DOCSLIB.ORG

Craft New Zealand Issue 41 Spring 1992

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Craft New Zealand Issue 41 Spring 1992 CONTEMPORARY CANADIAN CRAFTNew Zealand QUILTS Once, the Alternative Furniture Show CONTENTS questioned the boundaries. Does itstilli.e Colin Slade has seen them all. 4 IN BRIEF Art schools and exhibitions, commissions ‘ 28 CRAFT WRITING RULES and new businesses, residencies and visits 1 An August seminar in Auckland ques- trom prominent crattspeople, the New Zea- l tioned whether art/crai't have a valid exist- land cral't community is a busy place to be in, Detail; "Evening Gatha", by Jenny Barraud. ence without the words which describe and position them in the minds at others. The meeting tried to get inside the editorial mind to Find what determines what type ol’ writing Nelson Suter Art Society about cratt we get. 16 GLORIOUS GLASS Michael Smythe recorded the discussion Spring Exhibition and made some conclusions. Suter Gallery, Nelson A Swedish couple are among New Zea» land's most prolitic makers oi glass. Julie October 14 - November 1 Warren talked to Ola (pictured above) and 31 GALLERY N EWS Guest artists: Marie Hoglund in Nelson. Is it a sign ol an upswing in the economy Jenny Barraud (Small works in mixed media) that new galleries are opening, particularly Christopher Braddock (Sculpture) 1 8 REVIEWS in Wellington, Avid and Indicator Gallery Ray Jennings (Paintings) are new on the scene and Auckland's Vault A plethora ot "Folk Crat‘t " shows may David Russell (Leatherwork, masks, boxes) will soon open in Wellington too. enable us to smirk at the nation's kitsch, but As well, some established galleries all over Douglas lloyd-Jenkins questions this use 0t the country have increasingly exciting pro— Wendy Toogood Pyramid 1981, Fabric construction: ourgallery resources. Howard Williams looks grammes. This issue looks at a Few, wool, cotton, synthetics. silk. nylon, 150x200cm, at what Alan Brown, winner at the l989 Cratt Biennale, is doing now. Noeline Bro- kenshire reviews a clutch oi embroidery Touring to the Wairarapa Arts Foundation, ‘ SI‘IOWS. PO. Box 15 Manawatu Art Gallery, Punakaiki Hawkes Bay Exhibition Centre, West Coast Aotearoa (N.Z.) Dowse Art Museum, Ph. (03) 7311 813 Waikato Museum of Art & History, & Auckland Institute and Museum. Patrick Crabb was a recent visitor to New Zealand, Open 7 Days "Kiln Relic” (above) is an example at his reaction to other cultures and to his environment. The region’s leading crafts people Brought to New Zealand by CRAFTS display and retail their own work. 13 TWO HANDS Exhibltour Margaret Milne has been a tocus and an Above; "The Gallery", at Northland Polytechnic, inspiration tor a generationot New gives students and graduates a taste ot the New Zealand's exhibition touring agency, Zealand potters. Cathy Kenkel traces her operation of a commercial gallery venture. Pictured is a cup in chrome lated brass, anodised with the assistance of path over the past three decades. aluminium and rub er, by Meg Black. Canadian Airlines International FISHER GALLERY 35 PEOPLE An exhibition organised by the Ontario Crafts Above; "Translation Chalice", by Alan Brown, A closer look at the motivation and meth- Photo; Howard Williams, Council and toured nationwide by Exhibitour ods ot potters Peter Oxborough and Gretyl CONTINUALLY CHANGING D00, and glassworker Garry Nash. Wallace EXHIBITIONS OF FINE with the support of the Master Works Gallery in Auckland invited Sutherland is a maker oi medallions. Judy Queen Elizabeth II Arts Council of New Zealand two guest curators to give an alternative Wilson talked to him about his work and the NEW ZEALAND CRAFT AND ART. t viewpoint and Helen Schamroth compares NZ Contemporary Medallion Group. their success. Above; Margaret Milne's workshop has been home to many potters over the years. Exhibit0_uz, PO Box 6401, Te Aro, Wellington. Whitireia Polytechnic held a huge show in 39 BOOK REVIEW tel: (04) 385-8298 Cover photo Porirua, so their students and shit could 13 REEVES RD, PO BOX 51222, PAKURANGA, PH 09 576 9999 Bottles by Oia & Marie Hoglund. examine a range at cultural alternatives. Hazel Walls reviews Weaving a Kakahu, ; Photo; Lynne Griffith Lesleigh Salinger reviews Origins. by Diggeress Te Kanawa. LETTERS EDITORIAL .MARKETING OUR IMAGE professional statt in Wellington