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Journal articles on the topic 'National Art Gallery, New Zealand'
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1
McNaughton, Esther Helen. "Art Gallery Education in New Zealand during COVID-19." Museum Worlds 8, no. 1 (July 1, 2020): 135–48. http://dx.doi.org/10.3167/armw.2020.080110.
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This article describes the unprecedented coming together of New Zealand art gallery educators to respond to the challenges of the 2020 COVID-19 pandemic. This newly formed community of practice met virtually three times at critical points. At each stage, new concerns were discussed and understandings evolved. The gallery educators were able to approach shared issues cooperatively, enabling mutual support to a degree that had hitherto not been possible. By the end of these meetings, gallery educators were reestablishing their regular teaching practice with the integration of many of the innovations of the period. Additionally, the meetings fulfilled a preexisting desire for closer contact and professional support, and thus proved to be the foundation of an ongoing national professional group for New Zealand art gallery educators.
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Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.
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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s collections and services, and also posits the relevance of its resources in the context of global art documentation.
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Horgan, Joanne C. "Kohia Ko Taikaka Anake: An Exhibition at the National Art Gallery of New Zealand." Museum Anthropology 15, no. 4 (November 1991): 22–25. http://dx.doi.org/10.1525/mua.1991.15.4.22.
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Turner, Bryan S. "Book Reviews : WORKING MEN. By Glenn Busch. New Zealand, National Art Gallery, 1984. 115pp." Australian and New Zealand Journal of Sociology 22, no. 1 (March 1986): 149–50. http://dx.doi.org/10.1177/144078338602200117.
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Stocker, Mark. "Prophet without honour: Margaret Butler and the status of sculpture in New Zealand, 1937–40." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 73–92. http://dx.doi.org/10.24135/backstory.vi2.23.
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This article consists of two parts, an introductory text, followed by long-forgotten primary source publications from 1937 to 1940 in the Evening Post, Dominion and Art in New Zealand. Predominantly letters to the editor, they address the reputation and profile of the sculptor Margaret Butler who had returned to her native New Zealand in 1934 after a prolonged stint overseas. Their authors include the literary figures Charles Marris and Alan Mulgan. They all note the critical acclaim she achieved in Paris and Vienna, and the merits of her sculpture. The writers also ask why native artistic talent appears to be neglected by institutions such as the newly-established National Art Gallery in favour of expensive overseas art, and press for the acquisition of more of Butler’s works. No official response was recorded and in any case Butler’s sculptural career had effectively ended by the time of the last such letter, dated November 1940.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Hoar, Peter. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 2–3. http://dx.doi.org/10.24135/backstory.vi2.18.
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Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history.
This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy.
New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds.
The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s.
The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.
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Pierce, Imogen Van. "Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.
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What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.
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Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.
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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.
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Simon, Sherry. "Reflections on Translation Studies: Past and Present." TTR 30, no. 1-2 (May 31, 2019): 61–78. http://dx.doi.org/10.7202/1060018ar.
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This article is a reflection on translation studies and a suggestion for new directions in further research. The case study is that of the new labelling in the National Gallery of Canada which includes labelling in Indigenous languages.In June of 2017, the National Gallery opened newly renovated galleries with a special exhibition of Canadian and Indigenous Art. The translations which are part of this exhibition are important in redefining the identity of Canadian art.
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Samarasinghe, Anya. "Stories of Victorian Paintings at Auckland Art Gallery Toi o Tāmaki – Navigating Intersections between Past and Present." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 95–111. http://dx.doi.org/10.24135/backstory.vi9.66.
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Victorian painting featured strongly in Auckland Art Gallery Toi o Tāmaki’s early collection and continued to be acquired well into the twentieth century. These artworks have tendedto be displayed through the lenses of theme and narrative. However, the need to invigorate this format is gaining momentum as curators are exploring ways to navigate intersections between past and present. Te Haerenga/The Passage, currently on display at Auckland Art Gallery Toi o Tāmaki, is in keeping with the drive towards enabling historical, international artworks, such as Victorian painting, to be displayed in connection with contemporary New Zealand and Māori art, thus shifting boundaries between traditional perceptions of the art historical canon and contemporary notions of identities and ideas.
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Waddington, Murray. "The national role of the Library of the National Gallery of Canada." Art Libraries Journal 19, no. 1 (1994): 27–29. http://dx.doi.org/10.1017/s0307472200008671.
