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Some Aspects of the Biology of Three Northwestern Atlantic Chitons
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1978 SOME ASPECTS OF THE BIOLOGY OF THREE NORTHWESTERN ATLANTIC CHITONS: TONICELLA RUBRA, TONICELLA MARMOREA, AND ISCHNOCHITON ALBUS (MOLLUSCA: POLYPLACOPHORA) PAUL DAVID LANGER University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation LANGER, PAUL DAVID, "SOME ASPECTS OF THE BIOLOGY OF THREE NORTHWESTERN ATLANTIC CHITONS: TONICELLA RUBRA, TONICELLA MARMOREA, AND ISCHNOCHITON ALBUS (MOLLUSCA: POLYPLACOPHORA)" (1978). Doctoral Dissertations. 2329. https://scholars.unh.edu/dissertation/2329 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
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. -
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. -
South Island Art Projects Newsletter (#9: August 1993) Along with a Courtesy Notice That I Would Reply
n- ART PROJECTS =i=€=3 c--YJ i Newsletter No. 10 December 1993 she was researcher for the RE-VISIONS Project. She stepped down to take her position as Director of Artspace i~ SIAP News Auckland. We thank her for her contribution and look forward to working with her in future. New Director for SlAP New Board Members On a lighter note we would like to welcome John Hurrell South lsland Art Projects is to the Board. John makes a most welcome return to delighted to announce the involvement with South lsland Art Projects having been appointment of Vivienne central to early discussions in the years preceding the Stone to the position of formation of the Working Party. John is a well known and Director. respected Christchurch artist and writer with a substantial Over the last two years Vivienne knowledge of contemporary art in New Zealand and has worked as the Community elsewhere. Arts Officer in Christchurch, I will also maintain and extend her commitment into 1994 by bringing professionalism and taking a position on the Board. communication skills to this position and the developing the Jude Rae profile of the visual arts as an important part of the broader cuhml sphere. Her experience includes management and promotion of a variety of film, theatre, multi-media and music events. She has also been Funding Manager for the Christchurch Women's Refuge Street Appeal 1991- 8 Christchurch Heritage 1993. Q As Christchurch Community Arts Officer Vivienne co- + Week Project 8 developed the R E-VIS IONS Project and also $ L participated in the 'public practices' Forum held Planning for South lsland Art Projects' by South lsland Art Projects in Dunedin in October major 1994 project is well underway. -
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. -
University of Otago Magazine 44April 2017
UNIVERSITY OF OTAGO MAGAZINE 44APRIL 2017 INSIDE Alumnus Professor Robert Webster Avian flu, ethics and the future Planning for the ‘Age of Ageing’ Politics and dignity Arts fellowship celebrates 50 years University of Otago Magazine A magazine for alumni and friends of the University of Otago Issue 44 APRIL 2017 ISSN - 1175-8147 Editor Karen Hogg Designer Peter Scott Writers Kevin Clements Kim Connelly Ian Dougherty Laura Hewson Karen Hogg The Amie Richardson Stephen Sowerby Sam Stevens University of Otago Fleur Templeton Kim Thomas Mark Wright Magazine Nigel Zega Photographers Sharron Bennett has its Alan Dove Sheena Haywood Michael Roberts own website Graham Warman Cover Professor Robert Webster Photo: Alan Dove Printing PMP Print Circulation Development and Alumni Relations Office otago.ac.nz/otagomagazine Email [email protected] • To update or change delivery address • To read the Magazine and other alumni communications electronically • To receive just one “household” postal copy of the Magazine Tel 64 3 479 4516 Editorial contact details University of Otago Magazine Marketing and Communications PO Box 56 Dunedin 9054 New Zealand Tel 64 3 479 8679 If you would prefer to read Email [email protected] the magazine online Web otago.ac.nz/otagomagazine and no longer receive a hard copy, Copyright please email You are welcome to reproduce material from the magazine after gaining permission from the editor. All reproduced material must be appropriately acknowledged. [email protected] The University of Otago Magazine is published by the Marketing and Communications Division of the University. The opinions expressed are not necessarily those of the University. -
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. -
Fiona Pardington: a Beautiful Hesitation Comes To
