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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. -
Ascent03opt.Pdf
1.1.. :1... l...\0..!ll1¢. TJJILI. VOL 1 NO 3 THE CAXTON PRESS APRIL 1909 ONE DOLLAR FIFTY CENTS Ascent A JOURNAL OF THE ARTS IN NEW ZEALAND The Caxton Press CHRISTCHURCH NEW ZEALAND EDITED BY LEO BENSEM.AN.N AND BARBARA BROOKE 3 w-r‘ 1 Published and printed by the Caxton Press 113 Victoria Street Christchurch New Zealand : April 1969 Ascent. G O N T E N TS PAUL BEADLE: SCULPTOR Gil Docking LOVE PLUS ZEROINO LIMIT Mark Young 15 AFTER THE GALLERY Mark Young 21- THE GROUP SHOW, 1968 THE PERFORMING ARTS IN NEW ZEALAND: AN EXPLOSIVE KIND OF FASHION Mervyn Cull GOVERNMENT AND THE ARTS: THE NEXT TEN YEARS AND BEYOND Fred Turnovsky 34 MUSIC AND THE FUTURE P. Plat: 42 OLIVIA SPENCER BOWER 47 JOHN PANTING 56 MULTIPLE PRINTS RITA ANGUS 61 REVIEWS THE AUCKLAND SCENE Gordon H. Brown THE WELLINGTON SCENE Robyn Ormerod THE CHRISTCHURCH SCENE Peter Young G. T. Mofi'itt THE DUNEDIN SCENE M. G. Hire-hinge NEW ZEALAND ART Charles Breech AUGUSTUS EARLE IN NEW ZEALAND Don and Judith Binney REESE-“£32 REPRODUCTIONS Paul Beadle, 5-14: Ralph Hotere, 15-21: Ian Hutson, 22, 29: W. A. Sutton, 23: G. T. Mofiifi. 23, 29: John Coley, 24: Patrick Hanly, 25, 60: R. Gopas, 26: Richard Killeen, 26: Tom Taylor, 27: Ria Bancroft, 27: Quentin MacFarlane, 28: Olivia Spencer Bower, 29, 46-55: John Panting, 56: Robert Ellis, 57: Don Binney, 58: Gordon Walters, 59: Rita Angus, 61-63: Leo Narby, 65: Graham Brett, 66: John Ritchie, 68: David Armitage. 69: Michael Smither, 70: Robert Ellis, 71: Colin MoCahon, 72: Bronwyn Taylor, 77.: Derek Mitchell, 78: Rodney Newton-Broad, ‘78: Colin Loose, ‘79: Juliet Peter, 81: Ann Verdoourt, 81: James Greig, 82: Martin Beck, 82. -
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. -
A Survey of Recent New Zealand Writing TREVOR REEVES
A Survey of Recent New Zealand Writing TREVOR REEVES O achieve any depth or spread in an article attempt• ing to cover the whole gamut of New Zealand writing * must be deemed to be a New Zealand madman's dream, but I wonder if it would be so difficult for people overseas, particularly in other parts of the Commonwealth. It would appear to them, perhaps, that two or three rather good poets have emerged from these islands. So good, in fact, that their appearance in any anthology of Common• wealth poetry would make for a matter of rather pleasurable comment and would certainly not lower the general stand• ard of the book. I'll come back to these two or three poets presently, but let us first consider the question of New Zealand's prose writers. Ah yes, we have, or had, Kath• erine Mansfield, who died exactly fifty years ago. Her work is legendary — her Collected Stories (Constable) goes from reprint to reprint, and indeed, pirate printings are being shovelled off to the priting mills now that her fifty year copyright protection has run out. But Katherine Mansfield never was a "New Zealand writer" as such. She left early in the piece. But how did later writers fare, internationally speaking? It was Janet Frame who first wrote the long awaited "New Zealand Novel." Owls Do Cry was published in 1957. A rather cruel but incisive novel, about herself (everyone has one good novel in them), it centred on her own childhood experiences in Oamaru, a small town eighty miles north of Dunedin -— a town in which rough farmers drove sheep-shit-smelling American V-8 jalopies inexpertly down the main drag — where the local "bikies" as they are now called, grouped in vociferous RECENT NEW ZEALAND WRITING 17 bunches outside the corner milk bar. -
Art History Theses (Updated November 2015)