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The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be shared with colleagues and students; initiation and promotion of collaborative projects. As a federal body the National Gallery of Canada is excluded from funding sources available to others, but will support the projects of others. A national task force is needed to outline and develop a Canadian strategic plan for art libraries.
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May, Sally K., Jillian Huntley, Melissa Marshall, Emily Miller, John A. Hayward, Andrea Jalandoni, Joakim Goldhahn, et al. "New Insights into the Rock Art of Anbangbang Gallery, Kakadu National Park." Journal of Field Archaeology 45, no. 2 (January 1, 2020): 120–34. http://dx.doi.org/10.1080/00934690.2019.1698883.
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Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.
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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (October 28, 2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.
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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, including the unauthorized cleaning of the marbles.
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Andersen, Josephine, and Nozuko Mjoli. "Beyond the walls: taking the art library to the community." Art Libraries Journal 20, no. 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.
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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.
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Stoškutė, Neringa. "Tension Between Everyday Practice and the New Museology Theory: A Case of the National Gallery of Art in Vilnius." Art History & Criticism 13, no. 1 (December 1, 2017): 76–87. http://dx.doi.org/10.1515/mik-2017-0006.
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Summary This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theory and its historiography, including main authors, who have contributed to the formation and development of the ‘new’ theory. The second part presents an overview of different methods of display, including aesthetic, contextual/educational and white cube models. The third part shows how a recent establishment of the National Gallery of Art (NGA) in Lithuania completely ignored the New Museology theory and was based on the modernist view of art history, made popular in the Soviet period. Thus, it comes as no surprise, that the permanent collection display at the NGA has received a lot of criticism from various cultural and art historians and other academics. It is expected that the presentation of the main aspects of the New Museology theory and an assessment of a permanent collection display at the National Gallery of Art will help inform Lithuanian museum practice and form a basis for further studies in Lithuanian museological research.
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Karrels, Nancy Caron. "Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940–1949." International Journal of Cultural Property 22, no. 4 (November 2015): 505–26. http://dx.doi.org/10.1017/s0940739115000296.
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Abstract:In 1940, the British Admiralty detained a British passenger ship sailing from Lisbon to New York at the port of Hamilton, Bermuda, for a contraband search. Customs authorities seized four crates containing hundreds of artworks by leading European artists. Suspected of being sent to New York for sale by the French art dealer Martin Fabiani for the economic benefit of German-occupied France, the captured collection—originally the property of art dealer Ambroise Vollard—was confiscated as a prize of war and sent to Ottawa, Canada, for wartime safekeeping. The National Gallery of Canada stored the collection from 1940 to 1949, when British courts instructed the collection’s Canadian custodian to release it to its rightful owners, Fabiani and the Vollard heirs. This essay reframes the wartime journey of the Vollard-Fabiani collection and challenges the long-held notion that it belongs to the narrative of Nazi-looted cultural property. This essay also highlights an important role played by the National Gallery of Canada during World War II.
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Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.
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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.
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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.
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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.
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Terreni, Lisa. "Visual Arts Education for Young Children In Aotearoa New Zealand." Journal of Childhood Studies 41, no. 4 (February 21, 2017): 50. http://dx.doi.org/10.18357/jcs.v41i4.16718.
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<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Visual art education plays a significant role in fostering </span><span>young children’s learning, thinking, and communicating. </span><span>In New Zealand, approaches to early childhood visual </span><span>art education have developed in response to international educational theories and trends, which, over the years, have often resulted in changes to pedagogy and practice in this domain. Currently, the national early childhood curriculum Te </span><span>Whāriki includes references to visual art education in many </span><span>of its learning strands. Whilst the curriculum has a strong sociocultural orientation to learning and teaching, approaches to early childhood visual art education are diverse. A brief historical overview of early childhood visual arts education in </span><span>New Zealand is presented and, to conclude, three examples of </span><span>current, innovative art projects are discussed. </span></p></div></div></div></div>
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Mann, Deandra Rose. "To Have and To Hold … Or Not? Deaccessioning Policies, Practices, and the Question of the Public’s Interest." International Journal of Cultural Property 24, no. 2 (May 2017): 113–59. http://dx.doi.org/10.1017/s0940739117000091.
