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I'm a MFA in Creative Writing at the University of Auckland. Welcome and I'll hand over to Ron.\"\u003Cbr \/\u003E\u003Cbr \/\u003EI felt as if I'd fallen down the rabbit hole rather than just descended into the Auckland Art Gallery basement for this session in the Weekend Gallery Series. Who is Diane, (except of course a MFA in Creative Writing at the University of Auckland)? She has no lanyard, she's not wearing a Festival t-shirt, nor an Art Gallery t-shirt, but rather a loose white cotton shirt which I later look for and find on google images described as a \"New Sexy Classic Womens Boyfriend Wind White Shirt Loose Long Sleeve\".\u003Cbr \/\u003E\u003Cbr \/\u003EBehind Diane, on the stage, the unintroduced Senior Curator, New Zealand and Pacific Art Ron Brownson is sitting chatting genially with someone who must be the artist Jim Allen, previously unknown to me, and the subject\/author of a new book called \u003Ci\u003E\u003Ca href=\"http:\/\/discover.elgar.govt.nz\/iii\/encore\/record\/C__Rb2931208__S%09%20Jim%20Allen%20%3A%20the%20skin%20of%20years%20%3A%20interviews%20with%20Jim%20Allen%20Lw%3D%3D%20by%20Phil%20Dadson%20and%20Tony%20Green.__Orightresult__U__X4?lang=eng\u0026amp;suite=def\"\u003EJim Allen: The Skin of Years\u003C\/a\u003E.\u0026nbsp;\u003C\/i\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EDiane gets back down and Ron raises his mike, looks at us, smiles, pauses, and premises, \"Looking through \u003Ci\u003EThe skin of years, \u003C\/i\u003EI realised it's \u003Cu\u003Eimpossible\u003C\/u\u003E to cover it in 40 minutes.\"\u003Cbr \/\u003E\u003Cbr \/\u003EI'll just insert my own premise here. Ron Brownson is always a pleasure to listen to, for his vast knowledge, his thoughtful intelligence, and, not least, his sly humour.\u003Cbr \/\u003E\u003Cbr \/\u003EThe book was born out of a series of recorded interviews with art historian Tony Green and artist Phil Dadson.\u003Cbr \/\u003E\u003Cbr \/\u003ERon asks, \"Was there a lot more talking that didn't make it into the book?\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Yes.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Wystan Curnow, in his foreword to the book, said 'Jim Allen is, we should now be saying, our first contemporary artist.' Do you agree with this?\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Yes.\"\u003Cbr \/\u003E\u003Cbr \/\u003EAnd then, \"Is it okay if I tell everyone your age?\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Yes.\"\u003Cbr \/\u003E\u003Cbr \/\u003EThere's just the slightest hint of a communal chuckle, but no worries, they are about to hit their stride. That last query was a lead-in to the story of how it all began: how Allen, after serving in World War II (making him now over 90) found himself in Italy, where the British Army, bless their hearts, ran courses for their soldiers, including art courses. Allen did a one-month course in clay sculpture which was held in the 16th century Medici Stables, just outside of Florence. \"They were all marble,\" he says. \"We had a stable for two.\"\u003Cbr \/\u003E\u003Cbr \/\u003EIn 1948 he received a government scholarship to attend the Royal College of Art in England. He was given 1200 pounds, which it was intended he would live on for three years. \"How long did that last?\", asks Ron. \"Oh, about a year.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ca href=\"http:\/\/www.futunatrust.org.nz\/wp-content\/uploads\/2013\/01\/futuna.scott_.slides-11-195x300.jpg\" imageanchor=\"1\" style=\"clear: right; float: right; margin-bottom: 1em; margin-left: 1em;\"\u003E\u003Cbr \/\u003E\u003C\/a\u003ERon shows us \u003Ci\u003EPolynesia\u003C\/i\u003E, Allen's 1951 diploma work for the Royal College of Art, carved of Ancaster limestone, one of Henry Moore's favourite stones, as hard as marble but \"warmer and fleshier\", as Ron has so ably described it. In 2007 Allen gifted this sculpture to the people of Auckland, as part of the permanent collection of the Auckland Art Gallery.