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A Short History of the Unite Union in New Zealand by Mike Treen Unite National Director April 29, 2014
AA shortshort historyhistory ofof thethe UniteUnite UnionUnion inin NewNew ZealandZealand ByBy MikeMike TreenTreen ! A short history of the Unite Union in New Zealand By Mike Treen Unite National Director April 29, 2014 SkyCity Casino strike 2011 ! In the late 1980s and early 1990s, workers in New union law. When the Employment Contracts Act was Zealand suffered a massive setback in their levels made law on May Day 1990, every single worker of union and social organisation and their living covered by a collective agreement was put onto an standards. A neo-liberal, Labour Government elected individual employment agreement identical to the in 1984 began the assault and it was continued and terms of their previous collective. In order for the deepened by a National Party government elected in union to continue to negotiate on your behalf, you 1990. had to sign an individual authorisation. It was very difficult for some unions to manage that. Many The “free trade”policies adopted by both Labour were eliminated overnight. Voluntary unionism was and the National Party led to massive factory introduced and closed shops were outlawed. All of closures. The entire car industry was eliminated and the legal wage protections which stipulated breaks, textile industries were closed. Other industries with overtime rates, Sunday rates and so on, went. traditionally strong union organisation such as the Minimum legal conditions were now very limited - meat industry were restructured and thousands lost three weeks holiday and five days sick leave was their jobs. Official unemployment reached 11.2% in about the lot. Everything else had to be negotiated the early 1990s. -
Activist #2, 2013
Rail & Maritime Transport Union Volume 2013 # 2 Published Regularly - ISSN 1178-7392 (Print & Online) 22 February 2013 TRANSPORT WORKER – ISSUE 1 union in Dunedin, marking as it did the end (for now) of a Branch which has fought for The mag is done and off to the printers. workers at Hillside for generations. This issue is full of robust stories with a That said, the Otago Rail Branch is very strong emphasis on H&S issues within active and enjoys the support of the KiwiRail. We also have notes from 90% of membership and has some extremely the Union’s branches which are essential capable delegates and Officials. The Hillside for giving all areas of the membership a workers will be well supported and we look voice and platform to be heard from. forward to the day when the next Labour led 2ND ANNIVERSARY – Government honours its commitment to reinstate rail manufacturing at Hillside and CANTERBURY EARTHQUAKE the likely re-formation of a Hillside Branch! Today marks the second anniversary of the A sad event and all preventable if we had a February 22 earthquake and we all need to meaningful local content procurement policy reflect upon the difficulties that our like most other countries. Canterbury members have been working and living in since that fateful day. Some of LYTTELTON PORT COMPANY our members do not still have a working The hearing for the City Depot case toilet in their home. commences on Monday in the Employment We must not forget that 115 people lost Court in Christchurch. their lives in the CTV building alone and so Members will recall that the RMTU won a we must, as a society, ensure that all case in the Employment Relations Authority future buildings are fit for purpose. -
A Visual Arts and Art History Education Resource for Secondary Teachers, Inspired by Bill Culbert's 2013 Venice Biennale Exhi
ART IN CONTEXT A VISUAL ARTS AND ART HISTORY EDUCATION RESOURCE FOR SECONDARY TEACHERS, INSPIRED BY BILL CULBERT’S 2013 VENICE BIENNALE EXHIBITION, FRONT DOOR OUT BACK Helen Lloyd, Senior Educator Art, Museum of New Zealand Te Papa Tongarewa and Education Programme Manager for Creative New Zealand (2013) © Museum of New Zealand Te Papa Tongarewa and Creative New Zealand, 2013 CONTENTS BaCKGROUND About this resource ............................................................................................. 3 The Venice Biennale ............................................................................................ 4 Venice – the city ................................................................................................... 4 Bill Culbert ............................................................................................................ 5 Front Door Out Back ........................................................................................... 5 Studying art in context ....................................................................................... 6 Curriculum links ................................................................................................... 7 Useful books ........................................................................................................ 7 Useful websites ................................................................................................... 7 RESOURCES Part 1: Front Door Out Back analysis cards Drop ...................................................................................................................... -
