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ngineering zoology botany and agriculture students have carried out field work at cass although a bathroom a stove and pipes for hot water were added to the hut in the early 1930s accommodation at the field station was still fairly primitive in 1936 electricity courtesy of the railways department was not supplied to the hut until the following year angus and her friends would have lit kerosene lamps as the evenings drew in a page from the visitors book at cass hut from 1936 showing the names of the three artists via christchurch art gallery angus painted the field station from the back in a view which took in the browned off grasslands of the river basin and looked towards the mountains folded in purple shadows while the steam train passed through on its way up to arthur s pass the stylised curlicues of smoke from the train curl protectively over the hut they terminate in a series of flattened half moons which echo the lines of sunlight on the ridges of the hills in the middle distance the landscape is dry harsh uncompromising in the foreground angular waves of grey and brown tussock appear to break against the back wall of the hut rita cook angus cass field station 1936 university of canterbury art collection between them angus and henderson produced ten or twelve paintings from the trip little is known about julia scarvell s companion works henderson exhibited her cass paintings at the group show at the canterbury society of arts gallery later in 1936 the christchurch art gallery wants to locate henderson s view of the railway station and exhibit it alongside angus s work henderson also painted her own view of the canterbury college hut pdf over intervening years angus s cass has become not only a much loved and frequently reproduced painting but an emblem of a certain kind of historical new zealandness rural unpretentious lonely louise henderson plains and hills 1936 collection of christchurch art gallery back to 2013 and the new economic imperative to irrigate new zealand s rural hinterland for dairying which threatens to alter the distinctive character of our national landscapes in making his decision not to allow irrigation at cass the environment commissioner robert nixon noted that the proposal would not serve to change the actual landscape painted by rita angus but he agreed that the painting had powerful symbolism and that the proposed land use associated with irrigation could have a significant adverse visual impact on views from state highway 73 around the area of the painting nixon cited the high landscape values of the area variously shared historic and recognised significant natural science aesthetic and tangata whenua landscape values and declined the application to industrialise the landscape art history 1 industrial irrigators 0 you might think a rare decision but it might equally be recognised that there is something of an irony to this one of angus s purposes in painting the burned off vistas at cass was like many of the more progressive artists of her generation to depict the effects of modernity and economic progress on the landscape speed transportation telecommunications industry all are present in angus s modernist depiction of cass her inclusion of telegraph poles and railway tracks reveals a landscape in the process of being altered made modern by its inhabitants a generation or two previously european settler artists were not yet at home in the landscape their depictions of it were either topographical sending information about the new land home to britain or were concerned with the sublimity of the wildly unfamiliar landforms petrus van der velden for example travelling by stagecoach a few miles further into the mountains at otira in the 1890s painted torrents of rushing water in stormy wild rain tossed surroundings nature at its most elemental i think it was artist ann shelton while researching her once more with feeling series which retraced works by van der velden at otira who discovered that his vantage point for many of the works was actually under a bridge snugly in the dry but then i d imagine it s almost impossible to paint in a storm for pakeha new zealand artists of angus s generation britain and europe were no longer home there had been six generations of angus s own family resident in new zealand by mid century home was new zealand and images like cass were a way of making oneself at home in the changing landscape it expresses joy in living here said angus of the painting in citing angus s painting as a factor in the decision not to allow industrial scale irrigation in the cass landscape there is clearly a gentle irony in a work of art concerned with the effects of modernity stalling contemporary economic progress it is as if the restless sea of tussock the light along the ridges of the mountains even the train steaming through the landscape are to be frozen in time captured by angus s brush in 1936 and remaining unchanged into the future angus s view of the landscape is the view which will prevail there is a cost to this as economist eric crampton tweeted there were more factors taken into consideration of course beyond the painting which led to the decision not to irrigate the environs of cass but i think the presence of angus s painting in the deliberations makes the decision remarkable i m unaware of a precedent rita angus s personal expression of joy in living here has come to stand for a common pleasure it has become one of the emblems of contemporary new zealand identity eighty years ago angus saw and communicated the cultural value of the canterbury high country landscape the price put on her vision in 2013 is considered with this decision to exceed the potential economic returns of the landscape itself posted by cheryl bernstein at 12 26 pm 1 comment email this blogthis share to x share to facebook share to pinterest labels art and economics art and popular culture rita angus friday december 14 2012 the cost of words so far i owe 2 50 posted by cheryl bernstein at 9 07 am 5 comments email this blogthis share to x share to facebook share to pinterest labels small guy tuesday november 20 2012 hiding in plain sight sometime around the middle of the 1960s artist bill sutton used to fly regularly between christchurch and wellington he d been appointed to various national art committees this was the moment when new zealand high cultural infrastructure for the visual arts was starting to be built on his way to and from the meetings he d look out of the window of the plane the ochres and umbers and deep shadowy violet greens of the canterbury plains framed by the curve of the cabin when you look down from a plane there is no right way up he commented it becomes pure pattern i saw bands of clouds below the horizon and sometimes no horizon at all this medley evolved into many paintings and one major series 1 w a sutton plantation series ii 1986 oil on canvas collection of christchurch art gallery as a lecturer sutton was prone to tipping up works holding them upside down so that the composition could be considered from another angle so that subject matter would not get in the way of looking the painting was always to be considered as a composition before it was considered as a window on to the world beyond the work but when sutton felt that he was skirting too close to abstraction he pulled back he was concerned that abstraction would become an end in its own right a form of decoration he worried