Arts Hero Kathryn McCully, Part 2
In the previous post, I introduced Kathryn McCully, whom I consider to be Southern Arts Hero. I encouraged her last time to talk of her philosophies of art and the arts world.
This week, we continue our conversation.
The arts programme at SIT has progressed under Kathryn’s leadership. A couple of highlights comes to mind. She recruited Peter Belton as a tutor (and his wife Robyn Belton, an amazing illustrator and artist, who is a genuine Southern arts treasure). Soon after I immigrated to New Zealand, I read books of their involvement with the pioneering contemporary arts scene back in the 60’s and 70’s. McCully also nabbed Ruth Myers, an amazing sculptor who seems to thrive on exploring the all kinds media. Then there’s respected writer-director-animator Rachel Mann. I ask Kathryn to talk more about her role as the Visual & Screen Arts Programme Manager at the Southern Institute of Technology.
Kathryn and The SIT Arts programme
Our programme evolved from being community programmes that people took for their own interests, such as things like spinning, weaving and shoemaking. There were a lot of practices that were relatively popular. So the higher level arts programmes developed from these. In the longterm we’ve worked on professionalising the arts programmes for industry. We spread the word regarding the availability of different programmes focused on vocational training. Then, we’ve recruited professionally qualified staff and have rewritten all of the programmes in the school (certificates, diplomas, degrees and graduate diplomas).
All these details make us more competitive. It’s really important for an art school to have a point of difference because there are a lot of art schools around the country. We’re one of the very few art schools that offer vocational training for creative people for the creative industries, which means we want people to be out there working and then getting paid for their creative skills.
Theses differences have been very successful. One of the things developed early on at SIT was an internship programme. This became so successful in terms of employment rates that we introduced internships for all year three students so they could get a foot in the door in their chosen area in every discipline. That’s been hugely successful.
In fact, it’s been too successful, in some ways. We’re currently contending with students getting hired straight out of internships. They’re trying to juggle their end of year assignments alongside training for the jobs they’re moving into. Employers really want them. It’s a good problem to have. It is something we will have to address. I guess the point is that the internship scheme has been very successful. Those skills the students have gained at SIT are what employers want. So, it gives us the confidence to continue.
Arts Acquisition at SIT
We have an acquisition committee at SIT. When I arrived, I learned of a fund that was administered through the CEO. So every year we can propose some work for the school, provided it’s within budget. That can be a student work or work from a professional artist that has a connection to the institution and provides learning opportunities for current students.
William Hodges Fellows and Very Heather Straka
You will be aware that we purchased some works from the William Hodges Fellows for quite a few years in a row. We purchased a Gary Freemantle, which is over at the main campus. We purchased a very large Heather Straka work, which is in the common room.
I asked McCully if that is the one with “the men”, of which I consider to be very “Heather Straka”. It is her seminal work from her William Hodges days. I remember it raised up a few hackles.
Kathryn smiled in agreement and responded that Straka did a lot of work on what it means to be a male in Southland, which is quite interesting.
That’s her style (to raise a few hackles). She got students on board as well as the technicians, and worked in the photography studio. Her work here involved the community, which is great.
I expressed to Katherine my slight disappointed that Heather did not do a painting because her paintings are extraordinary.
She agreed and continued that it comes down to time, I think. The residency is a limited window and the paintings are quite time consuming. The residency also allows the artists to do something a bit different. So, I think that while she was here, she really wanted to make use of that environment and do something challenging.
I took her to a friend’s house. They have a room, which I call the dead room, which is pretty much a display room for taxidermy. They would go away on hunting trips overseas and bring back these epic creatures folded in boxes. They would go to the taxidermist to get them made into these huge models. It was a really big room full of huge beasts.
We talked to this taxidermist who’d done heaps of work around Southland. Heather was quite inspired by that. She actually borrowed one of their moulds. I think she found this kind of thing a definite source of inspiration.
We also have(acquired) some Sam Mitchell‘s as well, a series of ceramic plates. There’s one here that she gifted to the Invercargill Club. You guys framed all those.
It was a privilege to frame Sam Mitchell’s works, I acknowledged.
The Hannah Johnston sculpture
Claridge and Brodrick also also provided the cabinet for their latest acquisition, a textile type sculpture.
Yes we love it, Kathryn said.
I commented on the brilliant skill set and passion for excellence of Steven, our joiner, and Brydie our senior artisan framer. They are refreshing.
