Te Pūrongo Ā Tau | Annual Report 2019/20

Total Page:16

File Type:pdf, Size:1020Kb

Te Pūrongo Ā Tau | Annual Report 2019/20 G.12 MUSEUM OF NEW ZEALAND TE PAPA TONGAREWA Te Pūrongo ā Tau | Annual Report 2019/20 In accordance with section 150 of the Crown Entities Act 2004, this annual report of the Museum of New Zealand Te Papa Tongarewa for 2019/20 is presented to the House of Representatives. Photo credits Cover Page 18 Page 33 n n Covid-19 Te Papa reopening May 2020, n Covid-19 Te Papa reopening May 2020, After School Club Science June 2019. 2020. Photo by Jo Moore. Te Papa 2020. Photo by Jo Moore. Te Papa Photo by Scott Ogilvie. Te Papa. (157816) (157809) Page 35 Page 2 Page 19 n All Roads Lead to Ngātapa, 2019. n Wonderland, an ACMI touring exhibition. n Covid-19 Te Papa reopening May 2020, Photo by Jo Moore. Te Papa (146676) Photograph by Jo Moore / Te Papa 2020. Photo by Jo Moore. Te Papa (157979) Page 36 n Covid-19 Te Papa reopening May 2020, Page 5 n Covid-19 Te Papa reopening May 2020, 2020. Photo by Jo Moore. Te Papa 2020. Photo by Jo Moore. Te Papa n Dame Fran Wilde, Chair. Photo by Daniel (157951) Rose. Te Papa. (158015) Page 20 Page 7 Page 39 n Lemi Ponifasio, Tempest: Without A n Unboxing of Waterfall in Dusky Bay with n Courtney Johnston, 2019. Photo Body. Image courtesy of the artist. by Daniel Rose. Te Papa CC BY 4.0 Maori canoe, 1775, oil on panel, 2019. (143963) Photo by Jack Fisher. Te Papa (138194) Page 21 Page 9 n Wonderland Whānau Day, 1 Feb 2020, Page 42 2020. Photo by Abbie Dorrington. n Fossil albatross skull ‘Aldiomedes n Dr Arapata Hakiwai, 2019. Photo by Te Papa (149635) Daniel Rose. angustirostris’, 2019. Photo by Rachael Hockridge. Te Papa (141324) Page 23 Page 10-11 n The presentation of Le Lau Ta’amu Page 44 n Te Papa staff close museum due to Tafea, 2020. Photo by Maarten Holl. n Kaihaukai Art Collective, 2020. Photo Covid-19, 2020. Photo by Jack Fisher. Te Te Papa (150291) Papa (156911) by Jo Moore. Te Papa (150804) n COVID-19. Wellington, Willis St, SH1, 2020. Photo by Maarten Holl. Te Papa. Page 24 Page 45 n Covid-19 Te Papa reopening May 2020, n Installation view of Curators’ Choice: 21 n The Poisoners! exhibition opening 2020. Photo by Jo Moore. Te Papa Things, 2020. Photo by Maarten Holl. breakfast, 2007. Photograph by “Kate (158017) Te Papa (148517) Whitley”. Te Papa (82155) n Covid-19 Te Papa reopening May 2020, 2020. Photo by Jo Moore. Te Papa Page 25 (157779) Page 92 n Tatau Opening Evening, 8 Nov 2019. n COVID-19. Wellington, iko iko, Cuba Mall, n Unboxing of Waterfall in Dusky Bay with 2020. Photo by Maarten Holl. Te Papa. Photo by Jo Moore. Te Papa. Maori canoe, 1775, oil on panel, 2019. n n COVID-19. Wellington, Holloway Rd, Kaihaukai Art Collective, 2020. Photo Photo by Jack Fisher. Te Papa (138192) 2020. Photo by Maarten Holl. Te Papa. by Jo Moore. Te Papa (150690) n COVID-19. Wellington, Hopper St, 2020. Page 97 Photo by Maarten Holl. Te Papa. Page 28 n Matthew McIntyre-Wilson wears his n Covid-19 Te Papa reopening May 2020, n Wonderland Late Night, 23 January Muka Face Mask, 2020. Photo by Jack 2020. Photo by Jo Moore. Te Papa 2020, 2020. Photo by Abbie Dorrington. (157819) Fisher. Te Papa (158342) Te Papa (149690) n Covid-19 Te Papa reopening May 2020, 2020. Photo by Jo Moore. Te Papa Page 99 (157805) Page 29 n Mark Adams, Nine Fathoms Passage, n Tatau Opening Evening, 8 Nov 2019. 