Fantastica: The World of Leo Bensemann. By Peter Simpson

Peter Simpson has long been fascinated with aspects of the life and work of Leo Bensemann as painter graphic artist, typographer and printer and many years of his dedicated research has resulted in this extensive biography and the associated exhibition currently on show at the Christchurch Art Gallery.

Simpson examines Benseman’s highly productive life through a chronological structure beginning with his early family years and education in Takaka and Nelson and the move to Christchurch. He discusses the beginning his graphic and printing career, his involvement with The Group artist’s collective and concludes with final era when Bensemann was able to devote his energies entirely to painting.

Given Simpson’s extensive academic background in New Zealand literature he is very confident when he explores the Bensemann’s role within the Caxton Press and its activity with the New Zealand literary world in particular the relationship with Charles Brasch whose generous beneficence in time and money sustained the Landfall literary magazine.

The author provides an in-depth consideration of Bensemann’s illustrative work and his undoubted ability in the printing field involving his sensitivity to the use of type in making the printed page a thing of beauty. Typography is indeed the invisible art and Simpson reveals how, specifically with Landfall, excellent printing is the natural handmaiden to fine poetry and literature. We can also observe how the Caxton Press, probably under the stimulus of Dennis Glover, closely correlated to the English Private Press movement.

The author’s research draws heavily from the Bensemann family archives and quotes frequently from various correspondence in particular with Lilburn. This provides us with insight into a man who formed many deep, lasting and productive friendships.

My late colleague Trevor Moffitt was one of these friends and he was also keen to write about Leo but I am sure if he had actually produced his planned biography it would have conveyed a very different picture even though Simpson has referred to the Moffitt /Bensemann interview discussion notes which are now in the Christchurch Gallery Library. The important meeting ground for both these men and their many Christchurch colleagues, was the New Albion Pub which was perhaps the creative centre of the city’s visual cultural world. It was here that the many political aspects of the New Zealand and local art scene were heatedly discussed and principles and theories often fiercely argued.

Some of the theories that Simpson claims were influential on Bensemann’s art could have well been challenged in this environment. I must admit to a being confused when the author describes Christchurch as provincial and compares this to Auckland’s progressive visual art directions. If the term’s meaning relates to a concern to reflect the ideas and values of the perceived international centres of art production then the hankering after European school of Paris i.e. cubist stylistic aspects or European abstraction and stylistic developments within the NY school then the Auckland visual art environment appears to fit more closely to the description of provincialism.

The author presents the dominant Christchurch art theory and practice as being nationalist. My feeling is that apart from the New Albion group constantly and rather meanly attacking the Canterbury School of Art and its curriculum reforms as being dominated by a “bunch of poms” there was not a great interest in nationalist sentiments. That there was no real substance to this position is apparent when one considers Bensemann’s close and rewarding friendship with senior lecturer in typography, Max Hailstone, one of the “art school poms”.

Leading members of this “New Albion” group including Sutton, Moffitt, Macfarlane were clearly persistent regionalists who firmly believed that their visual art products must reflect aspects of their their physical, cultural or intellectual environment. It may be more relevant to compare the values of Christchurch artworld with the Melbourne “Antipodean Manifesto” sentiments against Auckland having, in the manner of Sydney, an internationalist focus. The simplistic view that Auckland was the more progressive centre and Christchurch and the Group were backward looking conveys an old modernist idea of progress which does not reflect today’s thinking .

Bensemann and his closest colleague’s clearly felt that their art was an expression of identity including a spiritual meaning of place and this belief glows from all of their work. Bensemann’s regional values appear to have deepened throughout his Group involvement and further evolved through frequent painting trips with Doris Lusk. The surrealist or fantastic aspects Simpson identifies in Bensemann’s art appears mostly in the artist’s illustrative work while the last rather haunting rock paintings were often inspired by close rendering of actual found object i.e.hand held rocks.