Art History Theses (updated November 2015) These theses are held in the Department Library. MA and PhD theses are also held in the main University Library, and many are available in PDF format online from (http://otago.ourarchive.ac.nz/). Many BA(Hons) and PGDip disserations are also held in the Hocken Collections. For more information, please contact [email protected]. Art History Theses Allen, Elise. "The Paradox of the Picture Plane." BA(Hons), 2008. Armistead, Michelle. "Nothing to Latch Onto: The Black Paintings of Ralph Hotere, 1968-69." BA(Hons), 2005. Atkinson, Claire. "The Fashionable Artist and the Artist as Fashion: The Structuring of Fashion and the Feminine in the Female Sculptural Groups of Marisol Escobar." PGDip Arts, 2004. Bagnall, Lorna Alice. "Contemporary Flesh: Transgressing Boundaries in the Bodies of Jenny Saville." BA(Hons), 2013. Ballard, Susan. "Reading the leaves: an approach to some artists' books." PGDip, 1996. Ballard, Susan. "Feminist and postmodernist intersections with New Zealand photography: a study of four artists." PGDip, 1996. Barr, Adrian. "Kazimir Malevich: A Creative Relationship of Word and Image." MA, 2001. Barry, Briar. "Journeys in Imagery: The Art and Illustration of Gavin Bishop." BA(Hons), 2009. Bath, David. "Conflicting Tensions: Eight Works of Elizabeth rees." BA(Hons), 1998. Baxendall, Lydia. "Nigel Brown and NZ National Identity." MA, 2011. Bell, David. "Art in Education: A survey exhibition to celebrate one hundred and twent-five years of art at the Duendin College of Education." PGDip, 1999. Bell, David. "Explaining Ukiyo-E." PhD, 2002. Bell, David. "Kanadehon Chushingura: Representations of Kanadehon Chushingura In Ukiyo-e." PGDip, 1998. -
Embodied Pedagogy: Examples of Moral Practice from Art Education
EMBODIED PEDAGOGY: EXAMPLES OF MORAL PRACTICE FROM ART EDUCATION Ruth Boyask University of Canterbury, New Zealand Educators operate today in a climate that favours instrumental means to achieve economically rational ends. This emphasis conflicts with the moral purpose of education, which is concerned ostensibly with widening participation and increasing personal liberty. Framed by this potential conflict is an investigation into the activity of historical figures in New Zealand art education to reveal how their deliberate activities negotiated the dominant discourses of their times, and how they shifted cultural production and understandings towards divergent social ends. These historical cases provide insight into possibilities for contemporary educators. Teaching and learning occur both within and outside of educational institutions, policies and sectors. Whilst this premise may not appear particularly innovative or surprising, taken seriously it has the potential to destabilise existing orders of educational practice. It indicates that the creation of knowledge as it is experienced does not necessarily conform to generalised policies nor does it occur within the formal institutions and educational sectors that we have constructed for its legitimation and continuance. However, this premise conflicts with basic assumptions operating currently within the discipline of education, where educational knowledge is positioned in relation to specific and discrete epistemological constructions. This article is developed from a fundamentally phenomenological position, whereby social discourses are constructed through embodied interaction and dialogue, resulting in social practices such as pedagogy, which are ritualised and re-enacted throughout our institutions. The discussion claims that pedagogies have moral implications in that they expand or inhibit social participation and personal liberty, and therefore they encourage educators, when determining a course of action, to deliberate on how their practices intersect with educational structures. -
University of Otago Magazine 44April 2017