it enjoyed the homes ot neighbours (few of them could raft New Zealand magazine lives on! Over twenty craftspeople considerable success at the former. The in» afford it anyway), but they are interested in and supporters of craft have invested in a new company — Craft Dear Editor, creased personal and professional contact whatI do. Sometimes they proudly bring their Print Limited. Ownership of the magazine will shortly pass to the Ron Roy’s thoughtful letter (Craft NZ 40) is with government departments, corporate visitors to meet me and see what I do. I would company, putting it back in the hands of the craft community. CRAFTN e w Z 9 a l a n (1 timely, its tinaI sentences aptly and passion- buyers and so on resulted in signiticant ad- like to think this is the New Zealand experi- The Queen Elizabeth II Arts Council has invested too, with $10,000 of Issue 4i , Spring I992. ately iustitying the need tor a national or- vancement tor the protiIe and ence compared to Ron Roy’s Canadian one. image of New seeding finance. The capital now available should stake the magazine for ganisation to represent craft to the world at Zealand craft. During the same period there The vast maiority of visitors to my workshop large. The failure of our own Cratts Council a year, but after that time the future depends on the level of income from was a growing perception by much of the express appreciation for my work; many of Publisher: sadly serves to emphasise both that need and advertising and sales. More people are reading Craft New Zealand than craft movement that CCNZ had become them confide their wish to be pursuing a Craft Publications, P O Box 3322, Richmond, Nelson. ever before - paid subscriptions are now at their highest level for many the difficulties in tuitiIIing it. remote trom their concerns and influence. similarlivelihood(Itrynottodisillusion thesel). Ph 03 544 2670; tax 03 544 27l6. The Crafts Council was born out ot the Justified or not, this perception developed Occasionally I have to explain patiently what years — but financial viability requires twice this number. There’s plenty Editor: vision and commitment of a few people into apathy and even ignorance about the it is that makes my work different and some- of hard work ahead. Peter Gibbs. representing the many who shared and who work of the organisation. Crattspeople were times (iortunately rarely) a visitor will go .The Craft Council’s gallery on The Terrace in Wellington still lies Assistant Editor: still share Ron Roy's convictions. I pay tribute either unaware of its existence or felt it had away totally mystified as to why my chairs empty, but negotiations are at an advanced stage and hopes are high that Julie Warren. to the work of those pioneers and to the many little to do with them, seem so expensive compared to mass-man- by the time you read this a new gallery will have opened on that site. Advertising saIes: equally committed people who have carried ufactured furniture. ”How much is it without Jan Cranslon, ph 04 686 624. The most effective form at selling is by The Arts Council has announced plans to set up a marketing board, on that work over the last 27 years. The last the gold plating?” asked one wag recently Julie Warren, ph 03 544 2670; tax 03 544 2716. direct contact; the most effective form of with staff appointments beginning late this year. executive and statt, who struggled at the end advertising is by word of mouth. The success before driving off in his icon which cost for Judy Wilson, ph 09 5766 340; tax 09 5347 526. Craft Aotearoa is working with limited resources to consult with the to save the Cratts Council, were no less of the Crafts Council in marketing the image more than my annual turnover. Well, you Layout concept: can’t win ’em all. craft community about its need for a membership organisation. What Lexicon Design Communications. aware at the vital place craft holds in our of New Zealand craft is proof of this. Its society than werethose pioneers And I express failure to sell itseltto the widercratt community I mention my personal experience to em- should such an organisation do? Lobbying and advocacy, event organisa— Layout and art direction: with equal sincerity my gratitude to them for demonstrates its much lesser degree of per- phasise my belief in the importance of per- tion, liaison