Vacant Lot of Cabbages (work of art)

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The Vacant Lot of Cabbages is known colloquially as "The Cabbage Patch." The "Vacant Lot of Cabbages" is a well known 1978 art intervention by artist Barry Thomas in Wellington New Zealand. [1] [2] [3] On January 4, 1978, Thomas planted 150 cabbage seedlings to spell out the word "CABBAGE" on the site. [4] [5] It was an early Guerrilla vegetable garden, planted on a derelict, demolished, building site at the central city intersection of Manners St and Willis St. The art occupation lasted for nearly six months and involved many other artists, architects, performers, schools, the Commission for the Environment, Wellington City Council, QEII Arts Council, green groups with significant engagement from the citizens of Wellington. After many spontaneous events and headlines, Thomas and collaborators completed the installation with a week-long festival. It was an "important moment in New Zealand's art and social history." [6]

Contents

Thomas plants the first of 150 cabbage seedlings after giving a speech about how this land had not seen food crops for well over a century. Phot Justin Keen Barry Thomas plants first cabbage 4 January 1978.jpg
Thomas plants the first of 150 cabbage seedlings after giving a speech about how this land had not seen food crops for well over a century. Phot Justin Keen

Origins - location

The Vacant Lot of Cabbages was planted on the site where the Duke of Edinburgh Hotel [7] and the Roxy Cinema [8] were formerly located. In 1975 the prominent central city site was purchased by Anthony Kostanich and the AM and KM Griffiths Trust. The two buildings on the site were demolished, leaving it vacant for over 2 years. [9] The site became an embarrassment, described as an 'eyesore' by the local media. [10] [11] The Duke of Edinburgh Hotel was the haunt of Wellington's radical, artistic intelligentsia, such as poet James K. Baxte r and Geoff Murphy from Blerta. [12] [13] The Roxy Theatre was a 24 hour continuous cinema, much loved by the public. [14]

Inspiration

Thomas was a trained NZ film Cameraman at the National film unit [15] and had studied art at the Ilam School of fine arts. [16] His Vacant Lot of Cabbages was a response to the unique site and public pressure arising from the site becoming an eyesore having lain vacant for over 2 years. [11]

While convalescing in Wellington Hospital [17] Thomas was studying Jack Burnham' s "the structure of art" [18] and read news reports of the Values Party members who attempted to plant native trees on the site. [19] Thomas felt growing food as a work of art in the heart of the city would be unique and more viable. [20] He had also read in Art in America of the replanting of indigenous biota in New York city by artists like Alan Sonfist. Like many New Zealanders at that time, Thomas' childhood was influenced by his family growing their own vegetables in their quarter-acre suburban plot. [17] [21]

Facsimile of Thomas' original sketch for the Vacant lot of Cabbages made while convalescing from an operation in hospital in late 1977. "Vacant lot of cabbages" Intelex drawing of cabbage patch WS (2).jpg
Facsimile of Thomas' original sketch for the Vacant lot of Cabbages made while convalescing from an operation in hospital in late 1977.

Thomas employed his own interpretation of Marcel Duchamp's ideas around the importance of the observer in art by inviting Wellington's citizens to participate with something of a fait accompli. After the initial planting he challenged the public in the press to own the future viability of the site, the nurturing of the vulnerable plants, tending and watering them. Thomas deliberately walked away from the work and went on holiday for three weeks to the far north. [5] [17] [22] [23] He later called this art challenge system "Jeter le gant." (Throwing down the glove and calling for a challenge) [24]

By writing the word "CABBAGE" using cabbage seedlings, Thomas played on Rene Magritte's "The treachery of images" [24] by suggesting that the symbol or word for something can also be the thing itself. Signifier and signified united. [17] He also performed this challenge in March 1978 during the weekly 'Month of Sundays' performance events at the Artists' co-op by writing and performing a 45 minute long rendition of his song "Wasting time" (its only lyrics) that he deliberately sang to the audience until he and his band were booed off the "stage." The meaning of the lyrics and the result were one in the same. [24] [25]

In 1976 Thomas had inspired protest reaction at the swan song match of retired All Black rugby legend Fergie McCormac to which two white South African rugby players had been invited. Thomas and others intervened at this rugby match at Christchurch's famed Lancaster Park by writing on the field with weedkiller in 20 foot high letters the phrase "WELCOME TO RACIST GAME." This was oriented directly at the TV cameras. [26] [27] [28] [29] [30] This was five years before the civil unrest of the anti apartheid 1981 South Africa rugby tour of New Zealand.