UNIVERSITY OF OTAGO MAGAZINE 44APRIL 2017 INSIDE Alumnus Professor Robert Webster Avian flu, ethics and the future Planning for the ‘Age of Ageing’ Politics and dignity Arts fellowship celebrates 50 years University of Otago Magazine A magazine for alumni and friends of the University of Otago Issue 44 APRIL 2017 ISSN - 1175-8147 Editor Karen Hogg Designer Peter Scott Writers Kevin Clements Kim Connelly Ian Dougherty Laura Hewson Karen Hogg The Amie Richardson Stephen Sowerby Sam Stevens University of Otago Fleur Templeton Kim Thomas Mark Wright Magazine Nigel Zega Photographers Sharron Bennett has its Alan Dove Sheena Haywood Michael Roberts own website Graham Warman Cover Professor Robert Webster Photo: Alan Dove Printing PMP Print Circulation Development and Alumni Relations Office otago.ac.nz/otagomagazine Email [email protected] • To update or change delivery address • To read the Magazine and other alumni communications electronically • To receive just one “household” postal copy of the Magazine Tel 64 3 479 4516 Editorial contact details University of Otago Magazine Marketing and Communications PO Box 56 Dunedin 9054 New Zealand Tel 64 3 479 8679 If you would prefer to read Email [email protected] the magazine online Web otago.ac.nz/otagomagazine and no longer receive a hard copy, Copyright please email You are welcome to reproduce material from the magazine after gaining permission from the editor. All reproduced material must be appropriately acknowledged. [email protected] The University of Otago Magazine is published by the Marketing and Communications Division of the University. The opinions expressed are not necessarily those of the University. -
Newsletter Winter 2015 Download
Grahame Sydney Newsletter Winter 2015 Several significant events have occurred since the last newsletter about this time last year. On the professional front, the book on which Fi and I had been working for the previous 18 months, in tandem with Robbie Burton of Potton and Burton Publishers, finally made it onto the shelves of bookshops around New Zealand in October 2014. Robbie was determined that this comprehensive survey of more than forty years of my painting life would be a beautiful and substantial volume, and so it is: slip-cased in the standard edition form, elegantly designed and superbly printed, containing over 200 images and two substantial essays, “Grahame Sydney, Paintings 1974-2014” “Evening at Kane’s Pond.” Oil on Linen. 845mm x 1220mm. 2014. was received with enthusiasm and praise by the reviewers and market alike, and its first print run Book-related also, I was invited to appear at three Readers and sold out within five weeks. It was immediately reprinted in time Writers’ Festivals – Auckland, Dunedin and Nelson - and in each for Christmas, and that print run is now almost sold out too – a case the ‘in conversation’ events with either Robbie Burton very pleasing result for us all. The slightly posher packaged or Zara Stanhope were enjoyable occasions with excellent version, linen-boxed and limited to 300 copies, sold out within 10 audiences. I do find the hour allotted to be frustratingly brief days of release. We are also thrilled to just learn it has been though, and suspect the punters often feel the same. -
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 . -
E. Mervyn Taylor's Prints on Maori Subjects
THE ENGAGING LINE: E. MERVYN TAYLOR’S PRINTS ON MAORI SUBJECTS A thesis submitted in partial fulfilment of the requirements for The Degree of Master of Arts in Art History in the University of Canterbury by Douglas Horrell 2006 Contents Contents..................................................................................................................... i Abstract ....................................................................................................................1 Introduction..............................................................................................................2 Chapter One: The making of an artist: history of the development of Taylor’s early career through his close association with Clark, MacLennan, and Woods..................6 Chapter Two: Meeting of worlds: the generation of Taylor’s interest in Maori culture......................................................................................................................19 Chapter Three: Nationalist and local influence: art as identity...............................37 Chapter Four: Grey’s Polynesian Mythology: the opportunity of a career..............46 Chapter Five: A thematic survey of E. Mervyn Taylor’s prints on Maori subjects..56 Conclusion ..............................................................................................................72 Acknowledgements.................................................................................................76 Bibliography...........................................................................................................77 -
