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Art's Histories in Aotearoa New Zealand Jonathan Mane Wheoki
Art’s Histories in Aotearoa New Zealand Jonathan Mane Wheoki This is the text of an illustrated paper presented at ‘Art History's History in Australia and New Zealand’, a joint symposium organised by the Australian Institute of Art History in the University of Melbourne and the Australian and New Zealand Association of Art Historians (AAANZ), held on 28 – 29 August 2010. Responding to a set of questions framed around the ‘state of art history in New Zealand’, this paper reviews the ‘invention’ of a nationalist art history and argues that there can be no coherent, integrated history of art in New Zealand that does not encompass the timeframe of the cultural production of New Zealand’s indigenous Māori, or that of the Pacific nations for which the country is a regional hub, or the burgeoning cultural diversity of an emerging Asia-Pacific nation. On 10 July 2010 I participated in a panel discussion ‘on the state of New Zealand art history.’ This timely event had been initiated by Tina Barton, director of the Adam Art Gallery in the University of Victoria, Wellington, who chaired the discussion among the twelve invited panellists. The host university’s department of art history and art gallery and the University of Canterbury’s art history programme were represented, as were the Museum of New Zealand Te Papa Tongarewa, the City Gallery, Wellington, the Govett-Brewster Art Gallery, New Plymouth, the Dunedin Public Art Gallery and the University of Auckland’s National Institute of Creative Arts and Industries. The University of Auckland’s department of art history1 and the University of Otago’s art history programme were unrepresented, unfortunately, but it is likely that key scholars had been targeted and were unable to attend. -
Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna O Waiwhetu 2009
Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna o Waiwhetu 2009 1 BULLETIN EDITOR Bulletin B.156 Autumn DAVID SIMPSON Christchurch Art Gallery March — May Te Puna o Waiwhetu 2009 GALLERY CONTRIBUTORS DIRECTOR: JENNY HARPER CURATORIAL TEAM: KEN HALL, JENNIFER HAY, FELICITY MILBURN, JUSTIN PATON, PETER VANGIONI PUBLIC PROGRAMMES: SARAH AMAZINNIA, LANA COLES PHOTOGRAPHERS: BRENDAN LEE, DAVID WATKINS OTHER CONTRIBUTORS ROBBIE DEANS, MARTIN EDMOND, GARTH GOULD, CHARLES JENCKS, BRIDIE LONIE, RICHARD MCGOWAN, ZINA SWANSON, DAVID TURNER TEL: (+64 3) 941 7300 FAX: (+64 3) 941 7301 EMAIL: [email protected], [email protected] PLEASE SEE THE BACK COVER FOR MORE DETAILS. WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. CURRENT SUPPORTERS OF THE GALLERY AALTO COLOUR CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST COFFEY PROJECTS CREATIVE NEW ZEALAND ERNST & YOUNG FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN HOLMES GROUP HOME NEW ZEALAND LUNEYS PHILIP CARTER PYNE GOULD CORPORATION SPECTRUM PRINT STRATEGY DESIGN & ADVERTISING THE PRESS THE WARREN TRUST UNIVERSITY OF CANTERBURY UNIVERSITY OF CANTERBURY FOUNDATION VBASE WARREN AND MAHONEY Visitors to the Gallery in front of Fiona Hall’s The Price is Right, installed as part of the exhibition Fiona Hall: Force Field. DESIGN AND PRODUCTION ART DIRECTOR: GUY PASK Front cover image: Rita Angus EDITORIAL DESIGN: ALEC BATHGATE, A Goddess of Mercy (detail) 1945–7. Oil on canvas. Collection CLAYTON DIXON of Christchurch Art Gallery Te PRODUCTION MANAGER: -
Anna Kavan Meets Frank Sargeson on a Special
1 NGAIO MARSH, 23 April 1895—18 February 1982 Bruce Harding Dame Ngaio Marsh, the detective novelist, dramatist, short-story writer, theatre producer, non-fiction writer, scriptwriter, autobiographer, painter and critic was born in Christchurch, New Zealand on 23 April 1895. Her birth in the closing years of Queen Victoria’s reign and her childhood and adolescence in the twilight—albeit a transferred one—of the Edwardian era were to prove crucial in shaping the prevailing temper and tone of her outlook, particularly when Marsh set out to experiment with writing as a young woman. Her very name enacts a symbolic and liminal binary