Olive Jones
New Zealand ceramic artist
New Zealand ceramic artist
Doreen Blumhardt was the one of the most important figures in New Zealand’s arts and crafts world in the second half of the twentieth century.
In spite of the fact she spent nearly her entire adult life living and working outside her country of birth, Maria Helena Vieira da Silva is today considered one of Portugal’s most important female artists.
Débora Arango was one of Colombia’s most original and fearless 20th century artists.
As a female artist in the male-centric Dadaist movement, Wood posed a conundrum, resisting the labels of “female muse” and “feminist artist.”
New Zealand potter
New Zealand potter
Muriel Moody’s reputation rests primarily on her ceramic sculptures and some bronzes cast in the 1980s. Her work was original and distinctive, usually based on the human figure.
Elizabeth Lissaman was always helpful to aspiring potters, giving lessons and weekend schools. Her book, Pottery for pleasure in Australia and New Zealand, was published in 1969. She was accorded honorary life membership of the New Zealand Society of Potters in 1965 and was appointed an OBE in 1982 for her services to pottery.
In 1966 the first retrospective exhibition of Lusk’s work took place at the Dunedin Public Art Gallery, and was well received. Half of the paintings on display were owned by public institutions, the most prominent of which were the Auckland City Art Gallery and the Hocken Library. The same year Lusk was appointed tutor in drawing at the University of Canterbury. As a teacher she encouraged and supported a subsequent generation of New Zealand artists.