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Abstract:Shockwaves echoed through the media and the arts community when the Delaware Art Museum chose to deaccession pieces from its collection and when the public learned that the Detroit Institute of Arts might be forced to do the same. Further concern arose when financial troubles compelled the Corcoran Gallery of Art to merge with the National Gallery of Art and George Washington University. An examination of the climate and legal battles surrounding these events shows how these institutions chose to cope with the financial adversity that put their collections at risk and illustrates the precarious position of works in a museum’s collection when that museum experiences financial distress. This article explores the ethical, judicial, and legislative frameworks currently governing deaccessioning and ultimately advocates for new legislative solutions to guide the deaccession process in order to provide the opportunity to maintain these works in the public sphere.
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Moran, Jessica, Floran Feltham, and Valerie Love. "Building an Aotearoa New Zealand-wide Digital Curation Community of Practice." International Journal of Digital Curation 14, no. 1 (January 3, 2020): 262–74. http://dx.doi.org/10.2218/ijdc.v14i1.638.
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How do you build awareness and capability for digital curation knowledge and experience across a country? The National Library of New Zealand has a statutory role in supporting and advancing the work of Aotearoa New Zealand libraries to ensure documentary heritage and taonga is collected and preserved across the country’s memory system. This role includes supporting the collecting and curation of born-digital content. Aotearoa New Zealand’s Gallery Library Archive Museum (GLAM) sector is small but varied and diverse, so requires a flexible and adaptive plan to grow experience and capability in this area. This paper will describe the background research undertaken to gain a better understanding of the current environment, describe the development and delivery of pilot training in managing born-digital archival content, and outline our next steps. Driving this effort has been two foundational principles: 1) theory and practice are always in conversation with each other and practical hands-on experience is as important as theoretical knowledge and understanding; and 2) the work of growing capability should be done in a spirt of collaboration and partnership, meeting each other as equals and learning from each other.
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Nolan, Catherine, and Jonathan Ritchie. "A New Collection and Home for Oral History at the National Museum and Art Gallery of Papua New Guinea." Journal of Pacific History 55, no. 4 (October 1, 2020): 534–36. http://dx.doi.org/10.1080/00223344.2020.1834491.
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RANKIN, ELIZABETH. "THE INVENTION OF NEW ZEALAND: ART AND NATIONAL IDENTITY 1930-1970 BY FRANCIS POUND." Art Book 17, no. 4 (November 2010): 49–50. http://dx.doi.org/10.1111/j.1467-8357.2010.01137_2.x.
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Craw, Janita. "Making art matter-ings: Engaging (with) art in early childhood education, in Aotearoa New Zealand." Journal of Pedagogy 6, no. 2 (December 1, 2015): 133–53. http://dx.doi.org/10.1515/jped-2015-0018.
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Abstract This article examines the special nature of Te Whāriki, Aotearoa New Zealand’s early childhood national curriculum, as a dynamic social, cultural document through an exploration of two art-inspired imaginary case studies. Thinking with Te Whāriki retains the potential to ignite thinking post-developmentally about art, pedagogy and practice in teacher education, and in the field. It offers examples of how creating spaces for engaging (with) art as pedagogy acts as a catalyst for change, art offers a dynamic way of knowing, and being-with the different life-worlds we inhabit. While new paradigms for thinking and practicing art in education continue to push the boundaries of developmentally and individually responsive child-centred pedagogies, an emphasis on multiple literacies often gets in the way. This prohibits opportunities for engaging in other more complex approaches to pedagogy and art as subject-content knowledge, something essential for developing a rich curriculum framework. The article draws on research that emphasises the importance of teacher education in opening up spaces for thinking about (the history of) art in/and of education as more than a communication/language tool. It considers an inclusive and broad knowledge-building-communities approach that values the contribution that art, artists, and others offer the 21st early learning environments we find ourselves in.
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Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.
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Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.
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Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju." Ars Adriatica 9 (February 28, 2020): 173–92. http://dx.doi.org/10.15291/ars.2930.
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Based on the archival documentation from the interwar period in Rijeka, from 1934 to 1943, and an analysis of the published historical data, the author has presented the series of attempts to establish the Gallery of Modern Art in Rijeka at the time when Rijeka and Kvarner were annexed to the Kingdom of Italy, thus becoming its new province. Owing to the initiative of Guido Asveri Bottussi, an agile resident of Milan originating from Rijeka, the idea of founding a Gallery of Modern Art in Rijeka was born, as a very prominent institution that would exhibit works of Italian art from the 19th and 20th centuries. The first holdings of the Gallery were collected through donations made by Italian academics and a donation of three paintings and one sculpture made by King Victor Emmanuel III of Italy to support the initiative and set an example for other potential donators. All donated works were first deposited in Milan with Bottussi. Due to Rijeka’s geostrategic position, the act of establishing such an institution became a matter of national interest for Italy, which saw it as a way to spread its culture beyond its borders, to the Kingdom of SHS and other Danubian countries. Started as Bottussi’s private initiative, with time the Gallery would turn into an initiative of Rijeka’s city administration and other state institutions based in Rome. Due to the war circumstances, the artworks donated for the Gallery’s initial collection never reached Rijeka, which now lacked the conditions for its full establishment.
