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William McAloon

(b Upper Hutt, Oct 3, 1964).

New Zealand painter of Maori descent. Cotton studied at the University of Canterbury, graduating with a Bachelor of Fine Arts in 1988. He is prominent amongst a generation of Maori artists that emerged in the 1980s and 1990s including Michael Parekowhai (b 1968), Lisa Reihana (b 1964), and Peter Robinson, all of whom were schooled in contemporary Euro-American art styles and debates and then explored their Maori identities in relation to globalization and post-colonialism. Cotton’s early 1990s works were contemporary history paintings, locating New Zealand’s conflicted past firmly in a bicultural present. Drawing upon Maori figurative styles from the late 19th-century, particularly in meeting-houses inspired by the prophet and resistance leader Te Kooti Arikirangi Te Turuki, Cotton’s sepia-toned works juxtaposed these images with customary Maori carved forms, written Maori script, the coastal profiles of early European explorers, and appropriations from contemporary artists as diverse as Imants Tillers, Bridget Riley, and Haim Steinbach....

Article

Christopher Johnstone

From the formal establishment of New Zealand with the Treaty of Waitangi in 1840 until the 1960s, landscape was the predominant genre of painting in New Zealand. Several interrelated artistic, social, and practical reasons led to this and to the differing approaches to landscape representation during the period. They range from the country being ‘a land absolutely teeming with artistic subjects of the most varied kind… [offering] the special features of every country which is remarkable for its scenery’ (Hodgkins, 1880) to a belief that the mild climate made painting out of doors possible ‘without much discomfort all the year round’ (Killick, 1917).

The first professional artist to spend time in and paint New Zealand, in 1827–8, was Earle, Augustus, but the artists who followed him in the 1840s were mostly amateurs—sailors, surveyors, and administrators, and later soldiers. Their objectives were largely governed by colonizing imperatives: documenting the country to promote it to potential settlers back ‘home’ who wanted to see non-threatening potential destinations. Watercolour was the primary medium. William Fox (...