Andrew Drummond

ANDREW DRUMMOND

In his earliest expression of art, Drummond used his body as a vehicle for images and his compulsion to perform is still evident in his complex sculptures and installation.

During the 1970s and early 1980s, he explored the impact of man on the environment, using themes such as entrapment, destruction, and conservation.

Through meeting Joseph Beuys (1921-1986) at a 1975 seminar in Edinburgh, Scotland, Drummond’s interest in primary aspects of human activity, natural forms, and energies was reinforced, and he realised that this concern was also being addressed by a new generation of experimental artists in Europe. While still involved in performance work, Drummond began using natural materials such as slate, stripped willow, copper, and found objects, placing them in an environment already affected by man, to convey his message.

His use of natural materials gathered momentum in the 1980s and still occurs in his work decades later. Whether Drummond’s work is displayed in a dealer gallery or a museum exhibition, it always has the sense of a ‘grand installation’. In the highly charged atmosphere of his studio Drummond links subject and material, integrating disparate elements to make compelling statements.

The 1990s began with a residency at the Queensland Art Gallery, Australia. Inspired by a simple act of nature – a falling sycamore seed – Drummond created a major installation, Supports for Falling Limbs and Articles for an Ongoing Nature. In 1994, his Device for Viewing and Listening, spiralled copper shaped as a suspended funnel moving in the breeze was commissioned and installed on Druid’s Hill, Wellington.

His work continues to challenge and inspire. Whether working on the massive scale of the Druid’s Hill commission or placing a piece of polished coal on a small wooden shelf, Drummond has the ability to intrigue and perplex viewers, inspiring lateral thought as to the essence of his creations.

– Elizabeth Caughey and John Gow, “Andrew Drummond,” Contemporary New Zealand Art 2 (Auckland: David Bateman, 1999, pp. 18-21.

Andrew Drummond was born in Nelson in 1951. Between 1992 – 2003 Drummond was a Senior Lecturer in Sculpture at Ilam School of Fine Arts at Canterbury University, Christchurch. He currently lives and works in Christchurch.

SOLO EXHIBITIONS

2013
From a Private Site, Objects, Jonathan Smart Gallery, Christchurch, New Zealand

2010
Andrew Drummond: Observation/Action/Reflection, Christchurch Art Gallery, Christchurch, New Zealand

2009
Andrew Drummond: About Rising and Falling, Vavasour Godkin Gallery, Auckland, New Zealand

2008
Andrew Drummond: From Motion, Stillness, Page Blackie Gallery, Wellington, New Zealand

2006
Recent Work, Jonathan Smart Gallery, Christchurch, New Zealand
Views of Particles, Vavasour Godkin Gallery, Auckland, New Zealand

2005
The Light and Dark of Visibility, Vavasour Godkin Gallery, Auckland, New Zealand

2004
Recent Works, City Art, Christchurch, New Zealand

2002
Devices: Rotating, Displacing, Assigning, Dunedin Public Art Gallery, Dunedin, New Zealand
Rotating/Revealing, Manawatu Art Gallery, Palmerston North, New Zealand

2000
Rotating/Revealing, Jonathan Smart Gallery, Christchurch, New Zealand

1999
At Daisy’s Café, Ambleside, England

1997
Recent Work, Andrew Jensen Gallery, Wellington, New Zealand
Recent Work, Gow Langsford Gallery, Auckland, New Zealand
Recent Work, Jonathan Smart Gallery, Christchurch, New Zealand
Samples and Speculations, Jonathan Smart Gallery, Christchurch, New Zealand

1996
About Chest Height, Jonathan Smart Gallery, Christchurch, New Zealand
Recent Work, Gow Langsford Gallery, Auckland, New Zealand
Sculpture and Drawing, Andrew Jensen Gallery, Wellington, New Zealand

1995
Capsules and Fragments, Andrew Jensen Gallery, Wellington, New Zealand
For Beating and Breathing, Robert McDougall Art Gallery, Christchurch, New Zealand
Jet, Andrew Jensen Gallery, Wellington, New Zealand

1994
Backdating, Jonathan Jensen Gallery, Christchurch, New Zealand
From the Duplicitous Nature of the Swan: COB and PEN, Govett-Brewster Art Gallery, New Plymouth; and Sarjeant Gallery, Whanganui, New Zealand
Vented, Jonathan Jensen Gallery, Christchurch, New Zealand

