Peter Black’s portrait of Dr Diana Mason OBE, SPUC, Wellington

During one of her regular visits to the Auckland Art Gallery, I introduced myself to Dr Diana Mason (1922-2007). In New Zealand, she was famous as one of her generation’s distinguished physicians. I informed Dr Mason that the Gallery had purchased an exceptional portrait of her created by Wellington artist Peter Black. She commented that she had never seen Peter's portrait.

Taking her into the Print room, where we store all of our unframed works on paper, I opened the solander box and Dr Mason immediately erupted into laughter. She boomed out that the 1979 portrait was indeed "utterly memorable." Seen from below, the renowned obstetrician stands in her usual theatrical manner. Dressed for a formal public event in a shot-silk coat ensemble whose matching dress pattern is decorated in flaming boteh (almond blossom). She wears a tall furry hat, pendulous gold earrings and the astonishing Rudi Gernreich eye wear in mock tortoiseshell that were her specialty. Dr Mason's costume and pose are both spectacular and intimidating.

During the 1970s, Dr Mason served as the national President of the Society for the Protection of the Unborn Child (SPUC) – a controversial group who were vocal opponents of abortion. She frequently stated that her views on abortion were philosophical rather than religious – she always stated that she was an advocate for “family planning rather than child destruction.” As one of New Zealand’s eminent obstetricians she once declared, “since leaving Otago Medical School I have delivered a town.”

Peter Black acknowledges Dr Mason’s reputation by adding to the portrait’s title the abbreviations of OBE and SPUC. She was awarded the Order of the British Empire (OBE) in 1977 for her three-decade long service to obstetrics. The New Zealand Medical Journal (volume 120, number 1257) commented, “Dr Mason was a doctor when women interested in medicine were usually nurses.” The Journal further commented that she was “a flamboyant part of Wellington’s cultural life, guaranteed to stand out in a crowd at orchestra or theatre events, tall, proud and magnificently got up.”

The version of Peter Black’s portrait held in Te Papa Museum of New Zealand (registration number 0.003073) http://collections.tepapa.govt.nz/ObjectDetails.aspxoid=44735&coltype=Photography&regno=O.003073
is cropped less tightly both at the top and the right hand side than the Auckland Art Gallery's print. The tighter cropping further emphasizes the photographer’s low point of view and, arguably, makes the portrait appear more confrontational. As a powerful portrait of a remarkable New Zealand woman, Dr Diana Mason OBE, SPUC, Wellington is an outstanding instance of Peter Black’s skill as an insightful portraitist.

Image credit:
Peter Black
Born 1948, New Zealand

Dr Diana Mason OBE, SPUC, Wellington 1979
gelatin silver print toned with selenium
237 x 160mm
Auckland Art Gallery Toi o Tāmaki
purchased 1981
1981/4/3

Conservation conference and other thoughts

Our conservators are currently busy lending their hands and time to organise the 2009 New Zealand Conservators of Cultural Material annual conference to be held from 21-22 October in Auckland. http://www.conservators.org.nz/.

Now, most of you know that I’m not a conservator, but I was attracted to this event because the keynote speech, by John Holden on 21 October, will be free, open to the public and presented by videolink at the Auckland University of Technology. This means of getting the best presenters despite their location opens up all sorts of debate for me about conferences.

The reason for the videolink, I have found out, is to save money spent flying John, from the UK, out to New Zealand, so allowing some ‘think-tank demos’ (sounds intriguing) to be affordable for the conference. I like the lateral thinking here, John will still be answering questions etc, but without the thousands of dollars spent on flights.

The more I think about it the more I wonder whether the way forward for conference is to open up the information live online, with people from around the world talking to others who are not able to attend the conference in person for various reasons, often financial. I know this kind of happens with twitter at the moment but it needs to be actual and real (even though only virtual reality).

Why not share the information from conferences, live, not three weeks later, allow people to see and discuss topics even if they are not physically there. Maybe by conducting conferences in this way it might start even more discussions, collaborations and networks and open up the sacred doors of conferences that are so often closed to many. I know there is a financial reason for people attending but I imagine some sort of cheaper online subscription to conferences might be beneficial also. Just my thought for today.

