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Seeking Origins - Whakapapa Genealogy

Stephanie Radok

Braided Rivers: Regionalism in New Zealand Art

Andrew Paul Wood focuses on some of the issues pertaining to New Zealands regionalist tensions, particularly the obvious division of the North and South Islands. Furthermore he looks at some of the opposing aesthetic qualities to have come from artists of the North and the South regions. This is here discussed through reference to artists Colin McCahon, Don Binney, Pat Hanly, Bill Sutton, Rita Angus, Gordon Walters, Milan Mrkusich, Gretchen Albrecht, Ronnie van Hout, Bill Hammond, John Pule, Elizabeth Allan, Dorothy Irvine, Sandy Gibb, Billy Apple, Sofia Tekela-Smith, Ani ONeil, Niki Hastings-McFall, Shigeyuki Kihara, Peter Robinson, Shane Cotton, Ralph Hotere, Robyn Kahukiwa, Tony de Latour, Seraphine Pick, Saskia Leek, Grant Takle, Peter Wheeler and James Robinson.

Andrew Paul Wood

New Arrival: Brian Butler, Director of Artspace

Interview with Brian Butler, the new Director of Artspace, Auckland. Questions are raised regarding Butler's decision to leave his position at the Los Angeles cutting edge art gallery 1301PE in order to direct a publicly funded space in Auckland and his visions for the future of Artspace.

Tessa Laird

State of the Art New Zealand

This essay draws on some of the themes and issues raised by the 1997 report 'New Vision: A Critical View of the Visual Arts Infrastructure', commissioned by Creative New Zealand and the Chartwell Trust to document the state of New Zealand's visual arts infrastructure of the time. It is here used in reference to offer a series of (partial, personal and biased) snapshots that consider the state of the visual arts scene in New Zealand. Some key figures here referred to include Gordon H. Brown, Lee Weng Choy, Greg Burke, John Maynard, Cheryll Sotheran, Priscilla Pitts, John McCormack, Pae White, Sam Durant, Lee Bul, Peter Robinson, Ann Shelton, Fiona Clark, Giovanni Intra, Fumio Nanjo, Jonathan Watkins, Mercedes Vicente, Tyler Cann, Robert Leonard, David Hatcher, Louise Garrett, Simon Rees, Michael Stevenson, Ronnie van Hout, Francis Upritchard, Denise Kum, Yuk King Tan, Joyce Campbell, Hamish McKay, Andrew Jenson, John Gow, Gary Langsford, Michael Lett, Heather Galbraith, Jenny Todd, Brian Butler and others.

Christina Barton

You And Me And Everyone We Know: Photography

This article looks at the controversy that surrounded Ans Westra's pictorial essay Washday at the Pa, published during the 1960's, as a way of addressing the current trends in New Zealand photography. Emma Bugden uses this example to raise issues of Maori and Pekeha representations in New Zealand art and the renewed interest in social realism among New Zealand photographers in recent years. Artists included in this discussion are Edith Amituana, Andrew Ross, Marti Friedlander, Peter Black, Peter Peryer, Anne Noble, Laurence Aberhart, Greg O'Brien, Justin Paton, Ava Seymour, Joel Peter Witkin, Fiona Amundsen and Neil Pardington.

Emma Bugden

Don't Misbehave! SCAPE 2006 Public Art Biennial

This article looks at the argument for public art in Christchurch subsequent to the phenomenal public debate sparked when Michael Parekowhai's 5m high fibreglass bunnies became the centrepiece of the SCAPE 2002 Biennial. Velde further examines some of the recent aims for SCAPE 2006 by curators Natasha Conland and Susanne Jaschko who are looking to embrace contemporary art's exploration of different media channels.

