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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. -
Beyond the Lens the Marti & Gerrard Friedlander Collection
BEYOND THE LENS THE MARTI & GERRARD FRIEDLANDER COLLECTION Marti Friedlander’s contribution to the development of contemporary New Zealand art has been quite simply outstanding and it is with great honour that we bring you this catalogue, Beyond the Lens - The Marti and Gerrard Friedlander Collection. Celebrated and respected for her photography, but also for her generosity, in later life Marti became known to many of us through the causes that she and Gerrard supported with great passion. Breast cancer, issues of Māoridom and helping young people – all these were causes close to their hearts. Marti was an unforgettable character to those that knew her. Curious and direct, with a distinctive gravelly voice and an accent that gave away her Northern Hemisphere start in life. I was most interested to read Kathlene Fogarty’s account of Driving with Marti, mainly as I had previously assumed that Marti didn’t drive. Having lived and worked in Parnell for years, she was a most familiar figure to locals; striding purposefully up Brighton Road and determinedly around the village, frequently pausing to chat and always stopping for coffee. Known for her strong personality and love of people, Marti’s curiosity for the strange new land she came to with husband Gerrard in 1958 was borne out in the photographs she took. Over the next fifty years she famously photographed not only the landscape but it’s people – both the ordinary and the extraordinary - in a time well before the notion of celebrity existed. Her visual record of our country in a time of change and maturation is invaluable. -
Imagination Is the Creative Use of Reality ~ Margaret Mahy
ISSN 11750189: Volume 11: Issue 2: August 2012. Imagination is the creative use of reality ~ Margaret Mahy. When Storylines put the call out for tributes to Margaret Mahy, they came in thick and fast - long and short - from all walks of life. From close friends, colleagues, and fans. From people who had worked closely with Margaret, those who had met her once - or a few times - and from those who never met her. But, all of us have been blessed by Margaret's life and work. And, all of us were grateful to share our thoughts. We thank you all. We are sorry that we couldn't share ALL the photos... there were so many! Herewith - with little editing - are the words of Margaret's friends and fans... Margaret Mahy is my role model. She inspired me to start writing stories and I haven’t stopped since. She opened the gateway to my passion when I met her properly for the first time at a Storylines Festival. I was nervous when I waited in the (very long) queue for her autograph, I was speechless and I didn’t know what to say. But soon my nervousness went away when we started talking, she was warm and friendly and she drew a picture of one of her characters next to her eloquent signature. It was one of the greatest opportunities in my life meeting Margaret Mahy. My admiration for Margaret Mahy formed when I was six. She came to our school wearing a funky, rainbow-coloured wig; she performed a hilarious puppet show that I can still remember. -
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. -
Hone Tuwhare Charitable Trust Newsletter 2014 from the Chair
Hone Tuwhare Charitable Trust Newsletter 2014 from the chair The Hone Tuwhare Trust was established in 2010 with Downes laid down a challenge by performing a new a simple kaupapa–’To inspire people through the song, and reminding us that our common purpose is preservation, promotion and celebration of Hone’s new forms of creativity and inspiration. In Dunedin, legacy.’ Hone Tuwhare was a poet, but he was many we saw that through musical and poetic performance, other things beside: husband, father, boilermaker, design and the art of the Dark Light Art Collective. soldier, scholar, and lover of people and this land. Today, we have the photographs of the remarkable Ans Westra, Catherine Griffiths’ and Kris Sowersby’s He was born in Northland, near Kaikohe, but spent typographic interpretations of Hone’s ‘Rain’ and his life almost equally in the North and South Islands. ‘Haiku,’ and a wonderful local seafood chowder In his later life, he chose to settle in Kaka Point, courtesy of the Kaka Point Cafe. centrally located in an arc between Invercargill, Gore and Dunedin. He also valued Kaka Point because it I’ll conclude with an extract from Hone’s poem provided a warm and welcoming community, who ‘Humming’, which fits well with our kaupapa, and has allowed him the time, inspiration, and solitary space a special place for me as I read it at my wedding to necessary to write. Amanda: Through his writings, and especially his readings at It is a house to be constructed with care halls such as this one, schools and prisons across for it has no confining walls New Zealand, he brought an emotive and humbling thus permitting expansion: vertical poetry into many people’s lives. -