Exhibition partner: Media Release Thursday 21 January 2016 Pause for effect – Fiona Pardington: A Beautiful Hesitation comes to In association with: Auckland Art Gallery The power and potency of photography is revealed in Fiona Pardington: A Beautiful Hesitation which opens at Auckland Art Gallery Toi o Tāmaki on Saturday 5 March. Exhibition supporters: A Beautiful Hesitation is the first comprehensive survey of works by artist Fiona Pardington, one of New Zealand’s leading contemporary photographers. Complex, rich and darkly romantic, the free exhibition spans 30 years of Pardington’s practice in a collection of more than 100 photographs. It conveys key concerns that have shaped the artist’s celebrated work. Presented in association with: Pardington uses the phrase ‘a beautiful hesitation’ to describe photography’s power to pause time and transcend the conditions of the material world. Her Fiona Pardington, Still Life with albatross feathers, pounamu and coral hearts 2014, archival inkjet print, gesso and acrylic practice breathes life into the objects she polymer on canvas. Courtesy of the artist and Starkwhite. encounters. Auckland Art Gallery Director Rhana Devenport says A Beautiful Hesitation will give visitors a deep insight into Pardington’s arresting photography. ‘This exquisite exhibition offers a unique opportunity to explore Fiona’s multi-layered and fascinating body of work,’ she says. Pardington’s early works, including intimate family portraits, through to her photographs of hei tiki (pendants), life casts and historical specimens from museum collections, and her notable still-life images are all shown in A Beautiful Hesitation. The exhibition’s curator Aaron Lister from City Gallery Wellington has divided the exhibition into four themes: Flesh, Becoming, A Language of Skulls and Still Life. -
Mihi Whakatau and Welcome
Mihi Whakatau and Welcome Tāmaki herenga waka Tāmaki whai rawa Tāmaki pai Tāmaki Makaurau Ko ngā kurī purepure o Tāmaki e kore e ngaro i te pō On behalf of the Aotearoa New Zealand Association of Art Educators (ANZAAE) 2014 conference steering committee, it is my privilege to extend a warm welcome to you all. We are excited to be offering Te Aho I Muri Nei – Supporting Innovation as a forum in which we can all share ideas, perspectives and experiences and engage in constructive dialogue to expand our thinking and weave links that connect us to people, knowledge, theory and practice in the Arts. It gives me great pleasure to welcome so many distinguished guests and participants who have come from near and far to take part in our proceedings over the next three days. As a local, I welcome you to our city and hope you all have an opportunity to enjoy some of what Auckland has to offer. I would also like to take this opportunity to acknowledge and thank our host and major sponsor AUT, and in particular, the Art and Design School for partnering this conference. Your support has been a tremendous help in the shaping and success of Te Aho I Muri Nei – Supporting Innovation. We are privileged to share in your state of the art facilities and welcoming generosity. I hope that these next three days not only provides an opportunity to communicate, but also to collaborate - through interesting and fruitful discussions and conversations, fresh ideas and a new impetus for our work. -
Soft-Bottom Benthic Communities Otago Harbour and Blueskin Bay
ISSN 0083-7903, 80 (Print) ISSN 2538-1016; 80 (Online) ISS 0083-7903 Soft-bottom Benthic Communities m• Otago Harbour and Blueskin Bay, New Zealand by S. F. RAINER New Zealand Oceanographic Institute Memoir 80 1981 NEW ZEALAND DEPARTMENT OF SCIENTIFIC AND INDUSTRIAL RESEARCH Soft-bottom Benthic Communities Otago Harbour and Blueskin Bay, New Zealand by S. F. RAINER Portobello Marine Laboratory, Portobello, New Zealand New Zealand Oceanographic Institute Memoir 80 1981 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ ISSN 0083-7903 Received for publication: July 1974 <O Crown Copyright 1981 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ CONTENTS Page LIST OF FIGURES 4 LIST OFTABLES 4 ABSTRACT 5 INTRODUCTION 6 SAMPLINGAND LABORA TORY METHODS 6 THEBENTinC ENVIRONMENT 7 General description and sample locations 7 Water temperature and salinity 8 Tides and currents 13 Sediments 14 Pollution 14 THEBENTiilC CoMMUNITIES. 14 Harbour mud corr.munity 14 Harbour fine sand community 15 Harbour stable shell-sand community 15 Harbour unstable sand community 16 Shallow off-shore fine sand community 20 DISCUSSION 21 The classification of benthic communities in a shallow-water deposit environment 21 The effect of shell and macroscopic algae on species composition 22 Patternsof diversity 24 Comparison with other shallow-water soft-bottom communities 28 ACKNOWLEDGMENTS 31 REFERENCES 31 APPENDICES 33 1.