Relevant bibliographies by topics / New Zealand museums

Academic literature on the topic 'New Zealand museums'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "New Zealand museums"

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Crane, Rosi, and B. J. GILL. "William Smyth (1838–1913), a commercial taxidermist of Dunedin, New Zealand." Archives of Natural History 45, no. 2 (October 2018): 292–308. http://dx.doi.org/10.3366/anh.2018.0521.

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William Smyth, unable to get work in a New Zealand museum, ran a commercial taxidermy business at Caversham, Dunedin, from about 1873 to 1911 or 1912. His two decades of correspondence with Thomas Frederic Cheeseman at the Auckland Museum provide a case study of Smyth's professional interaction with one of New Zealand's main museums. We have used this and other sources to paint a picture of Smyth's activities and achievements during a time when there was great interest in New Zealand birds but few local taxidermists to preserve their bodies. Besides the Auckland Museum, Smyth supplied specimens to various people with museum connections, including Georg Thilenius (Germany) and Walter Lawry Buller (New Zealand). Smyth was probably self-taught, and his standards of preparation and labelling were variable, but he left a legacy for the historical documentation of New Zealand ornithology by the large number of his bird specimens that now reside in public museum collections in New Zealand and elsewhere.
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Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.

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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?
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Paterson, Robert K. "Heading Home: French Law Enables Return of Maori Heads to New Zealand." International Journal of Cultural Property 17, no. 4 (November 2010): 643–52. http://dx.doi.org/10.1017/s0940739110000408.

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New Zealand claims for the return of preserved tattooed Maori heads held by foreign institutions have revisited complex legal, ethical, and cultural questions surrounding human remains in museum and other institutional collections worldwide. Recent legislation in France that facilitates the return of Maori heads in French museums represents a further stage in this ongoing story.
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McCarthy, Conal. "From histories of museums to museum history: approaches to historicising colonial museums in Aotearoa New Zealand." Museum History Journal 13, no. 1 (January 2, 2020): 95–110. http://dx.doi.org/10.1080/19369816.2020.1759008.

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Smith, Greagh, Conal McCarthy, Bronwyn Labrum, Ken Arnold, Dominique Poulot, Jill Haley, Jun Wei, and Safua Akeli Amaama. "Book Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 235–49. http://dx.doi.org/10.3167/armw.2020.080118.

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Joan H. Baldwin and Anne W. Ackerson. Women in the Museum: Lessons from the Workplace. New York: Routledge, 2017.Christina Kreps. Museums and Anthropology in the Age of Engagement. London: Routledge, 2020.Ken Gorbey. Te Papa to Berlin: The Making of Two Museums. Dunedin, New Zealand: Otago University Press, 2020.Inge Daniels. What Are Exhibitions For? An Anthropological Approach. London: Bloomsbury, 2019.Dario Gamboni. The Museum as Experience: An Email Odyssey through Artists’ and Collectors’ Museums. Turnhout, Belgium: Brepols.Yulia Karpova. Comradely Objects: Design and Material Culture in Soviet Russia, 1960s–80s. Manchester: Manchester University Press, 2020.Gail Dexter Lord, Guan Qiang, An Laishun, and Javier Jimenez, eds. Museum Development in China: Understanding the Building Boom. Lanham, MD: Rowman and Littlefield, 2019.Philipp Schorch with Noelle M. K. Y. Kahanu, Sean Mallon, Cristián Moreno Pakarati, Mara Mulrooney, Nina Tonga and Ty P. Kāwika Tengan. Refocusing Ethnographic Museums through Oceanic Lenses. Honolulu: University of Hawai‘i Press, 2020.
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McCarthy, Conal, and Joanna Cobley. "Museums and Museum Studies in New Zealand: A Survey of Historical Developments." History Compass 7, no. 2 (March 2009): 395–413. http://dx.doi.org/10.1111/j.1478-0542.2008.00587.x.

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Massey, Claire, and Kate Lewis. "Exhibiting enterprise: how New Zealand museums generate revenue." International Journal of Heritage Studies 9, no. 4 (December 2003): 325–39. http://dx.doi.org/10.1080/1352725022000155063.

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Attwood, Bain. "Difficult Histories." Public Historian 35, no. 3 (August 1, 2013): 46–71. http://dx.doi.org/10.1525/tph.2013.35.3.46.

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In recent decades many democracies around the world have tried to meet growing political demands to make amends for past wrongs by showing their troubling pasts. Museums, especially new national museums, have performed a crucial role in this historical work. In this article I examine the attempt of one of these, the Museum of New Zealand Te Papa Tongarewa, to stage an exhibit about a historic agreement between the indigenous Maori people and the British government that had come to be regarded as the nation’s founding constitutional document at the same time as it remained the subject of much controversy and enormous contestation.
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Ross, Kirstie. "Museums, Mobility, and Material Culture." Transfers 3, no. 2 (June 1, 2013): 122–29. http://dx.doi.org/10.3167/trans.2013.030209.