27.6.2014 - 1.7.2014, version 2. After Page 12 Photo by Jo Moore. Te Papa. William Hodges’ ‘Waterfall in Dusky n Bug Lab Exhibition. Photo: Mike O’Neill, Bay with a Maori canoe’, 1775-7, 2014, n Te Papa, COVID-19, Level 3 lockdown, Te Papa 2020. Photo by Maarten Holl. Te Papa. photograph, chromogenic print. Te Papa (O.048397/A-D to D-D) 30 Page 16 n Tatau Opening Evening, 8 Nov 2019. Page 102 n Covid-19 Te Papa reopening May 2020, Photo by Jo Moore. Te Papa. 2020. Photo by Jo Moore. Te Papa n Finale: Bouquet, 2019 by Nike Savvas, Museum of New Zealand Te Papa Tongarewa (157908) 2019. Photo by Maarten Holl. Te Papa Page 31 (145104) n Faka-Tokelau - Living with Change, Te Pūrongo ā Tau | Annual Report 2020. Photo by Maarten Holl. Te Papa. 2019/20 A guide to our Annual Report If you are looking for… Turn to… Page Overviews from our Chair, Chief Foreword and Statements Executive and Kaihautū 4 Our strategic vision, outcomes and Part 1: 2019/20 tirohanga whānui – te ekenga ki performance framework tā mātou pou tarāwaho hua | 2019/20 overview – 12 performance against our outcomes framework Our service performance and key Part 2: Tauākī o te ekenga 2019/20 | Statement of achievements against our strategic performance 2019/20 16 priorities Our financial performance and the Part 3: Tauākī ahumoni 2019/20 | Financial independent auditor’s report statements 2019/20 46 Our legislation, governance and Part 4: Ka pēhea mātou e mahi ai, ā mātou management structure and the tāngata, tā mātou āheinga | How we operate and 88 people and capability that enable us our people and capability to achieve our results Statement of responsibility The Board and management are responsible for the preparation of the annual financial statements, and the statement of performance and the judgements used therein. The Board and management are responsible for any end-of-year performance information provided by the Museum of New Zealand Te Papa Tongarewa under section 19A of the Public Finance Act 1989. The Board and management are responsible for establishing and maintaining a system of internal controls designed to provide reasonable assurance of the integrity and reliability of the financial statements and statement of performance. In the opinion of the Board and management, the annual financial statements and statement of performance fairly reflect the financial position and operations of the Museum of New Zealand Te Papa Tongarewa for the year ended 30 June 2020. In accordance with the Crown Entities Act 2004, we approve this Annual Report on behalf of the Board. Dame Fran Wilde Caren Rangi Chair Chair of Assurance and Risk Committee 2 Museum of New Zealand Te Papa Tongarewa Te Pūrongo ā Tau | Annual Report 2019/20 3 Chair’s Foreword The Treaty partnership is at the heart of Aotearoa The return and reconnection of taonga is not There are also opportunities here for Te Papa, and New Zealand, and at the heart of its national limited to the shores of Aotearoa. This year, Te the museum has been quick to pivot. We have museum. This has been reflected since our founding Papa formalised the return of the ‘ahu ‘ula and embraced the potential of the digital museum, and in the co-leadership model, where a Chief Executive mahiole (cloak and helmet) gifted by Hawaiian chief connected more than ever with New Zealanders | Tumu Whakarae and a Kaihautū | Māori co-leader Kalani’ōpu’u to Captain Cook in 1779. Globally, the around the country. And we are re-inventing our share the leadership of Te Papa. return of treasures from museum collections is commercial offerings, as we work with partners to often a contentious and painful topic. The return re-invigorate the Wellington economy. As a board, we have reaffirmed and strengthened this of these taonga is an example of a positive choice, commitment to co-leadership. This was reflected We are very mindful of the impact of COVID-19 built on and reinforcing strong relationships. It has in the process