MILAN MRKUSICH Painting 61 No 8

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The Bank of New Zealand Art Collection Part I (#86AD) Closed

Auction Info

Lot 33MILAN MRKUSICH Painting 61 No 8

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Lot closed - Price Realised incl. BP:$179,250

Estimate: $70,000 - $140,000

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Description

Description:
Milan Mrkusich

Painting 61 No 8

1961

oil on canvas

signed MRKUSICH, dated '61 and inscribed No 61 in brushpoint lower right

800 x 851mm

PROVENANCE

Acquired from Peter McLeavey Gallery, Wellington, 1983.

EXHIBITIONS

Eighteen works 1960–61, The Gallery, Auckland, 1961.

LITERATURE

Alan Wright and Edward Hanfling, Mrkusich: The Art of Transformation (Auckland: Auckland University Press, 2009), plate 16.

Abstract painter Milan Mrkusich is known for his precise geometries, but he also had his painterly moments. In the early 1960s, he made a number of works responding to abstract expressionism. In their book Mrkusich: The Art of Transformation, Alan Wright and Ed Hanfling write, ‘Mrkusich’s belief that meaning or artistic content emerges from a primary encounter with the artist’s medium accounts for his interest in the work of the American Abstract Expressionists. Works such as Painting 61 No. 8 and Painting 61–13 … display an interest in the free calligraphic brushwork of Abstract Expressionism – or ‘Action Painting’, as it was popularly known.’

Raw Elements and Endgame: Abstract Painting in Aotearoa

Essay by JULIAN MCKINNON

The BNZ Art Collection provides a fascinating glimpse into art in New Zealand from the vantage point of the 1980s. It contains works in many styles, genres and mediums, produced by a broad range of artists – many of whom are today considered vitally important to the country’s art history. It includes a vein of historically significant modernist abstract painting, with works by Milan Mrkusich, Gretchen Albrecht, Geoff Thornley and Stephen Bambury. However, in the 1980s, postmodernism was on the rise, and the discourse on abstraction was shifting. If modernists looked to abstraction as form, postmodernists like Julian Dashper and John Reynolds would embrace it as a set of signs.

It is useful to understand the development of modernism to contextualise New Zealand abstract painting. Modernism was an all-encompassing reinvention of the plastic arts that took place in Europe and America from the latenineteenth century through to the 1970s. This far-reaching cultural revamp had many manifestations, one of the most conspicuous being non-representational painting, which arose partly in response to the invention of photography. It was a new type of painting that turned its back on a tradition of painting ‘pictures’. Instead, abstract painters addressed form and materiality – the substance of paint and the painting’s support. Abstract painting had no referents. It was ‘autonomous’ – it did not refer to the world beyond its own edges. Illusory depth – through various forms of perspective – was relegated to the dustbin of history.

As anyone who has tried will know, it is difficult to eliminate depth when making a painting. The figure– ground effect – with a paint mark visually advancing relative to the background of the support – arises almost as soon as a painter lays down a single brushstroke. Be it a consequence of human perception with its tendency to pareidolia (seeing meaningful forms in random patterns) or the nature of paint itself, this has made the pursuit of abstraction seem somewhat idealistic or esoteric.

One potential consequence of modernism’s reductive idealism is the ‘endgame’ or death of painting – a point of crisis where painting paints itself into a corner and nothing of value remains possible in the medium. This topic has been debated exhaustively by artists and theorists, though none have written with more lucidity on the topic than Euro-American academic Yve-Alain Bois. In his 1990 book Painting as Model, Bois examined this ‘crisis of painting’, positioning it as a logical outcome of the steps painters took in response to the invention of the camera. He described this endgame situation as a ‘double bind’: 'Has the end come? To say no (painting is alive, just look at the galleries) is undoubtedly an act of denial … most paintings one sees have abandoned the task that historically belonged to modern painting (that, precisely, of working through the end of painting) and are simply artefacts created for the market ... To say yes, however, that the end has come, is to give in to a historicist conception of history as both linear and total (i.e., one cannot paint after Duchamp, Rodchenko, Mondrian; their work has rendered paintings unnecessary, or: one cannot paint anymore in the era of the mass media, computer games, and the simulacrum).'1

This interpretive framework is hardwired into the conception of Euro-American abstract painting. It sees abstract painting as the conclusion of something that began millennia ago, in the caves of Lascaux. But abstract painting is not the sole domain of Western art. Pattern and geometry appear in art across cultures and through time, often to exquisite effect. Cultural expressions of non-representational art are widespread and varied.

New Zealand abstract painting is indebted to Euro-American modernist abstraction, but it has its own particularities. International ideas of abstract painting arrived on these shores sometime in the mid-twentieth century via international art magazines and the overseas travels of key pioneers, including Colin McCahon, Gordon Walters and Ralph Hotere. A 1968 visit by influential American art critic Clement Greenburg may also have played an important role. Greenburg was a strong advocate of non-representational painting, arguing against illusionistic and pictorial approaches to the medium. He delivered lectures in Dunedin, Christchurch, Wellington and Auckland, which likely influenced and enriched local artists and discourse around abstraction, even if some of that discussion was positioned in opposition to the visiting critic’s ideas.