The word "CABBAGE" is legible. Thomas exhibited a classificatory linguistic idea around art being a provocatory act followed by viewer reaction. April 1978. Photo by Thomas. BT polaroid man and Reaction A plus with cabbage legible.png
The word "CABBAGE" is legible. Thomas exhibited a classificatory linguistic idea around art being a provocatory act followed by viewer reaction. April 1978. Photo by Thomas.

In 1977, Thomas opened the New Zealand festival of the arts with a happening he called 'The Party' when he trialled his "Jeter le gant" audience challenge by inviting guests to celebrate with food and drink but when they arrived found they had to demolish a clear plastic wall to get to the promised refreshments. Fellow artist Andrew Drummond and others formed a faux rugby scrum and barged the wall down in about three minutes. [24]

Dr. Marcus Moore has thereby described Thomas' modus operandi as working with people not about them. [31]

Action - Planting cabbages.

On the 4th January 1978 Thomas bought a truck load of topsoil and helped by friends Hugh Walton, Chris Lipscombe, and Roger Nichol, armed with shovels and rakes set out a plant bed on the site. Photographer Justin Keen documented the event. [6] [32] [33]

The site itself was effectively dead, comprising compacted clay, concrete debris, and gravel, [19] so Thomas chose to bring in topsoil to nurture the seedlings. The number eight wire fence around the site was cut and the truck, laden with topsoil, was positioned, the soil tipped and then raked into a square. The press said, in the context of the eyesore demolition site that, no-one had previously thought of the idea of planting a food garden. [20] Thomas bought 150 cabbage seedlings from the local gardening shop and the team set about planting out the seedlings in the shape of the word "CABBAGE." [6] [17] The adjacent fish shop provided a hose from their water tap to water the seedlings. [34]

Reaction

On 5 January 1978 the story broke on page 6 of the Evening Post newspaper with a headline: "Mystery garden appears on city's problem section" planted by a "Phantom Gardener." The paper suggested that the garden had been planted in the dead of night. While the New Zealand Values Party wanted to make a park of the eyesore site, this vegetable garden was news to them. [35] [36] [37] Even the visiting Spike Milligan was initially blamed. [38] The next day Thomas met with a reporter and suddenly the art work became front page news. The phantom gardener was in fact a phantom artist. In the article Thomas declared the garden as his work of art and he challenged the public and council by saying “Whether they [the public] just leave them, or steal them, or run over them with motorbikes is part of the art because it is a reflection of our culture... It’s a unification of nature with the culture of our society”

Thomas had spent $60 on topsoil and initially fed the seedlings with chicken manure. Other artists, environmental groups, activists now took up the challenge. [34] [39] The owner of the land said from his Auckland home that he wished the garden well and he hoped they had a fruitful crop. [22]

In the next few weeks the site became a "soap box art corner" as citizens added to the installation including: an IBM mainframe 7330 computer magnetic tape unit plugged into the cabbage patch by Joe Bleakley, Brian Kassler and flatmates; [5] two TV sets; [40] [41] a bust of Beethoven watching TV; [42] a grave with an emerging corpse; [41] a sign "eat at Joe's"; [42] a toilet; [40] couches, an armchair; [41] a clothes washing machine; [38] an electric heater; [40] a telephone; [40] a pile of Playboy magazines; [40] a garden gnome party and a scarecrow; [22] [42] an old garden gate; [43] a letter box; [44] a section of fence; [41] tables; [44] "Basil" a waiter with a cabbage head and a carrot nose wearing a boiler suit; [40] [43] a solitary beer bottle; [43] an assortment of flags; [38] a crate of empty beer bottles; [41] a family photo; [41] and a milk bottle full of flowers. [41]

