your seats and prepare to be taken on a frenzied romp through all 37 of Shakespeare’s plays in 97 minutes.  Three madcap men in tights weave their way through all of Shakespeare's comedies, histories and tragedies.  Hamlet is performed forwards, backwards and sideways.  Titus Andronicus serves tasty treats and Othello does the rap.  The show stars Oliver Driver, Jeremy Elwood and Keith Adams.  Originally written and performed by the legendary RSC (Reduced Shakespeare Company) in California, this swashbuckling bard buster as been performed to sell out crowds in New York, UK, Asia and Australia. Receiving rave reviews wherever it goes, it is currently entering its tenth hilarious year and is now London's longest running West End Comedy Hit. No performance is the same and audiences return again and again. Seats begin at $30, and will pay back in rib-splitting dividends. Book tickets now through Ticketek: 384-3840 or And get thee to Te Papa’s Soundings Theatre.



Hi from James at Photospace
Mark Beehre - 41 Michael Street (Room 1)
Jessica Parker - Imperfect Visions of a Quiet Land (Room 2)
These exhibitions are running at Photospace Gallery, now until Saturday June 11th.
See for more images and information about these artists.
Lisa Alway of Exposed photography will be opening the gallery on Queen's Birthday, Monday 6th June, from 10am until 4.30pm.
Works are for sale, with the exception of several of Mark's images. Please note that Photospace gallery is no longer using red pins or dots to indicate exhibition sales, except in the case of unique prints. Please enquire about the purchase of artworks. Exhibited images are usually available framed or unframed, (as loose prints).
Also, when visiting the gallery, please feel free to come into the office and view the collection of stock artworks. There is a revolving display on the walls, and more in the drawers. If you have an interest in a particular artist's work, it may be possible to obtain more of their artwork to view, or we can put you in touch with their local representative dealer if they have one. There's a listing of stock artworks at
James Gilberd
Photospace studio/gallery
1st floor, 37 Courtenay Place
Wellington, New Zealand
(postal address: as above)
ph/fax: 64-4-382 9502
cell: 027 444 3899
Gallery hours: 10-4.30 Monday-Friday
11-3 Saturdays, closed public holidays



Clave Latina live at Latinos Friday 3 June
One of Wellington's hottest salsa bands featuring Carlos Navarette : vocals-guitar  and Adán Tijerina : congas.
June 3 at Latinos Bar corner or Tory St and Vivian St. PLus hot Latin styles Djs.
Salsadrome and Tango Bar  Friday June 10.
Tango Lesson 7:30PM
Salsa Lesson 8:30PM
Tango DJs Studio 2 8:30PM
Salsa DJ Studio 1 8:45 PM
36-42 Vivian St, Wellington Performing Arts Centre.
Till Late!
Only $8
Salsa Ball with Clave Latina at the St James Saturday June 18.
One of New Zealand's hottest salsa bands at one of Wellington's coolest salsa venues: featuring Carlos Navarette and Adán Tijerina.
June 18 at the St James theatre Jimmy Bar.
Tango Milonga 6pm-8:30Pm.
Free Salsa lesson 8:30Pm -9Pm
DJs 9:30pm -10:30Pm
Clave Latina 10:30Pm
DJs 12Am - 1:30Am



Upcoming exhibitions at 91 Aro St:
BEN KING 6 - 18 june
TIM WYBORN retrospective 4 - 11 July
LENSLESS group exhibition of pinholes, photograms and other lensless photography 19 - 31 july ROBYN KENEALY 9 - 21 august MELISSA ROYCE 23 august - 4 september MICHELLE JENSEN 6 - 18 september

Remember the Human Rights Film Festival. Schedule here:

91 Aro Street



The New Cool
May - August 2005
The Dowse Art Museum

The New Cool are dancing to their own version of the commercial beat and reshaping the way we think about business.

The New Cool showcases the stories of 12 young New Zealand companies, celebrating creative business outside the 9 to 5. Defying the 'slacker' reputation of youth culture, companies (including Dawn Raid Entertainment, Huffer Clothing, Loop Aot(ear)roa Recordings, Disruptiv, Illicit, Sidhe Interactive, and Insidious Fix), have successfully transformed their creative passions into business dollars.

These inspirational stories are all about big ideas
and very small beginnings, the hard years, the timely successes, the concept of 'co-opitition' that comes from working with and for your mates, and the simple satisfaction of waking up each day and loving what
you do.

The New Cool is a highly interactive multi-media event that will be on show at The Dowse from late May - August 30, 2005.