13 1 a R T + O B Je C T 20 18
NEW A RT + O B J E C T COLLECTORS ART + OBJECT 131 ART 2018 TWENTIETH CENTURY DESIGN & STUDIO CERAMICS 24 –25 JULY AO1281FA Cat 131 cover.indd 1 10/07/18 3:01 PM 1 THE LES AND AUCTION MILLY PARIS HIGHLIGHTS COLLECTION 28 JUNE PART 2 Part II of the Paris Collection realised a sale The record price for a Tony Fomison was total of $2 000 000 and witnessed high also bettered by nearly $200 000 when clearance rates and close to 100% sales by Ah South Island, Your Music Remembers value, with strength displayed throughout Me made $321 000 hammer ($385 585) the lower, mid and top end of the market. against an estimate of $180 000 – The previous record price for a Philip $250 000. Illustrated above left: Clairmont was more than quadrupled Tony Fomison Ah South Island, Your Music when his magnificent Scarred Couch II Remembers Me was hammered down for $276 000 oil on hessian laid onto board ($331 530) against an estimate of 760 x 1200mm $160 000 – $240 000. A new record price realised for the artist at auction: $385 585 2 Colin McCahon Philip Clairmont A new record price Scarred Couch II realised for the artist North Shore Landscape at auction: oil on canvas, 1954 mixed media 563 x 462mm and collage on $331 530 unstretched jute Milan Mrkusich Price realised: $156 155 1755 x 2270mm Painting No. II (Trees) oil on board, 1959 857 x 596mm Price realised: $90 090 John Tole Gordon Walters Timber Mill near Rotorua Blue Centre oil on board PVA and acrylic on 445 x 535mm Ralph Hotere canvas, 1970 A new record price realised Black Window: Towards Aramoana 458 x 458mm for the artist at auction: acrylic on board in colonial sash Price realised: $73 270 $37 235 window frame 1130 x 915mm Price realised: $168 165 Peter Peryer A new record price realised Jam Rolls, Neenish Tarts, Doughnuts for the artist at auction: gelatin silver print, three parts, 1983 $21 620 255 x 380mm: each print 3 RARE BOOKS, 22 AUG MANUSCRIPTS, George O’Brien Otago Harbour from Waverley DOCUMENTS A large watercolour of Otago Harbour from Waverley. -
Download PDF Catalogue
ART + OBJECT 2017 has undoubtedly been a dynamic year at Art+Object, as well as for the wider New Zealand art world. We are fortunate to be part of a healthy, thriving arts community that really does offer something for everyone, across a variety of art forms. This year, along with our usual catalogues of Important Paintings and Contemporary Art, New Collectors, Decorative Arts and Rare Books, we have been favoured with the sale of some fabulous private collections. Visionary collectors like Anne Coney and Glenn Schaeffer, in taking the brave decision to sell their collections at auction, provide viewers with a wonderful opportunity to admire and acquire. Thank you to everyone who has taken part in our auction program this year, we put real effort into making our auction videos, organising talks and events and we love it when you watch on-line, or come along to viewings and auctions. Our talk with collector Glenn Schaeffer in October was given to a packed house, with a large number of interested collectors attending to hear from Mr Schaeffer, a significant international art collector. The year cannot pass without making mention of the wonderful success of the Estate of Michael Illingworth auction. The enthusiasm shown by the market for work by this legendary artist was unprecedented, resulting in one of the most successful auctions in our ten year history. We have enjoyed working with a number of brand partners this year. We’ve been serving freshly brewed Allpress coffee at our weekend viewings, which was particularly well-received on cold wintry viewing days, and it certainly feels like we’ve had plenty of those this year.