for appointing a new Chief Executive on the wider museum and gallery sector. We are been an honour for Te Papa to play our part in the after the resignation of Geraint Martin in 2019. In extremely grateful for the support of government revitalisation of Hawaiian culture in this way. addition to museum and leadership experience, that has cushioned the impact on Te Papa, and we we sought a candidate with a proven commitment Te Papa’s board has farewelled some important look forward to supporting the sector, including to sharing authority with tangata whenua. We members this year. Ngā mihi nui to our departing through administering the Museum Hardship Fund were delighted to appoint Courtney Johnston members, Sir Peter Gluckman and Abby Foote. established by government. to the role in December 2019. She is steeped in We were extremely saddened to lose board member Te Papa is a forum for the nation. We need to lead the museum and gallery sector and is a dynamic Sir Rob Fenwick this year. His passing was an important national conversations, especially when and innovative leader. She also has a profound opportunity to reflect on his lifetime of service, and they are complex and difficult. We do this through commitment to the principles of the Treaty and of of advocacy for New Zealand’s unique environment. collecting, digital outreach, exhibitions, and events. mana taonga, Te Papa’s unique enactment of its Haere atu rā e te rangatira. obligations to communities. We are confident that From collecting the experience of trans youth, to the co-leadership of Arapata Hakiwai and Courtney We closed Te Papa on 20 March as a result of providing a platform for iwi to share their experience Johnston provides the vision and drive to take Te COVID-19, and remained closed for 68 days. In our of Te Tiriti, these challenging conversations are an Papa forward into a new era.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Bicultural Bypass: the Antithesis of Contemporary Māori Art Agency Gina Matchitt
    Bicultural Bypass: The Antithesis of Contemporary Māori Art Agency Gina Matchitt During a lecture at City Gallery Wellington in 2017, while discussing the Colin McCahon exhibition On Going Out with the Tide, Ngahiraka Mason introduced a term that stuck with me. Mason deemed that ‘bicultural fatigue’ had crept into the museum and gallery sector in Aotearoa. Aue! Mason perfectly encapsulated my unease. I had returned to Aotearoa in 2014 and was dissatisfed to fnd that curatorial positions and gallery spaces had been discontinued or repurposed. Specifcally, I was disheartened to fnd the roles of Curator Māori at City Gallery Wellington (hereafer referred to as City Gallery) and Te Dowse Art Museum (hereafer referred to as Te Dowse) were disestablished. Māori agency in any area is always challenging so what were the reasons for this shif? Where was the continuing commitment to Te Tiriti o Waitangi through the development of Māori curatorial practice? Tis article will survey the state of Māori art agency from the 1950s onwards. Lastly, I will explore pathways and strategies to strengthen and develop curatorial positions and in turn develop contemporary Māori art agency. Contemporary Māori Art Beginnings During the late 1950s and early 1960s contemporary Māori art was generally curated and organised by Māori artists in a variety of spaces. Te frst was in 1958 at the Adult Education Centre in Auckland which included Ralph Hotere, Katerina Mātaira, Muru Walters, Arnold Wilson, and Selwyn Wilson. Ten came the Festival of Māori Arts at Tūrangawaewae in 1963. Pākehā art curators at the time did not embrace the idea of contemporary Māori art.
