Introduction to M¯Aori Culture Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Download PDF Catalogue
artart & objectobject Important Paintings & Contemporary Art Thursday 26th April 2012 Welcome to ART+OBJECT’s first Important Paintings and Contemporary Art ART+OBJECT catalogue of 2012. In recent months ART+OBJECT clients have enjoyed a 3 Abbey Street run of significant single vendor catalogues from the ground breaking A. T. Newton Pycroft rare book catalogue in November 2011, the Leo Tattersfield collection Auckland of Chinese Jade which was the centrepiece of A+O’s Asian Art catalogue of PO Box 68 345 February, The English Collection of Modern Design on March 1 and latterly Newton the Russell and Shirley Hodgson Collection of Contemporary Art which was Auckland 1145 offered on March 22 of this year. Turn to page 10 to review some of the auction Telephone: +64 9 354 4646 highlights of this cutting edge collection. Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 In each case these collections revealed an acute eye and a passion for [email protected] assembling definitive and insightful holdings – in some cases assembled over www.artandobject.co.nz many decades. Collectors have responded to these with great enthusiasm resulting in some of the most successful auction catalogues A+O has ever offered. Another trend has been the emergence of the collecting group. A significant Cover: section of this current catalogue is devoted to the Times Group, a collective John Ward Knox founded in 2002 with a defined lifespan of a decade. On page 8 Ben Plumbly Untitled (4) (detail) examines the Times Group Collection and the group’s approach to building a oil on calico large and diverse collection. -
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. -
Canterbury Painting in the 1990S, 2 June - 8 August, 2000
759. 9938 CAN CANTERBURY PAINTING in the 19905 Published on the occasion ofthe exhibition Canterbury Painting in the 1990s, 2 June - 8 August, 2000. The Robert McDougall Art Gallery and Annex acknowledge the generous support and assistance ofthe artists, public and private collectors and galleries who have made works available for this exhibition • Intended as a celebration ofthe depth and diversity ofpainting in With materials ranging from oil paint and bitumen to excrementand Canterbury over the last decade, this exhibition has been drawn gold and stylistic approaches including realism, figuration, minimal largely from the collections of the Robert McDougall Art Gallery, abstraction and abstract expressionism, this brief selection of with several works also bon-owed from public and private collections paintings demonstrates a formidable diversity, revealing just how locally. Consisting ofthirty four works by emerging and established wide-ranging painting in Canterbury has become. The connections artists, it is, necessarily, an abbreviation of the full story and does each ofthe thirty four artists have to the province also vary between not pretend to represent every aspect of, or artist involved in, those of long-term residents to brief visitors on fellowships. Many contemporary painting practice in the region. Howevel~ the quality have taught here, within both the secondary and tertialy systems; and range presented here bear encouraging testimony to' the still more have been educated at one or more of Canterbury'S art continued health of painting in Canterbury over a decade full of institutions. Whatever their association, all of the artists selected for change and challenge. this exhibition have made an impact on, and contribution to, the fabric ofart within this region. -
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. -
Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and Beyond
Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and beyond Robert McDougalI Art Gallery & Annex November 9 — December 10, 2000 Contents © 2000 Robert McDougall Art Gallery & Annex Text and images copyright © 2000 the authors and artists. ISBN 0-908874-61-8 ' Trans-Marginal: New Zealand Performance Art 1970—1985 by Jennifer Hay 5 The Art This catalogue was published to accompany Intervention, an exhibition considering Post-object of the Heist by Nicholas Spill 27 Jim Allen: From Elam to the Experimental Art and Performance Art 1970—1985, at the McDougall Contemporary Art Annex, Foundation by Blair French 33 The Gift in Littoral 9 November—10 December 2000. Intervention was part of Colloquium, a multi-media arts Art Practice by Bruce Barber 49 New New Zealand event comprising exhibitions and public programmes and jointly presented by the ‘New Art’ by Prof. Tony Green 59 Robert McDougall Art Gallery & Annex and the University of Canterbury. About the Writers 95 All rights reserved under international copyright convention. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher. Research Assistance: EH. McCormick Library, Auckland Art Gallery, Toi o Tamaki Te Papa Tongarewa, Elam School of Art ’Open Drawer’ File, New Zealand Film Archive, Hocken Library Design and typography by circledesign Scanning by Digital Pre-Press Ltd. Printing by Rainbow Print, Christchurch Paper supplied by Spicers Paper Ltd. Printed on Lumi Silk 150/250gsm and Freelife Vellum lZOgsm Cover: Body Articulation 1974, Jim Allen Courtesy of the artist and the E.H. -
(Te Papa) in the Rejuvenation of Taonga Puoro
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future. -
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. -
Artwork Pack Storytelling Term 4 2016
CREDIT: PAGE 6 PAGE CREDIT: Artwork Pack Storytelling SUPPORTED BY Term 4 2016 Copyright Copyright of this document is held by Auckland Art Gallery Toi o Tāmaki, a part of Regional Facilities Auckland. No content from this document may be reproduced, transmitted or copied without our permission except for the purposes of private study and research, criticism and review, or education consistent with the provisions of Sections 40 to 44 of the New Zealand Copyright Act 1994. Failure to comply may be an infringement of the Act and could contravene obligations which the Gallery has to donors, lenders, artists and descendants with respect to the copying of works of art. Māori Images Auckland Art Gallery Toi o Tāmaki is grateful to all the descendants who have given permission for images of their ancestors to be included in our database, some of which are reproduced in this document. These images have a special significance for Māori and we ask you to treat these images with respect. Please view and store these images in study areas only. The presence of food and drink or their display in inappropriate ways will denigrate their spiritual significance. Years 1–2 Grand Designs In many parts of Europe there was a proliferation of grand country estates in the late 17th and 18th centuries, reflecting the increasing wealth brought about through the introduction of industry and agricultural reforms. While architects scurried to outdo each other with their grand designs, aristocratic and newly emergent middle class owners sought out artworks of all kinds to decorate their rural mansions as well as their elegant town houses. -
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. -
Exhibitions & Events at Auckland Art
Auckland Art Gallery Toi o Tāmaki 1 Main gallery Cnr Wellesley and Kitchener Sts PO Box 5449, Wellesley St On Show Open daily 10am to 5pm except Christmas Day and Easter EXHIBITIONS & EVENTS Friday. Free guided tours 2pm daily. Free entry to the gallery. Admission AT AUCKLAND ART GALLERY TOI O TĀMAKI FEBRUARY / MARCH / APRIL 2007 // FREE // www.aucklandartgallery.govt.nz charges apply for special exhibitions Ph 09 307 7700 Infoline 09 379 1349 www.aucklandartgallery.govt.nz 3rd Auckland Triennial Venues: 2 New Gallery Cnr Wellesley and Lorne Sts 3 ARTSPACE Level 1, 300 Karangahape Rd 4 The Gus Fisher Gallery 74 Shortland St 5 ST PAUL ST Level 1, WM Building, 34 St Paul St 6 Academy Cinemas Central Library building, 44 Lorne St Getting there: By foot – all venues are within walking distance of each other By bus – Link buses pass near each venue every 10-15 minutes. Bus, ferry and train info: www.maxx.co.nz or ph 09 366 6400 By car – $4 all day parking on weekends and public holidays at Victoria St carpark, cnr Victoria & Kitchener Sts. Park then collect a discount voucher from Auckland Art Gallery or Academy Cinemas. ARTG-0009-serial The Auckland Art Gallery Toi o Ta¯maki is provided by On Show Edited by Jennifer Dann Designed by Inhouse Printed by Spectrum Print ISSN 1177-4614 From the Welcome to Auckland Art Gallery Toi o Tāmaki relies on the good will and generosity of corporate partners. We are delighted to acknowledge their ongoing support. Director Auckland Art Gallery It’s your gallery. -