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"margin-left: auto; margin-right: auto; text-align: center;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-emxmyEyQbhY\/VV7Nl4ubdkI\/AAAAAAAAA-A\/DYxVHpMoDDs\/s1600\/Polynesia.jpg\" imageanchor=\"1\" style=\"margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" height=\"320\" src=\"https:\/\/4.bp.blogspot.com\/-emxmyEyQbhY\/VV7Nl4ubdkI\/AAAAAAAAA-A\/DYxVHpMoDDs\/s320\/Polynesia.jpg\" width=\"207\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Cspan style=\"font-size: xx-small;\"\u003E[Auckland Art Gallery Toi o Tāmaki, gift of the artist, 2007]\u003C\/span\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Cbr \/\u003E\u003C\/div\u003EBack again in New Zealand, Allen taught at the University of Auckland's Elam School of Fine Arts and continued to create astonishing works, such as his \u003Ci\u003ESculpture 1, \u003C\/i\u003Efrom 1955, which Ron calls \"the most radical piece of sculpture produced in New Zealand that year\", now destroyed, and \u003Ci\u003ELight modulator \u003C\/i\u003Efrom 1960, now in the collection of the Auckland Art Gallery.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: left; margin-right: 1em; text-align: left;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/1.bp.blogspot.com\/-Qgl-YvI5EB4\/VVw2wvbP0PI\/AAAAAAAAA9g\/QsbHBt0FlWs\/s1600\/Sculpture%2B1.jpg\" imageanchor=\"1\" style=\"clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" height=\"320\" src=\"https:\/\/1.bp.blogspot.com\/-Qgl-YvI5EB4\/VVw2wvbP0PI\/AAAAAAAAA9g\/QsbHBt0FlWs\/s320\/Sculpture%2B1.jpg\" width=\"230\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Ci\u003ESculpture 1 \u0026nbsp;\u003C\/i\u003E(photo courtesy Ron Brownson)\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Ctable align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"margin-left: auto; margin-right: auto; text-align: center;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/3.bp.blogspot.com\/-JiURbOqbMa4\/VVw3eTeqH0I\/AAAAAAAAA9o\/Ga3ePzwdaVc\/s1600\/Light%2Bmodulator.jpg\" imageanchor=\"1\" style=\"clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" height=\"320\" src=\"https:\/\/3.bp.blogspot.com\/-JiURbOqbMa4\/VVw3eTeqH0I\/AAAAAAAAA9o\/Ga3ePzwdaVc\/s320\/Light%2Bmodulator.jpg\" width=\"203\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Ci\u003ELight modulator, \u003C\/i\u003EAuckland Art Gallery Toi o Tamaki\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EThe most amazing discovery for me was the Futuna Chapel in Wellington, \"one of the most spiritual interiors in all New Zealand\", as Ron describes it. It was designed by John Scott, with windows by Jim Allen that cast shimmering patterns of coloured light on the walls, which in the course of the day move across a large scale, magnificent mahogany Christ figure, also Allen's work. This \"very emotional, very passionate work\", to use Ron's words, was missing for 12 years, stolen, but happily it was recovered and reinstated in the chapel. Allen remembers, though, not being happy with the fact that \"a local person\" had thought it would be a good idea to oil it until it was almost black. Looking at the mahogany, you can understand why.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: left; margin-right: 1em; text-align: left;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Cimg alt=\"Futuna Windows by Jim Allen\" src=\"http:\/\/www.futunatrust.org.nz\/wp-content\/uploads\/2010\/08\/futuna-scott_-slides-9.jpg\" height=\"320\" style=\"margin-left: auto; margin-right: auto;\" width=\"208\" \/\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003EPhoto by Simon Burt www.futunatrust.org.nz\u0026nbsp;\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cbr \/\u003E\u003Ctable align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"margin-left: auto; margin-right: auto; text-align: center;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/www.futunatrust.org.nz\/wp-content\/uploads\/2013\/01\/futuna.scott_.slides-11-195x300.jpg\" imageanchor=\"1\" style=\"clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" src=\"http:\/\/www.futunatrust.org.nz\/wp-content\/uploads\/2013\/01\/futuna.scott_.slides-11-195x300.jpg\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003EThe Futuna Christ www.futunatrust.org.nz\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cbr \/\u003E\u003Cdiv\u003EThe year 1968 was a turning point for Jim Allen, as for many around the world. He took a sabbatical from his teaching and visited Mexico, the U.S. and Europe, and it was on this trip that he first encountered, and heard the siren song of, performance and conceptual art, a song which this wanderer not only did not resist, but absorbed and brought home with him, becoming one of the leaders of post-object art, as it was known in New Zealand.\u003Cbr \/\u003E\u003Cbr \/\u003EThe next image is Allen reclining on the floor among 4 chainsaws.\u0026nbsp;\u003C\/div\u003E\u003Cdiv\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv\u003E\"What is the name of this performance piece?\" asks Ron.\u003C\/div\u003E\u003Cdiv\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv\u003E\"\u003Ci\u003EChainsaws\u003C\/i\u003E.\"\u003C\/div\u003E\u003Cdiv\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv\u003E\"And what was the poem that accompanied it?\"\u003C\/div\u003E\u003Cdiv\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv\u003E\"\u003Ci\u003EHowl\u003C\/i\u003E. The chainsaws sat on the floor humming and I read the poem which no one could hear of course. But the chainsaws didn't have enough power so they cut out before the end of the poem.\"\u003Cbr \/\u003E\u003Cbr \/\u003EPhotos of another piece, called \u003Ci\u003EContact, \u003C\/i\u003Epresented at the Auckland Art Gallery in 1974, show us people in their underwear with buckets of paint, then the same people applying the paint to their \"points of articulation\", and finally all the people covered in paint, entangling with each other in a sort of orgy of smear and colour. It was about human contact, but, says Ron, \"I have to confess I was there and I didn't understand it. What was the reaction?\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Oh, it was picked up at a high level. I was warned they were going to try to join in.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"In 1974, this was really outside New Zealand contemporary art, wasn't it?\" asks Ron.\u003Cbr \/\u003E\u003Cbr \/\u003E\"Yes,\" says Jim, \"I think so.\"\u003Cbr \/\u003E\u003Cbr \/\u003EHe pauses and goes on, \"I think that at the time very few people understood what I was doing. They didn't have a clue. Recognising that gulf between the audience and the work, I persisted in the work.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ci\u003EI persisted in the work.\u003C\/i\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EAcknowledgement and admiration from me and everyone in the room, for that. Ron Brownson, in closing, says it for us. \"Jim, thank you so much for your generous art and your wonderful book.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable align=\"center\" cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"margin-left: auto; margin-right: auto; text-align: center;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Cimg src=\"http:\/\/www.rampub.com\/images\/books\/resized\/978-0-9876593-6-1.2.jpg\" style=\"margin-left: auto; margin-right: auto;\" \/\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Cbr \/\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cbr \/\u003E-- \u003Ci\u003EKaren\u003C\/i\u003E\u003C\/div\u003E\u003Cdiv\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003C\/div\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/albooksinthecity.blogspot.com\/feeds\/6855087623170302076\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2015\/05\/awf15-jim-allen-and-ron-brownson.