    [Show full text]
  • JUDY MILLAR Born 1957, Auckland, New Zealand Lives and Works In
    JUDY MILLAR Born 1957, Auckland, New Zealand Lives and works in Auckland, New Zealand and Berlin, Germany 1983 Master of Fine Arts, Elam School of Fine Arts, Auckland, New Zealand 1980 Bachelor of Fine Arts, Elam School of Fine Arts, Auckland, New Zealand 1991 Post Graduate Studies, Academia Albertina, Turin, Italy AWARDS, PRIZES AND RESIDENCIES 2010 ISCP Residency, New York, USA 2006 McCahon House Residency, Auckland, New Zealand 2003 Goethe Institute Language Scholarship, Goethe Institute 2003 Creative New Zealand Grant 2003 Dunedin Public Art Gallery Visiting Award, Dunedin Public Art Gallery, Dunedin, New Zealand 2002 James Wallace Award, Wallace Art Trust 2001 Artist in Residence Dunedin Public Art Gallery, Dunedin, New Zealand 2000 Wallace Art Award Paramount Winner, Auckland, New Zealand 1992 Moet and Chandon Fellowship, Avize, France 1990 Italian Government Post-Graduate Scholarship, Academia Albertina, Turin, Italy 1989 Tokaroa Art Award, Auckland, New Zealand, winner COMMISSIONS 2017 Rock Drop, Auckland Art Gallery, New Zealand 2015 Scape8: New Intimacies, Public Art Commission, Christchurch, New Zealand 2015 Devonport Library Commission, Auckland, New Zealand COLLECTIONS Art Gallery of New South Wales, Sydney Auckland Art Gallery Toi o Tāmaki, Auckland, New Zealand Auckland University Collection, Auckland, New Zealand CAP Collection, Dublin, Ireland Christchurch Art Gallery, Christchurch, New Zealand Chartwell Collection, New Zealand Dunedin Public Gallery, Dunedin, New Zealand Fletcher Collection, Auckland, New Zealand James
    [Show full text]
  • Ildren's History Natural Y Pacific Culture Taonga
    ART CHILDREN’S HISTORY NATURAL HISTORY PACIFIC CULTURE TAONGA MĀORI ABOUT TE PAPA POSTERS AND STATIONERY ART CHILDREN’S HISTORY NATURAL HISTORY TE PAPA PACIFIC CULTURE TAONGA MĀORI PRESS ABOUT TE PAPA POSTERS AND STATIONERY ART CHILDREN’S HISTORY NATURAL HISTORY PACIFIC CULTURE CATALOGUE TAONGA MĀORI ABOUT TE PAPA 2018–2019 AND WWW. STATIONERY ART CHILDREN’S TEPAPAPRESS. HISTORY PACIFIC CULTURE CO.NZ TAONGA MĀORI ABOUT TE PAPA POSTERS AND STATIONERY ART CHILDREN’S HISTORY PACIFIC CULTURE ART TAONGA MĀORI PACIFIC CULTURE CHILDREN’S TE PAPA PRESS NEW ZEALAND’S UNIQUE MUSEUM PUBLISHER Te Papa Press is the publishing arm of the Museum of New Zealand Te Papa Tongarewa. It creates popular, highly respected and award-winning books about the art, culture and natural world of Aotearoa New Zealand, for readers everywhere. ART Scenic Playground: The Story Crafting Aotearoa: Behind New Zealand’s A Cultural History of Mountain Tourism Making in New Zealand and Peter Alsop, Dave Bamford and Lee Davidson the Wider Moana Oceania Drawing on a treasure trove of publicity – Karl Chitham, Kolokesa Māhina-Tuai and posters, advertisements, paintings, Damian Skinner hand-coloured photos and more – this book explores how A major new history of craft that spans three New Zealand built its reputation as an alpine playground, and how centuries of making and thinking in Aotearoa mountains became central to belonging to Aotearoa. Featuring over New Zealand and the wider Moana (Pacific). It tells the previously 600 spectacular images, Scenic Playground is the first time this untold story of craft in Aotearoa New Zealand, and proposes a new important slice of our history has been fully told.
    [Show full text]
  • Art for New Zealand New Zealand
    Art forforfor New ZealandZealand:: Icons from the 1960s and 70s Kitchener St Gallery 1 --- 18 February 2012 Preview: Tuesday 31 January, 55----7pm7pm7pm7pm Reflecting the rapidly developing culture and society, the 1960 and 70s were an expansive time for New Zealand art. The nation received its first television broadcast which, along with greater ease of travel, offered a wider availability of international media. Public museums and galleries were newly developed or modernised and increasingly began to host international touring exhibitions, while dealer galleries were established, creating a new commercial market for patrons. As wider audiences responded to burgeoning opportunities to engage with art, an appetite for visual arts progressively grew. By the 1970s the art world was blossoming. In a sense the 1960s and 70s was an era of coming of age for New Zealand art. Where there had been a predominately British influence, a stronger awareness of international art developed. Artists gained confidence and developed styles that while referencing international art abroad, began to wholly embrace and express local concerns. Art for New Zealand: Icons from the 1960s and 70s brings together works by noted artists from this period including Michael Illingworth, Pat Hanly, Michael Smither, Bob Ellis and Colin McCahon. WWWoWooorksrksrksrks Colin McCahon, 1919 – 1987 Waterfall, 1964 Oil on hardboard, original gold painted frame, 225 x 225 mm Signed and dated on verso: C56.30 (Ikon Fine Arts code) Colin McCahon Trust Record number: cm000265 Provenance: Private Collection, Auckland Exhibited: Small Landscapes and Waterfalls , Ikon Fine Arts, Auckland, September 14-25, 1964 For many of these artists the conservation of the natural environment was a focus and a strong part of their visual vocabulary.