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Gilderdale, Peter. "“Messages of Love from Maoriland”: A. D. Willis’s New Zealand Christmas Cards and Booklets 1883-1893." Back Story Journal of New Zealand Art, Media & Design History, no. 7 (December 1, 2019): 25–71. http://dx.doi.org/10.24135/backstory.vi7.49.
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I have previously explored the beginnings of the New Zealand Christmas card prior to 1883, and the ways that the designers of these cards negotiated the colonial experience of a summer Christmas.1 This paper examines the development, over the decade following 1883, of the chromolithographic work of A. D. Willis, whose production not only continued the work of creating a niche for New Zealand Christmas cards, but also tried to compete with the large overseas ‘art publishers’ who were flooding the New Zealand market with northern hemisphere iconography. Willis’s Christmas cards are frequently used to illustrate books looking at the 1880s, but there has been no detailed study done of them. The paper therefore documents the cards, their production and reception, explores how they record Willis’s understanding of the art publishing business and the market he was working into, and situates them in relation to broader print culture. Understanding this overlooked chapter in ‘commercial art’ provides useful evidence of the murky interplay between the local, national and transnational identities that marked New Zealand cultural production when artists and designers sought to capture the public’s Yuletide sentiments. Willis’s work also displays two very distinct conceptions of how to represent what was increasingly known as ‘Maoriland’ to an overseas market – one focused on the land, and the other on Māori. As such, these cards act as a weathervane for what the New Zealand public accepted as New Zealand, artistic and appropriate as a Christmas gift.
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Pivoda, Peter. "The Possible Role of Art Museums in Regard to Educational Reform." Intercultural Relations 2, no. 2(4) (March 27, 2019): 95–107. http://dx.doi.org/10.12797/rm.02.2018.04.06.
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This paper concerns ongoing educational reform in Slovakia and its goals as declared in the foundation document entitled Learning Slovakia. Within these goals, we have chosen those which are connected to freedom and supporting concepts of civil society. Besides the political circumstances of reform, we analyse art museums as educational institutions. The aim is to find common interests in education being provided both by schools and art museums, and especially how they may become partners in fulfilling the needs of a new school curriculum. To illustrate one possible way of partnership, we use examples of three individual educational programmes from the Slovak National Gallery in Bratislava.
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Sigley, Agnes. "Diving into the Human Psyche." Ata: Journal of Psychotherapy Aotearoa New Zealand 17, no. 1 (September 30, 2013): 109–13. http://dx.doi.org/10.9791/ajpanz.2013.09.
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As I regularly invite my clients to inhale and exhale and connect with their breath, their bodies’ sensations, their hearts, and deeper parts of themselves through the expressive arts, I find inspiration and resonance in Vincent Ward’s art works. Vincent Ward (b.1956) is one of the most original and acclaimed New Zealand artists, and some have called him a visionary. His latest exhibitions, Inhale/Exhale were held simultaneously at the Gus Fisher Gallery, in the University of Auckland and the Wallace Arts Centre at the Pah Homestead in July 2012. Inhale was a cinematic installation while Exhale showcased painting and photographic print. I visited both exhibitions and attended some of the talks.
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Roberts, Jackson R., Bulisa Iova, and Christopher C. Austin. "A new species of New Guinea Worm-Eating Snake (Serpentes, Elapidae, Toxicocalamus Boulenger, 1896) from Western Highlands Province, Papua New Guinea." Zoosystematics and Evolution 98, no. 2 (October 5, 2022): 399–409. http://dx.doi.org/10.3897/zse.98.90520.