Final Funds Needed for Spectacular City Sculpture
News Release 19 June 2014 Page 1 of 12 Final Funds Needed For Spectacular City Sculpture The SCAPE Public Art Trust of Christchurch has launched a funding initiative to meet the final cost of installing a spectacular Neil Dawson sculpture, Fanfare, at the city’s gateway beside the northern motorway by the end of the year. Fanfare will be New Zealand’s largest public artwork, 24 metres high and weighing 25 tonnes, and featuring 360 wind-powered pinwheels able to be lit up on festive occasions. SCAPE Public Art Director, Deborah McCormick, said all but $360,000 of the $3.3 million needed to install the sculpture has already been raised and the latest initiative is intended to cover the final portion. “People and businesses can join our Fan Club and contribute set amounts from $1,000, $3,000 and $5,000, with a range of benefits and privileges, or donate any amount they wish. Supporters will have a share in an iconic sculptural legacy for the city and make a unique contribution to our changing future landscape.” Deborah McCormick said. Fanfare was made by Christchurch sculptor Neil Dawson for the City of Sydney to celebrate New Year in 2005 and was displayed hanging from the city’s harbour bridge. It was later gifted by the City of Sydney to the Christchurch City Council, which partnered with SCAPE Public Art to re-assemble the sculpture and raise funds to pay for its new installation. The sculptor has produced other large-scale sculptures, including Chalice in Cathedral Square, Christchurch, Ferns in Civic Square, Wellington and Feather from Afar in the International Finance Centre, Pudong, Shanghai. -
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. -
Download PDF Catalogue
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. -
The Media We Want by 2020
MEDIANZ VOL 17 NO 1 • 2017 https://DOI.org/10.11157/medianz-vol17iss1id185 - ARTICLE - The Media We Want By 2020 Gavin Ellis Abstract A period as short as three years will not produce fundamental change to New Zealand’s news media landscape but there is scope for positive improvement within a version of the status quo. Media – and the workings of democracy – would be improved by market reform, greater co- operation in news-gathering, and comprehensive multimedia regulation that protects citizens’ rights. However, for mainstream media to fully serve their democratic function they must urgently institute measures to regain the public’s trust. Forecasting the future of journalism follows one of two paths: it is either an understandable desire to seek Jerusalem and William Blake’s Countenance Divine shining forth upon our clouded hills, or to deny Jerusalem and foresee the endless grinding of dark Satanic mills. Yet hovering over any prediction on the future of journalism is its susceptibility to sudden change. Even an attempt to steer a sober middle course between determinism and chaos is fraught with risk. There is an object lesson in Leo Bogart’s 1989 prognosis on the state of newspapers that ‘the worst appears to be over’ (Bogart 1989, 49). He had the misfortune to make his prediction in the year that Tim Berners-Lee introduced the world to his wide web and Rupert Murdoch launched Sky TV in the United Kingdom. The lesson: when divining media futures, be aware that you may be proven wrong by the passage of a relatively short space of time. -
ELECTORAL CHANGE, INERTIA and CAMPAIGNS in NEW ZEALAND the First Modern FPP Campaign in 1987 and the First MMP Campaign in 1996
PARTY POLITICS VOL 9. No.5 pp. 601–618 Copyright © 2003 SAGE Publications London Thousand Oaks New Delhi www.sagepublications.com ELECTORAL CHANGE, INERTIA AND CAMPAIGNS IN NEW ZEALAND The First Modern FPP Campaign in 1987 and the First MMP Campaign in 1996 David Denemark ABSTRACT Electoral change creates important and competing incentives for political parties, parliamentary elites and candidates to transform their campaign techniques in order to maximize votes under the new realities – a process constrained by continued reliance on familiar techniques. In this article I examine two significant moments of electoral change in New Zealand – from partisan stability to dealignment in the late 1980s, and from an SMP/plurality system to Mixed Member Proportional (MMP) represen- tation in 1996 – as a way of exploring inertia and change in the trans- formation of campaigns at the constituency level. Drawing on findings from in-depth interviews conducted with individuals responsible for the parties’ campaigns in the 1987 and 1996 New Zealand general elections, I explore the extent to which political campaign elites, parliamentarians and candidates responded to incentives to adopt a fundamentally new election campaign logic – in these two cases, dictated by the new tactical centrality of marginal seats and geographically defined constituencies in the modern first-past-the-post (FPP) campaign, and then by the ascend- ancy in their place of the party list vote, issue constituencies and nation- wide campaigns under MMP. KEY WORDS campaigns constituency electoral change mixed member proportional New Zealand Introduction Election campaigns – their strategies, techniques and technologies – are the product of the electoral systems within which they are waged (Katz, 1980). -