    [Show full text]
  • 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 Alfaro, Armando. "Imaginary Men: Genre, Masculinity, and Natural Identity in Canadian and New Zealand Cinemas." PhD, 2016. 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.
    [Show full text]
  • Young People's Perceptions of Art Galleries
    ‘The feeling of exclusion’: Young people's perceptions of art galleries. Abstract This article first looks at the relationship between museums and art galleries and their potential audiences and in particular the under-represented sector of young visitors. It examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. The second part of the article looks at what specific museums have done towards being more inclusive in their appeal, and then reports the findings of a survey of young people in relation to New Zealand's Auckland Art Gallery. The survey found that young people's ideas of what constitutes modern, relevant art does not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their worldview. The article concludes by using data from the survey to suggest ways of engaging more young people with public art galleries. Keywords: Art galleries, museums, audience research, visitor survey, youth perceptions, social exclusion Introduction Why don’t many young people go to art galleries? This article discusses the findings of a survey of young people's perceptions of Auckland Art Gallery. It was found that of the thousands of young people who walk past the Auckland Art Gallery every day, few go in, and some could not even say where it was - even when they were standing outside it. This article finds support for the view that cultural institutions such as museums, publicly funded and free of charge, maintain the illusion of democratic access, while in fact catering mainly to the interests of particular social groups and unintentionally excluding others (McLean, 1999).
    [Show full text]
  • Urban Maori Art : the Third Generation of Contemporary Maori Artists
    Urban Maori Art: The Third Generation of Contemporary Maori Artists: Identity and Identification 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 Kirsten Rennie University of Canterbury 2001 THESIS II Photo Ted Scott Design. Observe the young and tender.frond of this punga:shaped and curved like a scroll of a .fiddle: .fit instrument to play archaic tunes. A.R.D. Fairburn ABANDON AU HOPE YE WHO ENTER HERE! Peter Robinson Divine Comedy ( Detail) (2001) 111 Contents Page Title i Frontispiece ii Contents iii Acknowledgments v Abstract vi Kaupapa 1 Introduction 2 Section !:Continuity and Change 6 1.1 The Space Between: DefiningA Voice 6 1.2 Contemporary Maori Art: An Evolving Definition: 1950- 2000 in Context 10 1.3 The Third Generation/Regeneration 24 Section 2: Mana Wahine 30 2.1 Reveal the Tendrils of the Gourd so that You May Know Your Ancestors 30 2.2 Patupaiarehe: The Construction of an Exotic Self 39 2.3 Pacifika 44 Section 3: 'Essentially' Auckland 49 3.1 Essentialism 50 3.2 The Space Between 57 3.3 There Are Words Attached To It 60 3.4 Biculturalism and the Arts 63 Section 4: 'Constructing' Canterbury 68 4.1 Reconnection 1964 - 1992 71 IV 4.2 Identity in Focus: Shifting and Strategic 1993 - 1995___ __________79 4.3 Careerism: The InternationalArtist 1995 andBeyond____ __________�85 Conclusion: Journey Without End___________ 89 Appendix ____________________97 References�---------- ---------102 Illustrations v Acknowledgments I would like to thank the artists who gave so generously of their time, in particular for the hours spent with Brett Graham, Eugene Hansen, Chris Heaphy, Lonnie Hutchinson, Kirsty Gregg, Michael Parekowhai, and Peter Robinson.
