Performance Art in Aotearoa New Zealand from the 1970S to the Present

Total Page:16

File Type:pdf, Size:1020Kb

Performance Art in Aotearoa New Zealand from the 1970S to the Present Traces: Performance Art in Aotearoa New Zealand from the 1970s to the Present Harriet Field A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy Art & Design August 2015 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Field First name: Harriet Other name/s: Wallis Abbreviation for degree as given in the University calendar: PhD School: Art & Design Faculty: Art & Design Title: Traces: performance art in Aotearoa New Zealand from the 1970s to the present Abstract 350 words maximum: (PLEASE TYPE) This thesis examines the development of performance art in Aotearoa New Zealand over the course of several decades, from the medium’s introduction to the country in the 1970s through to its contemporary iterations in the 2010s. To date, the study of performance art in New Zealand has been a neglected area of research, focused largely on the medium’s beginnings while overlooking its continued and developing presence in New Zealand art. As an original contribution to knowledge, this thesis seeks to address this imbalance, adding contemporary performance to the evolving history of the medium in New Zealand. I argue that performance is significant for the history of art in New Zealand in the following ways: as a medium that is absent from mainstream historical accounts it offers an important, alternative history of New Zealand art, and as a tool of the avant-garde it encompasses some of New Zealand’s most dynamic and vibrant art practices. This thesis is structured thematically, with each of the five chapters centring on a different aspect of performance art. The opening chapter discusses the relationship between gender and performance in New Zealand. The second chapter looks at performance works with a socio-political focus. The third chapter explores ritual performance works. The fourth chapter traces the rise of bicultural and multicultural perspectives in New Zealand art and performance. The fifth and final chapter examines the increased prevalence of participatory or relational modes of performance. This thesis explores key issues in performance history and theory, such as the significance of the body, the importance of ‘liveness,’ and relationships with the viewer/audience. I determine that though certain characteristics of performance in New Zealand are reflective of the country’s unique character, others relate more closely to global trends in art practice. I argue that, despite their relative obscurity in mainstream historical accounts, performance art practices have a significant and vital place in the history of art in Aotearoa New Zealand. By examining the changing form of these practices across several decades, this thesis contributes to a more comprehensive history of performance in the country. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). ………………………………… ……………………………………..……………… ……….……………………...…… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date ……………………………………………................. List of conference papers arising from this thesis “Walk the Talk: Performance and Cultural Exchange in Aotearoa New Zealand,” Postgraduate Research Conference, University of New South Wales, Sydney, Australia, 2015. “The Spectre of Salome: Inverting fantasy in the work of Shigeyuki Kihara,” GEOcritical: the Art Association of Australia and New Zealand annual conference, University of Tasmania, Launceston, Australia, 2014. “Trace/Presence: The Body in Performance Art in Aotearoa New Zealand,” Postgraduate Research Conference, University of New South Wales, Sydney, Australia, 2014. “Trans/Feminism: Representation of the Self in the Work of Shigeyuki Kihara,” Fourth Annual Feminist Art History Conference, American University, Washington DC., United States of America, 2013. “Traces: The Presence of the Body in Performance Art in New Zealand,” the Art of Shigeyuki Kihara: A Postgraduate Research Workshop, University of Otago, Dunedin, New Zealand, 2013. Dedicated to the memory of my Grandfather Gordon William Smyth Stewart 1924-2014 Contents Acknowledgements v List of Figures vii Introduction 1 Post-Object Art and, Later, Performance Art 2 A Little-Tilled Field: Performance’s Presence in New Zealand’s Art History 8 Chapter By Chapter: A Thesis Overview 11 The Problem of Presence: Tackling Performance Art History Through Documentation 15 