Editorial

By mere reason of its geographical definition, New Zealand's relationship to the condition of modern art is a curious one. In many ways, the big international centres can still seem remote; so that, in spite of the international success of artists such as Len Lye, Max Gimblett and Clair Fergusson, one might be surprised at the vitality of the contemporary avant-garde within our own shores. Certainly the impact of the New Zealand contingent at the last Sydney Biennale (and we will be covering this year's Biennale in the next issue) supported the view that in New Zealand experimental art is alive and flourishing.

In this issue, Leonard Bell interviews Stephen Bambury about his colour paintings and the potentiality in terms of emotional impact that a minimal or restricted art form offers. Peter Wells explores some recent work in fringe cinema in this country, arguing that there is more to our thriving cinematic industry than such feature films as Smash Palace or Race For The Yankee Zephyr.

Looking back to the past, Francis Pound contributes an essay on the role of the spectator in New Zealand painting. In the nineteen-eighties we can find new dimensions of significance in these visions of early New Zealand, not only seeing the complete vista from outside the frame, but appreciating the novelty and strangeness of this new Antipodean landscape seen by the spectator at the centre of the picture.

In our period where dealer galleries are accepted as one of the most vital aspects of the contemporary art scene, it is of interest to read Ann Calhoun's researches into the times and careers of two Wellington entrepreneurs of the visual arts in the 1930's. In this first of two articles, Calhoun surveys the contributions made by E. Murray Fuller until his early death at the age of forty-one in 1933.

Two articles have architectural associations: Robert Goodman looks at the renovations to Auckland's Downtown Customhouse, one of the City's major public buildings, dating from 1889, recently opened to the public as an Arts Centre; and Michael Dunn (whose study of John Kinder is due for publication later this year) has researched photographs and paintings by this Victorian clergyman and water-colourist in connection with the newly-opened Kinder House.

Finally, Suzi Gablik, the noted British art critic and lecturer, gives us her impressions of the State of the Nation, based on her conversations with artists on her recent trip throughout New Zealand in October and November of last year.

(Due to the dearth of exhibitions in galleries over January/February, Autumn issues of Art New Zealand will henceforth omit the Exhibitions section. The section will appear again with the Winter issue in June).