Free Seminars: A series of free seminars will also run alongside the exhibition giving visitors the opportunity to meet the directors of some the The New Cool companies and learn how to develop a positive entrepreneurial attitude.
(04) 570 6500



The following special 4-week courses have just been added to the offerings at the new arts centre. Course fee is $65 for 4-week term. For information or enrolment, contact art instructor Stephanie Woodman at

LEARN TO DRAW: Tuesdays from 10 to 11.30am from 7 June
A course that has a reputation for getting results! Drawing is the foundation for all art forms as it trains you to see.This popular & comprehensive course builds confidence & skills an know how to get you drawing. For the complete beginner wishing to explore their artistic side!

MINI-EXPRESSIONISTS: Tuesdays from 1 to 1.45pm from 7 June 
This course enables smaller children, aged under 5 years, to explore their creativity using various materials. We work on fine-motor development with a big focus on fun!

BEGINNERS’ WATERCOLOUR: Wednesdays from 6 to 7.30pm from 8 June 
Popular and established step by step course is designed to teach you basic to advanced techniques, layering, washes, colour theory, painting styles & mixed media. Very informative and hands-on course to give you know how. Designed for the beginner.

OPEN STUDIO WORKSHOP: Wednesdays from 7.45 to 9.15pm from 8 June or Friday from 1 to 2.30pm from 10 June 
Designed for creative people who have done art courses or who have worked on their own projects. This course is for those who have ideas but lack space, time and sometimes motivation. Open Studio is a chance to bring along concepts or have projects set, to work at your own pace in a supportive and creative environment. Experienced tutor will be on hand to assist with ideas, motivation, suggestions and techniques.

EXPLORE PAINTING & DRAWING: Thursday from 10 to 11.30am from 9 June
Learn two skills at once, informative, non-threatening skill based course designed to give you knowledge and confidence. This is an excellent course for beginners.

ACRYLICS & THE USE OF MEDIUMS: Thursday from 1 to 2.30pm from 9 June 
Look at how to use varying mediums that are added to acrylic to explore different looks and effects. How to create glazes and impasto effects with use of colour and texture. *materials required - tutor will advise

CREATIVE ABSTRACTS: Thursday from 6 to 7.30pm from 9 June
This course explores the many techniques and ideas that are combined to create visual abstract art. We’ll look at techniques and processes involved. A great course to get you into the “thinking process” of creating art that is unique.





City Gallery Wellington
Presented by Simpson Grierson
10 July – 30 October 2005

City Gallery Wellington, in association with law firm Simpson Grierson, is proud to announce ‘Small World, Big Town: Contemporary Art from Te Papa’, an exhibition in partnership with the Museum of New Zealand Te Papa Tongarewa.

This partnership will give audiences an opportunity to see an exciting and diverse range of contemporary New Zealand art. ‘Small World, Big Town’ has been jointly curated City Gallery Wellington and Te Papa, and includes work by 28 New Zealand artists, drawn from the Te Papa visual art collections.

‘Small World, Big Town’ takes as its theme a shift in artists’ thinking in recent decades, from concerns about national identity and nationhood to the ideas and impacts of globalisation, a would-be regionalism and the importance of individual experience.

The works selected for ‘Small World, Big Town’ focus both on the local and the immediate, as well as our growing sense of belonging to a global community. Now, as the world appears to shrink in scale, artists get their bearings from all over the globe. ‘Small World, Big Town’ offers audiences an affectionate look at ourselves as a big town on the periphery of an increasingly smaller world; remote, yet globally connected.

The works included in the exhibition range from iconic pieces by well-known artists, such as Peter Robinson’s ‘My marae, my Methven’, the centre piece of the 1995 international touring exhibition ‘Cultural Safety’, to recent acquisitions by emerging artists such as Peter Stichbury and Mladen Bizumic.

‘Small World, Big Town’ will present an exciting array of artworks, from Ani O’Neill’s six-metre long weaving made of florist’s ribbon and thread, to moving image work by Yuk King Tan, paintings by Michael Harrison and Bill Hammond, photographs by Fiona Pardington and Yvonne Todd, sculpture by Michael Parekowhai and Richard Reddaway and page works by cartoonist Dylan Horrocks.

A significant element of ‘Small World, Big Town’ will be the first New Zealand showing of Michael Stevenson’s ‘This is the Trekka’, made possible by its recent acquisition for Te Papa’s collections. ‘This is the Trekka’ was New Zealand’s presentation at the 50th Venice Biennale of International Art 2003.

City Gallery Wellington director Paula Savage says: “We are thrilled to have worked with Te Papa on this exhibition. I know the curators at City Gallery Wellington have really enjoyed working with a collection of such high calibre, and we are very much looking forward to presenting the results of our combined work to the public. We are sure that visitors will find ‘Small World, Big Town’ a fresh and engaging look at the fantastic work produced by New Zealand artists over the past 20 years.”