Level 1 Art History (91015) 2019
91015R 1 Level 1 Art History, 2019 91015 Demonstrate understanding of formal elements of art works, using art terminology 2.00 p.m. Thursday 14 November 2019 Credits: Four RESOURCE BOOKLET Refer to this booklet to answer the questions for Art History 91015. Check that this booklet has pages 2–12 in the correct order and that none of these pages is blank. YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION. © New Zealand Qualifications Authority, 2019. All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand QualificationsAuthority. Plate 1 Robyn Kahukiwa, Mareikura, from the Tapu Head series, 2017, acrylic on canvas, 51 × 76 cm 2 Plate 2 Reuben Paterson, A Crucifixion, 2012, glitter and synthetic polymer paint on canvas, 195 × 300 cm 3 4 Plate 3 Robin White, Brigid is Holding a Nautilus, 1984, hand coloured woodblock print, 29 × 14 cm 5 Plate 4 John Pule, Pulenoa (Without Consent), 1995, lithograph, 76 × 64 cm Plate 5 Marti Friedlander, Road towards Mt Cook, South Island, date unknown, black and white photograph, 41 × 51 cm 6 Plate 6 Mark Adams, Land of Memories: Kahutara River Bridge and Peketa Pa Site, 1988, black and white photographs, gelatin silver prints, each 25 × 19 cm 7 8 Plate 7 Neil Dawson, Chalice, Cathedral Square, Christchurch, 2001, steel structure, sheet aluminium, blue automotive paint on interior, granite base, 18 m high, 8.5 m diameter at top 9 Plate 8 Elizabeth Thomson, Lepidoptera, 1992, patina, casein and oil-based pigment on six cast bronze -
Final Thesis
Old Problem, New Zealand: An Applied Analysis of the Maori Among Indigenous Peoples by Megan Elizabeth Rohn 2-color (and 4-color process) In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in International Relations Version 1 (“Logo Version”) of the College Mark Version, 2, “Seal Version” of the College Mark Single-color Version 1 (“Logo Version”) of the College Mark Version, 2, “Seal Version” of the College Mark Dark backgrounds (Reversed) POMONA COLLEGE Claremont, California The Twenty-Seventh of April, Two-Thousand and Eighteen Version, 2, “Seal Version” of the College Mark Embossed Version 1 (“Logo Version”) of the College Mark ACKNOWLEDGEMENTS Megan would like to acknowledge her friends and new family (whanau) in New Zealand for helping her complete this thesis, especially Lyn Wilson, Maria Amo, Auntie, and Jan and Greg Presland. She would also like to thank Kate Cherrington, Paula Bold-Wilson, Tu Williams, and Matt McCarten for their interviews. An additional thanks to all of these interviewees for agreeing to have their real names in this thesis, since it is not being published at the moment. Furthermore, Megan is grateful to the Pomona College International Relations Department for funding her research, and to Professors Englebert, Gladney, and Marks for guiding her through the process. She is also thankful for the support of her parents and friends in America. 1 TABLE OF CONTENTS Chapter 1: Literature Review 1.1 Introduction of Research Question … 1 1.2 Literature Review … 7 Frame 1: Maori with Respect -
A Critical Evaluation of New Zealand's Antactic Art Programmes
A critical evaluation of New Zealand’s Antarctic art programmes, 1957-2011 ANTA 604 Tim Jones February 2011 1 Table of Conents Table of Conents................................................................................................................... 2 Abstract ................................................................................................................................. 3 Introduction ........................................................................................................................... 4 Part one – the artists ............................................................................................................ 5 Part two – the programmes................................................................................................ 51 Part three – the art .............................................................................................................. 58 Conclusions ........................................................................................................................ 66 Acknowledgments .............................................................................................................. 67 2 Abstract The author considers the programmes that have enabled artists to travel to Antarctica as part of the New Zealand Antarctic programme between 1957 and 2011. Details of artists and their visits are given, followed by a descriptive history of the artist programme itself, outlining its origins, development and current status. Finally the artists’ opinions -
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.