1
TONY
LANE
2
Published by Editores Zorro Viejo
© All images of the Artist
© Text: Mark Hutchins
Stuart Broughton
Design: Tomoko Communications
First Edition 2013
03
Tony’s studio is a sensory delight,
a cave of sorts but well lit and
welcoming. The air is thick with the
smell of oils, wood, coffee and old
carpets. On the main wall is the
actual reason I’m here, the almost
completed selection of works for
We Must Inhabit This Place. They’re
hanging randomly on the wall or
propped on the floor, they draw
me in. Yet I’m resisting for now,
distracted by other things vying for
attention in the room. Underfoot are
paint-covered carpets, littered with
discarded odd bits, behind me rests a
wall of art crates labelled with exotic
destinations. To the corner, an orderly
stack of books, shelves of curios and
keepsakes, and even more materials.
Anchoring the shelves, a turntable
along with a tower of vinyl records
that spiral unevenly. The record cover
that has reached the top, it’s contents
playing in the background, happens
to be Patti Smith’s Horses.
I’m being led away from my conversation with Tony, as the music
tempts me back to past occasions.
My memory is keyed to vividly recall
the times, places and moods of
when I previously heard these eight
04
precious tracks, even to the first time
I experienced this important release.
To me, and doubtless many others,
Horses is an essential work. Lifechanging perhaps; seminal, definitely.
The Robert Mapplethorpe cover
alone is great art, Camille Paglia
would declare it one of the greatest
pictures of a woman ever taken, an
image all about attitude, high in the
iconography of rock imagery,
To take in these eight landscapes
of Tony’s is to traverse another
iconography, made his own over
an impressive 30 year career. This
is traveling without moving, once
again I’m taken to other places and
memories. The palette is natural
and earthy. Greens, browns and
blues are familiar, comforting even,
but augmented by the shimmer of
schlagmetal coppers and gold leaf,
these lands become otherworldly.
The forms, stripped back to their
raw essence, offer just enough
familiarity of our rugged interior
and also beyond, recalling journeys
throughout Europe. However, these
landscapes are not either location, in
true modernist painting style, they are
no real place, they are Tony’s place.
Patti Smith’s debut took rock ‘n’
roll to a new place, it still does. It
is timeless, enduring and always
renewing. It’s reinventing itself even
now, as a soundtrack to experiencing
the nearly complete vision of Tony’s
exhibition first hand. I’m excited
about how powerful this collection is
going to present on the gallery walls.
I almost feel regret that they will be
removed from this personal space,
this convivial atmosphere, although
I hope my gallery can offer a similar
environment. I can’t help reflect how
the best painting and rock music beg
for parallels – they’re all here with
Tony Lane and Patti Smith. There’s
a real joy, not only of continually
experiencing, but remembering that
first discovery. Painting should be
exciting, filled with energy. Here the
painting is, like the music, poetic,
visceral, and yes, seminal. Both have
transcending and transcendental
abilities, to take your mood up
and mind back, both will take you
somewhere else. I can only agree with
the imperative of the title, we really
must inhabit this place.
Stuart Broughton
5
04
FOREWORD
08
MODERN GOTHIC.
RECENT LANDSCAPE
IMAGERY BY TONY
LANE
12
WE MUST INHABIT
THIS PLACE
06
16
IN THE PRESENCE
OF ANGELS
20
RANGIPO
24
GOTHIC
28
STARRY NIGHT
32
THE DESERT
PLATEAU #1
36
THE DESERT
PLATEAU #2
40
THE DESERT
PLATEAU #3
44
55
48
STAIRWAY TO HEAVEN
VALLEY
THE PLANETS
52
A NEW RELIGION
MESSAGE
PARABOLA
HERE IT IS
CHURCH
CEMENTERIO
BLUE HILLS, BLACK
MOONS
57
BIOGRAPHY
58
CURRICULUM VITAE
7
Recent landscape
Like the enigmatic painted objects that immediately preceded
them, Lane’s landscapes are vessels for the projection of
personal narrative content. They are a starting point for the
re - imagining of human stories that have been played out
through the centuries…
As the work slips between religious and secular readings, its
reason for production remains constant.
