195:, an association of artists based in Christchurch with ties to artists throughout New Zealand. Although Lusk's painting was balanced with caring for her young children, she quickly became established as an artist especially known for her landscape paintings. The combined exhibitions held by The Group members suited her better than striving to make enough work for solo exhibitions at this point in her career; as she later recalled, "I did not paint in a continual professional manner. I painted when I could, and I would produce about six paintings a year, which was pretty good going in the circumstances."
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by retaining her firm commitment to painting, and gained recognition as one of New
Zealand's leading painters. Yet her painting was always fitted within the constraints of domestic life. After her marriage and birth of three children in the '40s, she dealt with the practicalities of looking after her family by painting in the kitchen, and it was not until the late '60s that she even had a studio of her own. Lusk was unable to study overseas until 1974, and her art was fitted into her personal life, so that visits to friends at Tuai and family holidays became her opportunity for painting.
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from newspapers, and translated these into paintings made with watercolour, acrylic and coloured pencil. In a 1983 interview Lusk denied that the subject carried any psychological charge, saying that, "My work is really very practical, and it would be quite dishonest if I tried to put in psychological meanings The
Demolition works were a little misunderstood. that I became very fascinated with the factual destruction of buildings as a sort of sociological thing. But that was not true It was a visual image to hang my media painting on, that’s all."
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result of random excursions, Lusk's paintings were directed explorations, not just of the relationship between the structures and the land around them, but also of the buildings themselves, and aspects of the juxtapositions of interior and exterior, exposure and concealment, surface and depth. The manifold layers of meaning embedded in the buildings and their role in projecting a certain mood, suggest her painting may profit from being read as expressions of moods, metaphors and symbols.
294:, noted that the exhibition gave the opportunity to assess Lusk's later paintings, and, "How she was positioned in relation to the new artistic models, values, and professionalism of the art institutional world which emerged in New Zealand in the late 1950s and '60s." King argued that the negative reception of Lusk's previous 1973 survey exhibition (organised by the
302:) by Auckland critics reflected the, "exclusivity of the canon created in Auckland by critics and curators in the early '70s" and the way art history in New Zealand had been written, "with its focus on Colin McCahon and modernism, on internationalism and abstraction, so that placed within this context, her career appears peripheral."
202:(1948), which documented the massive engineering projects underlying the development of the Lake Waikaremoana hydroelectric scheme in the central North Island. She had a close friendship with Adelaide and Ian McCubbin - Ian was a construction engineer on the Lake Waikaremoana project. Through the McCubbins, Lusk was introduced to
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In a number of ways the unpretentious, well-considered and solid qualities of her work summed-up a good deal that was thought to be the best tendencies of the
Canterbury painters during this decade. In essence it was straightforward, uncomplicated and while not denying detail when necessary, remained
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In 1979, two years before she ceased teaching at the art school, Lusk began a series of works based on buildings in
Christchurch's central city that were being demolished in order to build office buildings and apartment blocks. She worked from photographs that she took and collaged with images culled
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where she went to primary school. An artist who had a studio near the family's home encouraged Lusk to paint. In 1928, the family returned to
Dunedin where her father joined the architectural firm, Mandeno and Frazer. Lusk completed one more year at Arthur Street Primary School before attending Otago
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An analysis of her art throughout her career reveals a deep fascination with particular motifs, centring around industrial imagery in landscape settings. For more than five decades, Lusk consistently pursued this preoccupation, using different techniques and employing different media. From being the
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Despite her reluctance to acknowledge the political issues surrounding women's art practice, Lusk's significance also lies within the history of women's artistic culture during the post-war period. At a time when social assumptions emphasised women's domestic role, she challenged these expectations
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In 1947 she began teaching pottery at
Risingholme Community Centre with Margaret Frankel, and continued there until 1967. She was president of the Canterbury Potters' Association from 1970 to 1972. In 1970 she was awarded a travel scholarship by the Canterbury Society of Arts and used this to
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In a 1996 article, art historian Grant
Banbury noted that while Lusk was usually discussed in terms of her landscape painting, she also produced a number of portraits and self-portraits, and championed life drawing as both an artist and a teacher. Lusk mainly painted close friends, family and
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In addition to her painting career, Lusk was also a pioneer potter in New
Zealand. She was introduced to modelling with clay by Field while at art school, which ignited her interest in the medium. She made her ceramics largely under her married name, Doris Holland, most of it in earthenware.
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The Doris Lusk
Ceramic Residency was established in 2014, and is open to all graduates of the Dunedin School of Art. The residency, worth $ 2000, allows a ceramicist to spend two weeks teaching at the Risingholme Community Centre. The recipient in 2017 was
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colleagues, along with a small number of commissions and several works painted in the 1970s based on images from newspapers. In 1939, while at art school, Lusk painted a portrait of Colin McCahon; nearly 50 years later, in 1987, Lusk painted
118:(5 May 1916 – 14 April 1990) was a New Zealand painter, potter, art teacher, and university lecturer. In 1990 she was posthumously awarded the Governor General Art Award in recognition of her artistic career and contributions.