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We describe a new species of New Guinea Worm-Eating Snake (Elapidae: Toxicocalamus) from a specimen in the reptile collection of the Papua New Guinea National Museum and Art Gallery. Toxicocalamus longhagensp. nov. can be easily distinguished from other species of this genus by the presence of paired subcaudals, a preocular scale unfused from the prefrontal scale, a prefrontal distinct from the internasal scale that contacts the supralabials, a single large posterior temporal and two postocular scales. The new taxon is currently known only from one specimen, which was collected from Mt. Hagen Town in Western Highlands Province, Papua New Guinea in 1967. The new species was originally identified as T. loriae, but the unique head scalation and postfrontal bone morphology revealed through micro-computed tomography scanning easily distinguish the new species from T. loriaesensu stricto. This is the first species of this genus described from Western Highlands Province.
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Pauli, Dorothee. "Seeing Red and Feeling Blue: Social Commentary and Protest in the Work of Michael Reed." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 69–93. http://dx.doi.org/10.24135/backstory.vi9.65.
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Accounts of politically inspired art occupy the margins of New Zealand art history. The career of Michael Reed (born 1950, Christchurch) offers an opportunity to discuss how a New Zealand artist has responded to shifts in 20th and early 21st century global debates regarding social justice, economic exploitation, cultural domination and war. He works across a range of mainly print-based techniques but has also found international recognition for his technically innovative ‘medals of dishonor.’ Through his frequent involvement in collaborative projects, Reed has become part of national and international networks of artists who attempt to speak for the many victims of geo-political power struggles.
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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.
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In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
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Harrison, Keith, John Peek, Michael Chapman, and Mark Bowman. "Continuous improvement in national ART standards by the RTAC accreditation system in Australia and New Zealand." Australian and New Zealand Journal of Obstetrics and Gynaecology 57, no. 1 (October 21, 2016): 49–51. http://dx.doi.org/10.1111/ajo.12558.
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von Poser, Alexis Th. "Craig, Barry (ed.): Living Spirits with Fixed Abodes. The Masterpieces Exhibition Papua New Guinea National Museum and Art Gallery." Anthropos 107, no. 2 (2012): 605–6. http://dx.doi.org/10.5771/0257-9774-2012-2-605.
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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.
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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.
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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Wood, Peter. ""... from teat-jerk to quidnunc": A.R.D. Fairburn and the Formation of an Ideology of Architectural Nationalism in New Zealand." Architectural History Aotearoa 3 (October 30, 2006): 44–51. http://dx.doi.org/10.26686/aha.v3i.6799.
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In 1934 ARD Fairburn published the essay "Some Aspects of N.Z. Art and Letters" in the journal Art in New Zealand. In it he criticized Alan Mulgan's book Home: A Colonial's Adventure, which had been first published in 1927, and was reprinted in 1934. It was, in Fairburn's view, an account unacceptably steeped in romantic melancholy for a distant motherland that was no longer as germane as it had once been. Instead he proposed looking to the American Transcendentalists Twain and Thoreau for direction.
Also published in 1934 was a small book from the New Zealand Institute of Architects called Building in New Zealand. In it the NZIA made a case for the professional and social responsibilities of the architect in New Zealand and it is best described as conservative. However it is pertinent that this book was edited by Alan Mulgan. Here the role of the architect in cast in practical terms that bear direct comparison to the code of practice issue for the Royal Institute of British Architects. Mulgan's contribution to discussion on New Zealand architecture is limited to this publication, and it is likely his editorship of Building in New Zealand was motivated more by depression economics than architectural interest. However this book is still an important summary of the profession at that time, and it links architecture to Mulgan's romantic writings though the reiteration of a colonial fountainhead. By contrast Fairburn would go on to champion a national voice for New Zealand's writers, artists, and architects. Moreover he established a close relationship with Vernon Brown, and was to associate with Bill Wilson and the Architectural Group. Indeed, the limited writings available from these architectural associates often echo Fairburn's 1934 call for an antipodean "honesty" in "our" buildings.
It is in the immediate post war period that the emergence of a national architectural expression in New Zealand is most celebrated, being lead in Auckland by Brown, Wilson, and the Architectural Group. However an examination of the writings by Fairburn and Mulgan shows that the elements of the debate were already in place well before then. I conclude that the antecedent for the emergence of debate on a national architectural character appears, however unintentionally, in the 1934 writings of Fairburn and Mulgan. Critical to this is discussion on we mean by "honest" architectural work.
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Coiffier, Christian. "Living Spirits with Fixed Abodes. The Masterpièces Exhibition Papua New Guinea National Museum and Art Gallery de Barry Craig (ed.)." Journal de la société des océanistes, no. 136-137 (October 15, 2013): 265–66. http://dx.doi.org/10.4000/jso.6874.