Chapter 1 Gender and Performance: From the Women’s Art Movement to Gender Liminality 19 1.1 Introduction 19 1.2 Gender and Performance: A Brief History 23 1.3 The Centrality of the Body and Performativity in Feminist Performance Art 26 1.4 “I’m No Feminist, But…”: Labelling and Distancing 31 1.5 Gender Meets Art in Aotearoa New Zealand: The Birth of the Women’s Art Movement 32 1.6 Women’s Work: Instances of Gendered Performance by Women 39 1.7 Masculinity: Exploring the Male Gender 57 1.8 Shifting Focus: The Expansion of Feminism and the Rise of ‘Trans’ 62 1.9 Gender Liminality: ‘Trans’ in Art 65 1.10 Conclusion 78 ii Chapter 2 Performance and Socio-Political Comment 80 2.1 Introduction 80 2.2 Performance’s Political Roots/Performing as Political Act 83 2.3 Social/Socialist: David Mealing 88 2.4 Activist, Antagonist, Actionist: Bruce Barber 98 2.5 A Political Position: Kalisolaite ’Uhila 107 2.6 Conclusion 121 Chapter 3 Ritual: Body, Gesture, Action 124 3.1 Introduction 124 3.2 Theorising Ritual 128 3.3 Abjection and Alienation: Andrew Drummond 135 3.4 Sound and Body: John Cousins’ Membrane 154 3.5 Wrap Me Up, Make Me Happy: Mark Harvey 166 3.6 The Gallery as Ritual Space: Alicia Frankovich 172 3.7 Conclusion 181 Chapter 4 From Biculturalism to Multiculturalism: Reconfiguring New Zealand’s Artistic Identity 183 4.1 Introduction 183 4.2 Centre—Periphery—Decentralisation 186 4.3 From Biculturalism to Multiculturalism 189 4.4 Cyber Sister/Pacific Sisters 195 iii 4.5 The Challenge: Michel Tuffery 211 4.6 Talanoa: Walk the Talk 221 4.7 Conclusion 232 Chapter 5 Participation, Relational Art and Social Practice: Towards a New Performance Form 234 5.1 Introduction 234 5.2 Social Practice: A Brief Introduction 237 5.3 Social Practice and Performance: The Evolution of a Medium 243 5.4 Public Art, Site-Specificity, and Participation: David Cross’ Level Playing Field 250 5.5 Delegated Performance: Alicia Frankovich’s Free Time and The Opportune Spectator 269 5.6 Conclusion 283 Conclusion 285 Bibliography 293 iv v Acknowledgements I would like to acknowledge and pay respect to the Bedegal and Gadigal people who are the traditional custodians of the land on which this thesis was written. My first and most sincere thanks go to my supervisor, Professor Susan Best. Thank you for your patience and encouragement, and for all of the opportunities and support you have provided me. I feel deeply fortunate to have had such an exceptional supervisor and mentor.
Recommended publications
  • Reviews in Cultural Theory 3.2 (Winter 2012)
    3.2 SUMMER 2012 Reviews in Cultural Theory is a journal of reviews and review essays, published twice annually. We welcome offers to review or suggestions of forthcoming books engaged with contemporary theories of culture. We also wecome suggestions for review es- says and similiar, lengthier variations on the review form. We can be reached by email at [email protected], or by mail at Reviews in Cultural Theory Department of English and Film Studies 3-5 Humanities Centre University of Alberta Edmonton, AB T6G 2E5 Canada http://reviewsinculture.com Editors: Sarah Blacker, Justin Sully, Imre Szeman Copyright for reviews published in Reviews in Cultural Theory is owned by the review author. ©Copyright 2009-2012 Reviews in Cultural Theory ISSN 1918-9710 Contents 1 Deconstructing the “Middle Class” MEHITA IQANI 6 The Art World’s Dark Matter BRUCE BARBER 14 Colonial Trains, Postcolonial Tracks NILAK DATTA 19 Rethinking Race and Digital Divides LISA PATTI 22 Psycho-History THEO FINIGAN 27 Moving Mountains DANIELLE CHILD 35 Understanding Collaboration in Contemporary Artistic Practice SARAH E.K. SMITH 40 No Faith in Form KRIS COHEN 47 Middle Games and Possible Communisms RYAN CULPEPPER 55 Establishing Binaries JEFF HEYDON 59 Inquiry into the Truth of Communism MARC JAMES LÉGER Deconstructing the “Middle Class”; Constructing its Transnational History MEHITA IQANI A. Ricardo Lopez and Barbara Weinstein (eds.) The Making of the Middle Class: To- ward a Transnational History. Duke University Press, 2012. 446pp. he Making of the Middle Class is an edited collection that spans an impressive— Talmost intimidating—amount of material. Featuring chapters and commentar- ies by 21 writers, it provides a collection of historical analyses of the formation of the middle class in a variety of historical moments and geographical contexts, offering the resources through which a detailed and global picture of its formation can emerge.