On the16th of January a pink monocycle, fashioned from a child's tricycle by George Rose, joined the site to become a much loved feature of the occupation. [43] Alister Barry and Rose spent two hours fixing it with dyna-bolt fasteners eight meters up the northern wall of the site. [32] [23] [45] The monocycle had a fluorescent, pink spray painted trail that ran from a street-side storm water drain on Manners street, under the Cabbage patch, and up to the Duchampian cycle. [5]

The cabbages were watered by locals including Jerry Luccros of Zenith's plant shop who used the adjacent fish shop's hose and tap. [34] [20] [22] The Cabbage Patch drew larger crowds than the Dominion Museum. [42] The capital's Mayor Sir Michael Fowler praised the interventions for humourously drawing attention to the eyesore vacant site. [46] [44] [47]

On the 25th of January 1978, having received complaints and a verbal request from the absent owners (Mr. Tony Kostanich and the AM and KM Griffiths Trust) the Wellington City Council considered doing something about the pop-up art corner. Deputy Town Clerk Allan Smyth discussed matters with the police and lawyers and decided to clear the "home away from home" site on the corner of Manners and Willis streets. [48] [22] [37] Smyth also made the fortuitous and wise decision to leave the Cabbages alone, saying "the cabbage patch is probably harmless and can, I think, remain for a while at least." [49] [22]

Wellington City Council Memo ordering the clearance of the site, "but the cabbage patch is probably harmless and can, I think, remain for a while at least." WCC archives Memo smyth probably harmless.jpg
Wellington City Council Memo ordering the clearance of the site, "but the cabbage patch is probably harmless and can, I think, remain for a while at least." WCC archives

In May 1978 during the occupation, a group of women variously known as W.O.N.A.A.C. and W.A.G.(Women's action groups around abortion and citizen rights) repurposed a large papier-mâché pig with the face of the then right wing Prime Minister Sir Robert Muldoon. They placed the pig in with the cabbages. On its flank they'd painted the words "Media, media stop the Pig - time to stop dancing to his Jig." [50] [51] The pig on the site caused something of a front page political fracas when a printing company manager Pat Sheeran, clearly a Muldoon supporter, bundled the pig to the side of the site. [50]

This famed group of activist women later produced other equally sensational interventions in the city including a campaign of posters called the "Double standard" - a fake newspaper which commented especially on Robert Muldoon's personal and political lives. [52]

A Festival for trees, the Last Roxy Show and the Free Coleslaw Party June 17–21, 1978

Landscape architect Bryan McDonald and Barry McIntyre who had exhibited in the nearby Settlement Cafe were approached by the Commission for the Environment's John Hill to explore ways to advocate for native forests. They were soon joined by architect Sir Ian Athfield who then approached Thomas to collaborate with a view to ending the Vacant Lot of Cabbages occupation with a festival. The site's owner was more than happy. The Commission for the Environment along with the Wellington Regional Arts Council, Wellington City Council, NZ Forest and Bird Protection Society, the Native Forest Action Council (NFAC) and private interests all sponsored and supported the event. [53] [54] [55]

They decided to run a 5 day long "A Festival for Trees," "The Last Roxy Show" and "Free Coleslaw party" from 17–21 June 1978. Fifty cabbages and seven bags of carrots were made into free coleslaw for the audience. [56] [57] [58] Sir Ian Athfield designed a travelling cottage which acted as a show-home advocating for native forests. The cottage was built by Barry McIntyre which was later towed around the North Island by Arbor Productions ltd. selling and promoting native trees. [59]

Children, staff and parents from Matauranga school, Cashmere Avenue, Clyde Quay School, St. Peter and Paul's Primary schools all marched through the central city from Rutherford House up Willis street to the site. The cottage was drawn by two Clydesdale horses that had been loaned by a Levin farmer. [55] [54] [56] Children and their teachers were dressed up as threatened native birds with their own papier-mâché bird masks. [55]

Photographer Ans Westra documented much of the final day. [60] [61]

People begin arriving for the Last Roxy Show including the drought horses that towed the Tree cottage. Dame Gaylene Preston can be seen taking her polaroid photos. Thomas Photo. "Vacant lot of cabbages" People-caravan-horses 21 June 1978.jpg
People begin arriving for the Last Roxy Show including the drought horses that towed the Tree cottage. Dame Gaylene Preston can be seen taking her polaroid photos. Thomas Photo.

