Gotowa bibliografia na temat „Painting, British – Exhibitions”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Painting, British – Exhibitions”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Painting, British – Exhibitions"
1
Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980". Journal of the History of Collections 31, nr 2 (23.08.2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.
Pełny tekst źródłaStreszczenie:
Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters’ connections with British curators, scholars and dealers, who helped establish their reputation in Britain.
2
Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, nr 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
Pełny tekst źródłaStreszczenie:
This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
3
Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, nr 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
Pełny tekst źródłaStreszczenie:
This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
4
Golia, Maria. "Surrealism and Photography in Egypt". Nka Journal of Contemporary African Art 2021, nr 49 (1.11.2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
Pełny tekst źródłaStreszczenie:
Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
5
Moloi, Nkgopoleng. "Colour, Abstraction and Fantastic Sunsets". Thinker 91, nr 2 (6.06.2022): 65–70. http://dx.doi.org/10.36615/thethinker.v91i2.1293.
Pełny tekst źródłaStreszczenie:
This essay provides a study of colour as a dematerialised object through which to consider Blackness and art making. I ask how colour has been employed by Black artists as a critical component of their practices, proposing that a critical study of colour can help us understand how Black artists navigate the art landscape and create spaces of imagination, possibility, and life for themselves. Foregrounded by Darby English’s book, 1971: A Year in the Life of Color (2016), I consider Alma Thomas’ A fantastic sunset (1970), David Koloane’s Mgodoyi III (1993), and various exhibitions by Serge Alain Nitegeka. Although rooted in Black studies, I also consider British artist Marlow Moss’ painting Composition in yellow, black and white (1949). Here I’m interested in how colour can be usedto expand notions of intersectional identities through a queering approach. Colour is read as an effective tool of creation, resistance, and refusal. Through this text I consider Fred Moten’s riff on Fannie Lou Hamer, ‘Refuse what has been refused to you,’ as a potential approach and method, while considering colour as a method of refusal. That is to say, what does it mean when Black artists gravitate towards or away from a certain colour? How are these choices influenced by what they have been refused and what they choose to refuse?
6
Høvik, Ingeborg. "Heroism and Imperialism in the Arctic: Edwin Landseer’s Man Proposes – God Disposes". Nordlit 12, nr 1 (1.02.2008): 183. http://dx.doi.org/10.7557/13.1232.
Pełny tekst źródłaStreszczenie:
Edwin Landseer contributed the painting Man Proposes - God Disposes (Royal Holloway College, Egham), showing two polar bears amongst the remnants of a failed Arctic expedition, to the Royal Academy's annual exhibition of 1864. As contemporary nineteenth-century reviews of this exhibition show, the British public commonly associated Landseer's painting with the lost Arctic expedition of sir John Franklin, who had set out to find the Northwest Passage in 1845. Despite Landseer's gloomy representation of a present-day human disaster and, in effect, of British exploration in the Arctic, the painting became a public success upon its first showing. I will argue that a major reason why the painting became a success, was because Landseer's version of the Franklin expedition's fate offered a closure to the whole Franklin tragedy that corresponded to British nineteenth-century views on heroism and British-ness.
7
Wilkes, Robert. "A historical and iconographic analysis of Charles Landseer’s Brazilian paintings". MODOS: Revista de História da Arte 7, nr 3 (25.09.2023): 22–52. http://dx.doi.org/10.20396/modos.v7i3.8673148.
Pełny tekst źródłaStreszczenie:
This article presents a detailed examination of the two surviving Brazilian-themed paintings of Charles Landseer, the British artist who travelled to Brazil in 1825–26 as part of a diplomatic mission. His drawings in the Highcliffe Album are well-known, but the paintings are less familiar, and there has been a lack of art historical analyses of them within the broader context of the artist’s career. Furthermore, they have not been considered together before. Primary sources are used to present a new account of the paintings’ production and exhibition histories, uncovering previously overlooked information about how Landseer created the works and where he showed them in England in 1827. The article also incorporates lesser-known or previously unrecorded artworks by Landseer which relate to his Brazilian travels, including a third painting (depicting Madeira, not Brazil) which he exhibited in London in 1828, but which was only recently rediscovered. The only two known letters relating to Landseer’s involvement with the mission are transcribed in full in an appendix.
8
Bronkhurst, Judith. "The contemporary British paintings at the Manchester Art-Treasures Exhibition". Bulletin of the John Rylands Library 87, nr 2 (wrzesień 2005): 103–22. http://dx.doi.org/10.7227/bjrl.87.2.8.