1993
Recent Work, Gregory Flint Gallery, Auckland, New Zealand
Underground Listening Device, Royal Institute of British Architecture installation for New Voices in the City conference, Manchester, England

1992
A Place for Supporting Limbs and Vessels, University of Canterbury School of Fine Arts Gallery, Christchurch, New Zealand
Between Rocks and Glasshouses, City Gallery Wellington, Wellington, New Zealand
Recent Work, Gregory Flint Gallery, Auckland, New Zealand

1991
For the Protections of Seeds: Constructions and Watercolours, Gregory Flint Gallery, Auckland, New Zealand
From a Flight Across the Desert, Catherine Scollay Gallery, Wellington; and Gow Langsford Gallery, Auckland, New Zealand

1990
Crossroads, Ipswich Regional Gallery, Townsville, Australia
Supports for Falling Limbs and Articles for an Ongoing Nature, Queensland Art Gallery, Brisbane, Australia
Supports in a Falling Landscape, Hastings City Art Gallery, Hastings, New Zealand

1989
Images from another Archaeology, Auckland City Art Gallery, Auckland, New Zealand
Recent Work, Gow Langsford Gallery, Auckland, New Zealand
Recent Work, Southern Cross Gallery, Wellington New Zealand

1988
Agricultural Still Life, Gow Langsford Gallery, Auckland, New Zealand
Drawings/Installations, Centre Gallery, Hamilton, New Zealand
From the Valley of the Shadow, Gow Langsford Gallery, Auckland, New Zealand
Images from the Woodcutter, Artspace, Auckland, New Zealand

1987
Coming and Going, Sarjeant Gallery, Whanganui, New Zealand
Five Sights, Vessels and Containers, Braided Rivers, Dunedin Public Art Gallery; Sarjeant Gallery, Whanganui, Govett-Brewster Art Gallery, New Plymouth; and Dowse Art Museum, Lower Hutt, New Zealand

1985
Fragile Vessels, Red Metro Gallery, Auckland, New Zealand
Sentinel, Dunedin Public Art Gallery, Dunedin, New Zealand
Vein, Dunedin Public Art Gallery, Dunedin; and Red Metro Gallery, Auckland, New Zealand

1984
From the Valley of the Shadow, Aspex Gallery, Portsmouth, England

1983
Vein [Objects], Red Metro Gallery, Dunedin, New Zealand
Vein [Completed Work], Hocken Gallery, Dunedin, New Zealand
Witness, Red Metro Gallery, Dunedin, New Zealand

1982
Cycles/Stages, National Art Gallery, Wellington, New Zealand

1981
Works ’80, Wellington City Art Gallery, Wellington, New Zealand
Works ’80 + Land(ed), Manawatu Art Gallery, Palmerston North, New Zealand

1980
Relics, Hocken Gallery, Dunedin, New Zealand
Toxick, Bosshard Galleries, Dunedin, New Zealand
Willow Dance, Frances Hodgkins Studio, Dunedin, New Zealand

1979
The Grass is Greener, Manawatu Art Gallery, Palmerston North, New Zealand
Walking, Elva Bett Gallery, Wellington, New Zealand

1978
Tattoo Tapes/Onto Skin, Auckland City Art Gallery, Auckland; Artists’ Co-op, Thorndon Quay, Wellington, New Zealand; Sculpture Centre, Sydney, Australia

1977
One Night & One Day, Elva Bett Gallery, Wellington, New Zealand

1976
7 x 7 x 7 Circles, Waterloo, Canada
Dynamic Energy Art Group, Settlement Gallery, Wellington, New Zealand
Spira Miribilis: The Golden Triangle, Waterloo, Canada

1974
Kinetic Constructions, Massey University, Palmerston North, New Zealand

1973
Kinetic Paintings, Dawson’s Gallery, Dunedin, New Zealand

GROUP EXHIBITIONS

2010
Fragments, Figments and Frogs, Jonathan Smart Gallery, Christchurch, New Zealand

2009
Group Show, Vavasour Godkin Gallery, Auckland, New Zealand
Wunderbox, Christchurch Art Gallery, Christchurch, New Zealand

2008
Fast Forward, Vavasour Godkin Gallery, Auckland, New Zealand
Group Show, Vavasour Godkin Gallery, Auckland, New Zealand