Seddon Bennington, Chief Executive, Te Papa, says: "Te Papa is extremely pleased to be working with City Gallery Wellington to develop an exhibition of works from our collections for the people of Wellington and visitors to the region. ‘Small World, Big Town’ complements the many works on display at Te Papa, and builds on our long term strategy to increase access to the treasures in our collections through our loans programme with New Zealand's public galleries and museums."

City Gallery Wellington is also very pleased to announce that the exhibition ‘Small World, Big Town’ will inaugurate a new sponsor-relationship with law firm Simpson Grierson.

City Gallery Wellington director Paula Savage says: “Partnerships with businesses like Simpson Grierson play a vital role in assisting City Gallery Wellington to achieve its mission of bringing the best of contemporary art to a wide public audience. We are proud to welcome Simpson Grierson as supporters of City Gallery Wellington, and moreover, as supporters of the arts in New Zealand.”

Simpson Grierson Chairman Rob Fisher says: “We are delighted to come on board as sponsors of City Gallery Wellington, and to play a part in the presentation of such an exciting range of contemporary New Zealand art. We look forward to our involvement in further similarly stimulating exhibitions at the Gallery.”

The artists featured in ‘Small World, Big Town’ are:

Mladen Bizumic; Derrick Cherrie; Margaret Dawson; Bill Hammond; Michael Harrison; Gavin Hipkins; Saskia Leek; Lauren Lysaght; Andrew McLeod; Anne Noble; Ani O’Neill; Fiona Pardington; Michael Parekowhai; John Pule; Richard Reddaway; Peter Robinson; Ava Seymour; Marie Shannon; Michael Shepherd; Michael Stevenson; Peter Stichbury; Yuk King Tan; Yvonne Todd; Ronnie van Hout; John Walsh; Ruth Watson; Boyd Webb; Brendan Wilkinson.



Go to the corner of Vivian and Tory Streets
or call 384 1965
or see
The only place for new music, fearless sounds, and aural transmission across the spectrum. 



Out Takes 2005 Film Festival: 02 June 2005 - 12 June 2005
The 11th Annual Gay & Lesbian Film Festival
New Zealand’s annual showcase of the best recent queer cinema from New Zealand and around the world. Opening night in Wellington is June 2. Learn more at



New Zealand International Film Festival
15 July 2005 - 31 July 2005

Different lights on the silver screen! Movie lovers, your favourite time of year is just around the corner! The city's International Film Festival hits town this July. This is your chance to see cinema hand picked over the last year, from all corners of the globe. The festival is renowned for its innovative selection across a variety of genres, from documentaries and dramas to comedies, animation and retrospectives. Naturally there's work from home-grown talent screened alongside top international film releases. This year’s programme will include the 2005 Academy Award winning best foreign film (Spanish) The Sea Inside; Hell on Wheels, a documentary about the worlds toughest cycle race Le Tour De France (this was the first film to sell out at the Adelaide Film Festival), a strong selection of African films, a James Dean retrospective (East of Eden and Rebel Without a Cause) and the much talked about and controversial hip love story 9 Songs. With a selection of over 140 films there really is something for everyone!



Free Family Days include

Theatre excerpts from The Lion in the Meadow by Margaret Mahy; interactive performance with PERFORM, an Australian theatre group; Illustrators Gallery; a Margaret Mahy competition; puppetry; music; Hans Christian Andersen Grottee to recognise 200 years of  fairy tales; drawing and illustrating competitions, Walk and Wonder area of non-fiction and the chance to meet with more than 40 of New Zealand’s best-loved children’s writers and illustrators including: Joy Cowley, Gavin Bishop, David Hill, Brian Falkner, V.M. Jones, Janet Hunt, Tessa Duder, Tanya Batt, Fifi Colston, Kate de Goldi.  Children and families will also have the chance to meet newer writers and illustrators such as Jean Prior, winner of the Joy Cowley Award The Waka.
10am – 3pm at Westpac St James Theatre 
Saturday June 11





Wellington’s favourite cavalcade of terpsichorean happenings returns with a flourish, followed by a pas de chat, rounded out by a lobster quadrille…



On 27 May, Massey University’s School of Fine Arts in Wellington launched LITMUS – a new platform for contemporary arts research, practice and presentation. Distinct amongst University arts initiatives nationally, LITMUS is not a gallery, but a catalyst for the production of new work in new contexts.