    [Show full text]
  • Reorienting the Female Gothic: Curiosity and the Pursuit of Knowledge
    University of Rhode Island DigitalCommons@URI Open Access Dissertations 2020 REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE Jenna Guitar University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Guitar, Jenna, "REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE" (2020). Open Access Dissertations. Paper 1145. https://digitalcommons.uri.edu/oa_diss/1145 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE BY JENNA GUITAR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2020 DOCTOR OF PHILOSOPHY DISSERTATION OF JENNA GUITAR APPROVED: Dissertation Committee: Major Professor Jean Walton Christine Mok Justin Wyatt Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 ABSTRACT This dissertation investigates the mode of the Female Gothic primarily by examining how texts utilize the role of curiosity and the pursuit of knowledge, paying close attention to how female characters employ these attributes. Existing criticism is vital to understanding the Female Gothic and in presenting the genealogy of feminist literary criticism, and yet I argue, this body of criticism often produces elements of essentialism. In an attempt to avoid and expose the biases that essentialism produces, I draw from Sara Ahmed’s theory of queer phenomenology to investigate the connections between the way that women pursue and circulate knowledge through education and reading and writing practices in the Female Gothic.
    [Show full text]
  • Mihi Whakatau and Welcome
    Mihi Whakatau and Welcome Tāmaki herenga waka Tāmaki whai rawa Tāmaki pai Tāmaki Makaurau Ko ngā kurī purepure o Tāmaki e kore e ngaro i te pō On behalf of the Aotearoa New Zealand Association of Art Educators (ANZAAE) 2014 conference steering committee, it is my privilege to extend a warm welcome to you all. We are excited to be offering Te Aho I Muri Nei – Supporting Innovation as a forum in which we can all share ideas, perspectives and experiences and engage in constructive dialogue to expand our thinking and weave links that connect us to people, knowledge, theory and practice in the Arts. It gives me great pleasure to welcome so many distinguished guests and participants who have come from near and far to take part in our proceedings over the next three days. As a local, I welcome you to our city and hope you all have an opportunity to enjoy some of what Auckland has to offer. I would also like to take this opportunity to acknowledge and thank our host and major sponsor AUT, and in particular, the Art and Design School for partnering this conference. Your support has been a tremendous help in the shaping and success of Te Aho I Muri Nei – Supporting Innovation. We are privileged to share in your state of the art facilities and welcoming generosity. I hope that these next three days not only provides an opportunity to communicate, but also to collaborate - through interesting and fruitful discussions and conversations, fresh ideas and a new impetus for our work.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Family Experiments Middle-Class, Professional Families in Australia and New Zealand C
    Family Experiments Middle-class, professional families in Australia and New Zealand c. 1880–1920 Family Experiments Middle-class, professional families in Australia and New Zealand c. 1880–1920 SHELLEY RICHARDSON Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Creator: Richardson, Shelley, author. Title: Family experiments : middle-class, professional families in Australia and New Zealand c 1880–1920 / Shelley Richardson. ISBN: 9781760460587 (paperback) 9781760460594 (ebook) Series: ANU lives series in biography. Subjects: Middle class families--Australia--Biography. Middle class families--New Zealand--Biography. Immigrant families--Australia--Biography. Immigrant families--New Zealand--Biography. Dewey Number: 306.85092 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. The ANU.Lives Series in Biography is an initiative of the National Centre of Biography at The Australian National University, ncb.anu.edu.au. Cover design and layout by ANU Press. Photograph adapted from: flic.kr/p/fkMKbm by Blue Mountains Local Studies. This edition © 2016 ANU Press Contents List of Illustrations . vii List of Abbreviations . ix Acknowledgements . xi Introduction . 1 Section One: Departures 1 . The Family and Mid-Victorian Idealism . 39 2 . The Family and Mid-Victorian Realities . 67 Section Two: Arrival and Establishment 3 . The Academic Evangelists . 93 4 . The Lawyers . 143 Section Three: Marriage and Aspirations: Colonial Families 5 .