between national craft groups and dissemination of informa— Peter Gibbs. their work on our behalf. sonal activity in that field. All of us who have sonal contact in our cause, in any marketing tion are obvious requirements. How is it best to do these things? Who Printing: As well as the obvious debts and withdrawal served on recent CCNZ executives share in venture. We are all individuals, whatever pays, and how? The organisation has limited time to find the answers to Stiles Printing Ltd, Nelson. of funding that ultimately caused the death at this responsibility, though itwould be wrong livelihood we pursue, and we need to seek these questions. Craft New Zealand magazine welcomes input to this Subscriptions: CCNZ, I believe there is another less tangible to say that executive members have been out that individuality when talking to others. debate. P O Box 3322, Richmond, Nelson. reason. The clueto it is contained in Ron Roy’s unaware ot that need, or have not tried to We live in a society drugged and weighed So from the ashes of the Crafts Council of New Zealand, new bodies Trade Distribution: Propaganda, CPO Box 582, Auckland I.
Load more

Recommended publications
  • New Zealand Potter Volume 21 Number 1 Autumn 1979
    "iewzed'dhdtter“v.<.>-'._21/] éUtumn 1979 new zealand potter vol 21/] autumn 1979 f" Contents 215t National Exhibition, NZ Society of Potters l Accounting without tears Thoughts about natural gas Slab rollers \OOOGN Margaret’s place 10 Daniel Rhodes — his visit 14 Travelling in South America with Anneke Borren 18 Pottery school at Te Horo 20 Warren Tippett 21 Barry Brickell remembers early days again 28 A climbing kiln 29 Clark and Crum modeling clays 30 Design guidelines for beginners 31 INTRODUCTION Hazy morning slow but hotter, Recent work 32 easing through the smokey stacks, The half bisqued potter sits, Auckland Studio Potters Annual Exhibition 34 mishima jeans, carbon fingers checking spies — playing it outside the rule, carbon face with carbon eyes, History on your table 37 mistakenly brilliantly burnished and fluxed, columns, into cleaner skies. with crystalline crackle and pool, Legs up high on unsprung dust sacks, a thermocouple stuck in his ear and the clock reading singed off sweat rag face, twelve hundred and dropping. An underfired test mug as heat moves into all around — full of “leftbehindahalfabottle” wine — 1979, it starts to feel and taste. cone ten singe White hot orgasmic cone down time the kiln and you are soaking on a burnt back fringe, New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The holding fuel flow, now cut its throat, with bright squares in his spy—eyes. : annual subscription is $NZ4.00, for Australia $A4.70, Canada and the United States, $U.S.5,40, Britain Cannot remember when or more particularly why, and start off, your wine fed hoping, £2.70 postage included.
    [Show full text]
  • Ten Years of Pottery in New Zealand
    10 YEARS OF POTTERY IN NEW ZEALANDW CANCELLED Hamilton City Libraries 10 YEARS OF POTTERY IN NEW ZEALAND Helen Mason This is the story of the growth of the I making is satisfying because it combines pottery movement in this country and the learning of skills with the handling of of the people mainly involved in it over such elemental materials as clay and the past ten years as seen through my fire, so that once involved there is no | eyes as Editor of the New Zealand end to it. In it the individual looking for Potter magazine. a form of personal expression can find fulfillment, but it also lends itself to Interest in pottery making has been a group activity and is something construc- the post war development in most of tive to do together. civilised world, and by the time it reach- ed us was no longer a craft revival but I believe that with all this pottery rather a social phenomenon. Neverthe— activity, stemming as it does from the less there has been a large element of lives of ordinary men and women, a missionary zeal in our endeavours. seedbed has been formed out of which something real and vital is beginning to We are a young nation with enough grow. I have tried to record the history leisure, education and material security of these last ten years for I feel that to start looking for a culture of our own, they are important in the understanding and we want more human values than of what is to come.
