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Education Kit Years 7-12 the Writing’S on the Wall - a Short History of Street Art
Education Kit Years 7-12 The Writing’s on the Wall - A Short History of Street Art The word graffiti comes from the Italian language and means to inscribe. In European art graffiti dates back at least 17,000 years to wall paintings such as are found in the caves of Lascaux in Southern France. The paintings at Lascaux depict animals from the Paleolithic period that were of cultural importance to the people of that region. They are also believed to be spiritual in nature relating to visions experienced during ritualistic trance-dancing. Australian indigenous rock art dates back even further to about 65,000 years and like the paintings at Lascaux, Australian indigenous rock art is spiritual in nature and relates to ceremonies and the Dreaming. The history of contemporary graffiti/street art dates back about 40 years to the 1960s but it also depicts images of cultural importance to people of a particular region, the inner city, and their rituals and lifestyles. The 1960s were a time of enormous social unrest with authority challenged at every opportunity. It is no wonder graffiti, with its strong social and political agendas, hit the streets, walls, pavements, overpasses and subways of the world with such passion. The city of New York in the 1970s was awash with graffiti. It seemed to cover every surface. When travelling the subway it was often impossible to see out of the carriage for the graffiti. Lascaux, Southern France wall painting Ancient Kimberley rock art Graffiti on New York City train 1 The Writing’s on the Wall - A Short History of Street Art In 1980 an important event happened. -
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. -
Sea Change the Birth of a New Marine Institute
ET LABORE MAGAZINE OF THE UNIVERSITY OF AUCKLAND SPRING 2004 SEA CHANGE THE BIRTH OF A NEW MARINE INSTITUTE SELLING OUR EXPERTISE TOP TERTIARY TEACHERS MAINTAINING THE BRAIN WHAT DRIVES OUR DONORS? Be in to win an objet d’art with your new home loan. And a trip around the world to find it. Buying a home is one of the most exciting purchases you will ever make but it can also be one of the most overwhelming. Fixed or floating, one year or two? There are so many decisions to make and so many choices – how do you know what is best for your personal circumstances? At HSBC we draw on our worldwide resources and local knowledge to help you choose the right home loan for you. We recognise that everyone is different and therefore offer a flexible choice of options at extremely competitive rates that can be tailored to your individual needs. To celebrate your individuality we’re offering you the chance to enter a draw to choose an objet d’art that’s uniquely you and a trip around the world to find it – when you select your new home loan and draw it down by 28 February 2005. For a competition entry form and more details - HSB 2827 Visit your nearest branch 0800 88 86 86 www.hsbc.co.nz Issued by The Hongkong and Shanghai Banking Corporation Limited, incorporated in Hong Kong, New Zealand branch. Lending criteria and terms and conditions apply to all our home loans (including a minimum home loan value). Lenders Mortgage Insurance or an application fee may apply where you are borrowing more than 80% of a property’s value. -
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. -
Download PDF Catalogue
THE COLLECTION OF DAME JUDITH TE TOMAIRANGI O TE AROHA BINNEY AND AND SEBASTIAN BLACK The Collection of Dame Judith te Tomairangi o Te Aroha Binney and Art+Object 4 June 2015 A+O 93 Sebastian Black The Collection of Dame Judith Te Tomairangi o Te Aroha Binney and Sebastian Black Thursday 4 June 6.30pm Art+Object 3 Abbey Street Newton, Auckland PO Box 68 345 Newton, Auckland 1145 Telephone: +64 9 354 4646 Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 [email protected] www.artandobject.co.nz EXHIBITING FJ6A>INA6C9H86E:H WILTON LODGE, FJ::CHIDLC Privately positioned on 3,450 square metres, this substantial 6gXa^cZV`^iX]Zcl^i]i]gZZaVg\Zldg`heVXZh!ZmiZch^kZhidgV\Z north-facing waterfront property overlooks Lake Hayes with GZ[jgW^h]ZYl^i]XdcXgZiZ!hX]^hihidcZ!XZYVgVcYXdeeZg magnificent views to the mountains beyond. Award winning BVhiZgHj^iZl^i]ildheVX^djhlVa`"^cYgZhh^c\gddbh architect John Blair designed this home to achieve maximum :miZgcVa]ZViZYhl^bb^c\edda^hXdbeaZbZciZYWnVÒgZeaVXZ sunshine and lake views from almost every room. Italian marble BZY^Vgddb!