Emma Velde

Visions and Revisions: Recent Work by Shane Cotton

Strongman here looks at the recent works of New Zealand artist Shane Cotton. Issues of transformation - of an ebb and flow of changes in form and meaning over time, of visions and revisions of and between cultures - have been central concerns of Cotton's work for more than a decade. Through extensive reference to Maori and Christian culture, Cotton explores what he describes as the 'collision and collusion' of New Zealand's two official cultures.

Lara Strongman

An Artist's Economy: Madden, Stevenson, Upritchard

New Zealand artists Peter Madden, Michael Stevenson and Francis Upritchard have each worked within disparate environments and local economies for some years, in Auckland, Berlin and London respectively. Each of them self-consciously explores alternative economies available to them through the production of art. Between them Madden, Stevenson and Upritchard have participated in such art events as the Venice Biennale and exhibited at the Tate Gallery, Darren Knight Gallery, the Museum of New Zealand, Herbert Read Gallery and the Bart Wells Institute.

Natasha Conland

Of New Zealand Art and Letters

When it comes to New Zealand publications, the excitement generated by each forthcoming issue is as good a yardstick as any to judge by.

Kate Montgomery

Special (Auckland)

Special Gallery is an activity centre at Level 1, 26 Customs St East, Auckland. Exhibiting artists have included Jason Lindsay, Tahi Moore, Fiona Conner, Seung Yul Oh, Nick Austin, Tao Wells, Daniel Du Bern, Helga Fassonaki, Alex Vivian, Chris Cudby, Dave King, Julian Dyne, Fraser Munro, Eddie Clemens, Richard Bryant, Patrick Lundberg, Simon Denny, Jennifer Mason, Robin Kydd, Fin Ferrier, Ben Tankard, Chris Fitzgerald, Stephan Neville, Lou Darlington and Nate Williamson.

Simon Denny and Tahi Moore

Enjoy (Wellington)

Enjoy was born out of transparency and openness and a focus on critical dialogue combined with some utopian ideals such as being 'Liberated from Commercial Constraints' and has been a place for dissent and discussion. Artists Ciaran Begley and Ros Cameron with administrator Rachel Smithies established enjoy in 2000. Exhibiting artists have included Caroline Johnston, Eve Armstrong and Violet Faigan.

Jessica Reid

Cuckoo

Cuckoo was formed in January 2001 by dreamers Ani O'neill, Daniel Malone, Judy Darragh (artists), Jon Bywater and Gwyneth Porter (writers). Collectively they created this space as a means for discussing ways to present artist's projects outside the traditional method of running a gallery space. Some of the artists involved with cuckoo are Dan Arps, Kate Newby, Sriwana Spong, Ben Tankard, Janet Lilo, Fiona Connor, Seung Yul Oh and Nick Austin.

Judy Darragh and Gwynneth Porter

RM103 (Auckland)

In 1997 a tiny office overlooking a record store in Auckland was turned into a gallery space called 'rm3'. Directors of the now 'rm103' include Andrew Barber, Kylie Duncan, Kirsten Dryburgh and Nicholas Spratt. Previously exhibiting artists include Bjorn Houtman, Sarah Gruiters, Finn Ferrier, Gaelen Macdonald and Erica van Zon.

Nicholas Spratt

Charles Merewether: Director of 15th Biennale of Sydney

It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.

Joanna Mendelssohn

Steve Kurtz: Critical Art Ensemble

An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.

Mireille Astore

Artrave

Artlink

2006 Contemporary Commonwealth

Australian Centre for the Moving Image: 24 February - 21 May National Gallery of Victoria 24 February - 25 June Festival Melbourne 2006 Commonwealth Games

Sophie Knezic

Festival Melbourne 2006

Visual arts at the Commonwealth Games March - April 2006

Juliette Peers

21st Century Modern: 2006 Adelaide Biennial of Australian Art

Curated by Linda Michael Art Gallery of South Australia 4 March - 7 March 2006

Stephanie Radok

Colliding Worlds, First Contact in the Western Desert 1932-1984

Curated by Philip Batty Tandanya National Aboriginal Cultural Centre Adelaide Bank Festival of Arts 18 February - 28 May 2006

