3Rd Auckland Triennial
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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. -
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. -
2019 Annual Report
New Zealand Portrait Gallery Te Pūkenga Whakaata Annual Report 2019 1 Chair’s Introduction On behalf of the Trustees and Management Board of the New Zealand Portrait Gallery Te Pūkenga Whakaata, it is my pleasure to present our Annual Report for 2019. Nick Cuthell, Portrait of Dr Alan Bollard. 2012. Collection, Reserve Bank of New Zealand. This is my first report to you as Chair, We are very grateful to all the artists and I am delighted to confirm the and curators for their work in bringing Gallery is in good heart despite the these remarkable exhibitions to the financial challenges we continue to Gallery. face. We are also very grateful to our The year’s exhibition programme has sponsors for their backing of this been a resounding success – from year’s programme. Without them John Walsh’s stunning Portrait of our exhibitions would not have been Ūawa Tolaga Bay with its massive possible. Special thanks must be mural of an East Coast community given to Chris and Kathy Parkin whose to the three innovative and diverse generosity provided a professional exhibitions which followed. The publicist to promote our exhibitions. range of experience represented As a result, visitor numbers are by these exhibitions, as well as running almost 6% ahead of last year. the small exhibitions in the front Our loyal Friends and supporters have gallery, encapsulate our evolving also continued to champion projects understanding of ourselves as New to improve the Gallery’s facilities, and Zealanders, our history and creativity. the Director and her team continue to 2 Cover image: Opening of Being Chinese in Aotearoa exhibition, 20 November 2019. -
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. -
Melanie Roger Took Over the Long Running Anna Bibby Gallery in 2010, Renaming the Space Melanie Roger Gallery at the Beginning of 2011
Melanie Roger took over the long running Anna Bibby Gallery in 2010, renaming the space Melanie Roger Gallery at the beginning of 2011. Today the gallery continues to work with and represent both established and emerging artists to present some of the best contemporary art in New Zealand to both local and international audiences and collectors. Says Melanie “I take a collaborative approach with the gallery. I am interested in supporting the creation of new and exciting work and developing artists’ careers both within New Zealand and internationally.” The gallery’s stable of artists includes longstanding relationships with Stanley Palmer, Gavin Hurley, Sam Mitchell and Kristy Gorman as well as newer rising talents such as Kirstin Carlin, Matt Ellwood, Tessa Laird, Erica van Zon and Tiffany Singh. As well, the Gallery works regularly with guest artists including Billy Apple, Peter Peryer, Patricia Piccinini and Victoria Munro on selected curatorial projects both within the space and externally at Art Fairs and pop up exhibitions. Melanie herself brings over twenty years of experience within the art world to the gallery. She has held senior management positions at Gow Langsford Gallery (Auckland / Sydney) and John Leech Gallery where she worked closely with senior artists such as Michael Parekowhai, Max Gimblett, Dick Frizzell, John Pule, Shane Cotton and Judy Millar, as well as Reuben Paterson, Sara Hughes and John Walsh nurturing and developing their careers. Previously she worked for four years at the Auckland Art Gallery in a diverse range of roles within public programmes, marketing, education and curatorial. She was Director of Roger Williams Contemporary from 2006 - 2008 working with Judy Darragh, Simon Morris, Jeena Shin and internationally Patricia Piccinini and Polixeni Papapetrou to name a few. -
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 ...................................................................................................................... -
5 March 2013