opposition between Old and New World elements: a confluence echoing the indigenous (the ngaio being a native New Zealand coastal tree) and the imported (a family surname from the coastal marshes of Kent, England). Seen thus, “Ngaio” connotes New World zest—a freshness of outlook, insight and titanic energy—while “Marsh” suggests an Old World gravitas grounded in notions of a stable, class-based lineage and secure traditions. The tension between these twin imperatives and hemispheres drove and energized Marsh’s career and life-pattern (of ongoing dualities: New Zealand-England; writing-production) and enabled her to live what Howard McNaughton has called an incognito/”alibi career” in a pre-jet age of sailing boats and vast distances and time horizons between her competing homelands (in Lidgard and Acheson, pp.94-100). Edith Ngaio Marsh’s Taurian date of birth was both richly symbolic and portentous, given that 23 April is both St George’s Day and the legendary birthdate of Marsh’s beloved Bard, Shakespeare. -
Melanie Roger Took Over the Long Running Anna Bibby Gallery in 2010, Renaming the Space Melanie Roger Gallery at the Beginning of 2011
Melanie Roger took over the long running Anna Bibby Gallery in 2010, renaming the space Melanie Roger Gallery at the beginning of 2011. Today the gallery continues to work with and represent both established and emerging artists to present some of the best contemporary art in New Zealand to both local and international audiences and collectors. Says Melanie “I take a collaborative approach with the gallery. I am interested in supporting the creation of new and exciting work and developing artists’ careers both within New Zealand and internationally.” The gallery’s stable of artists includes longstanding relationships with Stanley Palmer, Gavin Hurley, Sam Mitchell and Kristy Gorman as well as newer rising talents such as Kirstin Carlin, Matt Ellwood, Tessa Laird, Erica van Zon and Tiffany Singh. As well, the Gallery works regularly with guest artists including Billy Apple, Peter Peryer, Patricia Piccinini and Victoria Munro on selected curatorial projects both within the space and externally at Art Fairs and pop up exhibitions. Melanie herself brings over twenty years of experience within the art world to the gallery. She has held senior management positions at Gow Langsford Gallery (Auckland / Sydney) and John Leech Gallery where she worked closely with senior artists such as Michael Parekowhai, Max Gimblett, Dick Frizzell, John Pule, Shane Cotton and Judy Millar, as well as Reuben Paterson, Sara Hughes and John Walsh nurturing and developing their careers. Previously she worked for four years at the Auckland Art Gallery in a diverse range of roles within public programmes, marketing, education and curatorial. She was Director of Roger Williams Contemporary from 2006 - 2008 working with Judy Darragh, Simon Morris, Jeena Shin and internationally Patricia Piccinini and Polixeni Papapetrou to name a few. -
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THE COLLECTION OF DAME JUDITH TE TOMAIRANGI O TE AROHA BINNEY AND AND SEBASTIAN BLACK The Collection of Dame Judith te Tomairangi o Te Aroha Binney and Art+Object 4 June 2015 A+O 93 Sebastian Black The Collection of Dame Judith Te Tomairangi o Te Aroha Binney and Sebastian Black Thursday 4 June 6.30pm Art+Object 3 Abbey Street Newton, Auckland PO Box 68 345 Newton, Auckland 1145 Telephone: +64 9 354 4646 Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 [email protected] www.artandobject.co.nz EXHIBITING FJ6A>INA6C9H86E:H WILTON LODGE, FJ::CHIDLC Privately positioned on 3,450 square metres, this substantial 6gXa^cZV`^iX]Zcl^i]i]gZZaVg\Zldg`heVXZh!ZmiZch^kZhidgV\Z north-facing waterfront property overlooks Lake Hayes with GZ[jgW^h]ZYl^i]XdcXgZiZ!hX]^hihidcZ!XZYVgVcYXdeeZg magnificent views to the mountains beyond. Award winning BVhiZgHj^iZl^i]ildheVX^djhlVa`"^cYgZhh^c\gddbh architect John Blair designed this home to achieve maximum :miZgcVa]ZViZYhl^bb^c\edda^hXdbeaZbZciZYWnVÒgZeaVXZ sunshine and lake views from almost every room. Italian marble BZY^Vgddb!\nbcVh^jb!i]gZZhijY^ZhVcY[djgXVg\VgV\^c\ features throughout the spacious and elegant four bedroom home. :miZch^kZbVijgZaVcYhXVe^c\VcYigZZ"a^cZYVXXZhhidaV`Z[gdci luxuryrealestate.co.nz/QT94 434 LOWER SHOTOVER ROAD, FJ::CHIDLC Situated on one of the most sought after land positions in ;djgWZYgddbhZcXdbeVhh^c\hZa["XdciV^cZYbVhiZghj^iZ Queenstown, this 547 square metre Kerry Mason designed 9Zh^\cZg`^iX]Zc!hijYn!ilda^k^c\VgZVh!Y^c^c\gddb!XZaaVg home was built in 2012. -