Christine Nicholls

An Overview: 'Roots and All'

Visual Arts at the 2006 Adelaide Bank Festival of Arts

John Neylon

What Survives: Sonic Residues in Breathing Buildings

Performance Space, Sydney 25 March - 22 April 2006

Tracey Clement

The Late Sessions

Videos presented by 1/2 dozen Curated by the 'pixel pirates', Soda_Jerk George Street Cinema, Sydney 25 January 2006

Clare Lewis

Other(wize)

Fire-Works Gallery Brisbane 25 November - 24 December 2006

Sally Butler

The Bentinck Project

Woolloongabba Art Gallery, Brisbane 7 April - 28 May 2006

Timothy Morrell

Corrupting Youth

Curated by Tristan Stowards Contemporary Art Services Tasmania, Hobart 4 March - 2 April 2006

Briony Lee Downes

Excess: Penny Mason

Academy Gallery, Inveresk, Tasmania 13 February - 7 April 2006

Damien Quilliam

Miriam Stannage: Sensation

John Curtin Gallery, Perth 10 February - 13 April 2006

Margaret Moore

FotoFreo 2006

The City of Fremantle Festival of Photography 25 March - 25 April 2006

Nyanda Smith

The Land made Visible: Native Title Now

Written with Vincent Megaw. Looks at land claims and the role of artworks in these claims in the context of the exhibition 'Native Titled Now' shown as part of the Telstra Festival of Arts 1996. Good overview of indigenous art practice and talks about artists such as Raymond Arone Meeks, Lin Onus, Gordon Bennett, Alice Hinton-Bateup, Avril Quaill, Kerry Giles, Daphne Naden, Mick Namarari, Turkey Tolson, Danie Mellor, Jonathan Kumintjara Brown, Clifford Possum, Ellen Jose, Lindsay Bird Mpetyane, Heather Shearer and Kathleen Wallace.

Doreen Mellor

Indigenous Arts of the Pacific

An Alternative to the Art Market

The market must acknowledge its role in the commidification of indigenous cultures through cultural objects....What the market must acknowledge is the relationship of interdependency which exists between itself and the artists that it promotes and as such, the market must ensure that its actions do not prove detrimental to the artist and the community in the long run.

Tom Byra Mixie Mosby

Indigenous Arts of the Pacific

Tandanya - Captivating Culture

Brief overview of the current focus of Tandanya the National Aboriginal Cultural Institute in Adelaide, South Australia.

Stephanie Britton

Indigenous Arts of the Pacific

New Developments for the Papua New Guinea National Museum

Brief article outlining the current directions and focus for the PNG Museum and Art Gallery in Port Moresby.

Barry Craig

Indigenous Arts of the Pacific

Art is Land: Land is Art - Talks with Banduk Marika

Discussion with the artist Banduk Marika about the issues facing her community of Yirrkala in Arnhem Land, Northern Territory. Indigenous art practice and land rights, cultural heritage, education and knowledge, environmental protection and mining intrusions are discussed.

Stephanie Britton

Indigenous Arts of the Pacific

The Waka and the Cattle Truck

What do a traditional Maori canoe (waka) and a cattle truck have in common?...In both these cases these vehicles were conveyors of culture. These images are central to two collaborative works at the second Asia Pacific Triennial of Pacific Art at the Queensland Art Gallery.

Margo Neale

Indigenous Arts of the Pacific

Pacific Wave: A Festival of Pacific Arts

Brief article outlining Pacific Wave, a celebration and investigation of contemporary trends in art and cultural life of the Pacific taking place across Sydney November 2-17 1996.

Stephanie Britton

Indigenous Arts of the Pacific

Nucleus: Feeling Compromised

As Judy Watson was about the commence her residency in France, the French Government announced they would be conducting nuclear tests in the Pacific. As an Australian, an Aboriginal, a conservationist, a woman and an artist, she felt compromised. Discusses her work in this context.

