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Non-Core Business? an Examination of University Art Galleries in Aotearoa New Zealand

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Non-Core Business? an Examination of University Art Galleries in Aotearoa New Zealand Non-Core Business? An Examination of University Art Galleries in Aotearoa New Zealand by Penelope Baines A thesis submitted to Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master in Museum and Heritage Studies Victoria University of Wellington 2015 Abstract University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities. This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”. This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context. Acknowledgements This thesis is first and foremost dedicated to my mum, Philippa Baines. Thank you seems such an inadequate term to express how much I have appreciated your unwavering love and support throughout the past six years of my university studies. My thanks must also be given to my supervisors Dr Conal McCarthy, Victoria University of Wellington, and Athol McCredie, the Museum of New Zealand Te Papa Tongarewa. I would also like to express my gratitude to Dr Lee Davidson and Annie Mercer at Victoria University of Wellington. My sincere appreciation must go to those who assisted me with my research, especially Linda Tyler and Jaimee Stockman-Young at the University of Auckland, who took the time out their busy schedules to ensure I had all the information I required. To my fellow Museum and Heritage Studies students, Alice Meads and Brenden Shirley, thank you for all your moral support, kind words, and much-needed coffee breaks. Thanks must also be given to my wonderful friends for their continual support throughout this journey and their complete willingness to distract me from my studies. A special thank you to Eve Williams, who gladly offered to proofread and edit my thesis. I must thank my brother Sam Baines, who has always nurtured and encouraged my love of art. And finally, to my partner Chris Rowley, for his endless encouragement, support, and optimism – I could not have done this without you. Table of Contents Non-Core Business? 1 An Examination of University Art Galleries in Aotearoa New Zealand 1 Abstract 1 Acknowledgements 1 Table of Figures ................................................................................................................................................................... 1 Introduction 1 Literature review ................................................................................................................................................................ 2 Research design and methodologies ....................................................................................................................... 15 Definitions ................................................................................................................................................................. 15 Research design and methodology .................................................................................................................... 17 Chapter One: An Overview of University Art Galleries in New Zealand 22 The Adam Art Gallery Te Pātaka Toi ...................................................................................................................... 22 Calder & Lawson Gallery .............................................................................................................................................. 25 The Engine Room ............................................................................................................................................................. 26 The George Fraser Gallery ........................................................................................................................................... 27 The Gus Fisher Gallery ................................................................................................................................................... 28 SoFA Gallery / Ilam Campus Gallery ....................................................................................................................... 30 St Paul St Gallery .............................................................................................................................................................. 32 The two types of university art galleries ............................................................................................................... 33 Advantages and challenges for New Zealand university art galleries ..................................................... 35 Conclusion: A balancing act ........................................................................................................................................ 38 Chapter Two: The George Fraser Gallery at the University of Auckland 39 History and operations .................................................................................................................................................. 40 The George Fraser Gallery and its role within the University ...................................................................... 42 The George Fraser Gallery and its role for the University ............................................................................. 44 Is the George Fraser Gallery a Post-Museum? ..................................................................................................... 48 Conclusion ........................................................................................................................................................................... 49 Chapter Three: The Gus Fisher Gallery at the University of Auckland 51 History and operations .................................................................................................................................................. 51 The Gus Fisher Gallery and its role within the University .............................................................................. 54 The Gus Fisher Gallery and its role for the University ..................................................................................... 58 Is the Gus Fisher Gallery a Post-Museum? ............................................................................................................ 63 Conclusion ........................................................................................................................................................................... 64 Conclusion: From the margins to the core 66 Bibliography 73 Appendices 88 Appendix A: Questionnaire Letter ............................................................................................................................ 88 Appendix B: Questionnaire .......................................................................................................................................... 89 Appendix C: Ethics Approval ....................................................................................................................................... 90 Appendix D: Participant Information Sheets ....................................................................................................... 91 Appendix E: Participant Consent Forms ................................................................................................................ 94 Appendix F: Participant Interview Questions ...................................................................................................... 97 Table of Figures Figure 1: The exterior of the George Fraser Gallery in Albert Park, Auckland. Image
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