10 Years at the Blue Oyster
1 Old, New, Borrowed, Blue 10 Years at the Blue Oyster 2 3 Contents Proposal (2004) Kah Bee Chow p.1 Introduction Jo Campbell and Erika Wolf p.7 Unstable Institutional Memory: 10 Years at the Blue Oyster Ali Bramwell p.9 Memories of the First Half Douglas Kelaher p.16 “My one and only prayer, is that some day, you’ll care… But it’s only make believe” Melanie Oliver p.24 Tit-bits Anna Muirhead p.28 The Interactive Audience: The Blue Oyster Brings Performance Art to Dunedin Jenna Todd p.32 The Island Experience Caroline McCaw and Rachel Gillies p.40 Pearls Need True Grit: The Origins and Evolution of the Blue Oyster Sarah Wilson p.46 Citizens of the Future (2009) Bekah Carran p.56 Chronology p.59 4 Old, New, Borrowed, Blue: 10 Years at the Blue Oyster 5 Introduction gallery and its early years. The Blue Oyster’s longevity is a direct result of the foresight of those who formed Jo Campbell and Erika Wolf the trust, an organisational model that gave the gallery a life beyond the involvement of its originators. Melanie Oliver, an early manager of the Blue Oyster, offers Established in 1999 by a group of artists seeking to timely insights on the ways in which the desire to create a venue for alternative art, the Blue Oyster Art document and memorialise key moments has informed Project Space is now marking its tenth year of work. gallery projects and exhibitions throughout the past This publication and the accompanying exhibition decade. Anna Muirhead provides personal reflections Unstable Institutional Memory: 10 Years at the Blue on the significance of the relationships and networks Oyster celebrate the decade anniversary of Dunedin’s formed through her involvement with the Blue Oyster only dedicated experimental art space. -
7. Contemporary
7. Contemporary Art The beginning of a contemporary art scene in Oceania must be seen against the background of the political and social upheavals which came as a result of the withdrawal of the European colonial powers and the creation of independent nation states in the Pacific from the 1960s to the 1980s. The connection of some Polynesian countries to New Zealand as the economically strongest Commonwealth member in the Southwest Pacific has caused a migration from the islands to the urban centres of New Zealand which still persists today. It was here that the migrants rediscovered their local cultures and traditional roots. At the same time they had direct access to Western art institutions and foundations and brought both perspectives together in an independent art scene. In the Melanesian part of Oceania, in contrast, there was no comparable connection with geographically closer Australia. Subsequently, no large diaspora communities developed there, and artists were denied access to the Western art market. Apart from French-administered New Caledonia, it was only in Papua New Guinea that a small, free art scene was able to develop, however, without any international support. 7.1 Contemporary Art in Polynesia Home to the largest number of gallery- and museum-based artists, New Zealand Aotearoa has become an important centre for contemporary Pacific art. Their respective art practices have explored a range of issues and concerns relating to notions of belonging, place and identity. Since the 1950s, Polynesians from Samoa, Niue, Tonga and the Cook Islands have migrated to New Zealand. Today, 15% of the total population of Auckland, the largest city with 1.5 million inhabitants, are Polynesians. -
5 March 2013