Judy Watson

Indigenous Arts of the Pacific

Maori Film Images and Intellectual Property Rights - A Breakthrough?

For those depositing films with a significant Maori content, the New Zealand Film Archive has developed a Deposit Agreement which acknowledges that named Maori guardians have spiritual guardianship authority over their image treasures in perpetuity. This goes way beyond white copyright regimes.

Barry Barclay

Indigenous Arts of the Pacific

Contemporary Maori Architecture - The Case for the Untraditional

One of the most insidious myths about contemporary Maori architecture is that it does not exist, since 'traditional' Maori building design has been influenced by colonial architecture. Looks at contemporary issues in Maori architecture.

Deidre Brown

Indigenous Arts of the Pacific

Taki Rua: Bi-cultural Theatre in Aotearoa

Taki Rua Theatre has been at the cutting edge of indigenous theatre since its inception in 1983. It has now produced a season of Maori plays in te reo Maori (Maori language).

Mere Boynton

Indigenous Arts of the Pacific

Telling it How it is: Pacific Islands Theatre in Aotearoa New Zealand

Pacific Islands Theatre is at an exciting phase in New Zealand. Although relatively young compared to Maori and Pakeha theatre, the debut of key successful plays has placed it in the spotlight of New Zealand's national stage in recent years as it continues to gain strength.

Makerita Urale

Indigenous Arts of the Pacific

The Art of Survival: The Importance of Contemporary Theatre in Papua New Guinea

In many developing countries where indigenous communities are faced with the rapid process of development, theatre has become an extremely important educational tool. With escalating resource exploitation, rising numbers of sexually transmitted diseases and AIDS and increases in violent crimes by an unemployed and disillusioned youth, the importance of this form of communication cannot be underestimated.

Liz Thompson

Indigenous Arts of the Pacific

Polynesian Tattoo: A Shift in Meaning

Tattoo played a significant role as a marker of status, wealth, and pride in Polynesian societies. A more fluid, creative tattoo tradition is being practised today.

Karen Stevenson

Indigenous Arts of the Pacific

Creativity in the Forest

In 1994, the small Balai community of Malaita Province, Solomon Islands, commenced paper making which led to the development of printmaking. Small enterprises and ecotourism may well be the future of these small island communities.

Christine Delany

Indigenous Arts of the Pacific

Spirit Blong Bubu I Kam Bak [The Return of the Spirits of the Ancestors]

Reflections on an exhibition in Vanuatu of old pieces of ni Vanuatu art held in European collections. Touring Exhibition 'Arts of Vanuatu' 29 June - 10 August 1996 at the National Museum of Vanuatu in the national capital of Port Vila.

Ralph Regenvanu

Indigenous Arts of the Pacific

The Contemporary Highland Shield: Hybrid Forms in Papua New Guinea

The author examines shield collected in 1995 to discuss issues fundamental to the introduction of the art of emergent societies in an international art context. Issues such as the definition of art and aesthetics, art versus craft, function of art in the various contexts etc...

Hugh Stevenson

Indigenous Arts of the Pacific

Oceanic Arts Society of Sydney

Describes the establishment and membership of this new society.

Chris Koziel

Indigenous Arts of the Pacific

Acting Out the Culture: The Making of Culturally Relevant Theatre, Papua New Guinea

Culturally relevant theatre in education in Papua New Guinea challenges, questions, asserts, transgresses, subverts, opposes, resists and negotiates with the demands of political and cultural relations. It offers new forms of representation and contributes to the process of destabilising and decentering the domination of Western processes of teaching, learning and performance.

Michael A. Mel

Indigenous Arts of the Pacific

Art and Ritual: Aina Asi A Mavaru Kavamu

The artist writes of the issues facing her as a citizen of Papua New Guinea, a descendant of the Motu Koita people, being female and an artist/textile designer. Her traditional grass skirts were included in the Asia-Pacific Triennial.