Ok, that’s my rant over, back to the conference in hand, for those interested in attending the keynote speech on Wednesday 21 October, 6.30pm, it is being held at AUT, in lecture theatre WE240. Best of all it’s free and open to anyone.

Here is the brief synopses and bio taken from the poster for the event:


IT’S A MATERIAL WORLD:
the importance of conservation and its place in wider culture


The meaning of ‘culture’ has undergone radical change over a short space of time, but policy is based on an outdated concept of what culture means. Culture has become more participative, more integrated with other aspects of life, and hence more important to the way that people shape their identities. The concept and practices of museum and heritage conservation reflect an ethic of care for the material world that has wider application in the public realm and in society. Conservation has been seen in very narrow terms for too long, and conservators need to make the case for conservation not only in terms of its importance in relation to objects and the past, but also its role in shaping the values and creating the world of tomorrow. In doing so, conservators need to open up much more to public engagement and public dialogue.
John Holden was previously Head of Culture at Demos (http://www.demos.co.uk/people/johnholden) and is a Visiting Professor at City University.
He has Masters Degrees in law and art history and his main professional interest is in the development of people and organisations in the cultural sector.

The event is sponsored by National Services Te Paerangi, Auckland University of Technology, the NZCCM and Auckland Art Gallery Toi o Tāmaki.

By the looks of the tired but excited faces of our conservators it is going to be a cracking event (excuse the conservation pun).

Meet the archaeologist

Below is a fantastic interview by Roimata Maihi with archaeologist Barry Baquié who is currently working on the Auckland Art Gallery Development project.

"I had passed this wall so many times but today was different. I listened to Barry as he told a piece of history - the Albert Park Barracks. I gazed through the small square hole in the last section of remaining barracks wall, which is where a soldier would have stood with his weapon hidden from the enemy. I wondered what it may have been like and what else is left from this time.

I then realised what Barry really enjoyed: it wasn’t the fact that he was his own boss or that he could work out doors and travel everywhere, it was the actual thrill and excitement he gets every time he’s on an exploration. Pure adrenaline!

It has been 36 years since Barry first began his journey uncovering the past. It all began one day when he was a young lad needing to choose another subject for his university studies. He was tagging along with a group of archaeology students on a field trip down Waikato Heads who were inspecting old shell middens (thrown away rubbish) along the beach. It was puzzling at first but he came to realize that these were the indicators of how Maori survived along the coastline. This fascination led him to further his studies into anthropology and archaeology.

Barry is the Archaeologist for the Auckland Art Gallery Development project. During the earthwork stages, he has been monitoring very closely the diggers and their excavation work along the base of the Albert Park hill. There has been onsite an enormous excitement, expectation, and anticipation of finding the WWII tunnels under Albert Park. Unfortunately, we never saw any remains or tunnel entrances, but we did find a garden relating to the time when Albert Park was formerly Albert Barracks (see photo and map below).




Artifacts found on site have included bottles, newspapers, and ceramic pieces dating back to the 1850’s. Based on the hand-painted art work on one of the ceramic artifacts, Barry was able to estimate the making of the artifact to the 1830 – 1840 period (see photo below). A clock record book found in the building walls of the clock tower, had records dating back to 1933. Barry hopes to see some of these artifacts found during the construction period displayed in the new Gallery.

Barry reckons that to appreciate the present it helps to have a bit of an understanding of the past. He describes the process as the tip of the iceberg, where all that is visible is just a small reflection of our culture with the vast mass of our remains either destroyed forever or waiting to be excavated, explored, and interpreted. An archaeologist carefully carves to unveil what was ordinary, but now precious in its original state; hidden by time.

Gallery development update

This is the beginning of a series of posts to provide regular updates on the progress of the Auckland Art Gallery's development project. Keeping you up to date on what's happening and showing some images so you can actually see the progress. Please feel free to add comments at the end of this post.

East Gallery Restoration
Restoration and reinstallation of the lantern windows has commenced with arrival of the replacement window section from Canada. Moulds have been made for casting of the replica ornate fibrous plaster ceiling tiles.