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Hopkins, David C., Warwick E. Massey, and John L. Pollard. "Architectural elements in earthquake a review of design and construction practice in New Zealand." Bulletin of the New Zealand Society for Earthquake Engineering 18, no. 1 (March 31, 1985): 21–40. http://dx.doi.org/10.5459/bnzsee.18.1.21-40.
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The paper describes the results of a survey of New Zealand and Californian designers, contractors, approving authorities and fabricators, conducted during 1984 as part of a research project for the National Science Foundation of USA. The emphasis was placed on protection of architectural elements themselves, although inevitably the question of risk to people was addressed.
The main sources of information were the responses to a questionnaire sent to selected members of each affected sector and the material offered by those respondents who were interviewed.
A clear picture of the New Zealand state-of-the-art emerged and a number of noteworthy example of separation of architectural elements were identified.
Recommendations for further research are made, particularly to improve knowledge of behaviour, and of the economics of special protective measures.
It is concluded that although New Zealand practice is advanced, there are important aspects which require attention.
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Richards, Valerie. "ARLIS/ANZ and art libraries in the Antipodes." Art Libraries Journal 11, no. 1 (1986): 12–16. http://dx.doi.org/10.1017/s0307472200004442.
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ARLIS/ANZ Art Libraries Society, Australia New Zealand was formed in August 1976. Since then, ARLIS/ANZ has arranged a number of seminars and workshops for art librarians in both countries; found finance to bring three noted art librarians to the antipodes to give talks and workshops which stimulated both members and other interested professionals; and has published thirteen issues of ARLIS/ANZ News. ARLIS has served as a valuable support for art librarians working in isolation, at great distance from international centres of publishing and art activity. Distance between ARLIS/ANZ centres led to the formation of local interest groups and cooperation between art libraries in art galleries and museums, universities, schools of art, and national resource libraries.
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Duarte, Adelaide, Ana Letícia Fialho, and Marta Pérez-Ibáñez. "External Shocks in the Art Markets: How Did the Portuguese, the Spanish and the Brazilian Art Markets React to COVID-19 Global Pandemic? Data Analysis and Strategies to Overcome the Crisis." Arts 10, no. 3 (July 15, 2021): 47. http://dx.doi.org/10.3390/arts10030047.
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The spread of the COVID-19 pandemic worldwide, and the restrictions imposed by the social distance and the enforced confinement, are having an impact on the art markets globally. The aim of this article is to evaluate the impact of an external shock in the primary art market, using three countries as a case study: Portugal, Spain, and Brazil. These geographies have in common being at the margins in the art market’s main art hubs. It is intended to analyze how agents are responding to the new context, according to the data gathered within the gallery sector. The methods applied in the research are a combination of surveys carried out by the authors, field-based observation, along with an academic literature review, complemented by international and national reports analysis. The study’s main findings allow us to characterize the art market as a very resilient sector that energetically responded to the crisis, able to adapt and overcome challenges imposed by the new pandemic situation. Contemporary art galleries expanded digital activities, kept participating in art fairs hybrid models, continued to focus on internationalization, and pointed to the strengthening of public policies towards the sector and partnerships as key strategies to overcome the crisis.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Terreni, Lisa. "Beyond the Gates: Examining the Issues Facing Early Childhood Teachers when they Visit Art Museums and Galleries with Young Children in New Zealand." Australasian Journal of Early Childhood 42, no. 3 (September 2017): 14–21. http://dx.doi.org/10.23965/ajec.42.3.02.
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EXCURSIONS TO CULTURAL CENTRES, such as art museums and galleries, can add new and valuable learning opportunities for young children. This paper presents the findings from a large scale national questionnaire that asked early childhood (EC) teachers in New Zealand about their engagement with art museums and galleries for learning experiences, outside of their EC centres. As part of a mixed methods research project, the questionnaire also sought to ascertain the degree to which the EC sector uses art museums and galleries as excursion destinations, and the ways in which they are used (or not). The findings suggest that key factors that both help and hinder visiting art museums and galleries with young children include: the pedagogical approaches EC teachers have in relation to visual art education, the ways in which teachers view successful learning opportunities for young children, and a teacher's own perceptions and fears of art museums and galleries. This study suggests that teachers have mixed views about whether visiting art museums and galleries will provide appropriate experiences for young children.
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Griffin, Isla. "Binding Matters." idea journal 17, no. 01 (October 21, 2020): 94–106. http://dx.doi.org/10.37113/ij.v17i01.382.
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This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.