I continued that I found it a challenge to not get jaded when you’ve been a part of the art scene for a while. When, I looked at the sculpture, I instantly proclaimed my love for it. They scratched their heads and asked, “What is it?” Most likely there are many Southlanders that think that very thing. I do find that refreshing because you won’t hear that kind of thing expressed at arts openings.
No, you would be looked at a little funny, McCully agreed. But mind you, at places like the Southland Art Society, there might be people that ask that kind of question.
She continued. That’s one of the great things about that group.There’s such a diversity of people, some who may be interested specifically in painting still life, and there are some quite contemporary artists that have been practicing for a long time. Those two things have to learn to coexist. An interesting thing about those art society spaces is that real diversity.
What I really enjoy about this last sculpture for which Claridge & Brodrick made a presentation for you is that, in the end, Steve and Brydie got it, I enthused. They couldn’t explain the piece, but they got it!
A Bespoke Case for the Sculpture
When I was at the Ashburton Public Art Gallery, Kathryn continues, it was a difficult thing to find people who would make specialist cases. I had a guy that made them in Christchurch. It is a bit difficult to transport them. They’re not easy things to make.
When you are making them for a gallery environment, you get them made to be quite flexible. In this scenario we’re making a case particularly for storage for a specific object for a long period of time. It’s great to be able to do that.
This object was not going to work in a flexible situation. When we purchased this sculpture, we made it clear that this object had to have a case, when we put the proposal forward. When you acquire something, you have to have a means to store it and care for it. Obviously, it’s made of wax and it is delicate, so the first thing people want to do is touch it. That was going to be a real vulnerability for that object. We have a set price we purchase student work for, which makes it quite affordable. We’ve made sure it’s there for future students to learn from.
That the framing can cost more than the artwork is a common complaint with custom picture framing, I respond. But that’s the nature of custom picture framing, which is one of the few industries where you can get something bespoke made for a specific purpose.
Exhibition Spaces for SIT student art work
It’s only an issue with student artwork for us. If it was a professional sculptor, there’s no way that would be the case, due to the difference in market value. But we still want to make sure student work is displayed as best as it can be.
You may have our next Hotere developing at SIT, I suggested.
That’s right. And it’s a really important point to make to the students. That’s why I put so much effort into painting the gallery and painting plinths because, you don’t want to spend a whole lot of time make incredible artwork and then display it poorly.
It’s really an important part of the overall way work is read…you know….where it is. I think it is important for students to see we take their work just as seriously as any other professional artist’s work that we purchase.
Hannah Johnston, the artist.
I’m just in the process of printing out the artists’ statement for the piece. Actually, we bought it a couple of years ago. I had it in a box trying to figure out what to do with it. The artist is Hannah Johnston. She graduated a couple of years ago. She’s in Dunedin working on the Mid-Winter Carnival on some of the very large sculptural works, as well as some of the coordination. She’s working with Juliet Novena-Sorrell.
I met Juliet in Dunedin. We’ve known each other since way back in the day. She and her husband were very supportive of me when I was learning about gallery practice. So, when Hannah moved to Dunedin, she hooked up with Juliet. So it’s been a great connection for Hannah. She’s got incredible sculptural sensibilities. She’s one of those people that (sculpture) comes fairly easy to.
The Hanna Johnston is an amazing piece, I concurred.
Yes, and it looks great in it’s case, Kathryn nodded. I took lots of photos. Everyone thinks it looks amazing. It’s been a great result for us.
It seems like Kathryn never stops, as she told me about the Invercargill designer who works for New Balance and the exhibition of his collection of limited edition sneakers that will take place next year at Transport World.
Even as we concluded our time, she continued talking of her research into DIY museums based on a foundation of social scenes within the community. The passion continues.
Kathryn McCully is truly a southern arts hero.
Arts Hero, Kathryn McCully
So, what do you think? Who are the other arts heroes in the South? What defines an arts hero? Let us know in the comments below.
As I am editing and publishing this, we are headlong into summer and Christmas 2017. What an eventful year it has been for us at Claridge & Brodrick. The rebranding reinforces our commitment to see our discerning clients delighted with their choices in artisan picture framing that enrich the environments of their homes and spaces. Our New Years aim is to pursue that more fervently. Thank you for your part in our growth.
Claridge & Brodrick Artisan Picture Framing gift certificates make a great last minute gift for the discerning person on your Christmas gift-giving list. You can acquire a gift certificate at our gallery until 5:30 pm on Friday 22 December. We will re-open the shop on Monday 8 January at 9 am.
Blessings to you for a refreshing and replenishing Christmas, New Year, and summer holiday. Thank you for stopping by.
Kind regards,