    [Show full text]
  • Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and Beyond
    Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and beyond Robert McDougalI Art Gallery & Annex November 9 — December 10, 2000 Contents © 2000 Robert McDougall Art Gallery & Annex Text and images copyright © 2000 the authors and artists. ISBN 0-908874-61-8 ' Trans-Marginal: New Zealand Performance Art 1970—1985 by Jennifer Hay 5 The Art This catalogue was published to accompany Intervention, an exhibition considering Post-object of the Heist by Nicholas Spill 27 Jim Allen: From Elam to the Experimental Art and Performance Art 1970—1985, at the McDougall Contemporary Art Annex, Foundation by Blair French 33 The Gift in Littoral 9 November—10 December 2000. Intervention was part of Colloquium, a multi-media arts Art Practice by Bruce Barber 49 New New Zealand event comprising exhibitions and public programmes and jointly presented by the ‘New Art’ by Prof. Tony Green 59 Robert McDougall Art Gallery & Annex and the University of Canterbury. About the Writers 95 All rights reserved under international copyright convention. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher. Research Assistance: EH. McCormick Library, Auckland Art Gallery, Toi o Tamaki Te Papa Tongarewa, Elam School of Art ’Open Drawer’ File, New Zealand Film Archive, Hocken Library Design and typography by circledesign Scanning by Digital Pre-Press Ltd. Printing by Rainbow Print, Christchurch Paper supplied by Spicers Paper Ltd. Printed on Lumi Silk 150/250gsm and Freelife Vellum lZOgsm Cover: Body Articulation 1974, Jim Allen Courtesy of the artist and the E.H.
    [Show full text]
  • 2014-16 Guilford College Catalog
    Guilford College Catalog 2014-16 Nondiscrimination Policy In its active commitment to building a diverse community, Guilford College rejects discrimination on the basis of race, creed, color, religion, national or ethnic origin, gender, sexual orientation, age or disability in admission, employment or access to programs and activities. The College also seeks to avoid discrimination in the administration of educational programs, admission policies, financial aid or any other College program or activity. guilford.edu 1 Message From the President Dear Students: On assuming the presidency of Guilford College, I was thrilled to become part of a campus community of authentic, brilliant, dedicated and enthusiastic people. I invite you to join us. As our Strategic Plan lays out, we work together to afford “a transformative, practical and excellent liberal arts education that produces critical thinkers in an inclusive, diverse environment.” We are guided in this mission “by Quaker testimonies of community, equality, integrity, peace and simplicity.” Finally, a Guilford education emphasizes “the creative problem-solving skills, experience, enthusiasm and international perspectives necessary to promote positive change in the world.” Our Quaker heritage and longstanding commitments to undergraduate teaching, social justice and seven core values set Guilford apart from other small liberal arts colleges. These core values—community, diversity, equality, excellence, integrity, justice and stewardship—infuse every aspect of life and work on campus, how we interact with each other and how we relate to the surrounding community and environment. Guilford is a “making a difference” college and one that has been “changing lives” for over 175 years. Students come here to get equipped to make a positive difference in the world.
    [Show full text]
  • Exhibtion History 1999 – 2009
    EXHIBTION HISTORY 1999 – 2009 Manufacturing Meaning: The University of Wellington Art Collection in Context 22 September 1999 ­ 31 January 2000 The inaugural exhibition of the Adam Art Gallery showcased ten key works from the university collection, spanning a period from the 1930s to the present. The works of Frances Hodgkins, John Weeks, Gordon Walters, Colin McCahon, Ralph Hotere, Michael Smither, Jacqueline Fahey, Richard Killeen, John Pule and Peter Peryer were each presented in relation to the artist's practice or ideas and issues raised by the work, and each was accompanied by a catalogue. Manufacturing Meaning offered important new insights into the history of New Zealand art, through the research and presentation of selected critical thinkers ­ curators, art historians, writers and artists Elizabeth Eastmond, Linda Tyler, Damian Skinner/ Ngarino Ellis, Ewen McDonald, Jack Body and David Crossan, Stuart McKenzie, Anna Miles, Greg Burke, Lisa Taouma, and David Maskill. Concept Curator Christina Barton Language Matters Mary­Louise Browne, Terrence Handscomb, L.Budd et al, Colin McCahon, Joanne Moar & Lucy Harvey, and Michael Parekowhai 11 February ­ 26 March 2000 Language Matters brought together six New Zealand artists who use language in their practice in varied forms and with diverse intentions. The exhibition acknowledged the pervasive presence of spoken and written language in contemporary New Zealand art. Curated by Christina Barton Guests and Foreigners, Rules and Meanings (Te Kore) Joseph Kosuth 2 March ­ 30 April 2000 Joseph Kosuth's installation Guests and Foreigners, Rules and Meanings (Te Kore) was the fifth in a series, situated in disparate locations: Oslo, Dublin, Frankfurt, Istanbul and Chiba City, Japan.