Lane’s images are vessels for the projection of human memory
and desire.
They speak to people across national borders and across time
zones, small islands of constancy floating in a vast global sea of
cultural equivocation” 1
Lara Strongman
Tony Lane’s landscapes are never
of real places; they’re illusionary
constructions of filtered memory
fragments, of places he has
been or seen. The delightful
paradox of this is that viewers
have often said in the past that
they recognise landscapes Lane
has portrayed as somewhere
they have actually been or seen
themselves. With such a high
level of stylisation in these most
recent works, however, such
assertions are unlikely; but even
so, somehow, despite the artifice,
these images still retain a sense
of the familiar, of something just
beyond the known.
The English critic T.J Clark
reminds us that “Modernism is
a strange artistic formation. In
it, time and again, originality –
which remains anachronistically
the goal – lies on the other side
of subservience. There is no such
thing [as originality]; it turns out
in practice.” 2
It’s hardly surprising then, that
the images Lane painted after
08
imagery
he returned to Auckland from a
visit to the primeval landscape
of central Otago two years
ago evoke the early landscape
paintings of Colin McCahon.
Like McCahon, Lane has a keen
appreciation of the uncanny
historical references that this
region brings to mind, with
its echoes of the landscapes
frequently found in the background of many Duecento and
Trecento Depositions and Pietas.
It would be a mistake, however,
to make too much of what are
essentially superficial similarities.
As Pablo Picasso explained;
every artist has to “utilize as best
he can the ideas which [subjects]
suggest... connect, fuse, and
colour in their way the shadows
it casts within him…, illumine it
from the inside. And since of
necessity one artist’s vision is
quite different from that of the
next, each painter will interpret
things in an entirely different
manner even though it makes
use of the same elements”.
Lan e’s imag es convey th e
physical sensations generated by
a place rather than specifically
recording its topography. Such
distillation an d f ilte ring of
physical experiences through
time and distance has allowed
him to strip away the superfluous
and focus on the absolute and
fundamental. It has also made
it necessary for him to evolve a
shorthand language of reductive
stylisation and abstraction.
In his discourse on the influence
of Picasso as a prime initiator of
modernism in European art, T.J.
Clark states that “at the root of
modernism in painting [lies] the
idea – or better the conclusion
arrived at in practice – that
the truth of a depiction now
depended on deep obedience
or receptivity to the whole shape
and substance of the coloured
thing. The hold of a picture on
the world as well as its internal
organisation (the kind of depth
it offered, the degree of surface
incident, it’s notion of orderliness
or free improvisation) were
inseparable from the size and
format of the canvas used or the
particular liquidity of the mixed
paint.” 3
By this definition, modernist
painting is first and foremost
a singular, stand – alone statement, an end in itself. Rather
than illustrating a subject,
the modernist artist seeks to
construct a revealing, tactile
montage of all the psychological
and visual sensations surrounding
the subject of the work; far more
than the naked eye alone is
capable of seeing.
In so doing, the artwork itself
assumes the role of subject.
The old, conventional rules of
perspective and the traditional
means of rendering three –
dimensional form and depth
are no longer enough. Objects
and elements are taken apart,
turned inside - out and then
reconstructed into compositions
that utilize colour, light, form
and design to convey an ‘idea’
of something, be it physical
or psychological. The physical
reality of the original subject is
just the starting point; a means
of establishing empathy with the
viewer through a common field of
experience that enables the artist
to lead the viewer into previously
unknown visual territory.
10
The pinched gothic – like peaks
in Triple Range and Four Moons
bring to mind the parched rocky
out-crops that form stage sets
for biblical scenes by Giotto or
Duccio; the ancient arid lands of
Galilee and Judea two millennia
ago. Lane’s incorporation of
gold leaf and other decorative
embellishments further affirm
associations with early European
religious art, alluding to extraordinary places from the beginning
of time, places where miracles
were believed to have actually
occurred.
Mark Amery suggests Lane’s
attraction to such fundamental
visual metaphor indicates an
affinity with the medieval aesthetic.