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/6855087623170302076"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/6855087623170302076"},{"rel":"alternate","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2015\/05\/awf15-jim-allen-and-ron-brownson.html","title":"Jim Allen, New Zealand's first contemporary artist: AWF15"}],"author":[{"name":{"$t":"Karen Craig"},"uri":{"$t":"http:\/\/www.blogger.com\/profile\/18310967522076681423"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"23","height":"32","src":"http:\/\/4.bp.blogspot.com\/-WaLn2rFYxqE\/UNvHlimMvBI\/AAAAAAAAABY\/ceYnAw1lZEk\/s220\/The%2BLibrarian.jpg"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"https:\/\/4.bp.blogspot.com\/-emxmyEyQbhY\/VV7Nl4ubdkI\/AAAAAAAAA-A\/DYxVHpMoDDs\/s72-c\/Polynesia.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-2501884760724421053.post-7770700117285800449"},"published":{"$t":"2014-05-30T20:40:00.000+12:00"},"updated":{"$t":"2014-05-30T20:40:46.649+12:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Auckland Writers Festival"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Auckland Writers Festival 2014"},{"scheme":"http://www.blogger.com/atom/ns#","term":"AWF 2014"},{"scheme":"http://www.blogger.com/atom/ns#","term":"David"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Jill Trevelyan"},{"scheme":"http://www.blogger.com/atom/ns#","term":"John Reynolds"},{"scheme":"http://www.blogger.com/atom/ns#","term":"New Zealand art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Peter McLeavey"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Rhana Devenport"}],"title":{"type":"text","$t":"Auckland Writers Festival 2014: Peter McLeavey"},"content":{"type":"html","$t":"\u003Cb\u003EGuest post by David Ashman, Preservation Manager, Auckland Libraries\u003C\/b\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EI chose '08 - Peter McLeavey' from the programme of AWF events because I have worked with Jill Trevelyan, author of \u003Ci\u003E\u003Ca href=\"http:\/\/search.aucklandlibraries.govt.nz\/?itemid=|library\/marc\/supercity-iii|b2764856\"\u003EPeter McLeavey: the life and times of a New Zealand art dealer\u003C\/a\u003E,\u003C\/i\u003E and I had met Peter on a couple occasions and felt drawn to attend out of curiosity, conviviality and a sense of allegiance.\u003Cbr \/\u003E\u003Ctable cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: right; margin-left: 1em; text-align: right;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-Z1uTt5W9F_w\/U4hAAu0fp8I\/AAAAAAAAAf0\/Uqwheizzx60\/s1600\/Devenport_Rhana.jpg\" imageanchor=\"1\" style=\"clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" src=\"http:\/\/4.bp.blogspot.com\/-Z1uTt5W9F_w\/U4hAAu0fp8I\/AAAAAAAAAf0\/Uqwheizzx60\/s1600\/Devenport_Rhana.jpg\" height=\"200\" width=\"126\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003ERhana Devenport\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003EWhat I hadn't realised until I had made my way down to the burrows of the Aotea Centre was that it was a panel discussion that included artists John Reynolds and Yvonne Todd and was chaired by Auckland Art Gallery Director Rhana Devenport.\u003Cbr \/\u003E\u003Cbr \/\u003EWhat ensued was a lively and insightful discussion among three people who know Peter well, hold him in high regard and carry a swag load of affection and respect for the man.\u003Cbr \/\u003E\u003Cbr \/\u003EThis affection didn't prevent revealing Peter's sometimes less than flattering dark side, though it never steered into sensationalism or offensiveness.\u003Cbr \/\u003E\u003Cbr \/\u003EIt was revealed that Peter liked to be in control to the extent that you didn't buy art from Peter, he sold it to you, if he wanted to. John recounted his own story about having decided he wanted to buy a particular artwork by Laurence Aberhart and being taken by surprise to find himself negotiating with Peter for the right to write a cheque and bring the work back to Auckland.