H.M.N.Z.T. TAHITI, No. 6 9
H.M.N.Z.T. TAHITI, No. 6 9. No. 2. J a n u a r y 20 t h , 1917 . MHere we are Again.” editorial power, that the frequently mentioned literary staff is not going to T H E success-•-editorial modesty hints be allowed that freedom which it enjoyed that we should not say marked success-•• before, for in our second edition we which attended the publication of the seek to supply news features which w ere first number of "The Oilsheet," and absent from our first edition. W e aim the generous welcome accorded its valu- in the pages which follow at creating the able and influential pages of rich literary "atm osphere" of the transport, in giving gems. calculated to infuse vivid illumin more space to the daily happenings and , ation into the Inky W ay , have stirred incidents associated with our journey the slumbering genius of our grossly both afloat and ashore, and in frequently underpaid literary staff to such an extent re-sounding that personal note of the that they clamour for further scope in doings of the men, which, we hope, which to liberate their talents. Aided will fill every page w ith pleasant thought and abetted by some unknown factor and happy reminiscence. It is thus that which appears to take particular care to we come before you again seeking no keep us wandering about strange seas reward, but trusting that our appearance much longer than w e originally supposed may assist towards brightening our pro would be the case, our highly ingenious longed voyage across the seas. -
Publication.Pdf
1 NEWTON I, 1960–64 In 1960 McCahon and his family moved from Titirangi to the inner- city suburb of Newton, in those days a predominantly working-class and Polynesian neighbourhood. The award of the first Hay’s Art Prize to McCahon for Painting (1958), a radical abstract, caused a furore in newspapers and much unwelcome negative publicity for the artist. After a year of little painting, he embarked on the Gate series (including Here I give thanks to Mondrian, p. 10), an important new series of geometrical abstractions, exhibited at The Gallery (Symonds Street, Auckland) in 1961; a further extension of the series was the sixteen-panel The Second Gate Series (1962, pp. 51–53), a collaboration with John Caselberg (who supplied the Old Testament texts) which addressed the threat of nuclear annihilation; it was exhibited in Christchurch with other work in 1962. Lack of critical enthusiasm for this abstract/text work led McCahon to reconsider his direction, resulting in a ‘return’ (his word) to landscape painting in a large open Northland series (1962, p. 33, 59) and Landscape theme and variations (1963, pp. 60–61), two eight- panel series, exhibited at The Gallery simultaneously with a joint Woollaston/McCahon retrospective at Auckland City Art Gallery. In 1964, after twelve years at Auckland City Art Gallery, McCahon resigned to join the staff of Auckland University’s Elam School of Fine Arts, where he taught from 1964 to 1971. His first exhibition after joining Elam, Small Landscapes and Waterfalls (Ikon Fine Arts, 1964), proved to be both aesthetically and commercially successful. -
Human Kind Transforming Identity in British and Australian Portraits 1700-1914
HUMAN KIND TRANSFORMING IDENTITY IN BRITISH AND AUSTRALIAN PORTRAITS 1700-1914 International Conference on Portraiture University of Melbourne and National Gallery of Victoria Conference Programme Thursday 8 September – Sunday 11 September 2016 Biographies of Speakers and Abstracts of their Papers [In chronological order: Speaker, title of paper, organisation, bio, abstract of paper] Speakers: Leonard Bell, University of Auckland, Who was John Rutherford? John Dempsey’s Portrait of the ‘Tattooed Englishman’ c.1829 Bio: Dr Leonard (Len) Bell is an Associate Professor in Art History, School of Humanities, The University of Auckland. His writings on cross-cultural interactions and the visual arts in New Zealand, Australia and the Pacific have been published in books and periodicals in New Zealand, Australia, Britain, USA, Germany, the Czech Republic and Japan. His books include The Maori in European Art: A Survey of the Representation of the Maori from the Time of Captain Cook to the Present Day (1980), Colonial Constructs: European Images of Maori 1840–1914 (1992), In Transit: Questions of Home and Belonging in New Zealand Art (2007), Marti Friedlander (2009 & 2010), From Prague to Auckland: The Photographs of Frank Hofmann (1916-89), (2011), and Jewish Lives in New Zealand: A History (2012: co-editor & principal writer). His essays have appeared in Julie Codell & Dianne Sachko Macleod (eds), Orientalism Transformed: The Impact of the Colonies on British Art (1998), Alex Calder, Jonathan Lamb & Bridget Orr (eds), Voyages and Beaches: Pacific Encounters 1769-1840 (1999), Nicholas Thomas & Diane Losche (eds), Double Vision: Art Histories and Colonial Histories in the Pacific (1999), Felix Driver & Luciana Martins (eds), Tropical Visions in an Age of Empire (2005), Annie Coombes (ed), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa/New Zealand and South Africa (2006) and Tim Barringer, Geoff Quilley & Douglas Fordham (eds), Art and the British Empire (2007). -