LITMUS – as its name suggests – is conceived as a means to develop and test a range of strategies and conditions for the making, reception and discussion of contemporary art. Focusing on projects which are public, temporary and which exist beyond gallery space, LITMUS provides an open and flexible structure in which to bring artists, curators and researchers together to create and write about artistic activity in an expanded field.

Operating on campus from the former Director’s Office of the now relocated National Art Gallery, LITMUS inherits a rich contextual history. Embracing the potential of this context as a stimulus and site for contemporary art, LITMUS – in its first year of operation – focuses its attentions within the museum. In a series of projects the initiative will work with significant national artists to develop new work, which engages with the particularities of this remarkable location.

The inaugural LITMUS project Sit Talk Look Write, which opened to the public on 28 May, is a new site-responsive work by Wellington artist and Fine Arts lecturer Simon Morris – made specifically for the LITMUS facility in the former Director’s office.

Radically transforming what is currently a standard and anonymous office space within the administrative annex of the College of Creative Arts, Morris’s work will vitalise LITMUS as an active environment for research and discussion, and signal the initiative’s commitment to the development of contemporary visual art.

Sit Talk Look Write presents a process-based wall drawing, together with new furniture, reworked existing furniture and interior surfaces to encourage viewer awareness of space and function. While inhabited by Morris’s work, the LITMUS facility operates as both exhibition site and office. The viewer becomes participant and visa versa.

Closely aligned with the aims and scope of LITMUS, Morris’s practice has long been engaged with the conditions of site. His work has developed from the field of painting into the expanded terrain of installation, architecture and public space. In previous projects, he produced wall drawings that aimed to reveal the architectural qualities of interior environments and heighten the viewer experience of space in time. More recently, this trajectory has concerned itself with ideas related to objects in three- dimensions.

For further information and/or images please contact
Kate Griffin, LITMUS Project Director
801 2794 extn: 6197


The biennial Prize in Modern Letters is designed to acknowledge and advance the work of emerging writers in New Zealand. The value of the Prize is NZ$60,000.
The Prize in Modern Letters was established by Glenn Schaeffer, founding patron of the IIML. As well as highlighting the achievement and potential of a major new writer, the Prize will significantly enhance awareness of New Zealand literature in the USA and internationally.
The inaugural Prize in Modern Letters was won by novelist Catherine Chidgey in 2002, and in 2004, the prize was awarded to poet Glenn Colquhoun.
The Prize in Modern Letters is awarded every two years. The following deadlines relate to the 2006 award. Nominations close 29 July 2005. Shortlist announced October 14, Winner announced March 2006.



19 May- 8 July
Art Compass
132 Tory Street

Choose a unique art or design from any of our artists to be printed on a T-shirt, specially for YOU! Be part of this unique fundraising event and show the world how fantastic supporting Art Compass can be.

Marcel Baaijens
Programme Director
Art Compass Studio-Gallery
supporting artists with intellectual disabilities Compassion Centre
132 Tory Street
385.9298 / 021-1770.181



Battles of the Heart 31 May - 4 June - War through the eyes of extraordinary everyday people, performed by second year actors at St Andrew's Church Hall, 30 The Terrace. The show is produced in association with Gaylene Preston Productions and includes monologues from the film War Stories Our Mothers Never Told Us and Alison Parr's book Silent Casualties, as well as scenes from Allen O'Leary's play Fond Love and Kisses.

Slaves to the Rhythm - Choreographic Season 17 - 25 June - Slaves to the Rhythm brings together New Zealand's most outstanding percussionists STRIKE and 2nd & 3rd year contemporary dance students from the New Zealand School of Dance. Find yourself at the mercy of the driving rhythm.

The Chekhov Season 9 - 13 September - The second year class of actors is split into two groups - each group will perform a different show each night - one group will perform Chekhov's The Seagull (a comedy with three female parts, six male parts, a landscape, much talk about literature, and five tons of love) while the other performs Anne Bogart's Small Lives Big Dreams (a play about memory that examines how characters in Chekhov's plays are haunted by the past while attempting to look forward).



The New Zealand Film Archive
PO Box 11449 Wellington
Aotearoa, New Zealand
384 7647