Tiwissue01.Pdf
CONTENTS Issue 1 Winter 2006 EDITORIAL Edward Smith Introducing Te Iarere Wavelength Page 5 POINTS OF VIEW Christine Fenton Pathogen paranoia 9 Edward Smith Where to publish 15 CREATIVE WORKS Lesley Pitt Patriarchs, paddocks and the personal 7, 14, 61 Donna Willard-Moore Image details of Dragon 8, 22, 48 ACADEMIC FORUM Rod Bentham Holistic influences on teaching 23 Ian M Clothier Hybrid cultures: what, where and how about us? 33 Megan Dixon 21st century plagiarism 49 TE IARERE WAVELENGTH Issue 1 WINTER 2006 IN THIS ISSUE P 4 Pathogen paranoia by Christine Fenton This is a light-hearted yet factual look at personal health, how we perceive it and what we do, rightly or wrongly, to keep ourselves healthy. Some aspects are traced to the Middle Ages while others relate to developments in modern medicine. Chris- tine was formerly Head of Science at WITT. She is Convenor of the NZ Microbiological Society Education Group and is particularly interested in scientific journalism. Where to publish by Edward Smith As a historical prologue, some of the publishing characteristics and habits of the great early atomic physicists are recounted. This is followed by a consideration of the pub- lishing options for academics. Edward is Director of Research, ICIARE at WITT. He is a mechanical engineer interested in industrial and applied research. Patriarchs, paddocks and the personal - poems by Lesley Pitt These poems were written as part of Lesley’s Masters thesis entitled – “Patriarchs, paddocks and the personal”. She is a Tutor for the Diploma in Social Work and her academic interests include women’s issues, storytelling/life stories and post struc- tural ideology as a way of making meaning. -
Lisa Reihana: Emis Saries New Zealand a T Venice 2017 a Uckland Ar Tg Aller
LISA REIHANA: EMISSARIES LISA NEW ZEALAND AT VENICE 2017 AUCKLAND ART GALLERY TOI O TĀMAKI TOI GALLERY ART VENICE 2017 AUCKLAND NEW ZEALAND AT LISA REIHANA EMISSARIES 1 LISA REIHANA EMISSARIES EMISSARIES.indd 1 8/02/17 10:59 am 2 LISA REIHANA EMISSARIES 3 EMISSARIES.indd 2-3 8/02/17 10:59 am 4 LISA REIHANA EMISSARIES 5 ALASTAIR CARRUTHERS PLATES COMMISSIONER’S FOREWORD 6 PORTRAITS IN PURSUIT OF VENUS [INFECTED] VIDEO STILLS 90 WITI IHIMAERA MIHI 8 VIVIENNE WEBB LES SAUVAGES DE LA MER PACIFIQUE: A DECORATIVE COMPOSITION IN WALLPAPER 116 RHANA DEVENPORT PREFACE 10 ANDREW CLIFFORD UNMUTING HISTORY: A POLYPHONIC TABLEAU 124 RHANA DEVENPORT EMISSARIES: A NEW PACIFIC OF THE PAST FOR TOMORROW 14 KEITH MOORE TEARDROPS, TIME AND MARINERS 130 NIKOS PAPASTERGIADIS ARCADIA AND THE IMAGINED MEMORIES 30 MEGAN TAMATI-QUENNELL ARTIST BIOGRAPHY 134 ANNE SALMOND VOYAGING WORLDS 42 SELECTED EXHIBITIONS AND PUBLICATIONS 136 JENS HOFFMANN REANIMATION 66 CONTRIBUTORS 140 CAST AND CREW 141 BROOK ANDREW & LISA REIHANA IN CONVERSATION 74 ACKNOWLEDGEMENTS 143 EMISSARIES.indd 4-5 8/02/17 10:59 am 6 ALASTAIR CARRUTHERS COMMISSIONER’S FOREWORD LISA REIHANA EMISSARIES 7 Lisa Reihana: Emissaries is the most ambitious project in Lisa Reihana’s Special thanks must also go to the exhibition catalogue contributors: Witi Ihimaera, longstanding digital practice. Much like Captain James Cook’s three epic and world- Rhana Devenport, Anne Salmond, Nikos Papastergiadis, Lisa Reihana, Brook changing Pacific voyages, each iteration of its centrepiece – the video in Pursuit of Andrew, Jens Hoffmann, Vivienne Webb, Keith Moore, Andrew Clifford, and Megan Venus [infected], 2015–17 – became more ambitious in scale, required more resources Tamati-Quennell.