“[In Lane’s work] you see a
sophisticated synthesis of a farreaching set of artistic influences
and aesthetics. Its abstract music
(all staves, dots and quavers) is like
a concertinaed map collapsing
together the pre - Renaissance
and pre - postmodern – a Colin
McCahon landscape base here, a
Giotto or De Chirico object there.
Lane has found his own space in
which to explore art’s power to
inspire devotion...
The medieval is the most
pervasive and distinguishing
influence of Lane’s work, but
as much in spiritual philosophy
as the aesthetics of the
fresco. Lane reminds us of the
power of illumination, echoing
the Middle Ages’ creation
of solidity through volumes
of light, use of gold leaf and
strong chromatic zones of
colour.” 4
While not totally agreeing with
Amery’s proposition, echoes
of the Medieval are certainly
strong in this current body of
work. However, they are but one
contributing influence on Lane’s
oeuvre, amongst many.
Yet, one could just as easily
draw parallels with sources of
imagery that saturate the twenty
first century. The digitalized
eight bit computer - generated
brickwork - like landscapes in
early electronic gaming come to
mind as do the distorted images
of distant planets transmitted
back to earth from Voyager space
probes. The common element
in all computerised forms of
imaging is their ‘sameness’. By
definition, they all reduce the
subject to basic digital building
blocks, transposing it from the
real to a generic digital language
that
suppresses
its
actual
physicality.
Although there are certainly
similarities between Lane’s highly
stylised renderings of mountains
and arid plains and the digitalised
environments we are constantly
bombarded with, there are
also some essential differences.
Whereas digital images are
always created with projected
pulses of light, Lane’s paintings
in oil paint on canvas or gesso
panels have an unequivocal
physic alit y. Alth o ugh th ese
images are abstract creations of
the artist’s mind rather than the
world we live in, the paintings
themselves are undeniably real
objects. In fact, one could say that
Lane’s predilection for luminous
glazes; rich ornamentation and
the embellishment of precious
metals celebrate the object –
hood of his paintings.
The title of Rangipo, on the other
hand, suggests that its hovering
discs of truncated cones were
inspired by memories of somewhere much closer to home.
Last summer Lane and his family
tramped over the Tongariro
Crossing and across the Rangipo
plain of the desert road. Both
Rangipo and the impressive
diptych that followed, In the
Presence of Angels, resonate
with the overpowering vastness
and raw inhospitable beauty of
this primal volcanic terrain.
Enigmatic jade ellipses hovering
above the rugged plateaus
provide both chromatic and
symbolic respite from the parched brown earth below. If one
reads these elements as clouds of
water vapour they optimistically
suggest the possibility of cooling,
restorative rain. Other readings
could include floating pockets
of energy, symbols of infinity or
the identification of this place as
an ecologically ‘sacred’ region.
Lane’s choice of title for the
largest work in this series; In the
Presence of Angels, suggest
his intention was that we read
the ellipses hovering over this
monumental panorama as the
latter.
The sharply defining daylight in
the left hand panel of the diptych
stands in stark contrast to the
darkness that shrouds the right.
Is Lane suggesting that the past
and present coexist or, perhaps
that the present is inescapably
defined by all that has happened
previously?
In The Republic, Plato expelled
all artists from his ideal state,
because they merely copied
nature, which, in turn, was only
a copy of the ultimate reality. “In
fact,” Picasso said, “one never
copies nature; neither does one
imitate it.... For many years,
cubism had only one objective:
painting for painting’s s ake .
We rejected every element that
was not part of essential reality.”
Lane’s paintings reference the
vast pantheon of Western culture,
from the Greeks to the present.
His oeuvre may be based upon
on this long artistic heritage,
but rather than simply mining
or recycling it, Lane’s abstract
extrapolations of memory enhance our understanding of what
modern painting can be.
I see Lane first and foremost as
a modernist painter of abstract
visions. His contemporary images
of the present also illuminate
the past, continuing a dialogue
countless generations of painters
have given voice to previously.
As the late Robert Hughes said:
“In art there is no progress, only
fluctuations of intensity.”