COMMUNITY, RECREATION AND CULTURE COMMITTEE AGENDA TUESDAY 5 MARCH 2013 AT 9AM IN COMMITTEE ROOM 1, CIVIC OFFICES, 53 HEREFORD STREET Committee: Councillor Yani Johanson (Chairperson), Councillors Peter Beck, Helen Broughton, Tim Carter, Barry Corbett, Jimmy Chen, Jamie Gough, and Glenn Livingstone (Deputy Chairperson). General Manager General Manager – General Manager Strategy and Planning Public Affairs Community Services Committee Adviser Mike Theelen Lydia Aydon Michael Aitken Lucy Halsall Tel: 941-8281 Tel: 941- 8982 Tel: 941-8607 Tel: 941-6227 PART A - MATTERS REQUIRING A COUNCIL DECISION PART B - REPORTS FOR INFORMATION PART C - DELEGATED DECISIONS INDEX ITEM DESCRIPTION PAGE NO. NO. PART C 1. APOLOGIES 1 PART A 2. DEPUTATIONS BY APPOINTMENT 1 PART A 3. FACILITIES REBUILD PLAN – MONTHLY UPDATE REPORT INCLUDING TOP 30 3 PROJECTS STATUS UPDATE PART A 4. CENTRAL CITY HERITAGE LANDMARK GRANTS POLICY AND OPERATIONAL 47 GUIDELINES PART A 5. CENTRAL CITY HERITAGE LANDMARK GRANTS – RECOMMENDATIONS FOR 61 2012/2013 PART C 6. HERITAGE GRANT APPROVAL, ST LUKES, 1280 CHORLTON ROAD, LITTLE 81 AKALOA PART A 7. HERITAGE GRANT APPROVAL, ST PAUL’S, 1 HAREWOOD ROAD, PAPANUI, 87 CHRISTCHURCH PART A 8. CREATIVE INDUSTRIES SUPPORT FUND - FUNDING RECOMMENDATIONS 95 PART A 9. FANFARE – A GATEWAY SCULPTURE FOR CHRISTCHURCH 165 PART A 10. COMMUNITY ENGAGEMENT STRATEGY 175 CONTINUED OVER … ITEM DESCRIPTION PAGE NO. NO. PART C 11. REPORT FROM CHAIRPERSON OF THE COMMUNITY, RECREATION AND CULTURE 193 COMMITTEE – ESTABLISHMENT OF THE COMMUNICATIONS WORKING PARTY PART A 12. SCARBOROUGH PADDLING POOL 195 1 COMMUNITY, RECREATION AND CULTURE COMMITTEE 5. 3. 2013 1. APOLOGIES Nil. 2. DEPUTATIONS BY APPOINTMENT 2 3 COMMUNITY, RECREATION AND CULTURE COMMITTEE 5. -
Te Uru's Anniversary Show
TURNING 30: TE URU’S ANNIVERSARY SHOW 1985 | Artists Against Apartheid 1986 | Gallery Opening: exhibition review 1986 | Opening Day 1987 | Marte Szirmay: exhibition review 1991 | Richard Parker: Dishes 1991 | Ian Scott: Paintings 1991 | Ian Scott: Paintings 1991 | Skein/Skin 1991 | Ruth Castle: Basketry 1991 | Christine Thacker: Lightning Trees 1991 | Schools student workshops 1991 | Shard Cult (Bronwyn Cornish) 1992 | Kahu Te Kanawa: He Taonga Tuku Iho ‘Kete’ 1992 | Kahu Te Kanawa: He Taonga Tuku Iho ‘Kete’ 1992 | Barbara Bilyard: Spirals and Other Angles 1992 | 50 Years of Deaf Education 1992 | Pacific Tapa - Tapa from Fiji, Tonga, Samoa 1993 | Women Paint the Land: Group show 1993 | Bomb the Building: Group Show 1993 | Bomb the Building: Group Show 1993 | John Lyall: Towards a Feral Art 1993 | Made in Waitakere: Group Show 1993 | John Staniford: Paintings of Brazil 1993 | Combings of Photography - Invited Artists 1994 | Celebration ‘94:: Waitakere Artists (John Parker) 1994 | Celebration ‘94:: Waitakere Artists (Moyra Elliot) 1994 | Celebration ‘94:: Waitakere Artists (Len Castle) 1994 | Small Gallery - Haru Sameshima 1994 | Jenny McLeod: Shard 1994 | Pip Culbert: Seamstress 1994 | Pip Culbert: Seamstress 1994 | Pat Hanly’s Choice 1994 | Pat Hanly’s Choice 1994 | Tufuga Matapouiu A Nuie 1995 | Alan Curnow: The Loop in Lone Kauri Road 1995 | Maureen Lander & Amanda Wright: Gold Leaf: 1995 | Tara McLeod: The Gallipoli Poems 1995 | Marte Szirmay: New Sculpture 1995 | Nga Pakiwaitara Me Te Reo 1996 | Joyce Campbell: Touch Lightly 1996 | -
Te Wheke 01 Art of Protest 02 News, Events & Workshops 02 at The
Issue 19 Exhibitions Ōtautahi www.artbeat.org.nz July 2020 Galleries Christchurch Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Te Wheke 01 Art of Protest 02 News, Events & Workshops 02 At the Galleries 03 Discover Map 04 Reviews 06 Te Wheke Pathways Across Oceania. Our Public Art Collection but not as we once knew It Polynesia and the Pacific region, and migra- tion and belonging are allocated centre-stage in Te Wheke Pathways Across Oceania, an exhibition that draws from works in the Christ- church Art Gallery Te Puna o Waiwhetū collec- tion. It is exciting and enlightening experience developed by the Gallery’s curators in consul- tation with curator of Cook Islands heritage, Stephanie Oberg. Yet, in many ways Te Wheke Pathways Across Oceania is not entirely unanticipated or without precedent. Since its reopening in December 2015 the Gallery’s perma- ↑ Aotearoa New Zealand, the Christchurch Art but wide knowledge and a different perspec- nent