At that time, New Zealand’s artistic framework was fundamentally different to that of the United States or Europe. A localised form of landscape painting was dominant, and deeply embedded colonial narratives about the pioneering way of life in Aotearoa’s raw, elemental environment prevailed. Abstract painting, a product of Europe and America, ran against the grain. Protagonists and advocates of such art on these shores faced an uphill battle.

While McCahon and Hotere are profoundly important figures in the story of New Zealand art, their relationship to the development of abstract painting is limited. They were pioneers in the field, though both remained engaged with underlying narrative content – landscape and religion in McCahon’s case, politics and the environment in Hotere’s. As for Gordon Walters, another key figure in the vanguard of abstract painting in New Zealand, the use of the Māori koru form has dominated the discussion of his work.2

The pursuit of painting without reference to place, language or cultural symbols – synthetic abstraction – can be followed through the work of another group of highly accomplished artists. Albrecht, Thornley, Mrkusich and Bambury were highly engaged in this form of abstract painting.3 This was painting of and about painting, where the subject matters are the essential aspects of painting itself: colour, tone, line, the quality of brushmarks and the methods of paint application.

Albrecht graduated from Elam in the early 1960s and soon gravitated towards abstraction. The BNZ Art Collection includes a significant representation of her works, though two stand out – Eddy and Ebb and Flow (both 1986). These pastel-on-paper works use gestural, expressive marks. They operate in a different register to the colourfield Hemisphere paintings Albrecht is famous for, though similarities of style are evident. The matrix of marks in these two works neither suggests nor negates visual depth.

Thornley is represented in the collection by a solitary but compelling work. Study for the Alba Group (1984), a gouache on paper, presents a cluster of geometric forms against a neutral grey background. The effect, amplified by the chalky appearance of the gouache, is of a flat plane, with dynamic interplay of the geometric forms – four semicircles and a central skewed rectangle. An exploratory work of graphic art, Study sits in contrast to Thornley’s more recent work, which is more atmospheric or colour-field oriented.

Bambury has resolutely pursued abstract painting for more than four decades. The collection includes three of his works – two drawings and a large painting. His painting No. 50 (1983) presents two planes of colour on separate, unevenly sized canvases butted together. He sets up an energetic contrast between these two planes – one deep green, the other dark purple. This subtle experiment in the underlying constructs of painting is a theme Bambury has consistently explored. This experimental approach was evident in his 1980 exhibition Site Works and Area Paintings at Peter Webb Galleries, which addressed the idea of painting’s ‘field’ extending beyond the canvas itself.

The collection contains a significant body of work by Mrkusich, more comprehensive than that of Albrecht, Thornley, or Bambury. This comes as no surprise. When the collection was put together, Mrkusich was more established and widely esteemed than these younger artists. For those partial to the refined pleasures of abstract painting, Mrkusich’s Golden Centre with Two Elements (1965–72) is richly satisfying. It is among the artist’s finest paintings. The finely attuned graphic elements engage in a poised contrast with the gestural marks of the background. Painting Grey (1976) is an exquisite example of Mrkusich’s iconic Corner Paintings, and was produced in the last year that he created them. The work’s restraint and subtle effect is appealing, though hard to verbalise. This is brilliantly captured by Alan Wright and Edward Hanfling in their 2009 Mrkusich monograph: 'Mrkusich has never been a purveyor of explicit issues and messages. He does not see art as a form of literal communication … Paintings that endure do so because they keep on offering new experiences to the viewer – because they can never, finally, be explained. They remain difficult to grasp and open to new responses. Mrkusich has created painted surfaces – that is the extent of his role. And insofar as the experience generated by those surfaces, those shapes and colours, defeats verbalisation, this makes things challenging for critics and art historians alike.'4

These four artists, three of whom are still living, are central figures in the development of abstract painting in Aotearoa. The works included in the collection provide plenty of evidence as to why. In this significant selection, one can read the entire story of abstract painting in Aotearoa – its roots in Euro- American modernism; its contrast with regionalist, identity-seeking paintings of place; the difference between hardedged and atmospheric approaches; and the deconstruction of traditional assumptions of painting and how that leads toward endgame.

But, these concerns and distinctions are esoteric. Contemporary admirers of non-representational painting enjoy work through its intellectual acuity or its aesthetic appeal. In the works of these four distinguished New Zealand abstractionists, both are abundantly available.

1 Yve-Alain Bois, Painting as Model, The MIT Press, Cambridge MA, 1990, 241.

2 While he is best known for his koru works, Walters produced a great many works that operated in a different visual register, relyingon the optical effect of hard-edged geometry alone. These highly compelling optical works were outshone by the widespread success of his koru works, which feature symbology too loaded with cultural meaning to operate purely in terms of abstraction.

3 Of these four, three exhibited at the Petar/James Gallery, which became a critical environment for the furthering of abstract art in New Zealand. Led by art dealer Peter Vuletic, the gallery showed Mrkusich, Bambury and Thornley among others.

4 Alan Wright and Edward Hanfling, Mrkusich: The Art of Transformation, Auckland University Press, 2009, 9.

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The Bank of New Zealand Art Collection Part I (#86AD) Closed

Lot 33MILAN MRKUSICH Painting 61 No 8

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