\nbcVh^jb!i]gZZhijY^ZhVcY[djgXVg\VgV\^c\ features throughout the spacious and elegant four bedroom home. :miZch^kZbVijgZaVcYhXVe^c\VcYigZZ"a^cZYVXXZhhidaV`Z[gdci luxuryrealestate.co.nz/QT94 434 LOWER SHOTOVER ROAD, FJ::CHIDLC Situated on one of the most sought after land positions in ;djgWZYgddbhZcXdbeVhh^c\hZa["XdciV^cZYbVhiZghj^iZ Queenstown, this 547 square metre Kerry Mason designed 9Zh^\cZg`^iX]Zc!hijYn!ilda^k^c\VgZVh!Y^c^c\gddb!XZaaVg home was built in 2012. -
Research Outputs 2011 Research Output 2011 45 45 43 42 42 42 42 41 41 40 40 40 39 39 38 35 34 27 27 26 26 24 24 16 11 7 6 6 6 4 4 4 1 CONTENTS
Research Outputs 2011 CONTENTS 1 SUMMARY 4 BOOKS (Quality Assured) 4 BOOKS (Non-Quality Assured) 4 BOOK CHAPTERS (Quality Assured) 6 BOOK CHAPTERS (Non-Quality Assured) 6 EDITED BOOKS (Quality Assured) 6 EDITED BOOKS (Non-Quality Assured) 7 CONFERENCE PRESENTATIONS (Quality Assured) 11 CONFERENCE PRESENTATIONS (Non-Quality Assured) 16 CONFERENCE PROCEEDINGS (Quality Assured) 24 CONFERENCE PROCEEDINGS (Non-Quality Assured) 24 CONFERENCE ABSTRACTS (Quality Assured) 26 CONFERENCE ABSTRACTS (Non-Quality Assured) 26 CONFERENCE POSTERS (Quality Assured) 27 CONFERENCE POSTERS (Non-Quality Assured) 27 JOURNAL PAPERS (Quality Assured) 34 JOURNAL PAPERS (Non-Quality Assured) 35 EXHIBTIONS - Group (Quality Assured) 38 EXHIBTIONS - Group (Non-Quality Assured) 39 EXHIBTIONS - Solo (Quality Assured) 39 EXHIBTIONS - Solo (Non-Quality Assured) 40 EDUCATIONAL MATERIAL 40 WORKING PAPER 40 REPORTS 41 THESES (Quality Assured) 41 ARTEFACT, OBJECT OR CRAFTWORK 42 COMPOSITION 42 FILM/VIDEO (Quality Assured) 42 PERFORMANCES 2011 42 OTHER OUTPUTS 43 PRESENTATIONS (Non-Conference) 45 GENERAL MEDIA Research Output Research 45 REVIEWS SUMMARY Unitec is responsible for ensuring accurate reporting of research activity, and to this end all research outputs produced by Unitec staff are catalogued centrally by the Research Office and Postgraduate Centre, using Unitec’s Research Output Management System (ROMS). All outputs are recorded as quality assured or non-quality assured in ROMS, however in some instances this information is aggregated for reporting purposes. These research categories approximately conform to the categories utilized by the PBRF. The 2011 collection began in December and was completed in May 2012. In summary, Unitec’s research outputs have grown substantially in 2011. Quality assured research outputs have increased by 44% (the Unitec Annual Report target is 5%) and total research outputs have increased by 48% over 2010. -
University of Bath PHD the Grief of Nations
University of Bath PHD The Grief of Nations: An analysis of how nations behave in the wake of loss: does it constitute grief? Malamah-Thomas, Ann Award date: 2011 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 The Grief of Nations An Analysis of How Nations Behave in the Wake of Loss: Does it Constitute Grief? Ann Malamah-Thomas A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Social and Policy Sciences July 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. -
7. Contemporary
7. Contemporary Art The beginning of a contemporary art scene in Oceania must be seen against the background of the political and social upheavals which came as a result of the withdrawal of the European colonial powers and the creation of independent nation states in the Pacific from the 1960s to the 1980s. The connection of some Polynesian countries to New Zealand as the economically strongest Commonwealth member in the Southwest Pacific has caused a migration from the islands to the urban centres of New Zealand which still persists today. It was here that the migrants rediscovered their local cultures and traditional roots. At the same time they had direct access to Western art institutions and foundations and brought both perspectives together in an independent art scene. In the Melanesian part of Oceania, in contrast, there was no comparable connection with geographically closer Australia. Subsequently, no large diaspora communities developed there, and artists were denied access to the Western art market. Apart from French-administered New Caledonia, it was only in Papua New Guinea that a small, free art scene was able to develop, however, without any international support. 