Coming up this week on Frontseat
Sunday Evening (10:30pm) on TV1

National Party arts & broadcasting spokeswoman Georgina te Heuheu talks Oliver Driver through the party’s policies, her favourite art-forms and her love of hip hop music.
UNBEARABLE ARTS: The Nelson City Council recently voted to withdraw funding from the Nelson Arts Council – the oldest arts council in the country. Julie Hill attends a community meeting in Nelson where local MPs Nick Smith and Mike Ward join artists in protest at the decision.
STARTER FOR TEN: The University of Auckland’s grand plan for a creative super-school is in disarray, with staff describing the atmosphere as ‘toxic’ and students wondering what the heck is going on. Jeremy Hansen talks to staff and students at the National Institute of Creative Arts and Industries (no, we’d never heard that name before, either), which includes the School of Music and the Elam School of Fine Arts. 
Frontseat asks “what is jazz?” in the wake of a judges’ decision not to accept “Tuhonohono: The Weaving” in the jazz section of the RIANZ Tui NZ Music Awards, even though that’s where it had been entered by musicians Richard Nunns, Judy Bailey and Steve Garden.
Frontseat sits in on the Wellington final of the Paper Plus Kids’ Lit Quiz, ahead of the national final in Auckland on Saturday 11 June at the Storylines Festival of New Zealand Children's Writers and Illustrators. At the final, twelve teams of NZ schoolchildren and a visiting Scottish team will compete to answer 60 wide-ranging questions in five literature categories spanning over two hundred years.



Musical Babies and Tots at Wellington's New Arts Centre

Wellington's musical little ones have a special place, every Friday morning, at the new Wellington Arts Centre. The popular Musical Babies and Musical Tots programmes began on May 12, and offers weekly sessions for parents and children who want to explore music, dance, movement, and creative play.

Music educator Sarah Conroy will be running the classes, and she can be contacted now about enrolment and participation. The classes offered at the new Wellington Arts Centre, 61-63 Abel Smith Street, are as follows:

Thursdays at 10:00-10:30 am
Musical Tots: a fun music and movement class for children aged 18 months to 4 years.

Thursdays at 10:45-11:15 am
Musical Babies: a fun class of singing and finger play for babies aged 12 to 18 months.

Thursdays at 11:30-12:00 am
Musical Babies: enjoy a fun and close time with your baby in a class designed to start your child off on their musical journey. For babies aged 6 to 12 months.

Fees for term two are $58.50 for nine sessions or $52.00 for PTL holders. Musical Babies and Tots classes begin on Thursday 12 May 2005 and run until Thursday 7 July 2005. To register your place for next term, please contact Sarah Conroy on 976 2754 or by email to Class sizes are limited and pre-registration is essential.



Wellington Storytellers’ Cafe at the New Arts Centre

The Storytellers’ Café is the home of storytelling in the Capital. From 7:30 – 9 pm on the first Tuesday of every month except January, the café is open to everyone.  Come along to the next session at the new arts centre, 61-63 Abel Smith Street. All you need to do is bring your ears!  Each month a different teller takes the stage, and there is always room for offerings from the audience.  Cost is $5, tea, coffee and nibbles are provided.

Contact: 021-687-627



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Furthermore, send comments, questions, requests, etc to

Eric Vaughn Holowacz
Wellington Arts Centre
61-69 Abel Smith Street
Wellington, New Zealand


The Octo-numerical Query.
A batch of questions is presented.
A creative person answers.

What cities/towns have you lived in (or spent more than a few months in), beginning with your place of birth.

Auckland, Central South Island, Hamilton, Raglan, Otaki, Wellington

What are the earliest stories you remember hearing?

Irish folk stories, Gruesome Grimms fairy tales, wonderful Maurice
Sendak, and my Mum meeting Hunderwasser at an opening while I was in the womb!

What music was present and still memorable from your youth/adolescence?

Abba, Queen, Jesus Christ Superstar, Kate Bush, Rod Stewart, Coronation Street theme song which still gives me the heeby geebies.

For you as a creative person, who are three influential artists or thinkers?

Margaret Atwood, Kierkegaard, Frida Kahlo.

What is your dream of happiness?

Living creatively at work and play, living in a society which is more than tolerant....but accepting sounds a bit cheesy. Something equivalent to it though..having a challenging and interesting life.

Who are your favourite or most admired figures from history?

Frida Kahlo, Che Guevara, Socrates.

Name three films that you consider profound, moving, or extraordinary.

The Cremaster Series, Motorcycle Diaries, Underground.

What was your first real job? second? third?

Psych Health Care worker with the elderly in Auckland; Technician Assistant at Waikato Museum of Art and History, Te Whare Taonga; Manager at Enjoy Public Art Gallery, Wellington.

If you had to eat the same meal every day, what would it be?

Malai Kofta with Tiger Beer.

Name a few books that you couldn't put down, would read again, haunt you still.

'Animal Farm' by George Orwell, 'The Handmaids Tale' by Margaret Atwood, 'The Picture of Dorian Gray' by Oscar Wilde.

What have you done, seen, experienced, or produced that was a disappointment to you?