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: left;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-jjlEfO4GYBc\/U4hA6DCYQ4I\/AAAAAAAAAf8\/qq8C2Ho4UMk\/s1600\/Reynolds_John.jpg\" imageanchor=\"1\" style=\"clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" src=\"http:\/\/4.bp.blogspot.com\/-jjlEfO4GYBc\/U4hA6DCYQ4I\/AAAAAAAAAf8\/qq8C2Ho4UMk\/s1600\/Reynolds_John.jpg\" height=\"200\" width=\"143\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"font-size: 13px; text-align: center;\"\u003EJohn Reynolds\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003EThe panel continued in this vein with their own personal anecdotes, fond memories and sometimes bizarre stories that conjured up a picture of a man who was generous in his support of artists, committed to New Zealand art, and who had an idiosyncratic approach to business.\u003Cbr \/\u003E\u003Cbr \/\u003EThe session had begun with a clip from the documentary from a few years back called 'The Man in a Hat' and it ended with another tantalising glimpse from that documentary of a man not just in a hat, but also wearing a warm, thick and comfortable cloak of mana.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-YgweaHDSpCQ\/U4hBPIbobCI\/AAAAAAAAAgE\/lXRhZkJPuUw\/s1600\/Trevelyan_Jill_Peter_McLeavy.jpg\" imageanchor=\"1\" style=\"clear: right; float: right; margin-bottom: 1em; margin-left: 1em;\"\u003E\u003Cimg border=\"0\" src=\"http:\/\/4.bp.blogspot.com\/-YgweaHDSpCQ\/U4hBPIbobCI\/AAAAAAAAAgE\/lXRhZkJPuUw\/s1600\/Trevelyan_Jill_Peter_McLeavy.jpg\" height=\"200\" width=\"150\" \/\u003E\u003C\/a\u003E\u003C\/div\u003EAll three panelists and the chair provided an entertaining and highly informative hour that came to a close all too quickly and left me wanting to delve deeper into Peter's story; for that I will need to read Jill Trevelyan's highly regarded book.\u003Cbr \/\u003E\u003Cbr \/\u003EAnd just when it all seemed to be over, a member of the audience stood up and revealed that he was Peter's nephew. As if to confirm Peter's need to be in control he recounted the story of how as an eighteen-year-old he had announced he would like to be an Art Dealer, like Uncle Peter. His mother telephoned her brother and asked if he would take Paul on and show him the ropes, as it were. There was a moment's silence, then Peter said he would call him when he was ready -- thirty-five years later, Paul still hasn't received the call."},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/albooksinthecity.blogspot.com\/feeds\/7770700117285800449\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2014\/05\/auckland-writers-festival-2014-peter.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/7770700117285800449"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/7770700117285800449"},{"rel":"alternate","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2014\/05\/auckland-writers-festival-2014-peter.html","title":"Auckland Writers Festival 2014: Peter McLeavey"}],"author":[{"name":{"$t":"Karen Craig"},"uri":{"$t":"http:\/\/www.blogger.com\/profile\/18310967522076681423"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"23","height":"32","src":"http:\/\/4.bp.blogspot.com\/-WaLn2rFYxqE\/UNvHlimMvBI\/AAAAAAAAABY\/ceYnAw1lZEk\/s220\/The%2BLibrarian.jpg"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/4.bp.blogspot.com\/-Z1uTt5W9F_w\/U4hAAu0fp8I\/AAAAAAAAAf0\/Uqwheizzx60\/s72-c\/Devenport_Rhana.