    [Show full text]
  • Auckland Art Gallery Toi O Tāmaki Exhibition History
    Auckland Art Gallery Toi o Tāmaki Exhibition History To search Press Ctrl F to do a keyword search Index Browse by clicking on a year (click on top to return here) 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 1927 top 23 Jun 27 – 16 Jul 27 A Collection of Old and Modern Etchings on Loan from Auckland Collectors Catalogue 25 Oct 27 – 30 Nov 27 Loan Collection of Japanese Colour Prints from Mr H.S. Dadley and Capt. G. Humphreys-Davies Catalogue 1928 top Australian Etchings 1929 top 1 Aug 29 – 24 Aug 29 Loan Collection of Prints Illustrating the Graphic Arts Catalogue 1930 top 7 Apr 30 – 26 Apr 30 Loan Collection of Bookplates Catalogue 6 Aug 30 – 30 Aug 30 Loan Collection of Prints: Representative of Graphic Art in New Zealand Catalogue 23 Sep 30 – 14 Oct 30 Loan Collection of Photographs by Members of the Camera Club of New York and Dr Emil Mayer Catalogue 22 Oct 30 – 12 Nov 30 Medici Prints: Dutch, Flemish and German 17 Nov 30 – 2 Dec 30 Medici Prints: English 5 Dec 30 – Dec 30 Medici Prints: Italian and French 1931 top 24 Nov 31 – Jan 32 Prints from the Collection Illustrating Various Methods 1932 top 28 Jan 32 – 1 Jun 32 Medici
    [Show full text]
  • The Value Museums, Art Galleries and Heritage Properties Contribute in Aotearoa New Zealand
    FOR RELEASE DECEMBER 2018 THE VALUE MUSEUMS, ART GALLERIES AND HERITAGE PROPERTIES CONTRIBUTE IN AOTEAROA NEW ZEALAND Museums, art galleries and heritage properties in Aotearoa New Zealand provide many benefits to visitors and the communities around them. As well as providing economic value, benefits include improved health, education and well-being outcomes; and increased social cohesion, social capital and social functioning. But the museum sector is also facing challenges that may limit its ability to optimally deliver this value. Commissioned by Phillipa Tocker, Executive Director, Museums Aotearoa Analysis conducted and report written by Angela Carr, Independent Consultant Edited by Sabine Doolin, Independent Consultant (InsightUnlocked.net) FOR MEMBER OR OTHER INQUIRIES Phillipa Tocker, Executive Director (64 4) 499 1313 [email protected] www.museumsaotearoa.org.nz RECOMMENDED CITATION Museums Aotearoa, December 2018, ‘The value museums, art galleries and heritage properties contribute in Aotearoa New Zealand’ About Museums Aotearoa / Te Tari o Ngā Whare Taonga o Te Motu Museums Aotearoa / Te Tari o Ngā Whare Taonga o Te Motu (Museums Aotearoa) is Aotearoa New Zealand's independent professional peak body for public museums and art galleries and those who work in or with them. Members include museums, public art galleries, historical societies, science centres, people who work within these institutions, and individuals connected or associated with arts, culture and heritage in Aotearoa New Zealand. Museums Aotearoa undertakes work in support of its members and the museum sector in Aotearoa New Zealand, and participates in a range of projects in partnership with other organisations. © Museums Aotearoa 2018. Except for the Museums Aotearoa trade mark, this copyright work ‘The value museums, art galleries and heritage properties contribute in Aotearoa New Zealand’ is licensed under the Creative Commons Attribution 4.0 International licence.
    [Show full text]
  • 2015 Conference Programme Vienna
    KEYNOTES 1 Keynote 1 The Significance of Human Differences: Race and Culture as Concepts for Understanding the Diverse Peoples of the Pacific, 1750-1914 Erik Olssen (LT1) ______________________________________________________________________________ This paper grew out of my dissatisfaction with the neglect of Humanitarianism by recent New Zealand historians; the inadequacies of the historiography relating to race in nineteenth century Britain, its Empire and the wider Euro-American intellectual world. Race as a concept denoting visible physical and biological difference came to be widely used, initially in France and the United States; in Britain by contrast its use was from the start mediated and qualified by evidence from language. I begin by showing how the scientific gentlemen of Cook’s various voyages identified the Austronesian languages, thus deploying the evidence of the ear to check the evidence of the eye and creating a space that would eventually be occupied by the term culture. This discussion focuses on the way in which the founder of British ethnology, James Cowles Prichard, used the evidence concerning language to critique the emergent theories about race. Race was a word he began to avoid, and to construct a history of the settlement of Polynesia that created the Polynesians as descendants of the Indo-Europeans, or (to use his term), Aryans. In the process the significance of culture became central to explanations of human differences and to the process of improvement, itself fundamental to achieving civilisation. Even in the hey-day of social Darwinism the British preferences for a civilisational as against a biological paradigm remained powerful. Biography Erik Olssen taught at Otago University for thirty-three years and was Professor of History from 1984 until he retired in 2001.
    [Show full text]