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Bel, Marine, Michael Berger, and Robert K. Paterson. "Administrative Tribunal of Rouen, Decision No. 702737, December 27, 2007 (Maori Head case)." International Journal of Cultural Property 15, no. 2 (May 2008): 223–26. http://dx.doi.org/10.1017/s0940739108080156.

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In October 2007, the mayor of the French city of Rouen agreed to return to New Zealand a preserved tattooed head of a Maori warrior (called toi moko by Maori) from that city's Museum of Natural History, whose collection the head had been part of since 1875. The decision to return the head was based on an initiative by the Museum of New Zealand (Te Papa Tongarewa), which has successfully secured the return of other such heads from museums in various European countries and the United States. Before the Rouen head could be handed over, however, the French Ministry of Culture intervened, arguing that its return was unauthorized under French law as being part of a French museum collection and thus inalienable.
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Dissertations / Theses on the topic "New Zealand museums"

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Gore, James Michael. "Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa /." [Australia] : J. Gore, 2002. http://eprints.unimelb.edu.au/archive/00000320.

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Williams, Paul Harvey. "New Zealand's identity complex : a critique of cultural practices at the Museum of New Zealand Te Papa Tongarewa /." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1542.

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This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.
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Tapsell, Paul. "Taonga : a tribal response to museums." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263242.

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McCredie, Athol. "Going public New Zealand art museums in the 1970s /." [Palmerston North, N.Z.] : Massey University Library, 2006. http://hdl.handle.net/10179/250.

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Algers, Maria. "Museums as tools for Cultural Citizenship: Two case studies in New Zealand." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21590.

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This thesis will explore the concept of cultural citizenship by researching visitor’s responses to five exhibitions across two museums in the Lower Hutt region of New Zealand. The thesis will also examine museum management and staff’s perspectives on these exhibits, and compare these to visitor’s. The aim of the thesis is to understand how museum visitors reflect upon and use museum exhibits as tools in relation to their cultural heritage and cultural citizenship. This approach provides a focus for reflection regarding the cultural importance of museum exhibitions. Stuart Hall’s encoding/decoding model will serve as an overall framework for the study, and the theoretical concepts of memory, rhetoric, meaning making and cultural citizenship will further inform the analysis. The results indicate that museum visitors reflect upon exhibits as tools for reminding, and also indicate that exhibits are seen important for learning and representation. Furthermore, the study finds that visitors do not find exhibits particularly challenging or personal. Museum staff provide other perspectives on the importance of museum exhibits, such as their art historical, representational and community-museum relationship building potential, but the study finds that these themes are seldom explicitly recognised by visitors. The concluding discussion reflects on these results, and suggests avenues for future research.
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Lemoine, April J. Williams Stephen L. "Repatriation of cultural property in museums a balance of values and national agendas /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5073.

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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Crelinsten, Rohana. "Maori stereotypes, governmental policies and Maori art in museums today : a case study of the museum of New Zealand Te Papa Tongarewa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/MQ43672.pdf.

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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.

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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
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Books on the topic "New Zealand museums"

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Massey, Claire. Exhibiting enterprise generating income in New Zealand museums: A report. [Wellington, N.Z.]: Museum of New Zealand Te Papa Tongarewa, 2001.

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Angels & aristocrats: Early European art in New Zealand public collections. Auckland, N.Z: Random House New Zealand, 2010.

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Dench, Alison. Museums to visit in New Zealand: Over 150 outstanding collections open to the public. Auckland, N.Z: New Holland, 2010.

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Tomory, P. A. European paintings before 1800 in Australian and New Zealand public collections: Summary catalogue. Sydney: Beagle Press, 1989.

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Union list of New Zealand newspapers before 1940 preserved in libraries, newspaper offices, local authority offices, and museums in New Zealand. Wellington: National Library of New Zealand, 1985.

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Robinson, Denis. Art galleries to visit in New Zealand: Over 130 outstanding art collections open to the public. Auckland: New Holland, 2011.

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British Museum. The Maori collections of the British Museum. London: British Museum Press, 2010.

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Wānanga on Bicultural Governance and Leadership in Museums (2000 Museum of New Zealand). He Wānanga Tirohanga Rangapū mō Te Kaupapa Tikanga-ā-rua i roto i Ngā Whare Taonga =: Wānanga on Bicultural Governance and Leadership in Museums. [Wellington: Museum of New Zealand, 2000.

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Henare, Amiria J. M. Museums, anthropology and imperial exchange. New York: Cambridge University Press, 2005.

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Museums, anthropology and imperial exchange. New York: Cambridge University Press, 2005.

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Book chapters on the topic "New Zealand museums"

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De Leiuen, Cherrie. "Australia, New Zealand, and Papua New Guinea: Museums." In Encyclopedia of Global Archaeology, 1126–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_771.

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Leiuen, Cherrie. "Australia, New Zealand, and Papua New Guinea: Museums." In Encyclopedia of Global Archaeology, 600–608. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_771.

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Sommer, Christopher. "Mapping Museums in New Zealand: The Representation of Place Identity in the Permanent Exhibition at the Puhoi Bohemian Museum." In Mapping Migration, Identity, and Space, 85–115. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77956-0_4.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 7542–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2294.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_2294-2.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 5114–16. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_2294.