Staff and pupils from Wellington High School led by painter Robert McLeod and Saint Patrick's College, Wellington led by painter Robert Taylor, designed and painted 3-4m high murals around the entire two remaining walls of the site. These were painted in a McCahon esque style along with native tree names and graffiti style slogans to promote saving New Zealan d native forests along with its birds and bees. [62] [63]

The site was covered in fledgling native trees loaned by The Commission for the Environment and the Wellington City Council. The site brought the bush into the city, a respite from ugliness. Simulated bird calls blended with traffic noise. [64] A stage was created from two soft covered truck trailers from which performers, dancers, musicians Poets like Ian Wedde and Sam Hunt performed. [54] [65] [17]

Red Mole theatre troupe performed "Harold Bigsby comes to town" a character who was encouraged by the then National Government's Minister of Lands Venn Young to go and make a living chopping native trees. "if you wanna earn some money gotta chop down trees, forget all those thoughts bout the birds and the bees..." Sir Sam Neill' s film "Red Mole on the road" depicts this specially written and performed activist drama. [54] [65] [17]

Chris Lipscombe researched and displayed archival documents that displayed the successive ownership of the site. [66] [17]

Dame Gaylene Preston took hundreds of polaroid photographs of attendees and displayed them on the walls. [67]

Chemists analyzed the cabbages and after initial fears they might contain lead, were found fit to eat. [4] [17]

Wellington City Council staff accounting for native trees loaned to the festival. Two covered soft top truck trailers were loaned as the improvised stage (at rear) along with Environmental murals by local High Schools. Thomas Photo. BT shot bureaucrats at Cabbage patch with clip boards and trees, cottage.jpg
Wellington City Council staff accounting for native trees loaned to the festival. Two covered soft top truck trailers were loaned as the improvised stage (at rear) along with Environmental murals by local High Schools. Thomas Photo.
Setting up the Festival of trees and Last Roxy show: Sir Ian Athfield's travelling trees cottage made by Bryan McDonald and Barry McIntyre which was towed in a street parade through the streets of the capital. Thomas photo. BT shot people and cottage cabbage patch.jpg
Setting up the Festival of trees and Last Roxy show: Sir Ian Athfield's travelling trees cottage made by Bryan McDonald and Barry McIntyre which was towed in a street parade through the streets of the capital. Thomas photo.

The Phoenix ending

The Vacant lot of Cabbages, The Last Roxy Show and The Free Coleslaw Party all came to an end on winter solstice - 21 June 1978. The cabbages which were planted 6 months earlier and which had remained "miraculously untouched" were ceremonially harvested and sacrificially burned. This phoenix-like gesture was performed by Thomas to the beat of Red Mole theatre troupe's band. An anthropologist gave an historical account of the Bastion Point occupation which had just been savagely concluded a month prior. [17] [68] Faux scientists in white coats lectured on stage and Thomas encouraged the audience to chant "roast pork and cabbages." [69] [70] [71] [63]

Thomas was dressed in surrogate dresses: a white Arab Dishdash and a black Catholic Cassock. His was face painted half black and half white, reflecting Thomas' unificatory, anti-polemic, anti-war ideals [72] [24] (ala Rose Sélavy). [18] Children wound a rope through the crowd encircling the cabbages and a knot was tied into a circle uniting the audience. [17]