Dancing with Middle Eastern dancing group Tangerine in the Petone Festival in front of a few hundred people, and while twirling around in my excitement, catching one of the musicians microphones on my skirt. I slowly turned around, untangled myself, and danced away, trying to pretend that it was all just part of it.... Hmmmm.

What was the most recent live performance you attended, and where was it presented?

Cuba St Carnival, Wellington. I had a very fun time Middle Eastern dancing with the Anti Bypass float.

In one sentence, can you define art?

That which inspires, challenges, moves, motivates... visually, aesthetically, experientially.

What word of advice would you offer an aspiring artist in your field?

Find someone that you really admire that is doing the work that you want to do, and have the guts to call them/write them a letter and ask them questions, simply for the inspiration and the hell of it. Then you know for sure that someone out there is doing it....and you could too.

Where would you like to live, but have yet to?

Greece and New York.

What would you like to do, but have yet to?

Live overseas for at least 2 years...basing myself in Greece. Do some War PhotoJournalism. Travel and work widely, with only a backpack and a camera. Make Ethnomusicological films....about cultures that are dying out due to Consumerism. Learn Greek fluently...Kalimera!!

Briefly describe a project you are planning for the future.

The film I am working on...Visuals and Soundtrack on 16mm looking at the meteoric rise of Hyper Femininity in New Zealand. Hopefully in time for the Fringe and some obscure Festival overseas.

What one question would you add to this Query?
How suitable do you think it is for children to be actively included in the creative life, including openings?


Kate Kelly, Bachelor of Media Arts, and Honours. 1997-2001.
I have one gorgeous 6 year old boy, and yes, how does one ever get any projects finished when one has children? You learn to be innovative is my answer...and work really odd hours. A lot of self motivation helps!
I grew up in Auckland, having a diverse upbringing with very creative and turbulent parents, the eldest of three girls. I have appreciated diversity from a young age, training in Classical Music largely on Clarinet and Percussion in the city, and spending Holidays every year on Rangitoto Island surrounded by solitude, Wallabies and Possums....none of which exist there anymore. We also spent a lot of time housesitting farms, north of Auckland.

After Health Care training and a lot of hard core work with mainly Psych elderly people, and a Conservation Corps in 1995, I flew the coop and went farming in Central of the South Island, for 9 months of snow and shovelling silage, tractor driving and running amok in dodgy old jumpers and jeans, before settling into MediArts study in Hamilton.
One child with my ex fiancee, a degree and Honours later, I appeared in Wellington, and in a couple of weeks was working at Enjoy Gallery. I now work at the Adam Gallery either Gallery sitting, or Assisting in various Installation or Public Relations roles, and am concentrating at present on learning the Bass Guitar, developing my singing, and making the above film. Middle Eastern dancing with Huda Sabour from Iraq is also a very favourite past-time, which is leading to public performances here and there. Somewhere in there I would like to develop my drawing practice....I hope!!!! I am also in the process of applying to become a Marriage Celebrant. Life is busy but good, and I salute you all! Best of luck....Kate.


The Footprints and the Giant

The Benefit of Culture to Communities
a speech to the Rotary Club of Sheboygan, Wisconsin, May 23, 2005
by Andrew Taylor

Thank you for your invitation to speak to you today about the impact of the arts on communities. It's an essential topic any day, but particularly these days, as cities and counties come upon tight budgets and tough choices. And it's a subject that occupies a great deal of my work, for many reasons.

The title of my talk today is ''The Footprints and the Giant,'' for reasons we'll soon explore together. But since all public speeches are supposed to begin with a joke, here's mine. Forgive me if you've heard it before, but there's a point to it:

Sherlock Holmes and Doctor Watson are out in the woods on a camping trip. In the middle of the night, Sherlock Holmes shakes Doctor Watson awake and says to him, ''Watson, look up at the sky and tell me what you deduce.'' So Watson rubs his eyes and looks up at the night sky, saying: ''I see a billion stars, among which there may be a million planets, among which there may be planets much like our Earth, and upon which there may well be sentient life looking back at their night sky at this very moment, wondering if we might exist.'' After this speech, Sherlock Holmes pauses for a moment and responds, ''No Watson, you idiot. Someone has stolen our tent.''

The point of that particular joke for today's topic is this: Sometimes we work so hard to see the details in the distance, that we completely miss the essential truth directly in front of us. I'm going to suggest that that's true when we explore the value of the arts to any of us and all of us. There are important details, to be sure, and we'll walk through them together.
There are economic benefits, social benefits, educational or personal benefits, and broader civic benefits. These are important. They are compelling. And they are convincing when we ask individuals and groups to support the arts with time and money. But I'll also suggest that these arguments are really just the details in the distance I just mentioned in the joke. They are effects and not causes. They are the footprints a giant leaves behind, but they are not the giant. Today, we're going to talk a little about the giant, as well.