1
Strongman, Lara: Tony Lane, Miraculous
Objects, Ouroborus Publishing, Auckland,
2002, chapter 4 “The Charge of a
Witness” (pages 20 – 28).
2
Clark, T.J: “False Moderacy; Picasso
and Modern British Art Tate Britain, 15
February to 15 July,” London Book Review
3
Ibid
4
Amery, Mark: “Metaphysical Bling”, review
published in Dominion Post
WE MUST INHABIT THIS PLACE
Oil paint and Schlagmetal on Panel.
123 × 105.5cm
12
2012
14
15
IN THE PRESENCE OF ANGELS
Oil paint and Schlagmetal on Panel.
Two panels, each 88.5 × 116cm
2012
18
19
RANGIPO
2012
Oil paint and Schlagmetal on Panel.
176 × 121.5cm
20
22
23
GOTHIC
2012
Oil paint and Schlagmetal on Panel
68.5 × 121.5cm
25
26
27
STARRY NIGHT
2012
Oil paint and Gold Leaf on Panel.
179.5 × 90cm
28
30
31
THE DESERT PLATEAU #1
2012
Oil paint and Schlagmetal on Panel
48.5 × 77cm
33
34
35
THE DESERT PLATEAU #2
Oil paint and Schlagmetal on Panel.
44.5 x 42.5cm
36
2012
38
39
THE DESERT PLATEAU PLATEAU #3
2012
Oil paint and Schlagmetal on Panel.
29.5 × 39.3cm
41
42
43
VALLEY
2012
Oil paint and Schlagmetal on Panel.
Two panels, each 29.8 × 38.7cm
45
46
47
THE PLANETS
2013
Oil paint and Schlagmetal on Panel.
58 × 158.5cm
48
50
51
2013
A NEW RELIGION
Gouache on panel.
22 × 32cm
2012
MESSAGE
Gouache on panel.
22 × 32cm
PARABOLA
2013
Gouache on panel.
22 × 32cm
HERE IT IS
2013
Gouache on panel.
22 × 32cm
53
2013
CHURCH
Gouache on panel.
26 × 34cm
2013
STAIRWAY TO HEAVEN
Gouache on panel.
18.5 × 23.5cm
54
CEMENTERIO
2012
Gouache on panel.
18.5 × 23.5cm
BLUE HILLS, BLACK MOONS
Gouache on panel.
24 × 18.5cm
2013
biography
Tony Lane was born in Kati Kati, New Zealand, in 1949. He graduated with
a Diploma of Fine Arts from Elam School of Fine Arts, Auckland University,
in 1970 and moved to Wellington in 1974 where he was based for nearly
28 years.
In
1975
he
was
included
in
Three
Madrid, and public galleries in Barcelona
showed
Wellington Painters at Peter McLeavey
and Zamora, the Netherlands and New
“From Aongatete”. This exhibition toured
Gallery, Wellington, and in 1976 he had
Zealand. In 1995 Lane had a solo exhibition
throughout New Zealand Public Art
his first solo exhibition at Elva Bett
with Peter Bonnier Gallery in New York. In
Galleries.
Gallery, Wellington. Lane was awarded
1997 and 2006 in London and in 1999 in
He has exhibited extensively within New
grants from the Queen Elizabeth 11 Arts
Gstaad, Switzerland, he had solo shows
Zealand and internationally and he is
Council in 1978 and 1984; the latter he
with
In
currently represented by Black Asterisk
used to travel to Europe and the United
2001 h e had a solo exhibition with Tim
Gallery, Auckland; Mark Hutchins Gallery,
States. In 1988 he returned to Europe,
Olsen Gallery in Sydney and in 2002
Wellington; Nadene Milne Gallery, Arrow-
living in Rome and traveling through
a solo exhibition with Galleria Camilla
town and Black Barn Gallery, Havelock
Spain and Portugal. He was selected
Hamm in Barcelona.