2007
21st Anniversary Show for the Tylee Cottage Residency, Sarjeant Gallery, Whanganui, New Zealand
Residency, Sarjeant Gallery, Whanganui, New Zealand
In Limbo, Vavasour Godkin Gallery, Auckland, New Zealand
Sculpture, Wellington, Tinakori Gallery, Wellington, New Zealand

2006
Group Show, Vavasour Godkin Gallery, Auckland, New Zealand

2005
Art of the Nation, Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
Group Show, Vavasour Godkin Gallery, Auckland, New Zealand

2004
Print Project, School of Fine Arts Gallery, Christchurch, New Zealand
Project 04: Contemporary New Zealand Sculpture, Peter Webb Fine Art Gallery, Auckland, New Zealand

2001
Dark Plain, Christchurch Arts Festival, Christchurch, New Zealand

2000
Art & Industry 2000 Biennial, Christchurch International Airport, Christchurch, New Zealand
Interventions: Post-Object and Performance Art in New Zealand in 1970 and Beyond, Robert McDougall Art Gallery, Christchurch, New Zealand

1999
ArtBarns: After Kurt Schwitters, Lancashire, England
Dream Collectors, Dunedin Public Art Gallery, Dunedin, New Zealand

1998
Cascade, Andrew Jensen Gallery, Auckland, New Zealand

1997
Dream Collectors, Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
Earth/Water, Hawke’s Bay Museum, Napier, New Zealand
Frances Hodgkins Collection, Hocken Library, Dunedin, New Zealand

1998
Action Replay, Artspace, Auckland; and Govett-Brewster Art Gallery, New Plymouth, New Zealand
Dream Collectors, Auckland City Art Gallery, Auckland, New Zealand
Lights and Shadows, Dunedin Public Art Gallery, Dunedin, New Zealand
Proscenium, Artspace, Auckland, New Zealand

1996
Echo Chamber, Dunedin Public Art Gallery, Dunedin, New Zealand
The Crime Show, The Physics Room, Christchurch, New Zealand

1995
Chartwell Collection, Waikato Art Museum, Hamilton, New Zealand

1994
Art Now, National Art Gallery, Wellington, New Zealand
Differetes Natures, La Virreina, Barcelona, Spain
Stimulus to Style, CSA Gallery, Christchurch, New Zealand

1993
Andrew Drummond and Richard Reddaway, Jonathan Jensen Gallery, Christchurch, New Zealand
Differentes Natures, Galerie de l’Esplanade, Paris, France; Jonathan Jensen Gallery, Christchurch; Solutions Gallery, Dunedin; and Gregory Flint Gallery, Auckland, New Zealand

1992
A Comfortable Environment, Dunedin Public Art Gallery, Dunedin, New Zealand
ARCO, Madrid, Spain
Body of the Land Projects, Solutions Gallery, Dunedin, New Zealand
Group Show, Jonathan Jensen Gallery, Christchurch, New Zealand
Headlands: Thinking Through New Zealand Art, Museum of Contemporary Art, Sydney, Australia; Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
Prospect ’92, Robert McDougall Art Gallery, Christchurch, New Zealand
Wiremark Award for Sculpture, ASA Gallery, Auckland, New Zealand

1991
Crosscurrents, Contemporary Australian and New Art, Waikato Art Museum, Hamilton, New Zealand
Recent Acquisitions, Auckland City Art Gallery, Auckland, New Zealand

1990
Heart and Land: Contemporary Works on Paper from Aotearoa New Zealand, New Zealand Art Gallery Directors’ Council, Wellington, New Zealand
Kei Konei Inaianei: Here and Now: Fifteen New Zealand Sculptors, The Bath House, Rotorua, New Zealand

1989
Doors and Lintels, Fisher Gallery, Auckland, New Zealand
Putting the Land on the Map, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Wood Show, Sarjeant Gallery, Whanganui, New Zealand

1988
Exhibits: The Museum Display and the Encyclopedia Plate, National Art Gallery, Wellington; and Artspace, Auckland, New Zealand.
Festival Show, Southern Cross Gallery, Wellington, New Zealand
From Epstein to Matchitt: A Survey of Sculpture Acquisitions 1957-1987, Shed 11, National Art Gallery, Wellington, New Zealand

1987
Drawing Analogies, Wellington City Art Gallery, Wellington, New Zealand
When Art Hits the Headlines, Shed 11, National Art Gallery, Wellington, New Zealand