Wendy Choulai

Indigenous Arts of the Pacific

Weaving the Old with the New: Textile Art Forms in Niugini

Women artists were conspicuously absent from the important exhibition 'Luk Luk Gen'. The exhibition 'Pacific Dreams' included textile works by the artist Agatha Waramin who works with bilums and the exhibition 'Weaving the Old with the New' will extend women's exposure in an artistic context.

Ross Searle

Indigenous Arts of the Pacific

Dancing the Society: Performing Arts in the Solomon Islands

Performing arts in the Solomon Islands Since the common determining facts in whether to keep, add changes, or reject aspects of the performing arts are based on the dollar, Solomon Islanders will continue to adopt new styles of dances, music, songs and forms of acting in the same way as some Church groups have done.

Lawrence Foanaota

Indigenous Arts of the Pacific

Educating Public Taste

The National Museum's role in the development of contemporary art in the Solomon Islands. Artists Dick Taumata, Kuai Maueha, Frank Haikiu, Rex Mahuta, Jack Saemala and Billy Vina are discussed.

Lawrence Foanaota

Indigenous Arts of the Pacific

Pacific Stories from New Caledonia

Collecting Pacific Art is not a straight forward endeavour. There are really no set criteria of what 'contemporary Pacific art' might be, little interpretive literature on the subject and very few precedents for forming even small collections for cultural institutions. There is a new cultural centre 'the Jean-Marie Cultural Centre' being built in Noumea, New Caledonia.

Susan Cochrane

Indigenous Arts of the Pacific

Soapstone Workshop

April 1996 at the Pouebo Town Hall northern New Caledonia. A sculptural tradition has always been alive in this area so a workshop was held to explore the use of soapstone sculpture.

Denise Tiavouane

Indigenous Arts of the Pacific

The Island Race in Aotearoa

Today the art of the Pacific Islanders is still trapped within its category. The display cases of the institutions have not been shattered. Yet the very act of exhibiting demonstrates that the making and the appreciation of art is a dynamic process. Institutions are caught by a need to both legitimise themselves and acknowledge (and perhaps attempt to control) the art of the migrant communities.

Jim Vivieaere

Indigenous Arts of the Pacific

Vaka - Only the Brave

Looks at the contemporary art and the cultural and economic pressures faced by the people of the Cook Islands.

Mereana Hutchinson

Indigenous Arts of the Pacific

Fiji: Artists Carve Out Their Own Future

Looks at issues in contemporary art practice in Fiji anticipating the construction of the new Fiji National Art School.

Nelson Salesi

Indigenous Arts of the Pacific

Asia and Oceania Influences - Sydney

Exhibition review Asian and Oceania Influence Curated by Nick Waterlow Ivan Dougherty Gallery, Sydney 2-30 September 1995

Nicholas Jose

Indigenous Arts of the Pacific

The World Over - Wellington

Exhibition review The World Over City Gallery Wellington, New Zealand June 8 - August 11, 1995

Mark Amery

Indigenous Arts of the Pacific

Australia Goes to Samoa: 7th Pacific Festival of the Arts

Overview of the 7th Pacific Festival of Arts which is held in a different country every 4 years. 1996 the festival was held in Apia in Western Samoa. Previous hosts 1992 Raratonga, Cook Islands 1988 Townsville Queensland Australia Lists the communities of Aboriginal Australians who were in attendance at the festival.

Stephanie Britton

Indigenous Arts of the Pacific

Alternative Festival in Samoa

An alternative festival celebrating the people of the Pacific was held on one of the outer islands (Manono) in Western Samoa at the same time as the official Pacific Festival of the Arts in Apia. The festival was conducted from 8-23 September 1996.