    [Show full text]
  • 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 |
    [Show full text]
  • Staff Publications List
    Staff Publications 1998 Published by the Research Policy Office Victoria University of Wellington PO Box 600 Wellington, New Zealand ISSN 1174-121X CONTENTS FACULTY OF COMMERCE AND ADMINISTRATION 3 Accounting and Commercial Law, School of 3 Business and Public Management, School of 5 Communications and Information Systems Management, School of 11 Economics and Finance, School of 13 FACULTY OF HUMANITIES AND SOCIAL SCIENCES 16 Anthropology 16 Art History 17 Asian Languages 18 Classics 19 Criminology, Institute of 20 Education, School of 22 Institute for Early Childhood Studies 24 English, Film and Theatre, School of 25 European Languages 32 History 33 Linguistics and Applied Language Studies, School of 36 Maori Studies: Te Kawa a Maui, School of 41 Music, School of 41 Nursing and Midwifery 43 Philosophy 45 Political Science and International Relations, School of 46 Sociology and Social policy 47 Women’s Studies 49 FACULTY OF LAW 51 FACULTY OF SCIENCE 54 Architecture, School of 54 Biological Sciences, School of 58 Chemical and Physical Sciences, School of 63 Earth Sciences, School of 65 Mathematical and Computing Sciences, School of 70 Psychology, School of 80 UNIVERSITY INSTITUTES AND CENTRES 82 Centre for Continuing Education/Te Whare Pukenga 82 Health Services Research Centre 83 Institute of Policy Studies 84 University Teaching Development Centre 85 Centre for Strategic Studies 85 Stout Research Centre 86 2 1998 Staff Publications FACULTY OF COMMERCE AND ADMINISTRATION ACCOUNTING AND COMMERCIAL LAW 3. Articles/Chapters/Conference Papers Articles Anderson, Gordon, ‘Interpreting the Employment Contracts Act: Are the Courts Undermining the Act?’, California Western International Law Journal, 28 (1997), pp.
    [Show full text]
  • Denis O'connor Emma Jameson Linda Tyler Martin Poppelwell Meighan Ellis Valerie Ringer Monk Nina Van Lier Tessa Laird Bronwyn
    Denis O’Connor Bronwyn Lloyd Emma Jameson Gregory O’Brien Linda Tyler Janet McAllister Martin Poppelwell Jenny Bornholdt Meighan Ellis David Craig Valerie Ringer Monk Anna Miles Nina van Lier Louise Rive Tessa Laird Moyra Elliott Empire of Dirt: Writing about ceramics Welcome to the Empire of Dirt, a rather grand The framing of an object is important for the reading of nomenclature for an exhibition with such earthy origins. its cultural and economic value. By bringing together these As with all empires those assembled here are an eclectic ceramic objects in a gallery setting we are messing with group, gathered not by military domination but rather by their status. The Orange Glaze tea jar, the Palestinian a simple invitation. Friends, friends of friends and others Arts and Crafts bowl and the Vieux Paris vase, all whose writing came highly recommended were invited originally commercial consumer products, rise above to select a ceramic work that captured their imagination utilitarian domesticity by being singled out for inclusion and to craft a personal response in words. Expanding in the exhibition where the writers solicit our appreciation the conversation about ceramics through lively, varied, of their history and ebullience. Giving attention and challenging, dynamic and surprising writing is at the consideration to an object can change the perception of heart of this exhibition. In a rather neat reversal of the its value; so it is that The Rubble, Relics and Wasters, all more usual exhibition format, Empire of Dirt, like its pieces which reference the discarded detritus of making, predecessor, Talking About (Objectspace 2004), places are transformed first by their makers and then through the writing centre stage while the works are present to written praise and visual honouring.