Façade Restoration
Façade refurbishment continues with lead-work, copper and gutter restoration currently taking place to both the Wellesley & Kitchener Street buildings. Scaffold was installed to allow access to the top of the clock tower flagpole to replace the pulley and halyard. The clock faces and hands are also undergoing refurbishment.




Wellesley & Kitchener Building
Works are progressing on the internal refurbishment of the existing Wellesley & Kitchener Buildings. The seismic strengthening is completed and works are now underway installing the new services, wall and ceiling linings.

New sections of the building
In the new part of the building, completion of the topping concrete is underway and completion of the ground floor is targeted for mid September. The first of the window for Park-view façade have now arrived and are being installed.


Photos by Jennifer French

Crane Driver - a different view on the world

What is your name?
Charlie

What is your job?
I drive the large crane being used for the Auckland Art Gallery building project.




How long have you been a crane driver?
7 years

How did you become a crane driver?
Whilst I was in Australia, I did a crane driving ticket which took a week. In NZ you do 16 units which are NZQA. I’m not sure how long it takes. When you get your ticket you work on the ground first, this job is known as the Dogman. The Dogman uses hand signals to the driver as well as a 2-way radio to communicate with the crane driver above. The Dogman also ties the loads and ensures all is safe before lifting.



Are there any restrictions for being a crane driver?
No. If you can climb the crane and fit in the cab then you’re alright.

What is the age of retirement for a crane driver?
No age limit. I know a guy who is in his sixties and still climbing and driving cranes.

Where are your toilet facilities in the cab?
There are basic facilities in the crane cab but if you need a no.2 then you have to climb down! There is liquid sanitiser in the crane.

How many days of the week do you work on average?
Six days

How many hours of the week do you work on average?
55 hours

What is the name of the crane and who named it?
The gallery crane is a 355 Liebherr model crane, with a maximum carry load of 16Tonne.

The crane is affectionately called King Curtis and named by a local crane enthusiast

What is it like to drive the crane?
It is rewarding to see the results at completion.

What has been a highlight for you on this project?
Lifting in a 16Tonne panel for the lift pit.

What’s it like climbing the crane and how long does it take you?
If I am in a hurry I could climb it in 3 minutes and I know how fire fighters feel when they have to climb

How do you communicate with the rest of your crew on the ground?
Two way radio and hand signals.

Does the crane rock when you are up in the crane cab?
Yes.

What is the highest crane height you have been in?
150m

Describe the view? What can you see?
Albert Park, Wharf crane, bit of the ocean and it’s not unusual to see naked people walking around in their apartments!

What is up in the crane? TV/Music/Books/Fridge/Heater?
A CD player, a radio, a heater, no air conditioner.

How do you deal with isolation in the crane cab?
When there is a wait time or down time, I talk on the 2 way radio to the crew about anything and everything, tell jokes etc

Were you ever afraid of heights? Have you ever felt woozy?
Yes I was afraid of heights, but I have overcome it through being a crane driver after so many years. I have never felt woozy.

What is the most dangerous situation you have been in whilst driving the crane?
The most dangerous situation would have to be when I was at my maximum reach and the brake wouldn’t hold on a very windy day. We managed okay though. Windy days always prove difficult because of the surroundings, other buildings etc.

What is your favourite art work?
Charles Goldie’s artwork of the Maoris

Who is your favourite artist?
Charles Frederick Goldie
Leonardo Da Vinci – Mona Lisa

What is so special about being a Crane Drive?
When I’m not up in the crane cab, it’s great interacting with the subs on the ground. Good bunch, they have to be on good terms with a Crane Driver to facilitate prompt unloading.

Also, seeing the project complete, feeling a part of it and proud to share with others that you helped build it.

Lastly, the views from the crane, is another dimension.

Do you have any words for aspiring crane drivers?
Take your time learning the skills. Safety is a high priority. You must abide by what you can and cannot do. You must understand the capacity of loads, correct gears your working with. You must know how to safety load and tie. You must communicate all the time from load, lift to placing. One mistake and it could be fatal.

I really enjoy my job!

Image Credits:

Photos by Jennifer French

Back to the future

As most of you know, our main building is currently under development until 2011 as we are restoring, strengthening and building to improve the space and provide new public areas, integrating better with Albert Park and the surroundings.