North.
for the inaugural Moet and Chandon
In 2006, City Gallery, Wellington, held
Award Finalists exhibition in 1989 and
A number of catalogues of his paintings
a survey exhibition of his work, entitled
the following year he was awarded a
have been published recently by Blurb
“Practical Metaphysics”. This was accom-
Goethe Institute scholarship to study the
Books.
panied by an extensive catalogue.
German language. He spent this time in
Berlin and concurrently worked in the
Kunstlerhaus Bethanien, Kreuzberg.
Gallery,
London.
exhibition
entitled
In 2002 he moved from Wellington to
Auckland. He lives there as well as at his
part of an exhibition “Ultramarte”, that
home in Campanet, Mallorca.
traveled to Valencia, Palma de Mallorca
and Hong Kong, as well as a number of
Distance Looks Our Way: Ten Artists from
venues in New Zealand.
at Expo in Seville, the Conde Duque in
survey
In 2007 and 2008 his paintings were
1992-94 saw the international tour of
New Zealand to the International Pavilion
56
Dreamtime
a
His paintings are in many public and
private collections in Europe, the United
States and Australasia.
In 2008, also, the Tauranga City Gallery
57
curriculum
vitae
Exhibitions
2013
We must inhabit this
place, Black Asterisk
Gallery, Auckland,
New Zealand
HIGH, Mountains and
Plateaus Paintings by
Tony Lane Black Barn
Gallery Hawkes Bay,
New Zealand.
2012
2011
2011
2010
2009
2008
2007
2006
Tony Lane: An Exhibition
to Accompany the Launch
of “Collected Poems”
by Charles Spear, Gus
Fisher Gallery, Auckland,
New Zealand
1999
Tony Lane,
Nadene Milne Gallery,
Arrowtown, New Zealand
1997
Geomorphology,
Mark Hutchins Gallery,
Wellington, New Zealand
Tony Lane: Practical
Metaphysics, City Gallery,
Wellington, New Zealand
Breathe, Nadene Milne
Gallery, Arrowtown,
New Zealand
Metafisica, Mark Hutchins
Gallery, Wellington,
New Zealand
Commission Sky City
Casino, Auckland,
New Zealand
No Man’s Land,
Jensen Gallery, Auckland,
New Zealand
Lane, Lorna McPherson
Gallery, London, UK
True, Mark Hutchins
Gallery, Wellington,
New Zealand
2005
Nadene Milne Gallery,
Arrowtown, New Zealand
Ngaumatau,
Arrowtown, New Zealand
2004
Silence,
Mark Hutchins Gallery,
Wellington, New Zealand
Light and Shade,
Nadene Milne Gallery,
Arrowtown, New Zealand
Tony Lane: The Necklace
Paintings, a Survey 1994
- 2008, Mark Hutchins
Gallery, Wellington,
New Zealand
From Aongatete: Tony
Lane - A Survey,
Tauranga Art Gallery,
Tauranga , New Zealand
58
Selected Group Exhibitions
2003
2002
Jensen Gallery,
Auckland, New Zealand
Jensen Gallery,
Auckland, New Zealand
Tinakori Gallery,
Wellington, New Zealand
Galleria Camilla Hamm,
Barcelona, Spain
2001
Jensen Gallery,
Auckland, New Zealand
1998
Dreamtime Gallery,
Gstaad, Switzerland
Jensen Gallery,
Auckland, New Zealand
1986
Janne Land Gallery,
Wellington New Zealand
1985
Peter McLeavey Gallery,
Wellington New Zealand
Jensen Gallery, Auckland
New Zealand
1984
Veiled From Sight,
Dreamtime Gallery,
London
1983
1995
Gregory Flint Gallery,
Auckland, New Zealand
1982
Peder Bonnier Gallery,
New York, USA
1981
Gregory Flint Gallery,