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-2501884760724421053.post-3543361938940066311"},"published":{"$t":"2013-06-01T16:00:00.000+12:00"},"updated":{"$t":"2015-11-22T17:21:55.025+13:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Auckland Writers and Readers Festival"},{"scheme":"http://www.blogger.com/atom/ns#","term":"AWRF"},{"scheme":"http://www.blogger.com/atom/ns#","term":"AWRF 2013"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Karen"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Pat Hanly"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Ron Brownson"}],"title":{"type":"text","$t":"Ron Brownson on Pat Hanly and \"The Joy of Art\" at AWRF 2013"},"content":{"type":"html","$t":"\u003Cdiv style=\"text-align: right;\"\u003E\u003Ca href=\"http:\/\/3.bp.blogspot.com\/-ecPlP9XNFH0\/UayYi0bXL1I\/AAAAAAAAAOw\/cjpiuM1BCVk\/s1600\/Brownson.jpg\" imageanchor=\"1\" style=\"clear: right; float: right; margin-bottom: 1em; margin-left: 1em;\"\u003E\u003Cimg border=\"0\" height=\"200\" src=\"http:\/\/3.bp.blogspot.com\/-ecPlP9XNFH0\/UayYi0bXL1I\/AAAAAAAAAOw\/cjpiuM1BCVk\/s200\/Brownson.jpg\" width=\"151\" \/\u003E\u003C\/a\u003E\u003C\/div\u003EI was very happy to discover upon arriving at the Auckland Art Gallery that this session was a sell-out, landing Ron Brownson and Pat Hanly up there with the rock star and the war stories, but as more and more people disappeared through the door to the auditorium I became a little apprehensive that I would be that one fan who wouldn't make it in.\u003Cbr \/\u003E\u003Cbr \/\u003EAs it turned out I was found a place among those circumstantial seats in the very front row, practically under the podium, and there was Ron Brownson himself, a few seats over, waiting to go on. When he spied me, he popped conspiratorially into the seat next to mine and anticipated to me that there was a good line about Auckland Libraries coming up.\u003Cbr \/\u003E\u003Cbr \/\u003EThe line was \"I was recently outed by Auckland Libraries. Someone said, 'That took a long time!'\"\u003Cbr \/\u003E\u003Cbr \/\u003EI count on that being a reference to his having taken part in \"Review Revue\", the event I ran during this year's Pride Festival highlighting the world of gay fiction, which made me very proud. On that occasion, Ron read a very funny story he'd written about his experiences as a boy going to the library to look for books about sex, rather unsuccessfully, unless you count the Kinsey report a good read. But he loves Auckland Libraries, where I first met him ten years ago over books ... not about sex, but about Persian carpets. (\"That's Ron Brownson. He knows everything about Persian carpets.\" a librarian had whispered to me as he approached.)\u003Cbr \/\u003E\u003Cbr \/\u003EAt the Art Gallery, Ron was there to talk about the great New Zealand artist Pat Hanly, about whom he also knows a lot, both as a personal friend and as an art curator (Senior curator for NZ and Pacific Art, to be exact).\u003Cbr \/\u003E\u003Cbr \/\u003EHe confided that when he chose the title of his talk, people didn't like it. But he insisted that it was right for Pat's art.\u0026nbsp; \"It's for joy. It adores living.\"\u003Cbr \/\u003E\u003Cbr \/\u003EHe went on to recall the state of New Zealand art in the 1950s, when Pat Hanly left for Europe, as many artists were doing. It's easy not to realise that there were probably not 50 people in New Zealand working full time as visual artists. \"There was not a community of artists here,\" Ron said dryly, adding that the Art Gallery did not show contemporary artwork until the 1960s.\u003Cbr \/\u003E\u003Cbr \/\u003EThen, luckily for New Zealand art, in 1962, after he'd been sucking at the \"European teat\" (to borrow the term Hamish Keith used to him) for five years, being influenced by Chagall, Francis Bacon and Pop Art, Pat Hanly decided that he preferred the \"blue antipodean freedom of New Zealand or Australia\" and came back.\u003Cbr \/\u003E\u003Cbr \/\u003EAt that point, Rita Angus was a full-time artist, but Peter McIntyre was having to do family portraits to get by as an artist; neither were Toss Woollaston or Colin McCahon full-time artists. All did become full time artists after Pat's return and for Ron,\u0026nbsp; \"I am convinced it was Pat who made that happen.\"\u003Cbr \/\u003E\u003Cbr \/\u003EOne of the changes Ron pointed out was how Pat's beach paintings from the 1960s were \u003Ci\u003Eurban \u003C\/i\u003Epaintings: \"These are not farmers we see.