Megan Tamati-Quennell

Indigenous Arts of the Pacific

Collaboration - Zhou Xiaoping and Jimmy Pike

Chinese Australian artist Zhou Xiaoping and Aboriginal artist Jimmy Pike exhibit collaborative works in China later in 1996. The author discusses Zhou's new work and his collaboration with Jimmy Pike.

Fotis Kapetopoulos

Indigenous Arts of the Pacific

The Necessity of Craft ed Lorna Kaino

Book review The Necessity of Craft: Development and Women's Craft Practice in the Asian Pacific Region Edited by Lorna Kaino University of Western Australia Press 1995 RRP $24.95

Lissant Bolton

Indigenous Arts of the Pacific

Encyclopaedia of Aboriginal Australia ed David Horton

Book review Encyclopaedia of Aboriginal Australia with companion CD Rom Edited by David Horton Aboriginal Studies Press for AIATSIS RRP $150

Katrina Power

Indigenous Arts of the Pacific

Doin' the Limbo

Exhibition review White Hysteria Curated by Susan Treister Contemporary Art Centre, Adelaide South Australia 7 - 30 June 1996

Stephanie Radok

Indigenous Arts of the Pacific

Whetting the Appetite

Exhibition review State of the Art 4 Biennial survey exhibition curated by Stephanie Radok New Land Gallery, Port Adelaide South Australia 21 April - 12 May 1996

Angela Valamanesh

Indigenous Arts of the Pacific

The Silence which Howls

Exhibition review Second Look: Prospect Textile Biennial Prospect Gallery 14 April - 5 May 1996

Brenda Goggs

Indigenous Arts of the Pacific

Funk Junk

Exhibition review Junk Bonds New Land Gallery, Port Adelaide South Australia Touring South Australia and interstate with Visions of Australia 28 June - 28 July 1996.

John Neylon

Indigenous Arts of the Pacific

Truth, Whose Truth?

Exhibition review Peter Dailey: Prime Time Lawrence Wilson Art Gallery University of Western Australia 17 May - 30 June 1996

Ray Spiteri

Indigenous Arts of the Pacific

Memories - Macabre and Magic

Exhibition review Aadje Bruce: Domestic Bliss Artplace Claremont Western Australia 9 May -1 June 1996

Margaret Way

Indigenous Arts of the Pacific

Resilient Modernism

Exhibition review Miriam Stannage and Tom Gibbons Goddard de Fiddes Contemporary Art Perth, Western Australia 2- 22 June 1996

Robert Cook

Indigenous Arts of the Pacific

From the Back Shed

Exhibition review House and Home Anne Neil and Steve Tepper Fremantle Art Centre galleries, grounds and craft shop 25 May - 16 June 1996

Gillian Rainer

Indigenous Arts of the Pacific

Neo-colonialist Precipice

Exhibition review Secret Places Sieglinde Karl, Hazel Smith, Kate Hamilton, Ron Nagorka Queen Victoria Museum and Art Gallery, Touring regional Australia through Contemporary Art Services Tasmania and the national Exhibitions Touring Scheme.

Jane Deeth

Indigenous Arts of the Pacific

Touch Don't Touch

Exhibition review Tangibility Claire Barclay, John R Neeson, Stephen Bush & Jan Nelson Plimsoll Gallery and Powder Magazine, Hobart 10 - 31 May 1996

Mary Knights

Indigenous Arts of the Pacific

Reality-technicians: everyday sorcery in installation art in New Zealand

'There was a flash of light, a smell of laundry and the penetrating fumes of a powerful cleanser, then a neutral nothing-smell, not even the usual substituted forest glade or field of lavender or carnation, and all that remained of Tommy were two faded footprints on the floor.'

Sarah Farrar

Darwin Festival - A Glimpse

Overview of the Festival of Darwin with its temporary visual art installations 'art head land' by 18 artists. For the summer of 1996.

Stephanie Britton

Indigenous Arts of the Pacific

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