    [Show full text]
  • Our Finest Illustrated Non-Fiction Award
    Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each.
    [Show full text]
  • Te Aho Tapu Uru Tapurua O E Te Muka E Tui Nei a Muri, a Mua the Sacred Strand That Joins the Past and Present Muka Strands Together
    Te Aho Tapu uru tapurua o e te muka e tui nei a muri, a mua The sacred strand that joins the past and present muka strands together Gloria Taituha A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy 2021 Te Ipukarea Research Institute 1 Abstract This is an exegesis with a shared collaborative creative component with two other weaving exponents, Jacqueline McRae-Tarei and Rose Te Ratana which is reflective of a community of shared practice. This shared practice and subsequent collaborative creative component will be based on the overarching theme of the written component, a synthesis of philosophy, tikanga rangahau (rules, methods), transfer of knowledge and commitment to the survival of ngā mahi a te whare pora (ancient house of weaving) in a contemporary context. The sole authored component and original contribution to knowledge for this project is the focus on the period of 1860 – 1970, which will be referred to as Te Huringa. The design of this exegesis will be informed by Kaupapa Māori Ideology and Indigenous Methodologies. Te Huringa, described as the period from first contact with Pākehā settlers up until the Māori Renaissance in the 1970s. After the signing of the Treaty, the settler population grew to outnumber Māori. British traditions and culture became dominant, and there was an expectation that Māori adopt Pākehā culture (Hayward, 2012, p.1). This period, also defined, as the period of mass colonisation, saw the erosion of traditional Māori society including the status of raranga as a revered art form.
    [Show full text]
  • New Stuff & Renewal
    New Stuff & Renewal Hui Reports Waikato Museum 30 Years New Museum Projects Learning From Experience Museums are F***ing Awesome December 2017 Contents Museums Aotearoa Eds Quarter 3 Te Tari o Ngã Whare Taonga o te Motu Message from the Board 4 Museums Aotearoa, Te Tari o Ngā Whare Taonga o Te Motu, is the independent professional association for New Zealand’s museums and Kaitiaki Hui Report 5 galleries and those who work for them. Kaitiaki Hui Report 6 We support the museums of Aotearoa to be thriving and sustainable. Kia tino toitū, tōnu i ngā whare taonga o Aotearoa. MuseumCamp 7 He Tohu 8 Contact Details Museum Profile – Lyttelton Museum 9 169 Tory Street, Wellington 6011 PO Box 10-928, Wellington 6143 Future Museum 10 Tel: 04 499 1313 Email: [email protected] Te Haerenga 12 Web: www.museumsaotearoa.org.nz Beyond the Accessibility Code 14 Contributions We welcome article suggestions and contributions. For enquiries about Student Experience 15 contributing to MAQ please contact us at [email protected]. NDF Conference Reports 16 Staff Phillipa Tocker, Executive Director Standing Up, Standing Out 18 Talei Langley, Membership Services Manager Museums are F***ing Aweseome 19 Board Cam McCracken (Chair) Like, Share, Tweet 20 Director, Dunedin Public Art Gallery Henriata Nicholas AGMANZ 21 Exhibitions Coordinator, Te Awamutu Museum Andy Lowe Staff Happenings 21 Director, Te Manawa Dale Bailey Individual Profile - Kate Elliott 22 Director Collections, Research and Learning, Te Papa Dion Peita Policy Matters! 23 Head of
    [Show full text]
  • Download PDF Catalogue
    ART+ OBJECT New Collectors Art Tuesday 1 September at 6.30pm Decorative Arts Wednesday 2 September at 6.30pm New Collectors Art lots 1 to 302 pages 8 to 61 Decorative Arts lots 310 to 1169 pages 62 to 101 Welcome to A+O’s catalogue 97 – a wonderful mix of art and collectables. This catalogue takes its cue from the glorious eye-popping imagery of Op Art pioneer Victor Vasarely (1906–1997) whose suite of works in the New Collectors art catalogue represents the diversity of practice on the following pages. In this catalogue we are presented with a rare opportunity to acquire works on paper from some of the 20th century titans of European modernism such as Fernand Leger, Barbara Hepworth, Henry Moore, Joan Miro, Georges