Pełny tekst źródła
9
Kholeif, Omar. "Lubaina Himid". Nka: Journal of Contemporary African Art 2024, nr 54 (1.05.2024): 6–23. http://dx.doi.org/10.1215/10757163-11205409.
Pełny tekst źródłaStreszczenie:
Dr Omar Kholeif maps out the life and practice of the path-breaking British-artist, Lubaina Himid RA CBE (born, Zanzibar 1954) through a considered engagement of her multivalent creative output—in visual art, writing, and exhibition-making. A leading figure in the British Black Arts Movement, Himid is renowned for her narrative paintings, which interrogate historical representations of Black people’s creativity—from the eighteenth century to the present day. Painted canvasses, cut-out figures, drawers, and found carts find home in exhibitions that reveal the artist’s engagement with opera, performance, and architecture. Kholeif notes that Himid’s expressions have heralded a distinct re-formulation of Black visuality, achieved through a re-imagining of Black life—framed through the lens of the present. In “Do You Want an Easy Life?” Kholeif pays special attention to the artist’s collaborative art making and argues that through these forays that Himid is concerned with “making space” for what official record and history often elides. Kholeif argues that Himid’s artistic realm is constructed through a form of “female worlding” that presages an intertextual palette for art and its history—one which demands crucial revision.
10
Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet". Comparative Studies in Society and History 38, nr 1 (styczeń 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
Pełny tekst źródłaStreszczenie:
At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
Rozprawy doktorskie na temat "Painting, British – Exhibitions"
1
Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
Pełny tekst źródłaStreszczenie:
The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
Książki na temat "Painting, British – Exhibitions"
1
Lambie, Jim. Painting not painting. St. Ives, Cornwall: Tate St. Ives, 2003.
Znajdź pełny tekst źródła
2
Richard Green (Gallery : London, England). Modern British paintings. London: Richard Green, 1985.
Znajdź pełny tekst źródła
3
Museum, Nottingham Castle, red. British impressionism. (London): Phillips, 1989.
Znajdź pełny tekst źródła
4
John Moores Liverpool Exhibition (20th 1997-1998 Walker Art Gallery). John Moores Liverpool Exhibition 20. [Liverpool]: Walker Art Gallery, 1997.
Znajdź pełny tekst źródła
5
Edward, Lucie-Smith. The new British painting. Oxford: Phaidon, 1988.
Znajdź pełny tekst źródła
6
Edward, Lucie-Smith. The new British painting. London: Phaidon, 1988.
Znajdź pełny tekst źródła
7
O'Donoghue, Hughie. Opere, 1986-87: (exhibition) settembre 1987. Firenze, Italy: Galleria Carini Firenze, 1987.
Znajdź pełny tekst źródła
8
Warner, Malcolm. The Victorians: British painting, 1837-1901. Washington: National Gallery of Art, 1996.
Znajdź pełny tekst źródła
9
Father and Son Exhibitio (1998 Cardiff). Philip Sutton, Jacob Sutton: An exhibition of paintings, watercolours, and drawings. Cardiff: Albany Gallery, 1998.
Znajdź pełny tekst źródła
10
Ltd, Hobhouse. Indian painting during the British period. London: Hobhouse Limited, 1986.
Znajdź pełny tekst źródłaCzęści książek na temat "Painting, British – Exhibitions"
1
Eagles, John. "“Exhibitions — Royal Academy and British Institution”". W Victorian Painting, 342–54. Routledge, 2018. http://dx.doi.org/10.4324/9780429430275-31.
Pełny tekst źródła
2
Yaşdağ, Meltem. "Orientalist Museum Exhibitions in UK as a New Media at the Turn of the 21st Century". W Advances in Media, Entertainment, and the Arts, 268–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch017.
Pełny tekst źródłaStreszczenie:
In this chapter, the author examined the orientalist themed museum exhibitions totally held in Britain after 2000 to understand the real intention behind their thematic artifact selection and their effect on people as becoming media tool. These were “Turks: A Journey of a Thousand Years, 600-1600” in 2005, “The Lure of the East: British Orientalist Painting” in 2008, and recent “Inspired by the East: How the Islamic World Influenced Western Art” in 2019, respectively. The author analyzed the criticisms in newspapers and magazines as well as curators' interviews and catalogs for the museum exhibitions organized in United Kingdom. In this way, the author also discussed the effects of the exhibition created with the media.
3
Popenhagen, Ron J. "Facing Change and Changing Masks". W Modernist Disguise, 34–59. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0002.