Several of these stringing thread interventions have been performed by Thomas through the years including encircling Claremont Grove in Wellington by tying up houses into a circle and releasing a street directory produced by Thomas and his flatmates (Jarl) so neighbours could know one another. [73] Thomas then did two string projects: one string circle game in the YWCA Wellington then another around the Aro Valley. [24] Thomas collaborated in a web a stringing in Green Park with Norman Smith, Ted Nia and Robin Wilde at the third Sydney Biennale. [74] There was also the climate change themed stringing in Dunedin that saw Thomas, Nina Braye and Bruce McKinney pay out 13 kilometers of thread to encircle central Dunedin joining the climate change induced, flood prone lower areas of Dunedin with the wealthier hill suburbs. [75] In 2024 Thomas performed another ceremonial string circle for the opening of a Hāngī at Kikudai, Kikuchi in Japan. [31]

Stephanie Edmond poignantly wrote "Nature came to the city but it had to come invited through the artist under the name 'work of art' (culture)." [17]

Art changing the world

Mark Amery has cited the Vacant Lot of Cabbages and its links with the Occupy movement as an early example of artists being respected as key social leaders. [76] Thomas has variously defined art as "Art is only leading... framing elephants in rooms" [77] [78] [79] and also as a motivated action taker and the viewer as the reactor. [17]

From Thomas' anti war art - "Three handed Chess" (where one cannot take sides when the 'game' is played with three vs two players), an Artists' Co-op "War Memorial Intervention" [80] [24] to actions opposing the anonymity of urban life seen in his many stringings, [24] [75] [31] to his "Want Mart" [81] [82] and its evocation of the vagaries of the Western, market forced world, his main concern remains the despoilation of nature. In the words of one of Thomas' youthful song "Oh why don't you break away?, you weren't born to obey, Come to the country, be rained on." [16] and "Are we ever gonna tame this millennia of man?..." [83]

The Poem "Time gentlemen" was published in Thomas' book "Vacant lot of Cabbages - a bit" and talks of calling time on the male oligarchy. The site of the Vacant Lot of Cabbages formerly housed the famed watering hole The Duke of Edinburgh Hotel that was demolished leaving the site vacant for 2.5 years. Page 10 time gentlemen.jpg
The Poem "Time gentlemen" was published in Thomas' book "Vacant lot of Cabbages - a bit" and talks of calling time on the male oligarchy. The site of the Vacant Lot of Cabbages formerly housed the famed watering hole The Duke of Edinburgh Hotel that was demolished leaving the site vacant for 2.5 years.

Thomas saw the Vacant Lot of Cabbages as a contest between the market forced zeitgeist of the age, the largely male dominated CBD land owners, the public's role there-in, and the overpowering human domination of the environment - the nature/culture polemic. [51] [34] ]

In his 'book' "Vacant lot of cabbages - a bit" [84] that he sold for 60c with Mark Hantler on the final day of the Last Roxy show 21June 1978. [85] [86] He wrote two poems in which he described this art event as "He had an idea, born of frustration... doleing[sic] responsibility [to the public]" and he called "Time gentlemen..." The reign of the mainly male oligarchs was up. [87]

"On Growth" is a poem Thomas published in the book he sold on 21 June 1978 "Vacant lot of Cabbages - a bit" linking the movement that issued from the publication of "Limits to growth 1972." Thomas can be seen selling the book at the National Library of New Zealand On Growth.jpg
"On Growth" is a poem Thomas published in the book he sold on 21 June 1978 "Vacant lot of Cabbages - a bit" linking the movement that issued from the publication of "Limits to growth 1972." Thomas can be seen selling the book at the National Library of New Zealand

Shifting the zeitgeist

The Vacant Lot of Cabbages provides an early example of how art can act as a change-maker via individual intervention and activism. This has become known as tactical urbanism. [89] Along the lines of Duchamp's definition of the artist as cultural/social leader, [90] [18] [17] guerilla gardening even became a brand for places like Todmorden in Yorkshire [91] and like Seattle, [92] shifting and enhancing cultural identity with citizens feeling involved in decision-making about land-use and re-finding their sense of collectivity and humour. [38]