But first a little background about me, so you know where I'm coming from.

I'm the director of the MBA degree program in Arts Administration at the University of Wisconsin-Madison School of Business. It's a full-time, two-year degree program, now in its fourth decade, training future managers and leaders of primarily nonprofit and public cultural institutions ­ theaters, symphonies, festivals, performing arts centers, museums, public television and radio stations, foundations, government agencies, and such.
Our graduates help bring arts experiences to small towns and big cities, here in Wisconsin, and across the country.

Now, I realize that to some people, combining 'MBA' with 'Arts' might seem as odd as combining 'jumbo' with 'shrimp.' But you'll have to trust me that cultural institutions are businesses, they are complex puzzles, and they require a mastery of business strategy, financial skill, and social finesse that's often unrecognized. I'm sure that there are cultural managers and board members among you. Be sure to thank them, and thank yourselves, for the hard work required of this particular calling.

And as long as we're defining things, let me define what I mean by ”the arts'. It's a fuzzy word, often left undefined. Today, I mean to discuss the arts in broad strokes, as an inclusive concept. Certainly, I mean the traditional nonprofit arts we all could name, such as dance, classical music, theater, visual art, sculpture, and such. But I also mean community or amateur arts like the community choir, the embroidery club, the quilting bee, the amateur theater, the school art program, and the adult pottery classes. And I even mean the commercial side of the creative world ‹ the nightclubs, the recording studios, the live performance venues and festivals, the commercial art galleries, the popular performers you might catch on tour in a local venue.

In short, ''the arts'' here mean any creative expression or experience available to you within your community ­ ticketed or free, formal or informal, professional or amateur, nonprofit or commercial, whether you watch it being made or you make it yourself.

You can find these experiences in many places, but for today, I'm primarily talking about art that you experience in person, and not mediated through an electronic box like a television, a computer, or a radio. Not that these aren't important and meaningful. Just that I'm primarily talking about art in the community context.

So, given all that background, what is the value of the arts to communities?

Why should we consider giving our money, our attention, our time, and even our tax dollars to be sure the arts are in our cities, our schools, and our civic life? Who cares if opportunities for creative expression and cultural experience are diverse, vital, and accessible to a full range of our fellow citizens?

Well, for one, a lot of people do care. They are the people that bring the arts to life: the artists, the volunteers, the audiences, the managers, the boards, the donors, the civic leaders. Ask most of these individuals and you'll hear that one art form or another has deep meaning for them, that it connects them, that it challenges them, that it calms them, that it reminds them of important people and moments in their lives, and that it brings them together with people and ideas they enjoy being with. There are many in the room that would say the arts are important because the arts are important to them – so important that they want other people to have that same experience, both now, and in future generations.

But for the civic conversation, the praise of enthusiasts isn't quite enough. Some would say that it's great for people to find purpose and meaning in the arts, but not everyone does. Lots of people find purpose and meaning and even escape in fly fishing. But we don't allocate tax dollars or school district budgets for that. To expend community resources and attention, for any activity, we need reasonable assurance that the activity serves a public purpose -- that it provides a public good.

This brings us to the broader arguments for the arts – the arguments that seek to show the wider public benefits of arts and culture, even to those who never attend. There are a lot of these arguments, but thankfully they come in four main flavors:

Educational or personal, and

Let's take them one at a time:

The economic arguments for the arts suggest that cultural activities bring economic benefits to a community. They draw audiences, who buy tickets for a show, but also dinner before and drinks afterwards. These audiences hire babysitters. They stay in hotels. Furthermore, in the process of attracting audiences, artists and arts organizations spend money, as well ­ on lumber and office equipment and staff. Some claim that the vitality and nightlife they bring to a region helps in stalking the elusive ''knowledge worker,'' and the businesses that want to hire them. And arts organizations can be the anchors for downtown revitalization or development efforts, when those same knowledge workers are looking for a place to shop, to kick back, and to live.

The social arguments for the arts describe their power to gather people together, often across economic or cultural divides. While sociologists like Robert Putnam complain that American's are increasingly bowling alone, the arts are offered as an antidote to this isolation. They built trust and social capital. They reinforce the fabric that's often torn by the competitive marketplace. They foster empathy for different points of view, and give a voice to individuals or groups that might be otherwise ignored.

The educational and personal arguments for the arts claim the learning or healing power of creative experience. Test scores improve. Creative thinking is enabled. Broken spirits and tired bodies are restored. Minds are refocused and refreshed.