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Lusk attended art school from 1934 to 1939. The school was a member of the La Trobe programme which involved bringing practising artists from
England to staff New Zealand schools. These artists included
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In 1939 Lusk and a small group of artists rented a studio in central Dunedin on the corner of Moray Place and Princes Street. It was here that her first solo show was held in 1940.
130:, New Zealand, on 5 May 1916. She was the daughter of Alice Mary (née Coats), and Thomas Younger Lusk, a draughtsman and architect, and had two older siblings, Marion and Paxton.
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In December 1942 Lusk married Dermot Holland, and in 1943 the couple moved to Christchurch. Lusk quickly became affiliated with
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in 1966 and was made a permanent staff member within the following 18 months. She continued to teach at the School until 1981.
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244:(the first modern overview of painting in New Zealand) Lusk's work was contextualised with that of artists such as
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In the same article, King examined how being a female artist may have inflected Lusk's career and opportunities:
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To mark the centenary of Lusk's birth in 1916, in 2016 exhibitions were held at the Dunedin Public Art Gallery (
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281:, an exhibition of Lusk's work she co-curated, art historian Lisa Beaven disputed this assessment, writing:
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uncluttered. Doris Lusk continued to develop this style through the 1940s and fifties with paintings like
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in Christchurch in the 1940s and 1950s. In the 1950s and 1960s her work was regularly included in the
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Examples of Lusk's work are held by most New Zealand public art galleries. Significant works include
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in 1996, accompanied by a publication with contributions by Lisa Beaven and Grant Banbury.
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from the nearby ironworks. Lusk took this landscape as her subject for the next 25 years.
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Landmarks : the landscape paintings of Doris Lusk / Lisa Beaven and Grant Banbury
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In 1933, Lusk left high school before she had matriculated, and enrolled in the
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King, Julie (Spring 1996). "Landmarks: The Landscape Paintings of Doris Lusk".
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New Zealand painter, potter, art teacher, and university lecturer (1916–1990)
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The first retrospective exhibition of Lusk's work was held at the
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886:. Christchurch: Hazard Press and Robert McDougall Art Gallery.
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Banbury, Grant (Spring 1996). "The Portraits of Doris Lusk".
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In the 1940s Lusk completed a series of paintings, including
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958:"Doris Lusk Ceramics Residency awarded to Kate Fitzharris"
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People associated with the Canterbury Society of Arts
1065:"Landscape, Overlooking Kaitawa, Waikaremoana (1948)"
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Summers, John (1986). "Doris Lusk: An Appreciation".
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in 1973. A major exhibition of her landscape works,
1643:People associated with The Group (New Zealand art)
649:"Landmarks: The Landscape Paintings of Doris Lusk"
376:'s annual surveys of recent New Zealand painting.
793:An introduction to New Zealand painting 1839–1967
242:An introduction to New Zealand painting 1839–1967
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491:New Zealand Women Artists: A Survey of 150 Years
389:Landmarks: The Landscape Paintings of Doris Lusk
383:in 1966. A second retrospective was held at the
279:Landmarks: The Landscape Paintings of Doris Lusk
210:, and the long wharf built for the exporting of
364:Exhibiting career and retrospective exhibitions
1618:Academic staff of the University of Canterbury
1095:"Canterbury Plains from Cashmere Hills (1952)"
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332:research contemporary Australian ceramics in
1155:"Tobacco Fields, Pangatotara, Nelson (1943)"
448:Landscape, Overlooking Kaitawa, Waikaremoana
358:University of Canterbury School of Fine Arts
229:in Venice, is held in the collection of the
200:Landscape, Overlooking Kaitawa, Waikaremoana
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714:. Wellington: Te Papa Press. p. 222.
480:Review of Doris Lusk centenary exhibitions
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290:Art historian Julie King, in a review of
168:in his studio. Through a fellow student,
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791:Brown, Gordon H; Keith, Hamish (1969).
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464:Museum of New Zealand Te Papa Tongarewa
225:, based on the famous tourist scene at
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882:Beaven, Lisa; Banbury, Grant (1996).
452:Canterbury Plains from Cashmere Hills
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795:. Auckland: Collins. pp. 135–6.
221:Lusk's late series of watercolours,
1479:Other people connected to The Group
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432:Tobacco Fields, Pangatotara, Nelson
277:In a 1996 publication accompanying
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988:Otago University Research Heritage
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356:Lusk was appointed a tutor at the
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984:"Collection: Works by Doris Lusk"
908:"Doris Lusk: Practical Visionary"
462:(1949) in the collection of the
402:) and Christchurch Art Gallery (
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737:"Onekaka Estuary by Doris Lusk"
460:Akaroa Harbour, Banks Peninsula
404:Doris Lusk: Practical Visionary
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686:"Doris Lusk: An Inventive Eye"
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1582:King Edward Technical College
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240:and Hamish Keith's 1969 book
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1125:"The Pumping Station (1958)"
164:and took life classes under
138:Girl's High School in 1930.