Chris Trotter identified the Vacant Lot of Cabbages as "a conceptual artistic statement against the life-negating conservatism of the Muldoon years [which] quite literally grew into a life-affirming (and edible) challenge to Wellington's bureaucratic soul". [38] [17] [93] [94]

Tactical urbanism has sprouted up across the Western world - from Paris to the UK, from New York to Amsterdam. Citizens don't ask permission, they take action like: slowing down traffic by pointing hairdryers at speeding cars, plopping plumbers' plungers on the road to enact new bike lanes, guerrilla gardens, street-art, parties and signs to wayfinder signage. [95] [73] [89] [96]

In 1978, citizens passing the Vacant Lot of Cabbages in busses laughed all the way to the railway station some two kilometers away. [17] Wellington's own self-image was enhanced by the humour that the event engendered. [38] The site prompted Truth to describe Wellington as the "New Zealand humour capital". [42] Thomas' jeter le gant also sought to engage and foster community in the context of growing global environmental concerns following the 1972 publishing of The Limits to Growth and its embedded warnings of the impact of the Anthropocene age and of human-induced climate-change. [4]

In 2012 Te Papa Tongarewa (New Zealand's national museum) purchased Thomas' archive of the event, claiming it represented "An important moment in New Zealand’s art and social history." [6] [23] [89]

Vacant Lot of Cabbages - trail blazing

Dr. Bridie Lonie has written that the Cabbage Patch was an early forerunner of Anthropocene environmental art, hence its inclusion in the international Eco Art Database. [4] [97] Poet, novelist and curator Ian Wedde contended that the Vacant Lot of Cabbages was akin to an ecological territorial land-squabble. [98] As a result of the success of Vacant Lot of Cabbages, Thomas and others started the Artists' Co-op [25] which incubated conceptual, Free-Jazz and more traditional artists and employed them on the Government's Temporary Employment Programme (TEP) employment scheme. [99] This led directly to the establishment of Summer City - a very large employer of artists that repurposed under-patronized public parks and reserves as entertainment venues. [100]

The Values Party of New Zealand called for all future sites awaiting development to be used as "People's parks". [101] Wellington has also annually hosted another re-purposing of public space for art - the Performance Arcade, which houses art performances in temporarily placed shipping-containers. [102]

Other significant intervention and environmental works of art both preceded and followed the Vacant Lot of Cabbages: especially Bonny Sherk's "The Park" (1970), Alan Sonfist's "Time Landscape" 1978, Agnes Denes' "Wheatfield" (1982) and Joseph Beuys' "7000 Oaks" (1982).

Pop up 'pocket' parks and rain gardens have become commonplace in Wellington since the city's Midland Park opened in 1983 [103] [104] [105]

In another significant Wellington event, in the Aro Valley in 1982, residents protested by planting fledgling trees in holes they'd dug in the bitumen playground of the vacant Matauranga school in Aro Street. The Wellington City Council was thereby forced to honour its promise to the community to purchase the large site for Aro Park for community use. [106]

In 1979 Thomas (along with several other artists from the Artists' co-op that he co-founded with Ian Hunter [17] ) exhibited a set of documents of the Vacant Lot of Cabbages at the New Zealand Academy of Fine Arts in Wellington. [1]

Before the site was cleared of everything but the cabbages, the media suggested that Wellington wasn't such a dreary old capital after all, and the spontaneous additions of the Vacant Lot of Cabbages displayed a prideful sense of fun. [17] [23] [38]

City Councillor (and later Human Rights Commissioner) Rosslyn Noonan said "The cabbage patch … always seemed to me to reflect a special Wellington spirit which grew over the next few years and contributed to make Wellington the liveable, human city it became." [107]

In 1978 historian Redmer Yska, writing for New Zealand Truth, added to the humour associated with the project by saying the Cabbage Patch's time was up because the whole site was being transplanted holus bolus to NYC to be exhibited in MoMA's South Pacific wing... Wellington's loss and New York's gain. [42]

Still from the film "Red Mole on the road" 21 June 1978. Last day of the Vacant lot of Cabbages, the Last Roxy Show and A festival for trees. "Vacant lot of cabbages" WS of Last Roxy show.jpg
Still from the film "Red Mole on the road" 21 June 1978. Last day of the Vacant lot of Cabbages, the Last Roxy Show and A festival for trees.