It also appears that most of the artist’s visual art products including paintings, both portrait and landscape as well as the exquisite drawings, were essentially inspired by a fastidious attention to detail and a strong, finely honed, sense of design that developed from his printer’s eye

Although disagreeing with some of the author’s conclusions Fantastica: the World of Leo Bensemann provides a very rewarding and interesting read. It is a very beautiful book including its quality paper stock excellent graphic design and wealth of superb reproductions is worthy of the subject who devoted his energy to the highest ideals in this craft

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Planning the Ideal City

October 31, 2010

The Christchurch Civic Trust is eager to clarify its policy position in regard to the future rebuilding of the city after the destructive effects of the Sept 4^th earthquake

The Trust perceives that this terrible and destructive event may have also created a clear opportunity for investment in well designed housing activities as part of the plan to revitalize the inner city.

The Civic Trust is also concerned to ensure that every endeavour is made to retain and conserve the city’s listed distinctive heritage buildings and that character buildings are also retained as a means of preserving the unique history of the Christchurch built environment.

The Trust in particular supports democratic and inclusive processes which respects the citizen of Christchurch along with encouraging business and employment developments.

The Civic Trust as a specific organization, has been in existence since the 1960s, was formed at a time when the city was beginning to be transformed with the aims of enabling the development of an efficient traffic flow.

The idea that parks and reserve could be utilized to assist this new car-driven urban environment was not considered a necessarily logical idea of progress and forty years later we can observe that the advantages of focusing private transport are being challenged as an extravagant myth and we can observe the degree to prioritizing the private car over alternative forms of public transport has destroyed much of the urban environment.

The aims of this organization are consistent in its desire to encourage a positive city environment that creates a pleasant life experience socially, culturally, visually and maintains respect for its history and meaning for its citizens.

An examination of its activities and history demonstrate some of the Civic Trust’s positive achievements . Examples include initiating, in the 1970s, the development of the former University site as the city’s Arts Centre devoted to stimulating and supporting the cultural and social life of the citizens of in broad fields of activity. The Civic Trust also raised the funds for the purchase of the beautiful Monavale which has become part of the city’s parks and reserves for the enjoyment of local people and visitors and the Trust initiated the purchase of the wonderful Mt Vernon reserve for the open use of Christchurch citizens.

How does the Civic Trust perceive its role today in relation to the rebuilding/reconstruction of Christchurch after the destruction wrought on the city by this traumatic earthquake event?

Of course the Trust firmly believes that high priority must be given to an effective planning process to permit meaningful consultation and inclusion of all interested citizens. This would also ensure any domination of one interest group such as inappropriate property development, which may not be to the advantage of the wider population’s need or requirements, would be avoided.

The Civic Trust has always recognized that a wide variety of activities create a vibrant and agreeable environment for the citizens and visitors to this city. This includes the built architectural heritage, along with creative and innovative contemporary design activities. The enhancement and use of the natural environment including the city’s parks and reserves and any aspect that encourages a lively cultural and social life is also an ongoing concern. Encouraging greater residential development in the inner city is an important aspect of any revitalization plan.

Some comment has been made that more economical construction processes may be necessary in the city’s reconstruction activities. This may need to be a consideration but the Trust firmly holds to the principle that the quality of design should never be sacrificed. Excellent residential accommodation can be created if there is a clear will and great guidance through a well defined city plan even although the means may be modest. Many of the current examples of inner city high density housing are not a desirable design model s for future developments.

There has never been a greater need and opportunity for thoughtful and imaginative thinking in the city.

There is of course a wide range of participants in creating such an environment. A thriving business community will support aims which concentrate on the well-being of citizens along with the recognition of the contribution of the tourist industry. The Civic Trust recognized that an effective infrastructure also creates a healthy and productive city and we can all see how vital some often quite invisible activities such as our water and sewerage systems are to our rivers and beaches as well as domestic comfort. The Trust in particular, looks to our cultural industries to promote the city including our museums, galleries, libraries and performing arts venues. Respect and appreciation of the splendid infrastructure created through the city’s parks and reserves which will enhance the life and leisure both now and for future generations

What then is this organization’s vision for the reconstruction of the earthquake damage wrought upon the city? Firstly is the continuing striving or aspirations for the finest milieu for the citizens to live within. This includes the vital protection of the integrity of our heritage architecture, a consistent quality in the design of the contemporary built environment and protection and respect for the natural surroundings.