that art about art rather than art about experience was essentially an arid pursuit as dry and as unsustainable as the burned off grasslands which became his characteristic motif w a sutton murals waikari 1951 oil on canvas christchurch art gallery at much the same time as he was flying to wellington and back on the business of art sutton had moved into his house near the river in richmond christchurch designed for him by his friend and colleague the modernist sculptor tom taylor the scale of sutton s work changed painting in a big room a combined studio living space with a bank of high windows on one wall and a view out to the garden through the other meant that he could construct larger canvasses and work on more of them at once the grasses series and later the huge plantation works with their aerial views of the canterbury plains and the land synthesis series with their sense of the landscape viewed at great speed were painted in this studio w a sutton landscape synthesis oil on canvas 1980 i fly to and from wellington on the business of art sometimes myself i can never look out of the window of the plane at the patchwork of fields below without thinking of sutton s plantation series and without thinking of sutton himself his face pressed against the glass of the small thick windows of the old turbo prop planes scanning the horizon for significant forms in his notebook perhaps a sketch for a drift of cloud a curve of hill the remains of a vapour trail against an impossibly blue sky a grid of lines describing the bleak hard fastnesses of the canterbury landscape seeing the world as a work yet to be painted w a sutton threshold iv 1973 oil on canvas collection christchurch art gallery when sutton flew over the plains and incorporated their characteristic forms into his work he drew perhaps on his experiences during world war ii as a member of the camouflage unit between 1941 and 1944 he had moved around the south island digging post holes and designing and painting camouflage to hide gun emplacements and ammunition stores the job was to make things look like other things these utilitarian paintings designed to be seen from the sky to hide things in plain sight were often gigantic in scale i remember we disguised an airfield at taieri dunedin by extending the appearance of paddocks and hedgerows into the airfield itself with bleaches for grass and manure to intensify the colour it was so good our chaps couldn t find it sutton commented forty years later 2 sutton s familiar view of the canterbury landscape will change with the introduction of water consents for intensive dairying across the plains his burned off dry grasses shaded by the long dark shadows of the macrocarpa shelter belts will be replaced by patches of bright jade green sutton s aerial landscapes the structures of ochre and umber and indigo which hover between abstraction and representation and which for so many people are synonymous with the experience of flying in to the city over the plains will be relegated to a historical report on experience like the paintings which depict it the landscape is itself a cultural artefact vulnerable to the forces of market productivity although it s part of our cultural identity the look of our home landscape is as little owned by us as the architectural heritage of our cities 1 bill sutton personal perspectives in pat unger w a sutton painter christchurch hazard press 1994 p 46 2 bill sutton interview with deborah shepard 1982 quoted in pat unger bill s story a portrait of w a sutton canterbury university press 2008 p 52 posted by cheryl bernstein at 1 30 pm no comments email this blogthis share to x share to facebook share to pinterest labels art and economics artists studios bill sutton tuesday september 18 2012 lies i have told my children no 2 in an occasional series mum what s this button for that s the ejector seat posted by cheryl bernstein at 11 15 am no comments email this blogthis share to x share to facebook share to pinterest labels road trips small guy monday september 17 2012 the proper photographer a photographer asked to take our picture yesterday i m a proper photographer he said works in the public art gallery collection he was taking photos of christchurch people in the ruined city have you lived here forever he asked looking down through the view finder no we said he made a portrait of us in front of the ruin of shands emporium a small wooden shop built in 1850 tyres were piled on its roof holding it down loose stones shifted underfoot the shop looked like an ark battered after a long journey at sea the carpark was bordered with hurricane fencing and white dashes like a mayday signal the children held our hands looked at the camera just one more he said i ll shift my camera and one more closer together last one coming done posted by cheryl bernstein at 10 33 am no comments email this blogthis share to x share to facebook share to pinterest labels earthquakes tuesday august 21 2012 this is educational every day the small guy has to fill out his homework exercise book with a description of the book he s currently reading and do his spelling words he s quite a good speller so is allowed to choose his own words from the dictionary recent choices have included critique corrupt pessary muscovado and freudian here s a recent homework page featuring a description of a reading book he s really enjoying the possibly slightly unsuitable s c u m by danny katz i like this book because it has funny bits like a guy sticking a red hot poker up someone s bum this is educational because it was by shakespear there you go posted by cheryl bernstein at 2 19 pm no comments email this blogthis share to x share to facebook share to pinterest labels small guy wednesday july 11 2012 the small guy on socrates socrates annoying mum you know socrates i think he would have been really annoying because when the other philosophers said anything he d just go why saying why to everything was what his philosophy was about he died because they made him drink poison and people were probably quite glad and people say that watching tv isn t educational posted by cheryl bernstein at 2 27 pm 1 comment email this blogthis share to x share to facebook share to pinterest labels philosophers small guy thursday july 5 2012 blocked last night i watched tv3 s premiere of the block nz it s a diy home renovation reality show based on an australian model in which four couples compete to do up dilapidated houses or as tv3 s website had it depilated homes which makes it sound more like the gc the first episode appeared to consist of a half hour commercial for bunnings these are the four houses the contestants will live in and renovate over three months clearly the art department has been hard at work with their crowbars with tarps on the roofs holes in the walls iron boarding up windows and piles of bricks and rubbish in the yards the block s derelict doer uppers look like half of christchurch nearly eighteen months after the earthquake where fixing houses is rather more critical than entertaining not wanting to be too mealy mouthed about it but at the very least it seems like a wasted opportunity doesn t it disappointingly i see they ve now fixed the typo posted by cheryl bernstein at 12 57 pm 2 comments email this blogthis share to x share to facebook share to pinterest labels earthquakes nz tv reality tv wednesday july 4 2012 the box of lost names central london 1961 photographer charles w cushman charles w ...