COMMUNITY, RECREATION AND CULTURE COMMITTEE AGENDA TUESDAY 5 MARCH 2013 AT 9AM IN COMMITTEE ROOM 1, CIVIC OFFICES, 53 HEREFORD STREET Committee: Councillor Yani Johanson (Chairperson), Councillors Peter Beck, Helen Broughton, Tim Carter, Barry Corbett, Jimmy Chen, Jamie Gough, and Glenn Livingstone (Deputy Chairperson). General Manager General Manager – General Manager Strategy and Planning Public Affairs Community Services Committee Adviser Mike Theelen Lydia Aydon Michael Aitken Lucy Halsall Tel: 941-8281 Tel: 941- 8982 Tel: 941-8607 Tel: 941-6227 PART A - MATTERS REQUIRING A COUNCIL DECISION PART B - REPORTS FOR INFORMATION PART C - DELEGATED DECISIONS INDEX ITEM DESCRIPTION PAGE NO. NO. PART C 1. APOLOGIES 1 PART A 2. DEPUTATIONS BY APPOINTMENT 1 PART A 3. FACILITIES REBUILD PLAN – MONTHLY UPDATE REPORT INCLUDING TOP 30 3 PROJECTS STATUS UPDATE PART A 4. CENTRAL CITY HERITAGE LANDMARK GRANTS POLICY AND OPERATIONAL 47 GUIDELINES PART A 5. CENTRAL CITY HERITAGE LANDMARK GRANTS – RECOMMENDATIONS FOR 61 2012/2013 PART C 6. HERITAGE GRANT APPROVAL, ST LUKES, 1280 CHORLTON ROAD, LITTLE 81 AKALOA PART A 7. HERITAGE GRANT APPROVAL, ST PAUL’S, 1 HAREWOOD ROAD, PAPANUI, 87 CHRISTCHURCH PART A 8. CREATIVE INDUSTRIES SUPPORT FUND - FUNDING RECOMMENDATIONS 95 PART A 9. FANFARE – A GATEWAY SCULPTURE FOR CHRISTCHURCH 165 PART A 10. COMMUNITY ENGAGEMENT STRATEGY 175 CONTINUED OVER … ITEM DESCRIPTION PAGE NO. NO. PART C 11. REPORT FROM CHAIRPERSON OF THE COMMUNITY, RECREATION AND CULTURE 193 COMMITTEE – ESTABLISHMENT OF THE COMMUNICATIONS WORKING PARTY PART A 12. SCARBOROUGH PADDLING POOL 195 1 COMMUNITY, RECREATION AND CULTURE COMMITTEE 5. 3. 2013 1. APOLOGIES Nil. 2. DEPUTATIONS BY APPOINTMENT 2 3 COMMUNITY, RECREATION AND CULTURE COMMITTEE 5. -
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 | -
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. -
Download PDF Catalogue
CONTEMPORARY ART AND OBJECTS thursday 3rd april 2008 at 6.30pm 3 abbey street, newton, auckland Cover image: From Left: Garth Chester Curvesse Chair, a feature item in A+O’s May 1st 2008 20th Century Design catalogue Lot 74: Bill Hammond Bird Grip Lot 46: Glen Hayward I am Old enough to be my Own father four thirty two ART AUCTION HIGHLIGHTS FROM 2007 SHANE COTTON’S 4X5(ID). ESSAY BY DAMIAN SKINNER eight fifty six OBJECT AUCTION HIGHLIGHTS FROM 2007 THE GORGEOUS ARTIST... BY JACQUELINE FRASER. ESSAY BY ROB GARRETT. twelve sixty six 20TH CENTURY DESIGN PREVIEW THE OBJECT AUCTION twenty five THE ART AND TEXT AUCTION ninty-four CONDITIONS OF SALE ninty-five ABSENTEE BIDDING FORM ninty-six ARTISTS INDEX contemporary art 3 elcome to ART+OBJECT’s third contemporary art and object catalogue and the first for 2008. In our launch year A+O held two major auctions of these genres and in the process dramatically extended the range of art presented in the auction environment. The art collecting public of New Zealand and internationally responded with such enthusiasm that A+O is proud to have achieved over twenty artist records at auction for both Australian and New Zealand contemporary artists. Works have been acquired from A+O auctions by collectors not just in New Zealand, but also Australia, The United States, Hong Kong, England and Italy. In addition to pioneering the presentation of contemporary art, which we define as being art produced after 1990, ART+OBJECT also achieved repeated success offering major artworks at auction. -
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. -
Office for Contemporary Art Norway / Valiz
and Criticism and Indigenous Art, Curation Sovereign Words. Sovereign Words García-Antón Katya by Edited Tripura. Bikash Sontosh Tripura, Prashanta Tamati-Quennell, Megan Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, ÁndeDaniel Somby, Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna’i Eshrāghi, David Indigenous Art, Curation and Criticism Office for Contemporary Art Norway / Valiz With this publication we pay respect to our peers in Sápmi, as well as to the myriad Indigenous histories, presents and futures harboured in lands and oceans across the world. We acknowledge their Ancestors and the stories of survivance (survival, resistance and presence) in the face of colonial mechanisms that are still ongoing. We also honour the agency possible in the constitution of alliances between Indigenous and non-Indigenous communities within the fields of culture and beyond. Sovereign Words. Indigenous Art, Curation and Criticism Edited by Katya García-Antón Office for Contemporary Art Norway Valiz, Amsterdam – 2018 7 Preface Katya García-Antón Sounding the Global Sovereign Histories Indigenous. Language, of the Visual Contemporaneity and Indigenous Art Writing 15 Can I Get a Witness? 63 Jođi lea buoret go oru. Indigenous Art Criticism Better in Motion than at David Garneau Rest. Iver Jåks 33 What Does or Should (1932–2007) ‘Indigenous Art’ Mean? Irene Snarby Prashanta Tripura 77 Toi te kupu, toi te mana, 47 History and Context of toi te whenua. The Madhubani (Mithila) Art Permanence of Language, Santosh Kumar Das Prestige and Land Megan Tamati-Quennell 97 Sovereignty over Representation. Indigenous Cinema in the Chittagong Hill Tracts of Bangladesh Kabita Chakma Statues, Maps, Stories Sovereign World-Building.