7.1 Contemporary Art in Polynesia Home to the largest number of gallery- and museum-based artists, New Zealand Aotearoa has become an important centre for contemporary Pacific art. Their respective art practices have explored a range of issues and concerns relating to notions of belonging, place and identity. Since the 1950s, Polynesians from Samoa, Niue, Tonga and the Cook Islands have migrated to New Zealand. Today, 15% of the total population of Auckland, the largest city with 1.5 million inhabitants, are Polynesians. -
Te Wiki O Te Reo Māori We Adore Amy Shark Māoritanga
Te Wiki o Te Reo Māori We Adore Amy Shark Māoritanga Craccum reflects on Aotearoa’s Māori Language Eloise Sims chats with the Australian indie Ruth McKenna on navigating and reclaiming Week singer-songwriter her cultural identity [1] SCHOOL OF MUSIC 18 SEPTEMBER – 1 OCTOBER musicfest.auckland.ac.nz With support from: ISSUE NINETEEN RĀRANGI UPOKO 10 14 KAWEPŪRONGO HAPORI WHĀNUI THROWING AWAY A PENAL REFORM LIFELINE How the shape of our penal Budget cuts to Lifeline could system fares for Māori leave many without support 16 18 ORANGA NGĀ ĀTUAHANGA PHOTOGRAPHING MOTUHAKE MĀORI CULTURE An interview with Māori pho- REVITALISING TE REO tographer Erica Sinclair Payton Taplin on the importance of keeping te reo alive 29 33 NGĀ TOI NGĀ WHAKAARO MOANA REO MĀORI CRITIQUING THE CHARM A look at how the beloved OFFENSIVE Disney film was translated into te reo Jordan Margetts on the downside of personality politics New name. Same DNA. ubiq.co.nz 100% Student owned - your store on campus [3] EDITORIAL Catriona Britton Samantha Gianotti A deep-seated issue E nga mana aged 21 years and over the right to vote—a right the same rights, irrespective of when we or our E nga reo they did not have previously because customary ancestors arrived.” However, the group also fails E nga waka Māori communal ownership of land differed to acknowledge the years of discrimination and E nga hau e wha from individual land titles held by non-Māori racism faced by Māori following colonisation E rau rangatira ma males. Since the passage of the Electoral Act and the fact that the repercussions of the New Tēnā koutou, tēnā koutou, tēnā koutou 1993, the number of Māori seats has been de- Zealand Wars are still being felt to this day. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
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. -
RMIT Gallery Exhibition Program 2011 97
RMIT Gallery Exhibition Program 2011 97 1 21 January — 12 March 108 2 September — 5 November China and Revolution: Space invaders: australian . street . History, Parody and Memory in Contemporary Art stencils . posters . paste-ups . zines . stickers The exhibition re-evaluates the Cultural Revolution through propaganda poster art Drawn entirely from the collection of the National Gallery of Australia, the produced in the 1960s and ’70s, as well as through oral histories collected by the first Australian institution to have collected this type of work, this exhibition curators in 2008–2009. It opens dialogue between the past and present with work surveys the past 10 years of Australian street art. Featuring 150 works by over from artists with first hand experience, as well as through the display of original 40 Australian artists, the exhibition celebrates the energy of street-based political posters carrying political and social messages to the Chinese masses. creativity, recognising street stencils, posters, paste-ups, zines and stickers Curator Professor Stephanie Hemelryk Donald, Dean of the School of Media and as comprising a recent chapter in the development of Australian prints and Communication at RMIT University, and Professor Harriet Evans, Coordinator of drawings. Curator Jaklyn Babington, Assistant Curator, International Prints, Asian Studies Research at the University of Westminster. Artists Liu Dahong, Xu Drawings and Illustrated Books, National Gallery of Australia Artists Aeon, Weixin, Li Gongming, Shen Jiawei. Public Program