    [Show full text]
  • Lisa Reihana: Emis Saries New Zealand a T Venice 2017 a Uckland Ar Tg Aller
    LISA REIHANA: EMISSARIES LISA NEW ZEALAND AT VENICE 2017 AUCKLAND ART GALLERY TOI O TĀMAKI TOI GALLERY ART VENICE 2017 AUCKLAND NEW ZEALAND AT LISA REIHANA EMISSARIES 1 LISA REIHANA EMISSARIES EMISSARIES.indd 1 8/02/17 10:59 am 2 LISA REIHANA EMISSARIES 3 EMISSARIES.indd 2-3 8/02/17 10:59 am 4 LISA REIHANA EMISSARIES 5 ALASTAIR CARRUTHERS PLATES COMMISSIONER’S FOREWORD 6 PORTRAITS IN PURSUIT OF VENUS [INFECTED] VIDEO STILLS 90 WITI IHIMAERA MIHI 8 VIVIENNE WEBB LES SAUVAGES DE LA MER PACIFIQUE: A DECORATIVE COMPOSITION IN WALLPAPER 116 RHANA DEVENPORT PREFACE 10 ANDREW CLIFFORD UNMUTING HISTORY: A POLYPHONIC TABLEAU 124 RHANA DEVENPORT EMISSARIES: A NEW PACIFIC OF THE PAST FOR TOMORROW 14 KEITH MOORE TEARDROPS, TIME AND MARINERS 130 NIKOS PAPASTERGIADIS ARCADIA AND THE IMAGINED MEMORIES 30 MEGAN TAMATI-QUENNELL ARTIST BIOGRAPHY 134 ANNE SALMOND VOYAGING WORLDS 42 SELECTED EXHIBITIONS AND PUBLICATIONS 136 JENS HOFFMANN REANIMATION 66 CONTRIBUTORS 140 CAST AND CREW 141 BROOK ANDREW & LISA REIHANA IN CONVERSATION 74 ACKNOWLEDGEMENTS 143 EMISSARIES.indd 4-5 8/02/17 10:59 am 6 ALASTAIR CARRUTHERS COMMISSIONER’S FOREWORD LISA REIHANA EMISSARIES 7 Lisa Reihana: Emissaries is the most ambitious project in Lisa Reihana’s Special thanks must also go to the exhibition catalogue contributors: Witi Ihimaera, longstanding digital practice. Much like Captain James Cook’s three epic and world- Rhana Devenport, Anne Salmond, Nikos Papastergiadis, Lisa Reihana, Brook changing Pacific voyages, each iteration of its centrepiece – the video in Pursuit of Andrew, Jens Hoffmann, Vivienne Webb, Keith Moore, Andrew Clifford, and Megan Venus [infected], 2015–17 – became more ambitious in scale, required more resources Tamati-Quennell.