Art and the media [38]

In one of six front page stories [5] [34] [50] [53] [54] [69] Thomas declared the garden as his work of art then sidestepped the usual planning regulations and decision making laws by challenging and handing over the baton or paint brush to the citizenry: "whether they [the public] just leave them, steal them or run them over with motorbikes, it’s part of the art because it’s a reflection of our culture....It’s a unification of nature with the culture of our society." The work was also self-funded and delivered illegally. [34] [17]

The Vacant Lot of Cabbages made national television news more than once. [108]

Vacant Lot of Cabbages was included in the exhibition "When art hits the headlines" firstly when Thomas uninvitedly rewrote the show's billboard to read "Hen art it's headles[s]" (which itself garnered two further media stories). [3] Secondly, the show's curators stated that the public and newspapers monitored [the Vacant Lot of Cabbages] growth closely. [109]

From community artworks [110] [111] to interventions like a three story tall pair of flying lips, [112] new reality challenging, AI morphing software in 1993 [113] to more traditional exhibitions, [114] [115] [116] and even market-free paint making workshops using earth pigments [117] Thomas appears to have deliberately ensured a wealth of media attention to effectively secure history and speak directly with the audience.

Antecedent

The Vacant lot of Cabbages was a very early example of various other art movements: Situationist, Participatory, Conceptual, Post object art, Environmental, Intervention, Street, Participatory, Community, Socially engaged practice, Outside the Gallery, Guerrilla, Feral, Political, Activist art, Anthropocene, Site and event specific art s. [118]

One Day Sculpture was a pop up temporary sculpture event that lasted only 24 hours. [119] It started in Wellington and was taken to the UK. [120]

Letting Space - Is a nationwide group that employs artists to invigorate vacant private and public space under its banner the Urban Dream Brokerage. [6] [121] Its many projects included a Free Food Store. [121]

Gap Filler in Christchurch likewise filled 'Red Zoned' demolished properties that were destroyed by the 2011 Christchurch Earthquake. [122]

Yarn bombing started in the noughties and has spread around the western globe. [123]

The Wellington Sculpture trust has been active since 1986 commissioning art for public spaces and since 2013 it has run an annual car "PARK(ing) Day" event that repurposes car parks for art, and fun activities. [124] Park(ing) day began in 2005 in San Francisco. [125]

The Vacant Lot of Cabbages' "ongoing presence embedded the relationship between artists and socio-political life. In its openness, it gathered early instances of themes later to be coalesced into the more urgent and articulated preoccupations represented by the term Anthropocene. Thomas has continued to act in this space, as filmmaker and as public artist." [4]

"People are realising now for the first time in maybe two centuries that they cannot go on destroying what nature has provided" said Jacques Cousteau in Thomas' film "The beating of the HeartlaNZ" 1987 [83]

Summer city has enhanced under-patronised public parks and reserves since 1979 to entertain locals with arts and artists. [126]

Vacant Lot of Cabbages' connections with the Values Party and Green Party

The Values Party had several interactions with the Vacant Lot of Cabbages site. Members attempted to plant native trees on it and calling for public Parks to be made on all vacant building sites starting with the Vacant Lot of Cabbages site. [101] [37] [19] The New Zealand Values Party is seen as the world's first Green political party. [127] Founder of the NZ Values Party - Tony Brunt recalled meeting his ex NZ Herald co-worker/reporter Norman Smith at the Duke of Edinburgh Hotel (where the Vacant lot of Cabbages was later planted). Smith declared himself as the party's first firsthand man (he would go on to be a critical worker for the Party). Values Party worker and later leader of the Green Party Aotearoa New Zealand - Jeanette Fitzsimmons recalled the German greens writing to the Values party asking for its NZ manifesto and policies to be used in the formation of the German Green Party. [128] Artist Joseph Beuys co-founded the German Green party. [129]

Intervention art corollaries.