2Nd Project Funding Round 2002/2003
Creative New Zealand Funding SECOND PROJECT FUNDING ROUND 2002/2003 This is a complete list of project grants offered in the second funding round for the 2002/2003 year. Grants are listed within artforms under Creative New Zealand funding programmes. In this round, 258 project grants totalling more than $3.3 million were offered to artists and arts organisations. More than $13.7 million was requested from 849 applications. National Dance Archive of New Zealand: Pacific Arts Association: towards the 7th Arts Board: Creative and towards archiving New Zealand dance International Symposium in Christchurch Professional Development $14,230 $11,000 CRAF T/OBJECT ART Guy Ryan: towards attendance at Impulstanz, Lynn Taylor: towards undertaking a printmaking Vienna residency in Korea Steve Fullmer: to research the construction of $3,400 $5,000 paper clay sculpture $12,000 Spinning Sun Ltd: towards research and LITERATURE development of a dance film University of Canterbury: towards a conference Objectspace: towards curatorial research for an $8,310 celebrating creative writing in New Zealand exhibition called “The Secret Life of Things” $10,000 $10,000 Throw - Disposable Choreography: towards research and development into dance MOVING IMAGE Damian Skinner and Moyra Elliot: to improvisation undertake research on New Zealand’s anglo- $7,000 Lissa Mitchell: towards undertaking a film oriental studio pottery history preservation internship in the United States $15,000 Alexa Wilson: towards a choreographic $5,000 development workshop DANCE $12,400 MOVING -
State Regulation of Sexuality in New Zealand 1880-1925
State Regulation of Sexuality in New Zealand 1880-1925 A Thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy in History in the University of Canterbury by T.e. Tulloch University of Canterbury 1997 1 CONTENTS List of Tables 11 Abbreviations iii Preface IV Abstract VI Introduction 1 Chapter 1. Regulating Sexuality: 16 The Rise of the Interventionist State Chapter 2. Adultery, Insanity and Divorce: 40 Challenging the Sanctity of Marriage Chapter 3. In-laws and Incest: 96 Redefining the Prohibited Degrees of Marriage Chapter 4. Depraved Minds, Horrible Habits and Vile Productions: 134 Sex and Censorship Chapter S. Principles and Pragmatism: 188 Prostitution and Venereal Disease Chapter 6. Protection and Control: 247 Sex, Youth and the State Chapter 7. Beyond the Pale: 297 'Degenerates', 'Perverts' and the State Conclusion 348 Appendix I Chronology of Legislation 359 Appendix II Legislative Council: Vote Correlations 364 Appendix ill House of Representatives: Vote Correlations 369 Bibliography 371 ii LIST OF TABLES Table 1. Legislative Council 215 Contagious Diseases Act, Women's Suffrage Voting Patterns Table 2. Legislative Council Appointees 216 Contagious Diseases Act Voting Patterns Table 3. Legislative Councillors' Occupations 217 Table 4. Legislative Council 263 Contagious Diseases Act, Age of. Consent Votes Table 5. Legislative Council 265 Age of Consent, Women's Suffrage Votes Table 6. House of Representatives 265 Age of Consent, Women's Suffrage Votes Table 7. Legislative Council 282 Contagious -
Otago University Press 2017–18 Catalogue
otago university press 2017–18 catalogue NEW BOOKS I 1 OTAGO UNIVERSITY PRESS CONTENTS PO Box 56, Dunedin, New Zealand New books 2017 3–26 Level 1 / 398 Cumberland Street, 2018 highlights 27–30 Dunedin, New Zealand Books in print: by title 33–39 Phone: 64 3 479 8807 Books in print: by author 40–41 Fax: 64 3 479 8385 How to buy OUP books 43 Email: [email protected] Web: www.otago.ac.nz/press facebook: www.facebook.com/OtagoUniversityPress Publisher: Rachel Scott Production Manager: Fiona Moffat Editor: Imogen Coxhead Publicity and Marketing Co-ordinator: Victor Billot Accounts Administrator: Glenis Thomas Prices are recommended retail prices and may be subject to change Cover: The lighthouse at Taiaroa Head, home of the cliff-top albatross colony on Otago Peninsula. See The Face of Nature: An environmental history of the Otago Peninsula by Jonathan West. Photograph by Ian Thomson 2 I NEW BOOKS A STRANGE BEAUTIFUL EXCITEMENT REDMER YSKA Katherine Mansfield’s Wellington 1888–1903 How does a city make a writer? Described by Fiona Kidman as a ‘ravishing, immersing read’, A Strange Beautiful Excitement is a ‘wild ride’ through the Wellington of Katherine Mansfield’s childhood. From the grubby, wind-blasted streets of Thorndon to the hushed green valley of Karori, author Redmer Yska, himself raised in Karori, retraces Mansfield’s old ground: the sights, sounds and smells of the rickety colonial capital, as experienced by the budding writer. Along the way his encounters and dogged research – into her Beauchamp ancestry, the social landscape, the festering, deadly surroundings – lead him (and us) to reevaluate long- held conclusions about the writer’s shaping years.