Auckland, New Zealand
1992 Gregory Flint Gallery,
Auckland, New Zealand
1990
Gregory Flint Gallery,
Auckland, New Zealand
Catherine Scollay Gallery,
Wellington, New Zealand
1989
Southern Cross Gallery,
Wellington, New Zealand
1988
Southern Cross Gallery,
Wellington, New Zealand
1987
Gow Langsford Gallery,
Auckland, New Zealand
2010
Diaspora: Pluralism
+ Singularity, Pataka,
Porirua, The Suter Art
Gallery, Nelson and
Waikato Museum,
Hamilton, New Zealand
Denis Cohn Gallery,
Auckland, New Zealand
2009
Peter McLeavey Gallery,
Wellington, New Zealand
1980
Elva Bett Gallery,
Wellington, New Zealand
1979
Elva Bett Gallery,
Wellington, New Zealand
Denis Cohn Gallery,
Auckland, New Zealand
1978
Elva Bett Gallery,
Wellington, New Zealand
1976
Elva Bett Gallery,
Wellington, New Zealand
Diaspora: Pluralism +
Singularity, Millennium
Public Art Gallery,
Blenheim, New Zealand
2005
The Votive Image: Tony
Lane, Matt Couper + Terry
Stringer, Mark Hutchins
Gallery, Wellington,
New Zealand
2008
2007
2006
Upside Group Show,
Milne Gallery, Arrowtown,
New Zealand
ULTRAMarte,
Contemporary Art from
New Zealand,
Casa - Museo Benlliure,
Valencia and Casal
Solleric, Palma de
Mallorca
Lux, curated by Andrew
Jensen. Mark Hutchins
Gallery, Wellington,
New Zealand
Lux, Jensen Gallery,
Auckland, New Zealand.
Tony Lane and Denis
O’Connor, Mark Hutchins
Gallery, New Zealand
1997
1995
Melancholia, Jensen
Gallery, Auckland,
New Zealand
2004
The Persistence of
Memory; Lane, Sarmento,
Neate, Jensen Gallery,
Auckland, New Zealand
Foundation 5,
Opening exhibition,
Mark Hutchins Gallery,
Wellington, New Zealand
ARTemology, Nadene
Milne Gallery, Arrowtown,
New Zealand
Peter McLeavey Gallery,
Wellington, New Zealand
Denis Cohn Gallery,
Auckland, New Zealand
Gregory Flint Gallery,
Auckland, New Zealand
1994 Jonathan Jensen Gallery,
Christchurch,
New Zealand
Ten Year Anniversary
Exhibition, Milne Gallery,
Arrowtown, New Zealand
Peter McLeavey Gallery,
Wellington New Zealand
Peter McLeavey Gallery,
Wellington, New Zealand
Jensen Gallery,
Wellington, New Zealand
2011
Art Applied,
Mark Hutchins Gallery,
Wellington, New Zealand
2003
2002
2001
The Collaborators,
Anna Bibby Gallery,
Auckland, New Zealand
Points of Orientation,
Paintings/Object 4th
Millennium B.C. - 2002
A.D. Jensen Gallery,
Auckland, New Zealand
Tim Olsen Gallery,
Sydney, Australia
Jensen Gallery,
Auckland, New Zealand
1998
Leap of Faith, Govett
Brewster Art Gallery,
New Plymouth,
New Zealand
Tony Lane Antonio
Murado, Gow Langsford
Gallery, Auckland,
New Zealand
1991
Woodcuts,
Gregory Flint Gallery,
Auckland, New Zealand
Andy Warhol and Friends,
Peder Bonnier Gallery,
New York, USA
A Very Peculiar Practice,
City Gallery, Wellington,
New Zealand
1994
Distance Looks Our Way,
Auckland, Wellington,
Palmerston North,
New Zealand *
1993
Distance Looks Our Way,
Zamora, Barcelona, Spain
1992
Distance Looks our Way,
Sarjeant Gallery,
Wanganui, New Zealand
Il Sud del Mondo, Palermo
Art Gallery, Italy
Arco ’92,
Gregory Flint Gallery,
Spain
Distance Looks Our Way,
International Pavilion,
Seville; Stelling Gallery,
Leiden; Conde Duque,