\"\u003Cbr \/\u003E\u003Cbr \/\u003ERon talked about the clear light, the bright colours. \"I'll tell you the reason some people don't like his paintings. It's because they are about joy and happiness\".\u003Cbr \/\u003E\u003Cbr \/\u003EPat's self-portrait: \"It's seeing oneself as part of a very large world. The word for this is cosmic\".\u003Cbr \/\u003E\u003Cbr \/\u003EAnd then Ron read us Robert Sullivan's wonderful poem \"Arohanui\":\u003Cbr \/\u003E\u003Cbr \/\u003EBig love, that's what it means.\u003Cbr \/\u003EAroha Nunui means huge love.\u003Cbr \/\u003EAroha Nunui Rawa means very huge love.\u003Cbr \/\u003EAroha Nunui Rawa Ake means bigger very huge love.\u003Cbr \/\u003EAroha Nunui Rawa Ake Tonu\u003Cbr \/\u003E\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; means bigger enduring very huge love.\u003Cbr \/\u003EAroha Nunui Rawa Ake Tonu Atu\u003Cbr \/\u003E\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp; means biggest enduring hugest love,\u003Cbr \/\u003Ewhich are some of the lengths and times of our longing. \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EAnd closed by saying\u003Cbr \/\u003E\u003Cbr \/\u003E\"I'd like you all to think about Pat Hanly, how much he's meant for our city and for our cohorts.\"\u003Cbr \/\u003E\u003Cbr \/\u003EA wonderful hour, graced by the presence of photographer Gil Hanly, Pat's wife, taking photos, reminiscing with Ron, appearing with Pat in old photos Ron showed, such as Marti Friedlander's famous portrait from 1969, now in the collection of the Auckland Art Gallery Toi o Tāmaki.\u003Cbr \/\u003E\u003Cbr \/\u003E\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003Cimg src=\"http:\/\/49.50.242.36\/images\/gallery\/1991-2000\/2000_28_53.jpg\" \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ca href=\"http:\/\/www.syndetics.com\/index.aspx?isbn=9780473208646\/mc.gif\u0026amp;upc=\u0026amp;oclc=\u0026amp;client=elgar\" imageanchor=\"1\" style=\"clear: left; float: left; margin-bottom: 1em; margin-right: 1em;\"\u003E\u003Cimg alt=\"syndetics-lc\" border=\"0\" src=\"http:\/\/www.syndetics.com\/index.aspx?isbn=9780473208646\/mc.gif\u0026amp;upc=\u0026amp;oclc=\u0026amp;client=elgar\" \/\u003E\u003C\/a\u003E\u003Cbr \/\u003EThe Auckland Art Gallery holds 92 works by Pat Hanly which you can browse \u003Ca href=\"http:\/\/www.aucklandartgallery.com\/the-collection\/browse-artists\/525\/pat-hanly\/images\"\u003Ehere\u003C\/a\u003E,\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003ERon also showed us the beautiful new book \u003Ca href=\"http:\/\/search.aucklandlibraries.govt.nz\/?itemid=|library\/marc\/supercity-iii|b2690377\"\u003E\u003Ci\u003EHanly \u003C\/i\u003E\u003C\/a\u003Efrom Ron Sang Publications, with an essay by Gregory O'Brien, plus contributions from John Coley, Quentin McFarlane, Barry Lett and Dick Ross, and Gil Hanly as photographic editor. "},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/albooksinthecity.blogspot.com\/feeds\/3543361938940066311\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2013\/05\/ron-brownson-on-pat-hanly-and-joy-of.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/3543361938940066311"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/2501884760724421053\/posts\/default\/3543361938940066311"},{"rel":"alternate","type":"text/html","href":"http:\/\/albooksinthecity.blogspot.com\/2013\/05\/ron-brownson-on-pat-hanly-and-joy-of.html","title":"Ron Brownson on Pat Hanly and \"The Joy of Art\" at AWRF 2013"}],"author":[{"name":{"$t":"Karen Craig"},"uri":{"$t":"http:\/\/www.blogger.com\/profile\/18310967522076681423"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"23","height":"32","src":"http:\/\/4.bp.blogspot.com\/-WaLn2rFYxqE\/UNvHlimMvBI\/AAAAAAAAABY\/ceYnAw1lZEk\/s220\/The%2BLibrarian.jpg"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/3.bp.blogspot.com\/-ecPlP9XNFH0\/UayYi0bXL1I\/AAAAAAAAAOw\/cjpiuM1BCVk\/s72-c\/Brownson.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}}]}});