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New Role for McDougall Gallery

March 16, 2010

The possible utilisation of the old McDougal Gallery as a venue for the particular display of the historic collection of Canterbury artworks

The proposal made by Anna Creighton that the mounting a permanent exhibition drawn from the historic collection of Canterbury paintings, held at Christchurch Gallery, could be mounted in the old Mc Dougall Gallery space appears to have provoked a little storm in the city’s artworld but it has also raised some thoughtful possibilities .

I do not agree with the editorial (sat 30^th Jan) that this proposal represents the reaction of a conservative Christchurch public who do not like the absence of some familiar works from the current presentation of the historic collection at the Christchurch Gallery but this discussion does suggest some thoughtful ideas for future developments of the selection and display of the region’s art heritage.

The recent re-hang of the Christchurch Gallery’s collection has certainly conveys a vigorous new direction and suggests that indeed the paradigm has finally shifted.

In the past, both the McDougall and the Christchurch Gallery’s paradigm or focus has been on telling the story of the particular developments in Canterbury’s visual art with perhaps a concentration on the teachers and graduates from the Canterbury University School of Fine Arts. The former senior curator Neil Roberts assiduously collected works in order to fill any perceived gaps in this Canterbury visual arts narrative.

The paradigm shift or the evident new model presented in the latest hang of works from the Christchurch Gallery’s collection has meant that the gallery has quite firmly shifted from this past regional or local emphasis to a greater representation of a national history of New Zealand art. For example Margaret Stoddard, an early Christchurch painter who attended Canterbury School of Fine Arts in the 1880s, is now omitted and this era is represented by the exhibition of fourteen Francis Hodgkin’s works. Although Hodgkin’s early career emerged from the Dunedin art environment and she went on to achieve international recognition as a participant in a romantic form of English modernism, she has never featured strongly in Canterbury developments (except perhaps for the Pleasure Garden affair).

This new interest in reflecting major national rather than regional or local art developments continues in the current re-hang through to the contemporary selection with the prominence given to Bill Culbert and John Reynolds large installations, and even the inclusion of a Warhol print, making it quite clear that the Christchurch Gallery curatorial staff now have little interest in retelling the essential Canterbury story and that the Gallery is repositioning itself and is taking on a more national or Te Papa type of role.

Now whether this is a positive or useful shift in the Christchurch gallery’s role is another area for some stimulating discussion however this “shift” in focus has opened up other quite exciting possibilities. This includes the concept of shifting the Canterbury historical art works that have are now become less visible, into another venue, such as the currently underutilized McDougall, and so allowing the visitor, both local and tourist, to appreciate particular developments that have become icons for this region.

This would, of course, require some restructuring within our city’s cultural institutions but this should not be too difficult. The Canterbury Museum already possesses a fine collection of Canterbury artworks including items in photography, ceramics, metalwork, jewelry and furniture etc. that express the local story. Exchange between these two institutions can easily occur. This will allow the far greater developments in both the historic, social and cultural history in the Museum as well as the presentation of more contemporary fields at Christchurch Gallery.

Some restructuring would mean we could envision the Museum becoming the site of a rich reservoir of local historic developments in all the areas of the visual arts which currently does not occur at Christchurch gallery as there has been a dearth or only limited exposure of a wide range of craft and applied arts and design at the current venue. The two upcoming exhibitions, the Ngai Tahu taonga and artwork and the exhibition of Antactic photography would fit nicely into such a programme.

If Canterbury Museum takes on the role of representing the region’s specific visual arts culture such an arrangement would allow continuing meaningful and essential study of visual arts developments in our regional history for both the local and international scholar.