Spain *
Il Sud del Mondo,
Marsala, Sicily *
1984
Tony Lane and Gavin
Chilcott, Brooke Gifford
Gallery, Christchurch,
New Zealand
1981
Signatures,
Auckland City Art Gallery,
Auckland, New Zealand
Paint, Dowse Art Gallery,
Lower Hutt, New Zealand
1980
Moet et Chandon Award
Finalists, National Tour,
New Zealand
Inaugural Exhibition,
City Gallery, Wellington,
New Zealand
1978
New Zealand New Work,
Barry Lett Gallery,
Auckland, New Zealand
Selected Works 1985 - 89,
City Gallery, New Zealand
1987
Tony Lane and Allen
Maddox, Southern Cross
Gallery, Wellington,
New Zealand
Three Wellington Painters,
Dowse Art Gallery,
Lower Hutt, New Zealand
1977
From Textile to Sculpture,
Charles Nodrum Gallery,
Melbourne, Australia
New Year, New Work,
Barry Lett Gallery,
Auckland, New Zealand
Young Contemporaries,
Auckland City Art Gallery,
Auckland, New Zealand
Goodman Suter Biennial,
Nelson Art Gallery,
Nelson, New Zealand
Large Paintings,
Manawatu Art Gallery,
Palmerston North,
New Zealand
The Self,
The Suter Art Gallery,
Nelson, New Zealand
Two Man Show,
Brooke Gifford
Gallery, Christchurch,
New Zealand
Works on paper,
Charles Nodrum Gallery,
Melbourne, Australia
1975
Three Wellington Painters,
Peter McLeavey Gallery,
Wellington, New Zealand
Selected Bibliography
Mark Hutchins and Stuart
Brougham, We Must Inhabit This
Place, Blurb Books, 2013
Chrissie Craig, “Enigmatic
Treasures”, Art New Zealand No. 121
Summer 2006
Mark Hutchins and Others,
Geomorphology , Blurb Books,
2012
Lara Strongman, Tony Lane,
Mark Hutchins, Transformations
Blurb Books, 2011
T.J McNamara, “Rich and Precious
World”, NZ Herald, 10 November
2004
Mark Hutchins and Others,
“Voces”, Spanish with English
translation, Blurb Books, 2010
Mark Hutchins and Others,
“Echoes, Recent paintings of
Tony Lane” Blurb Books, 2009
Professor Peter Simpson “An Italy
of the Mind: Colin McCahon and
Tony Lane”, New Zealand and
the Mediterranean, New Zealand
Studies Conference, Florence, 3
July 2008
Professor Peter Simpson, The Shell
of Vision”: Thinking About Tony
Lane”, A talk given at the Nadene
Milne Gallery, Arrowtown, Friday 23
November 2007
Charles Spear, “Collected Poems
of Charles Spear”, publisher
Holloway Press. Illustrations
by Tony Lane, 2007
Virginia Were, “Tony Lane”,
ULTRAMarte, Arte Contemporaneo
de Nueva Zelanda”. 1/4/2007
Ngaumatau and Dreamtime
Gallery, 2005
T.J McNamara, “Curious Imagery
Creates Odd Puzzles”, NZ Herald,
12 November 2003
John Lane and Satish Kumar (eds),
“Images of Earth and Spirit”
(Green Books, 2003) by Mark Kidel
T.J McNamara, “Golden Touch
Brings Wealth of Meaning”, NZ
Herald,
23 September 2002
Lara Strongman, “Miraculous
Objects - Tony Lane”, Ouroborus
Publishing 2002 (illustrated
Catalogue)
Mark Hutchins, “Miraculous
Transformations of the Familiar”
The Italian Inheritance Contemporary Responses to
Earlier Italian Renaissance Imagery
by Four New Zealand Artists,
Thesis, University of Auckland,
1998
Ngaumatau Gallery, Arrowtown
and Dreamtime Gallery, London,
“Tony Lane”, Catalogue, 2006
John Hurrell, “Where is
Contemporary New Zealand Art at,
right now?”