1985
Sculpture Show, Red Metro Gallery, Auckland, New Zealand

1984
ANZART in Edinburgh, Richard Demarco Gallery, Edinburgh, Scotland
ANZART in Portsmouth, Aspex Gallery, Portsmouth, England
Four Sculptors: Installations, Centre Gallery, Hamilton, New Zealand
Land Art, A Response to Orkney, The Pier Arts Centre, Orkney, Scotland

1983
ANZART 2, Hobart, Australia

1982
F1 New Zealand Sculpture Project, Wellington, New Zealand
New Zealand Drawing, Dunedin Public Art Gallery, Dunedin, New Zealand
Opening Show, Red Metro Gallery, Dunedin, New Zealand

1981
1st Australian Sculpture Biennial, La Trobe University, Melbourne, Australia
ANZART 1, Robert McDougall Art Gallery and CSA Gallery, Christchurch, New Zealand

1980
Aramoana: Dunedin Artists, Wellington City Art Gallery, Wellington, New Zealand
Artists Books, University of Canterbury School of Fine Arts, Christchurch, New Zealand
Colour Xerox by Artists, MLC Building, Dunedin, New Zealand
Four New Zealand Sculptors, Sarjeant Gallery, Whanganui, New Zealand

1979
Propositions: Drawings, Proposals and Projects for Sculpture, National Art Gallery, Wellington, New Zealand

1978
New Zealand Artists Books, Franklin Furnace, New York, United States
New Zealand Sculptors at Mildura, national tour, New Zealand
Platforms: An Exhibition of 15 Dimensional Structures by New Zealand Artists, Christchurch Arts Festival, Christchurch, New Zealand
Seventh Mildura Sculpture Triennial, Mildura, Australia

1977
A Show of Hands, Manawatu Art Gallery, Palmerston North, New Zealand
Video Store, National Arts Festival, Wellington, New Zealand
Young Contemporaries, Auckland City Art Gallery, Auckland, New Zealand

1976
Graduation Exhibition, Gallery Stratford, Ontario, Canada

1975
A Conceptual Menagerie, University of Waterloo, Ontario, Canada
From Hagar Qim to Callanish, Richard Demarco Gallery, Edinburgh, Scotland

1974
Five from Town, University of Waterloo, Ontario, Canada

1973
Manawatu Review, Manawatu Art Gallery, Palmerston North, New Zealand
Sarjeant Art Award, Sarjeant Art Gallery, Whanganui, New Zealand

PERFORMANCES

1983
Grafting, with Steve Turpie and John Rose, ANZART 2, Hobart, Australia
Red Wedge, Govett-Brewster Art Gallery, New Plymouth, New Zealand

1982
Journeys of the Sensitive Cripple for F1 New Zealand Sculpture Project, Wellington, New Zealand

1981
Vein for 1st Australian Sculpture Biennial, La Trobe University, Melbourne, Australia

1980
Earth Vein, Lake Mahinerangi, Otago, New Zealand
Eight Decades of Conflict, Sarjeant Gallery, Whanganui, New Zealand
Filter Action, Aramoana, Otago Harbour, Dunedin, New Zealand

1979
Suspension/Ascension, Manawatu Art Gallery, Palmerston North; and Wellington inner city warehouse, Wellington, New Zealand

1978
Conversation Between Two Animals with Reference to Alter Ego, with Jonathan Besser, Elva Bett Gallery, Wellington, and Sydney Sculpture Centre, Sydney, Australia
Crucifixion, CSA Gallery, Christchurch, for Platforms, Christchurch Arts Festival, Christchurch, New Zealand
Ngauranga Set (Twenty Directions in an Enclosure, Body/Skin Suspension Piece, Onto Skin, Like a Bull at a Gate), performed at the Artists’ Co-op, Thorndon Quay, Wellington, New Zealand
Perishable Piece #1 and #2, Ngauranga Freezing Works, Wellington, New Zealand
Twenty Directions in an Enclosure: A Pointing Performance, Mildura Sculpture Triennial, Mildura, Australia

1977
Bones/Whirl/Skin, performed at Victoria University of Wellington and Elva Bett Gallery, Wellington, New Zealand
By the Skin of my…, Victoria University of Wellington, Wellington, New Zealand
Conversation between Two Animals, performed at the University of Canterbury School of Fine Arts, Christchurch; and Palmerston North Teacher College, Palmerston North, New Zealand
Onto Skin, a Performance in Three Parts, performed at Auckland City Art Gallery, Auckland, New Zealand
Skin Print Event, Performed at the University of Canterbury School of Fine Arts, Christchurch, New Zealand