Intervention art from Leonardo Da Vinci to Banksy tends to be distinguished by two parameters - permission is hardly ever sought and they are often radical or illegal criticism around social and environmental concerns. [130] [131] [29]

Thomas has re-drawn advertising hoardings by whiting and blacking out letters to give often humourous new meanings to the thing being advertised. [3] He publicly sought an end to homelessness with his intervention at an art opening he called "comfort zones" [132] [133] and then called his own Homelessness think tank. [134]

Thomas's 'Searing and brilliant' [135] culture jamming, anti adverts called rADz (radial art advertisements), were publicly funded in NZ and screened on national TV [136] [16] and he went on to make another c.100 rADz in the UK with Kino Films, In-Movies, Ground Work, the BBC, the Lancaster Youth Centre, and the Pirate Castle in the UK with local groups and communities. [15] His Anti Apartheid intervention with friends at Lancaster Park in 1976 attracted Radio, Press and TV coverage. He contributed film and sound recording to the anti Apartheid film Patu that covered the divisive 1981 Spring Bok Tour of New Zealand. [29]

Barry Thomas became well known for canny, gentle, emancipatory, idiosyncratic, ground breaking art. [29] [16] [137] [138] [135] [28] [45] "Since the 1970s he has driven art like a sharpened stake into the heart of the corporate/political beast." said Chris Trotter. [93] [94]

List of participants and contributors to the Vacant Lot of Cabbages

Barry Thomas, Sir Ian Athfield, Jan Preston, Martin Edmond, Alan Brunton, Sally Rodwell, John Davies, Barry McIntyre, Hamish McIntyre, Dame Gaylene Preston, Chris Lipscombe, Justin Keen, Bryan McDonald, Bob Neil, Gary Gawn, Peter Frater, Michelle Scullion, Chris Bones Williams, Jeff Oldham, Sir Spike Milligan, Mayor Sir Michael Fowler, Deputy town clerk Alan Smyth, Norman Smith, Ian Galloway, George Rose, Alister Barry, Joe Bleakley, Ian Wedde, Sam Hunt, Ans Westra, Brian Kassler, Tony McMaster, Jean McAllister, Sir Robert Muldoon, Louise Spill, Karen Roper, Sean Robinson, Marie-Louise Jones, Angus Patrick, Tony Brunt, Terry McDavitt, Judith Reinken, Gerard Crewdson, Krissy Klocek, Christina Asher, Christina Barton, Aaron Lister, Frank Macskasy, Aileen Davidson.

Other reading

Thomas and Michael Nixon have interviewed 23 people who were associated with the Vacant Lot of Cabbages. Te Papa Tongarewa holds these 22 hours of video tapes and transcriptions, but they are not included in the Museum's deposit.

The publication 'History of the Aro Valley' includes the residents fight to secure Aro Park. [139]

The Adam Art Gallery maintains a collection of Thomas' archives and the Beaglehole room archive of Victoria University holds archives of Thomas' happening "The Party" [24] which had audience participatory aspects similar to the Vacant Lot of Cabbages (see notes). The country's largest cultural intuitions: The National Library of New Zealand and Te Papa Tongarewa - Museum of New Zealand both have collections of Vacant Lot of Cabbages photographs, note books and materials. Barry Thomas owns several copies of "Vacant Lot of Cabbages - a bit" book. He owns 23 interviews and transcriptions of c. 1 hour long videotaped interviews with people connected with the Vacant Lot of Cabbages [81] along with uncollected photos, press articles and documents. Bryan McDonald and Dame Gaylene Preston have a number of photographs of the event. Justin Keen has his recently re-discovered original negatives that he took on 4 January 1978 planting of the cabbage seedlings.

Wellington City Council records: https://archivesonline.wcc.govt.nz/nodes/view/597274, https://archivesonline.wcc.govt.nz/nodes/view/764164, https://archivesonline.wcc.govt.nz/nodes/view/749921

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