collection has assumed a new-found contemporary. Milburn comments: ‘We really John Pule Not life, rediscovered by its curatorial team who wanted to re-imagine the Gallery’s spaces of This Time Gallery’s had its origins in European works, tive.She helped us to look outside more tradi- seem committed and excited about new and we were also keen to bring in different (Dreamland), particularly British works. The narrative of tional art histories and we found that really ways of thinking about and experiencing perspectives. We were especially conscious 2008. Oil on how those connections shaped our art history valuable.’ canvas. -
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Ron Left Axial No. 9 Corner Painting acrylic on shaped board title inscribed, signed and dated 1985 1690 x 1100 x 700mm $2500 – $4000 Covers: Ann Shelton Frederick B. Butler Collection, Puke Ariki, New Plymouth, Scrapbooks from: Hawera 1949 December – 1950 March to Opunake 1952 August – 1953 February, No. 12 (detail) C type print, edition of 3 1370 x 930mm $3500 – $5000 Important Paintings & Contemporary Art Viewing: Friday 20 November – Thursday 26 November Auction: Thursday 26 November 2009 at 6.30pm Art + Object Telephone: +64 9 354 4646 3 Abbey Street, Newton, Freephone: 0 800 80 60 01 Auckland Facsimile: +64 9 354 4645 PO Box 68 345, Newton, [email protected] Auckland 1145 www.artandobject.co.nz Contents 2 24 74 Catalogue Introduction Photography section Works from the Celia Dunlop commences Collection – lots 84 to 99 6 Objects of Desire – Auction 33 86 Preview Recording artist – a collection This is no Shadowland by Dick of Julian Dashper vinyl records Frizzell – essay by Hamish 10 Coney Twisting the Void – A+O 36 advises NZI on a major Shane Cotton’s Gate (I – XII) sculptural installation to Nga Rangi Tuhaha – essay by celebrate 150 years in New Oliver Stead Zealand 46 15 Sculpture section commences Important Paintings and Contemporary Art (Viewing 56 Times) The Old Sentinel by Charles Goldie – essay by Ben Plumbly 20 Three major works by Peter 70 Robinson from the 1990s – Northland by Colin McCahon – essay by Rebecca Rice essay by Laurence Simmons Welcome to ART+OBJECT’s final major art auction for 2009. This catalogue is the largest and most varied assembled in the company’s history – testimony to the confidence of vendors and collectors in the ongoing performance of the market. -
ARTHROPODA Subphylum Hexapoda Protura, Springtails, Diplura, and Insects
NINE Phylum ARTHROPODA SUBPHYLUM HEXAPODA Protura, springtails, Diplura, and insects ROD P. MACFARLANE, PETER A. MADDISON, IAN G. ANDREW, JOCELYN A. BERRY, PETER M. JOHNS, ROBERT J. B. HOARE, MARIE-CLAUDE LARIVIÈRE, PENELOPE GREENSLADE, ROSA C. HENDERSON, COURTenaY N. SMITHERS, RicarDO L. PALMA, JOHN B. WARD, ROBERT L. C. PILGRIM, DaVID R. TOWNS, IAN McLELLAN, DAVID A. J. TEULON, TERRY R. HITCHINGS, VICTOR F. EASTOP, NICHOLAS A. MARTIN, MURRAY J. FLETCHER, MARLON A. W. STUFKENS, PAMELA J. DALE, Daniel BURCKHARDT, THOMAS R. BUCKLEY, STEVEN A. TREWICK defining feature of the Hexapoda, as the name suggests, is six legs. Also, the body comprises a head, thorax, and abdomen. The number A of abdominal segments varies, however; there are only six in the Collembola (springtails), 9–12 in the Protura, and 10 in the Diplura, whereas in all other hexapods there are strictly 11. Insects are now regarded as comprising only those hexapods with 11 abdominal segments. Whereas crustaceans are the dominant group of arthropods in the sea, hexapods prevail on land, in numbers and biomass. Altogether, the Hexapoda constitutes the most diverse group of animals – the estimated number of described species worldwide is just over 900,000, with the beetles (order Coleoptera) comprising more than a third of these. Today, the Hexapoda is considered to contain four classes – the Insecta, and the Protura, Collembola, and Diplura. The latter three classes were formerly allied with the insect orders Archaeognatha (jumping bristletails) and Thysanura (silverfish) as the insect subclass Apterygota (‘wingless’). The Apterygota is now regarded as an artificial assemblage (Bitsch & Bitsch 2000).