Braque, Karel Appel and Howard Hodgkin to name some of the artists whose work is rarely spotted in New Zealand. Cover: Lot 101, Victor Vasarely, from the suite Réponses à Vasarely, Studio In addition to the works that make up such a varied New Collectors Art Bruckmann, Munich, Éditions Lahumiere, Paris, 1974 catalogue A+O presents rare New Zealand Taonga, well provenanced Modern Design furniture, New Zealand studio ceramics, decorative Inside front cover and page 1: arts, taxidermy, vintage radios and Asian Art. Lots 674 and 675, Tom Greene Brutalist chandelier and ceiling lamps. Of particular interest are works from the travelling exhibition The Transmogrifier Machine by furniture designer Katy Wallace. These This page: Lot 713, Edgar Mansfield, bronze figure of Christ. constructions (lots 808 to 824) are remarkable transformations of found furniture and design into new items of sculpture – a collaboration Inside back cover: Lot 169, Layla between the past and the present day.
    [Show full text]
  • 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]
  • 30 June 2006
    INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯u tahi Tuhi Auaha o te Ao Newsletter – 30 June 2006 This is the 89th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email [email protected]. 1. Writers on Mondays returns............................................................................... 1 2. TV literature ........................................................................................................ 1 3. People are always stealing your stuff, New Zealand .......................................... 2 4. From the whiteboard........................................................................................... 2 5. Poetry month? ..................................................................................................... 2 6. Laureates in Auckland ........................................................................................ 3 7. The expanding bookshelf..................................................................................... 3 8. Copyright licensing awards................................................................................. 4 9. The expanding bookshelf (2) ............................................................................... 4 10. Recent web reading................................................................................................4 11. Great lists of our time.......................................................................................
    [Show full text]
  • Teatinga Book.Pdf
    Edited by Nigel Borell CONTENTS 9 Foreword Cliff Whiting 11 Mihimihi Ngataiharuru Taepa 13 Te Ātinga 25 Years of Contemporary Māori Art Nigel Borell 33 Ngā Ngaru e toru, Robert Jahnke The three waves of tertiary intervention in Māori art 47 Ko Te Rā Pūhoro – Te Ātinga Gatherings Chris Bryant-Toi 59 Te Ahi Kaa: Anna-Marie White A Future for Te Ātinga and contemporary Māori art 66 Appendices 69 Acknowledgements 4 5 FOREWORD Te Ātinga is a mainstream Māori arts funding body that focuses on supporting individual Māori artists to explore, experiment, develop and share their creative interests. What makes it different from mainstream New Zealand art is that our Māori art forms can come together to create whānau, hapū, iwi and group events. These rely on individual artists who can help to establish style, identity and standards to give expression to the collective needs. Te Ātinga polices have helped artists to focus on their art forms and their needs. This encourages innovation and initiatives for cultural exploration that can lead into the use of new materials, technologies and inter-cultural exchanges that modernise and challenge the status quo. It also does simple support processes like helping an artist buy materials to do their mahi. That Te Ātinga still works for its clients, after 25 years, is a measure of its achievements. It is a credit to its leaders and committee members who have retained its purpose, credibility and integrity. Ka nui te mihi, Dr Cliff Whiting ONZ Previous page: Tawera Tahuri Ngā Ariki Kaiputahi, Te- Whakatōhea, Atihaunui-a-Pāpārangi
    [Show full text]