The civic argument combines all of the above and suggests that a vibrant cultural life makes for a vibrant civic life ­ with high economic performance, high inward investment, high educational attainment, and high levels of civic engagement.

There's a great deal of discussion going on these days among advocates and academics about these benefits, about how we can measure them, and about how direct the connections might be between the arts and the outcomes we claim.

The Wallace Foundation released a major study this past February, called Gifts of the Muse , which explored each of these benefits, and the studies that supported them. The study found that the arguments had merit, but that their connections were under-researched and often over-sold. Instead, the study urged us all to focus less on what art does and more on what art is, and the intrinsic values it provides.

The topic of 'valuing culture' pops up at almost every professional conference I attend these days . As government money gets tight, as personal fortunes took a hit in 2001 and beyond, and as discretionary spending got lean, arts advocates have been struggling for better arguments and clearer cases to ensure their programs and their missions.

And as I've said, this conversation is important. There are hard choices ahead. City councils, county boards, state legislatures, and school boards are increasingly struggling with the math. Even the most eloquent arguments can't boost tax revenues or lower healthcare costs. Even the most convincing connections between arts and learning can't counter the constraints of revenue caps for public schools.

So, what arguments should we make, or can we make to ensure the vitality of creative experience and expression in our towns and cities? And what arguments can be heard, even, among the current climate of political gamesmanship?

Thankfully, even as we debate and craft our messages and strategies, artists and arts organizations quietly and effectively continue to find a way: they make art happen. While we struggle with semantics and public benefits, artists and arts organizations are gathering communities, forging new works, engaging young people, crafting new things to see and new ways to discover.

Regardless of the arguments we retrofit after the fact, art is about what we do as a community, as individuals, as inhabitants of the same places. I'm sure you're all aware of many such active expressions of art in your own neighborhoods, among your businesses, and in your schools. You're fortunate to have an internationally recognized effort right here in town, in the Kohler Corporation's Arts/Industry program. This effort places working artists in residence in Kohler's manufacturing and design facilities, blending the company's ceramics and metalworking equipment and master craftspeople with visionary independent artists. Each learns from the other.

Each pushes the other toward a new way of working and seeing. There are certainly benefits to this interaction, but they are outcomes not causes. The cause is the effort itself, the intensity of the conversation and challenge that creative visions provide, and the relationships such efforts bring.

Another example just happened in my hometown of Monona, just outside of Madison. My daughter is 11 years old, and her school just held an artist residency of its own. A wonderful performer, choir director, community member, and musician brought two middle schools from a common school district together to sing, to prepare for a public concert, and to work together toward that common goal. Again, there were benefits. The pride and supportiveness this event brought to the children was a wonder to behold.

But again, these benefits were the effects, they were the impressions left by intense and creative effort among a group of people. These benefits were the outcomes, not the cause.

Which brings us back to the title of my talk with you today: "The Footprints and the Giant." The footprints are the impressions left by something very large, but they are not the thing, itself. Economic impact is a footprint.
Social connection is a footprint. Education and personal growth are footprints. And a vital civic life is a footprint, as well. They are easier to talk about because they are the things we can see and measure. But like Doctor Watson straining to explain the night sky, our focus on the footprints can blind us to the more important point. The footprints get larger and deeper only if we understand the giant that leaves them.

Some might be asking what the heck I'm talking about. Others might be wondering when I will stop talking. For both groups, I'll cut to the chase:
the giant that leaves these large impressions on our community is the process of creative expression and experience, itself. In the making of theater we discover each other and ourselves. In the interaction of artistic vision and personal perspective we make new connections. In the striving to say and express who we are and what we see, we learn who we are and what we see. And through creative expression and experience, we have an astounding opportunity to share that effort and that vision with each other.

The arts are not a separate thing from us. They are us. The sculpture, the novel, the song, the painting, the performance, the musical work, the poem, the drawing, the photograph are all ways we see each other and ourselves. They are all ways of learning ‹ a way that connects with so many students who have trouble connecting by traditional means. They are ways of reaching across perspectives and backgrounds. In fact, our collective expressions are often what define us long after we are gone. And they are how we know the people, places, and civilizations that came before us.

Art is us. All of us. And the massive secret that sits right in front of us is that WE are the giant that leaves such wonderful footprints.

So, once more, back to the formal title of this talk: what is the 'impact of the arts,' and the 'benefit of culture to communities'? The glaring truth is that art IS community. It is the reflection and expression of what we all do, what we all are, and what we all hope to be.

So, while we're striving to describe the footprints, I encourage us all to focus the bulk of our energies on the giant before we, like Sherlock Holmes and Doctor Watson, wake up to realize that someone has stolen our tent.