If these needs are fulfilled by Canterbury Museum utilising the old McDougall site this will leave the Christchurch gallery free to concentrate on and develop its contemporary New Zealand collection as well as presenting international exhibitions

Both the Museum and the Art Gallery have recently received major generous beneficence which would greatly assist any necessary restructuring. The implications of the munificence of the late Norman Barrett and his desire that this gift be directed to a particular era of Canterbury visual art developments is also interesting given the current paradigm shift at the Christchurch Gallery.

It is useful to review how other city institutions in New Zealand have positioned themselves in relation to the historical and contemporary collection and exhibition of visual culture. Dunedin has also recently re installed its collection where it appears to have focused particularly on its “Beloved Works” from its significant collection of historical, national and international art objects. Auckland as always is upstaging the capital with the development a much more expansive gallery venue along with the utilisation of natural light and of course Auckland appears to believe that as this region is at the heart of all national developments so Canterbury’s dichotomy is not so much of an issue. Wellington City Gallery does not sustain a collection leaving this to Te Papa so we can observe how this has permitted a lively program of national and international contemporary art to occur.

Objections to the concept of the Museum taking on the responsibility of historic developments in our distinctive visual arts culture may raise issues of “turf protection” but it is always a productive exercise to examine the effectiveness of traditional or habitual boundaries and consider any changes that have the potential to expand and benefit our city’s cultural environment.

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Bruce Finnerty and Naive Art

March 16, 2010

Bruce Finnerty Exhibition.

Not content to celebrate his sixty-fifth birthday in a fairly unique style, Sumner resident and amateur painter Bruce Finnerty decided to include an exhibition of his own art works as part of the event. He presented 65 art works, one for each of his years, on various walls and spaces around the old cottage at Louden farm which is also the site for the major Sculpture on the Peninsular biennial charity show.

Bruce appeared considerably surprised when virtually all the works were sold on the day. Yes -they were very modestly priced and Bruce was donating the sale of works to the Nurse Maud Hospice but it was also clear that the purchasers and viewers were also responding immediately and enthusiastically to these paintings

So what were the factors that made these artworks so desirable and so appealing? The best description would be that Bruce, a well informed but untrained amateur, produced his paintings in a naïve style. That is, he makes no pretence at sophistication but creates images that conveyed an almost childlike immediacy. Simple almost stick-like figures, bright primary colour and simplified objects and landscape features are all taken directly from Bruce’s own and immediate experience. He appears to take a special delight in quirky signs, labels and in fact any idiosyncratic imagery much of which is drawn from his experience as a traveler, tramper or cyclist in the New Zealand out back.

The most apt description is that these artworks represent a sly and witty representation of New Zealand life particularly as Bruce has personally experienced it. The mostly small scale paintings are also presented in a typically unpretentious manner. Bruce frequently utilizes found materials as supports i.e. bits of old fences or other building materials that possess a distinctive patina of sun, weather and time. He then usually applies a white ground to the area he intends painting on. A very simple preparation indeed all which all adds to the sense of charming lack of sophistication

The scenes and objects Bruce depicts have a resonance for us all. The simple, lonely hut surrounded by wild grass, beside a river and with a snow covered mountain range in the background is something every New Zealand tramper has experienced. This essential, unadorned shelter is truly our vernacular architecture. Likewise the rendition of the posed family photograph taken after a gathering and celebratory picnic beside a significant waterfall landmark conveys so much of every New Zealander’s history and experience and there will be a similar photograph in many family albums.

While the appeal to the viewer can be explained we may ponder why we see so little of this form of art, as naïve art is recognized as a specific genre and is quite valued in other societies, it is rarely exhibited in any of our galleries or institutions.

Bruce also plays a supportive role in the Christchurch art-world both as a patron and financial adviser to many art-makers and he was an active member of the Centre of Contemporary Art (the former CSA) in the 1990s when he curated a highly successful exhibition of New Zealand wide examples of naïve art. Given the great success of this very personal exhibition of his work we may be hopeful that he will take the plunge and work toward other exhibitions of his unique art in this very enjoyable genre.

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