    [Show full text]
  • Metafiction in New Zealand from the 1960S to the Present Day
    Metafiction in New Zealand from the 1960s to the present day A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Massey University, Albany, New Zealand Matthew Harris 2011 Metafiction in New Zealand from the 1960s to the present day (2011) by Matthew Harris (for Massey University) is licensed under a Creative Commons - Attribution -NonCommercial -NoDerivs 3.0 Unported License. Permissions beyond the scope of this license may be available at www.matthewjamesharris.com. ii ABSTRACT While studies of metafiction have proliferated across America and Europe, the present thesis is the first full-length assessment of its place in the literature of New Zealand. Taking as its point of reference a selection of works from authors Janet Frame, C.K. Stead, Russell Haley, Michael Jackson and Charlotte Randall, this thesis employs a synthesis of contextual and performative frameworks to examine how the internationally- prevalent mode of metafiction has influenced New Zealand fiction since the middle of the 20 th century. While metafictional texts have conventionally been thought to undermine notions of realism and sever illusions of representation, this thesis explores ways in which the metafictional mode in New Zealand since the 1960s might be seen to expand and augment realism by depicting individual modes of thought and naturalising unique forms of self-reflection, during what some commentators have seen as a period of cultural ‘inwardness’ following various socio-political shifts in the latter
    [Show full text]
  • African Women's Empowerment: a Study in Amma Darko's Selected
    African women’s empowerment : a study in Amma Darko’s selected novels Koumagnon Alfred Djossou Agboadannon To cite this version: Koumagnon Alfred Djossou Agboadannon. African women’s empowerment : a study in Amma Darko’s selected novels. Linguistics. Université du Maine; Université d’Abomey-Calavi (Bénin), 2018. English. NNT : 2018LEMA3008. tel-02049712 HAL Id: tel-02049712 https://tel.archives-ouvertes.fr/tel-02049712 Submitted on 26 Feb 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE DE DOCTORAT DE LE MANS UNIVERSITE ET DE L’UNIVERSITE D’ABOMEY-CALAVI COMUE UNIVERSITE BRETAGNE LOIRE ÉCOLE DOCTORALE N° 595 ÉCOLE DOCTORALE PLURIDISCIPLINAIRE Arts, Lettres, Langues «Espaces, Cultures et Développement» Spécialité : Littérature africaine anglophone Par Koumagnon Alfred DJOSSOU AGBOADANNON AFRICAN WOMEN’S EMPOWERMENT: A STUDY IN AMMA DARKO’S SELECTED NOVELS Thèse présentée et soutenue à l’Université d’Abomey-Calavi, le 17 décembre 2018 Unités de recherche : 3 LAM Le Mans Université et GRAD Université d’Abomey-Calavi Thèse N° : 2018LEMA3008 Rapporteurs avant soutenance : Komla Messan NUBUKPO, Professeur Titulaire / Université de Lomé / TOGO Philip WHYTE, Professeur Titulaire / Université François Rabelais de Tours / FRANCE Laure Clémence CAPO-CHICHI ZANOU, Professeur Titulaire / Université d’Abomey-Calavi/BENIN Composition du Jury : Présidente : Laure Clémence CAPO-CHICHI ZANOU, Professeur Titulaire / Université d’Abomey-Calavi/BENIN Examinateurs : Augustin Y.
    [Show full text]
  • Download PDF Catalogue
    ART+ OBJECT New Collectors Art Tuesday 1 September at 6.30pm Decorative Arts Wednesday 2 September at 6.30pm New Collectors Art lots 1 to 302 pages 8 to 61 Decorative Arts lots 310 to 1169 pages 62 to 101 Welcome to A+O’s catalogue 97 – a wonderful mix of art and collectables. This catalogue takes its cue from the glorious eye-popping imagery of Op Art pioneer Victor Vasarely (1906–1997) whose suite of works in the New Collectors art catalogue represents the diversity of practice on the following pages. In this catalogue we are presented with a rare opportunity to acquire works on paper from some of the 20th century titans of European modernism such as Fernand Leger, Barbara Hepworth, Henry Moore, Joan Miro, Georges Braque, Karel Appel and Howard Hodgkin to name some of the artists whose work is rarely spotted in New Zealand. Cover: Lot 101, Victor Vasarely, from the suite Réponses à Vasarely, Studio In addition to the works that make up such a varied New Collectors Art Bruckmann, Munich, Éditions Lahumiere, Paris, 1974 catalogue A+O presents rare New Zealand Taonga, well provenanced Modern Design furniture, New Zealand studio ceramics, decorative Inside front cover and page 1: arts, taxidermy, vintage radios and Asian Art. Lots 674 and 675, Tom Greene Brutalist chandelier and ceiling lamps. Of particular interest are works from the travelling exhibition The Transmogrifier Machine by furniture designer Katy Wallace. These This page: Lot 713, Edgar Mansfield, bronze figure of Christ. constructions (lots 808 to 824) are remarkable transformations of found furniture and design into new items of sculpture – a collaboration Inside back cover: Lot 169, Layla between the past and the present day.
    [Show full text]