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762:"Doris Lusk Arcade Awnings"
368:Lusk exhibited mainly with
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1572:Centre of Contemporary Art
1035:"Power House, Tuai (1948)"
598:. Auckland: Reed Methuen.
531:Dunedin Public Art Gallery
381:Dunedin Public Art Gallery
1577:Canterbury College of Art
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1395:Patricia Charlotte Perrin
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710:McAloon, William (2009).
596:New Zealand women artists
374:Auckland City Art Gallery
300:Auckland City Art Gallery
271:Botanical Gardens, Hāwera
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1623:New Zealand art teachers
1099:Christchurch Art Gallery
1069:Christchurch Art Gallery
1039:Christchurch Art Gallery
912:Christchurch Art Gallery
854:Christchurch Art Gallery
741:Christchurch Art Gallery
690:Christchurch Art Gallery
653:Christchurch Art Gallery
493:(1986, Craftsman House)
456:Christchurch Art Gallery
393:Christchurch Art Gallery
937:Auckland Studio Potters
1567:Brooke Gifford Gallery
933:"Doris Lusk Residency"
527:"Doris Lusk 1916-1990"
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1516:Anne Hamblett McCahon
1275:Viola Macmillan Brown
990:. University of Otago
594:Kirker, Anne (1986).
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256:. The authors wrote:
143:Dunedin School of Art
1628:Artists from Dunedin
1265:Olivia Spencer Bower
1165:on 23 September 2015
1159:Auckland Art Gallery
1135:on 23 September 2015
1129:Auckland Art Gallery
772:on 23 September 2015
766:Auckland Art Gallery
440:Auckland Art Gallery
400:Doris Lusk 1916-1990
231:Auckland Art Gallery
162:J. D. Charlton Edgar
133:The family moved to
735:Milburn, Felicity.
684:Milburn, Felicity.
486:, 21 September 2016
470:Further information
436:The Pumping Station
267:Power House at Tuai
160:Lusk was taught by
1360:Douglas MacDiarmid
1315:Claudia Pond Eyley
570:"Lusk, Doris More"
428:Hocken Collections
391:, was held at the
323:Career as a potter
223:The Arcade Awnings
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1345:Rata Lovell-Smith
1290:Rosemary Campbell
1225:Chrystabel Aitken
1218:The Group artists
484:Radio New Zealand
476:Courtney Johnston
444:Power House, Tuai
126:Lusk was born in
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1560:Related articles
1549:Northland Panels
1410:Kathleen Salmond
1355:Molly Macalister
1330:Louise Henderson
1325:Suzanne Goldberg
1320:Margaret Frankel
1300:Philip Clairmont
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1400:Juliet Peter
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1335:Jean Horsley
1310:Betty Curnow
1280:Grace Butler
1240:Ria Bancroft
1167:. Retrieved
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847:"Doris Lusk"
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67:(1990-04-14)
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1648:Lusk family
1608:1990 deaths
1603:1916 births
1511:Ngaio Marsh
1390:Evelyn Page
1375:Lois McIvor
1340:Olive Jones
1270:Helen Brown
1245:Nola Barron
1010:"Tahunanui"
917:8 September
746:8 September
695:8 September
536:8 September
450:(1948) and
434:(1943) and
418:Collections
151:W. H. Allen
1638:Golden Bay
1597:Categories
1496:John Coley
1445:Edith Wall
1350:Doris Lusk
1235:Rita Angus
893:0908874391
605:0474001814
505:References
246:Rita Angus
208:Golden Bay
172:, she met
155:R. N Field
122:Early life
50:5 May 1916
46:1916-05-05
1552:(McCahon)
1544:(McCahon)
1211:The Group
424:Tahunanui
370:The Group
346:Melbourne
292:Landmarks
263:Tahananui
193:The Group
1525:Artworks
1169:10 March
1139:10 March
1109:10 March
1079:10 March
1049:10 March
1019:10 March
867:10 March
776:10 March
658:10 March
446:(1948),
338:Adelaide
334:Canberra
212:pig iron
135:Hamilton
85:Painting
1536:(Angus)
968:19 June
942:19 June
579:7 March
426:in the
204:Onekaka
128:Dunedin
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54:Dunedin
1014:Te Ara
994:2 June
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574:Te Ara
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252:, and
184:Career
91:Spouse
861:(PDF)
850:(PDF)
102:(
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1533:Cass
1171:2015
1141:2015
1111:2015
1081:2015
1051:2015
1021:2015
996:2015
970:2021
944:2021
919:2016
888:ISBN
869:2015
778:2015
748:2016
716:ISBN
697:2016
660:2015
600:ISBN
581:2015
538:2016
495:ISBN
344:and
269:and
176:and
153:and
62:Died
40:Born
406:).
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206:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