1975
Primitive Arrowhead Redesigned, Waterloo, Canada
Spiral of Light, Waterloo, Canada
Time/Space Sequence, Homage to Callanish, Shawbost, Scotland

PUBLIC SCULPTURES & COMMISSIONS

2007
Vertical Form, Counter Rotating, private commission, Nelson, New Zealand

2006
Vertical Form, Counter Rotating, private commission, Banks Peninsula, New Zealand

2005
Tower of Light, Wellington Sculpture Trust commission for Meridian Energy Wind Project, Wellington, New Zealand

2004
Cascade, commission for Woollaston Estates, Nelson, New Zealand
For Swinging and Spinning, private commission, Geraldine, New Zealand

2000
Assignation Device, commissioned by Kiwi Properties for Vero Building, Auckland, New Zealand

1999
Crossroads, commission by Projects Environment for ArtBarns: After Kurt Schwitters, Lancashire, England

1995
For Beating and Breathing, commission for Robert McDougall Art Gallery, Christchurch, New Zealand

1994
Device for Listening and Viewing, Wellington Sculpture Trust commission for Wellington Botanical Gardens, Wellington, New Zealand

1990
Stationary Limbs, commission by Sir James and Lady Fletcher for the Fletcher Trust Collection, Fletcher Challenge House, Penrose, Auckland, New Zealand

GRANTS, AWARDS & RESIDENCIES

2006
New Zealand Order of Merit for Services to Sculpture

1999
Creative New Zealand Grant for Projects Environment commission
ArtBarns Project Residency, Lancashire County Council, Lancashire England

1995
Creative New Zealand Grant for Robert McDougall Art Gallery commission

1990
Australia/New Zealand Foundation Fellowship
Queensland Art Gallery Residency, Brisbane, Australia

1987
Sarjeant Gallery Residency, Whanganui, New Zealand

1981
Queen Elizabeth II Arts Council Grant

1980
Frances Hodgkins Fellow, University of Otago, Dunedin, New Zealand

PUBLIC AND CORPORATE COLLECTIONS

Auckland Art Gallery Toi o Tamaki, Auckland
Bank of New Zealand Collection, Wellington
Chartwell Trust Collection, Hamilton
Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch
The Dowse Art Museum, Lower Hutt
Dunedin Public Art Gallery, Dunedin
Fletcher Challenge Collection, Auckland
Govett-Brewster Art Gallery, New Plymouth
MTG Hawkes Bay’s Tai Ahuriri, Napier
Hocken Collection, University of Otago, Dunedin
Te Manawa Museum of Art, Science and History, Palmerston North
Queensland Art Gallery, Brisbane
Sarjeant Gallery Te Whare o Rehua Whanganui, Whanganui
Te Papa Tongarewa Museum of New Zealand, Wellington
United Bank Trust Collection, Auckland
University of Auckland, Auckland
Wellington Sculpture Trust, Wellington