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Orchiston, Wayne. "The ‘Cook’ Gregorian Telescope in the Museum of New Zealand Te Papa Tongarewa." In Exploring the History of New Zealand Astronomy, 207–26. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-22566-1_7.

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MacKenzie, John M. "New Zealand/Aotearoa." In Museums and empire. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526118325.00014.

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MacKenzie, John M. "New Zealand/Aotearoa." In Museums and empire. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526118325.00015.

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Sandahl, Jette. "Curating across the colonial divides." In Curatopia, 72–89. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0006.

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Rooted in specific cases and in the author’s background of working across the colonial divides of museums in Europe and in Aotearoa New Zealand, this chapter explores the continued colonial and supremacist default position of ethnographic museum collections in Europe. Whereas in, for instance, Aotearoa New Zealand and the United States, a focused pressure by indigenous and other un- and underrepresented communities have ensured legislative frameworks that recognize the expertise, authority and rights to self-representation of the people with an original cultural connection to the given objects, museums holding global collections in Europe are still working in an ethical void which permits a continued denial and disavowal of the implication of colonialism. Whiteness is, in James Baldwin’s term, a moral choice – and a choice still practiced by museums, when they prefer token projects of diversity and the de-legitimization and marginalization of alternative epistemologies and museological principles to a systematic process of self-reflection and de-colonization, which actively embraces present accountability for historic wrongs, and thereby enables the museum to address urgent, current global issues and conflicts.
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Conference papers on the topic "New Zealand museums"

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Göl, Berna. "A Transformation of Leisure in the Architectural Imaginary: Could the Tiny House Movement Learn from Megastructuralism?" In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3983pl8u6.

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Architecture culture inevitably revolves around the idea of leisure including its many connotations, such as recreation, reproduction, education, entertainment etc. As a concept, it not only corresponds to many spheres of everyday life, but also designates how time is being or should be spent via functions associated with architecture (such as leisure parks), through challenging architectural imagination (experimentation with pavilions or museums) as well as discourse built around particular examples of architecture. In the post-war world, leisure society was a prominent expression and had direct effects on architectural production through cultural centers, educational facilities and a vast range of public spaces that were meant to serve all individuals of society. On the other hand, leisure, arguably, is now being replaced by other ideas such as well-being or happiness. It is possible to observe a shift from a societal imaginary onto an individual one. This paper takes this shift in ideas around leisure and traces its possible extensions in the architectural culture via two trends in architecture: Megastructuralism and the tiny house movement. While the megastructralists of the 1960s imagined self-sufficient cities and communities, the tiny house movement of the past decade has been looking for self-sufficiency through singular houses/households. Departing from major texts such as Fumihiko Maki’s Collective Form (1964) or Reynar Banham’s Megastructures (1976) to old and new critical articles on the tiny house movement, this paper investigates references to leisure and ideas around it. It explores the tiny house movement and the megastructuralism; mapping their parallels in responding to crises of their era, their ways of experimenting and challenging architecture’s limits and finally aims to address what the two movements may display about one another as an attempt to enhance present architectural theory.
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Hornecker, Eva, and Matthias Stifter. "Digital backpacking in the museum with a SmartCard." In the 6th ACM SIGCHI New Zealand chapter's international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1152760.1152773.

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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
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Jin, Xin. "Making with the Past: Bricolages in Wang Shu’s Design Writings and Built Projects." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4002phgul.

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This study explores how design research writing can engage with historical reference in a radical way. In the 2002 essay “Shijian Tingzhi de Chengshi” (“City Froze in Time”), based on Chapter 2 of his 2000 PhD thesis, Xugou Chengshi (Fictionalising City), the Chinese architect Wang Shu proposes reinterpreting the traditional Chinese architecture and city through the anthropologist Claude Lévi-Strauss’s notion of “bricolage”, which is defined as making do with available objects. Bricolage is informative for understanding Wang’s design undertakings, which involve skilful adaptations of vernacular building types and construction techniques in new urban projects. Nevertheless, its fundamental role in shaping Wang’s design writings is yet to be fully understood. In his design writings, Wang employs a specific quotation method whereby words and paragraphs from other writers’ preexisting works are reused and woven into new textual compositions. Through formal analysis of “City Froze in Time” and comparisons of compositional patterns between the essay and Wang’s built projects, mainly the Xiangshan Campus of the China Academy of Art, Phase II, Hangzhou (2007) and the Ningbo History Museum, Ningbo (2008), this piece explores three issues. First, it demonstrates how textual fragments found in the past and uttered by others undergo bricolage in Wang’s essay. Second, it foregrounds the intention behind Wang’s chosen writing strategy and investigates broader critical issues, such as authorship and the past–present nonlinear order associated with Wang’s strategy. Third, it expresses how historical materials – understanding “materials” in an inclusive sense – are treated in comparable ways in Wang’s written and built works. By examining Wang’s case, this paper highlights a radical case of contemporary architectural research writing in which an attempt is made to demolish the boundary between theory and design by extending the make-do logic of design into the field of design reflection.
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Reports on the topic "New Zealand museums"

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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