Leap of Faith 1998
Mark Amery, “Metaphysical Bling”,
The Dominion, 24/11/2006
Virginia Were, “Tony Lane, Studio”,
Artnews, Autumn issue 2007
Heather Galbraith,
“A Space and Time Odyssey”,
Survey Exhibition catalogue,
City Gallery, Wellington 2006
Adam Gifford, “Ceremony
Echoes Large for Winery”
The New Zealand Herald 30/7/06
60
Collections
John Russell Taylor, “Veiled From
Sight: The paintings of Tony Lane”,
(catalogue) 1997 Jensen Gallery,
“Tony Lane. Paintings”,
(catalogue) 1996
Michael Dunn, “Contemporary
New Zealand Painting”,
Craftsman House, 1996
Melanie Thornton, “The Spirit
in their Art”, National Radio
New Zealand, 1996
Warwick Brown, “One Hundred
New Zealand Paintings”,
Godwit, 1995
Claire J Regnault, “A Very
Peculiar Practice: Aspects
of Recent New Zealand Painting”,
City Gallery, Wellington, 1995
Keith Stewart, “The Unbearable
Lightness of Gold”, Wellington
Sunday Times 16 October 1994
John Daly Peoples, “Review”
Art New Zealand, Gregory Flint
Gallery, Auckland 1994
Robyn Ussher, “The Votive”,
The Press Christchurch,
19 October 1994
Louise Garret, “Distance
Looks Our Way”, The Dominion
Wellington, December 1993
Justin Paton, “Remembrance and
Reverie”, The Press Christchurch,
24 November 1993
“In the Forest of Dream”,
Moet and Chandon New Zealand
Art Foundation, 1989 (illustrated
catalogue)
Wystan Curnow, “Constructed
Intimacies”, Auckland, Moet
and Chandon New Zealand Art
Foundation, 1989 (illustrated
catalogue)
A.C.C, New Zealand
ANZ Bank, New Zealand
Auckland Art Gallery,
Auckland, New Zealand
Dowse Art Museum, New Zealand
Dunedin Art Gallery,
Dunedin, New Zealand
ECNZ, New Zealand
“Tony Lane”,
Antic No 6, Nov 1988
Fay Richwhite Ltd,
Auckland, New Zealand
Elva Bett Gallery,
Wellington, Newsheet No 1
Fletcher Challenge Collection,
Auckland, New Zealand
Elva Bett, “New Zealand Art:
A Modern perspective”,
Auckland Reed Methuen, 1986
Florida Art Gallery,
Miami, Florida, USA
Ian Wedde “Slipping under
the Fence: Recent Work
by Tony Lane”, Art New Zealand,
no.40, spring 1986
Susan Foster “Review”,
Art New Zealand, no.37,
summer 1985
Avenal McKinnon “Review”,
Art New Zealand, no.29,
summer 1983
Forsythe Collection,
Auckland, New Zealand
Glen and Renee Schaeffer,
Las Vegas, USA
Govett Brewster Art Gallery,
New Plymouth, New Zealand
J.B. Gibbs Trust Collection,
Auckland, New Zealand
James Wallace Collection,
Auckland, New Zealand
Manawatu Art Gallery,
Palmerston North, New Zealand
National Bank, New Zealand
New Zealand Ministry of Foreign
Affairs and Trade
Prospect Collection,
Auckland, New Zealand
Russell McVeagh McKenzie
Bartlett and Co, New Zealand
Mark Kidel, “Luminous Art”
Resurgence July – August 1998
Peter Leech “Stains, Emblems
and Artifice”, Distance Looks
our Way, Madrid, Centro Cultural
del Conde Duque, 1993
T.J McNamara, “Perspectives on
Art” The New Zealand Herald,
23 October 1997
Gregory Burke, “Matter and
Suspense: The Paintings of
Tony Lane” (catalogue) 1992
Te Papa Tongarewa, New Zealand
John Daly - Peoples, “Modern Day Shamans Evoke Icon Worship
and Madness” N.B.R, 31 October
1997
Ian Wedde, “Il Sud del Mundo”,
(catalogue) 1991 Peter Leech,
“The Nominal and the Numinous:
The 1990 Moet et Chandon
Exhibition”, Art New Zealand,
No 56, 1990
John Russell Taylor, “Review” The
Times, London, December 6, 1997
Rutherford Collection,
New Zealand
He is also represented in many
private collections throughout
New Zealand, Australia, the United
States of America and Europe.