SELECTED BIBLIOGRAPHY

Mary Barr (ed.), Headlands: Thinking Through New Zealand Art (Sydney: Museum of Contemporary Art, 1993), pp. 93, 96, 144, 157, 173-174, 175.
Lita Barrie, “Andrew Drummond: Towards an Allegorical Use of the Body,” Art New Zealand, vol. 44 (Spring, 1987): 64-67.
―, “The Primitivist Quality of Experimental Art in Southern New Zealand,” Artlink, vol. 5, nos. 3 and 4 (1989).
Pat Baskett, “You Can Grow to Love Andrew Drummond,” New Zealand Herald, 11 October 1990.
Christina Barton, Art Now: The First Biennial Review of Contemporary Art (Wellington: Museum of New Zealand Te Papa Tongarewa, 1994), pp. 42-43.
Christina Barton and Priscilla Pitts, “Unearthing Nature: Lang Projects by 4 Artists 1969-1980,” Antic 5 (1989): 75-96.
Helen Beaglehole and Mary Trewby (eds.), Dream Collectors: One Hundred Years of Art in New Zealand (Wellington: Te Papa Press, 1998), p. 184.
Elva Bett, “Bricks and Plants Come Into Own,” Dominion Post, 19 May 1982.
Sarah Blundell, “Andrew Drummond,” Inner Landscapes: 15 New Zealand Artists with Canterbury Connections (Christchurch: Canterbury University Press, 2009), pp. 42-47.
―, “The Thinking Machine,” New Zealand Listener, 29 June 2006, pp. 36-38.
Nicola Broom, “Art With the Energies of Life,” Otago Daily Times, 5 September 1980.
Warwick Brown, “Andrew Drummond,” Another 100 New Zealand Artists (Auckland: Godwit Publishing, 1996), p. 31.
Mary Bryan, “Tylee Artist to Leave His Mark With City,” Wanganui Chronicle, 28 November 1987.
Gregory Burke, “Andrew Drummond: An Introduction,” AGMANZ Journal, no. 18 (1987): 16-22.
Tyler Cann, “Some Notes on Movement in Art,” b.161 Bulletin of Christchurch Art Gallery Te Puna o Waiwhetu (July-August 2010): 6-17.
Elizabeth Caughy and John Gow, “Andrew Drummond,” Contemporary New Zealand Art 2 (Auckland: David Bateman, 1999), p. 18.
Robert Cembalest, “The Ecological Art Explosion,” Art News (Summer, 1991): 97-105.
Mike Crean, “Movement Man,” Press, 25 October 2000.
Wystan Curnow, “Andrew Drummond: Technician of the Sacred,” Art New Zealand, vol. 11 (Spring, 1978): 17-19.
―, “Aspects of New Zealand Sculpture: Recent Developments,” Education, no. 10 (1977): 20-22.
Wendy Day, “Andrew Drummond,” Art & Industry 2000 Biennial: Contemporary Visual Arts Festival (Christchurch: Art & Industry, 2000), pp. 22-25.
Andrew Drummond, Dynamic Energy Art Group: Cycles of Work (Wellington: Andrew Drummond, 1977).
―, Ngauranga Set (Wellington: Andrew Drummond, 1978).
―, Recent Work (Wellington: Andrew Drummond, 1978).
―, Tattoo Tapes (Wellington: Andrew Drummond, 1978).
―, Vein (Christchurch: Andrew Drummond, 1980).
Michael Dunn, New Zealand Sculpture: A History (Auckland: Auckland University Press, 2002), pp. 108, 109, 124, 164-165, 182.
David Eggleton, Towards Aotearoa: A Short History of 20th Century New Zealand (Auckland: Reed, 2007), pp. 233-235.
Peter Entwistle, “An Invented Anthropology,” Otago Daily Times, 25 September 1991.
―, “Drummond Installation Seen as Reflection of Our Culture,” Otago Daily Times, 2 March 1994.
―, “Major Installation by Drummond,” Otago Daily Times, 26 August 1983.
Warren Feeney, “Focus on Bodies,” Press, 21 February 1996.
John Finlay, “Imperfect Machines and Atmospheres: A Conversation with Andrew Drummond,” Sculpture, vol. 28, no. 9 (November 2009): 37, 39.
―, “Magician of the Earth,” Press, 16 April 2010.
Ngaire Gardner, “Vein by Andrew Drummond at the Dunedin Public Art Gallery,” Otago Daily Times, 2 September 1985.
Jenny Harper, “Exhibiting Sexuality in Aotearoa New Zealand 1975-2000,” in Allison Kirkman and Pat Moloney (eds.), Sexuality Down Under: Social and Historical Perspectives (Dunedin: Otago University Press, 2005), pp. 215-236.
Jenny Harper and Aaron Lister (eds.), Wellington: A City for Sculpture (Wellington: Victoria University Press in association with Wellington Sculpture Trust, 2007), pp. 84, 86.
Jennifer Hay, “Andrew Drummond: Turn of the Wheel,” Sculpture International (March 2002): 18.