We now have this fanstic animation, developed to show you a sense of what the building will look like when it reopens. Basically a virtual tour, into the future. Let me know what you think?

Forensics on fashion

It is not common for art writers to utilise fashion history in their discussion of paintings or sculpture, let alone photography. Locally, Wystan Curnow has been doing some interesting research into the history of the costume worn in Rita Angus’ now famous portrait of his mother, the late Betty Curnow.

Here are three unusual ambrotypes that I wish to date via their subject’s costume and their photographic style. ‘Ambros’ were mostly produced during the 1860s, when they had become cheaper versions of the daguerreotype process. Ambrotypes had already gained wide currency from the early 1870s but were superseded by tintypes and cartes-de-visite within a decade. Click here for my previous post on ambrotypes.

This ambrotype (above) is dated May 1877. As such, it is already a late instance of the medium. The photographer cleverly uses a low-angle, candid point-of-view which was already becoming common within wet-plate photography by the later 1870s. Dry-plate photography had been invented in 1871 and a photo’s exposure time was therefore much reduced. The camera here sits on a tripod ‘looking’ at this family group, all of which have been carefully arranged within the carriage. They are individually posed in order that they can all be seen clearly. Yet, their poses appear both natural and spontaneous. This is the work of an experienced ambrotypist as this was still a difficult medium to use out of doors.


Note how the man at left wears a bowler riding-hat. None of the men wear a top-frock coat; instead, they are all attired in morning coats. This probably means that they are members of the emergent middle class. Charles Dickens' favourite readers. The two boys wear dyed straw boater hats, always suitable for summer. The carriage’s banner sign shows that the cost of their excursion ‘To the Dyke and Back’ will cost one and six-pence.


This is a much wealthier group of land-owning men. Once they would have simply been called 'toffs' - smartly dressed men. Their black silk top hats, frock coats, lighter trousers are the uniform of the privileged during the mid-1860s. The figure fourth from the left has a figure-hugging, cloth country suit, which appears to be double-breasted. This is very dashing attire for this time.



What are these men doing together? They could be all be setting forth on a country outing to a sporting event where wearing such formal clothes was absolutely necessary. Their extensive whiskers were called muttonchops or dundrearies. Look at their mixture of hats – top hats, stovepipes, chimney pots. In addition, their decorative extras – fob watch, buttonhole flowers. Not the look of the ‘working-class’ at all.

These guys are what we would now call labourers. Practical men who work with their hands. The signage on the wagon’s tarpaulin, in the ambrotype above, reads ‘The Whitehead 72 Hoxton Street opposite the Britannia Theatre’. A London address. Partially obscured is the painted sign on the sides of this huge wagon that reads ‘By road haul’. What is already apparent is that these are the men who actually work with this wagon. See how their posture and demeanour says that they 'possess' the daily work of this wagon.


Three of them wear high bowlers, one a well-worn short top hat, the other a homburg style and the boy has a soft cap. To our eyes these blokes seem formally dressed but this dressiness was not at all unusual for the period – the mid-1860s. Men in the public transport arena still had to be hatted and coated. While also wearing a tie or buttoned up collar. Look at how relaxed they are. They may never have been photographed before. This is a 19th century equivalent of a snapshot in all its casualness.


An anonymous writer in The Quarterly Review for March 1847 commented: ‘The male costume is reduced to a mysterious combination of the inconvenient and the unpicturesque – hot in summer – cold in winter – stiff without being plain – bare without being simple – not durable, not becoming and not cheap….The hat is a machine to which an impartial stranger might impute a variety of culinary purposes, but would never dream of putting on his head.’

However, English costume between 1860 and 1880 was socially stratified and classified according to one’s position in society. A man or boy never thought of wearing anything outside their ‘station’. These three ambrotypes are very scarce outdoorsy instances of the Victorian hierarchy to personal appearance.


Image credits
Unknown photographer England active 1870s
Carriage excursion – To the Dyke and Back May 1877
ambrotype
61 x 74mm

Unknown photographer England active 1860s
Carriage excursion circa 1865
ambrotype
60 x 72mm

Unknown photographer England active 1870s
Wagon and workers circa 1870
ambrotype
58 x 70mm