―, “A Wellington Inspiration,” Sculpture International (July/August 2006): 28-29.
―, “Ingenious Devices: Recent Sculpture by Andrew Drummond,” Art New Zealand, vol. 106 (Autumn, 2003): 54-57.
John Hurrell, “Andrew Drummond: ArtBarns: After Kurt Schwitters,” Art New Zealand, vol. 95 (Winter, 2000): 78-81.
―, Stimulus to Style: The Metamorphosis of an Artwork (Christchurch: Canterbury Society of Arts, 1994), pp. 24-27.
Hamish Keith, “What a Performance,” New Zealand Listener, 9 September 1978, pp. 28-29.
Anne Kirker, “Andrew Drummond in Queensland,” Art New Zealand, vol. 57 (Summer, 1990): 50-53.
Kim Knight, “A Sphere of His Own,” Sunday Star Times, 2 May 2010.
Peter Leech, “Art and Narrative: Colin McCahon and Andrew Drummond,” Art New Zealand, vol. 16 (Winter, 1980): 21.
―, “Natural Dance, Unnatural Modes,” Otago Daily Times, 22 September 1981.
―, “Process and Product: Andrew Drummond,” Art New Zealand, vol. 28 (Winter, 1989): 16-17.
―, “The Bodily Argument of Art: Andrew Drummond at the Dunedin Public Art Gallery,” Art New Zealand, vol. 43 (Winter, 1987): 84-86.
Bridie Lonie, “Drummond: Veins of Energy,” Otago Daily Times, 7 November 1983.
―, “Art in Sketches and Sticks,” Otago Daily Times, 12 December 1983.
Bill Manhire and Andrew Drummond, Dawn/Water (Eastbourne: Hawk Press, 1979).
Thomas McCullough, New Zealand Sculptors at Mildura: National Tour (Wellington: Queen Elizabeth II Arts Council of New Zealand, 1978).
Christopher Moore, “Troubled Waters Over Bridge,” Press, 25 April 2002.
Rangihiroa Panoho, “A Decade in the Dome: Ten Years of Installations at the Sarjeant Gallery,” Art New Zealand, vol. 50 (Autumn, 1989): 64-67.
Justin Paton, “Animist Machines,” Press, 8 November 1995.
―, “One Cylinder Fires,” Press, 9 November 1994.
―, “Recent Sculpture By Drummond and Reddaway,” Press, 23 March 1993.
―, “We All Dream All the Time,” New Zealand Listener, 3 December 1994, pp. 52-53.
Priscilla Pitts, “Arts for Sales’ Sake: Shifts in Installation,” National Business Review (March, 1989).
―, Contemporary New Zealand Sculpture: Themes and Issues (Auckland: David Bateman, 1998), pp. 14, 32-34, 73, 74-76.
John Reid, “Works Emphasise Land in Dunedin,” Otago Daily Times, 10 June 1993.
Adrienne Rewi, “Drummond Leaves Way Open For Interpretation,” Press, 21 February 1996.
―, “Making Machines,” Home + Entertaining, April/May 2007.
―, “Sculptor Remains a Rebel,” Press, 15 April 1993.
Neil Roberts et al., A Concise History of Art in Canterbury 1850-2000 (Christchurch: Robert McDougall Art Gallery, 2000), pp. 66, 88, 101, 106.
Neil Rowe, “Drummond at His Best,” Evening Post, 19 April 1981.
―, “Sculptor Gets Seal of Approval,” Dominion Post, 6 October 1979.
Rod Scotts, “Ephemeral Art Earns Tangible Fellowship,” Dominion Post, 27 September 1979.
Lindsay Bridget Shaw, “Ending With a New Beginning,” New Zealand Listener, 6 June 1987, p. 47.
―, “Outside NZ Art Looking In,” New Zealand Listener, 9 April 1988, pp. 34-36.
Peter Simpson, “Alchemist Transforms Coal to “Black Diamond” Status,” Sunday Star Times, 16 August 1998.
Michael Spens, “Meaning, Excellence, and Purpose: ANZART in Edinburgh,” Art New Zealand, vol. 33 (Summer, 1984): 28-31.
Frances Sutton, Art & About: A Pocket Guide to Wellington’s Public Art (Wellington: Steele Roberts, 2008), pp. 31-33.
Rob Taylor, “Sculpture Collection’s Limits Demonstrated,” Dominion Post, 20 June 1988.
―, “Works Play Contrary Games,” Dominion Post, 3 September 1987.
Jane Turner (ed.), The Dictionary of Art, vol. 9 (London: Macmillan, 1996), p. 304.
Robyn Ussher, “Mining the West Coast,” Press, 13 August 1997.
Marita Vandenberg, “Art or Craft?,” New Zealand Listener, 25 February 1989, pp. 36-37.
Ian Wedde, “Last Year’s Models,” Evening Post, 23 June 1989.
―, “The Bodily Arguments,” Evening Post, 14 April 1989.
Ian Wedde and Gregory Burke (eds.), Now See Hear!: Art Language and Translation (Wellington: Victoria University Press, 1990).