Pełny tekst źródłaStreszczenie:
The primary focus of this chapter is the fixed-form mask in its many manifestations, beginning with ‘Death Masks Re-membered’. The difference between performance masks and death masks is theorised, including a discussion of photographs of the death masks of notable figures. The fascination of modernist painters with African masks in British, French and German museums is discussed with reference to the Picasso Primitif exhibition (2017) and to the history of anthropological exhibitions of the ‘savage’ during the early years of Modernism. Indigenous masquerade is further explored by commentary on photographic portraits of the ‘other’, with consideration of the rapport between subject and photographer. Painted images of the mask object and disguised individuals by Paul Cézanne, James Ensor, Émil Nolde and Pablo Picasso are contrasted with Edward Sheriff Curtis’s photos of Native American masking. Modernist innovations in masquerade, like the dance scenography of Loïe Fuller, highlight alternative methods of changing the body image, as well as transforming the human figure into a part-object form (an aspect exhibited also in a painting by Margaret Macdonald Mackinstosh). Modernist Pierrots in Berlin, Copenhagen and St Petersburg, for example, suggest that playful disguise was an almost-universal impulse in Modernism across Europe and the United Kingdom.
4
Olmsted, John Charles. "“Exhibition of the Society of British Artists”". W Victorian Painting, 10–14. Routledge, 2018. http://dx.doi.org/10.4324/9780429430275-3.
Pełny tekst źródła
5
Kennedy, Róisín. "Promotion". W Art and the Nation State, 125–64. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622355.003.0004.
Pełny tekst źródłaStreszczenie:
This chapter focuses on two major art controversies of the 1950s – the rejection by the Dublin Municipal Gallery of Modern Art of the painting, A Family, by the young London based artist, Louis le Brocquy and of Reclining Figure II, by the renowned British sculptor, Henry Moore. These disputes were central to the wider debate about the relevance of modern art to Ireland amid the post-war emphasis on the promotion of eminent modern artists or ‘art stars’. After the establishment of the Republic in 1949, the setting up of the Cultural Relations Committee (1948) and the Arts Council of Ireland (1951) saw increasing official involvement in visual art. Modernism was favoured in Ireland’s participation at international exhibitions, most notably the Venice Biennale, while academic realist art was marginalised. The new elite, reacting against the isolationism of the pre-war era now associated with academic realism, promoted a cosmopolitan image of Irish culture internationally. Ultimately the censorious attitude taken towards the work of Moore and le Brocquy in Dublin reflected wider concerns about control of the art field in Ireland.
6
Olmsted, John Charles. "“The British Institution. Exhibition of the Works of the Late Sir David Wilkie, R.A.”". W Victorian Painting, 388–92. Routledge, 2018. http://dx.doi.org/10.4324/9780429430275-35.
Pełny tekst źródła
7
Ardill, Tom. "1813 Church Painting on Show at the Summer Exhibition". W The Royal Academy Summer Exhibition: A Chronicle, 1769–2018. Paul Mellon Centre for Studies in British Art, 2018. http://dx.doi.org/10.17658/rachronicle/1813.
Pełny tekst źródłaStreszczenie:
Edward Bird’s series of six canvases illustrating the punishment and reformation of a poacher garnered particular press attention. George Dawe’s dramatic A child rescued by its mother from an eagle’s nest, and J.W.M. Turner’s Frosty Morning were also much noted. The painting to attract the greatest crowds, however, was David Wilkie’s Blind Man’s Buff. This was helped in part by being placed in the central position in the Great Room by the artist, who was leading the Hanging Committee. The Summer Exhibition of 1813 was somewhat overshadowed by Joshua Reynolds’ contemporaneous exhibition at the British Institution.
8
Hallett, Mark. "1792 A Guided Tour". W The Royal Academy Summer Exhibition: A Chronicle, 1769–2018. Paul Mellon Centre for Studies in British Art, 2018. http://dx.doi.org/10.17658/rachronicle/1792.
Pełny tekst źródłaStreszczenie:
The display this year packed together monarchical, martial, and religious images on the Great Room’s walls. The prime spaces of the display featured numerous portraits of the royal family, some of which showed the princes of the realm wearing uniform. There were also images of an even more explicitly martial nature, including portraits of heroic military commanders past and present. These, in turn, were juxtaposed with large-scale religious paintings by Benjamin West and Henry Fuseli, which enjoyed similarly prominent locations. At a time when relations with Revolutionary France were approaching crisis, these paintings collectively generated a redoubtable image of a God-fearing, militarily powerful, and loyalist British state.
9
Hallett, Mark. "1792 A Guided Tour". W The Royal Academy Summer Exhibition: A Chronicle, 1769–2018. Paul Mellon Centre for Studies in British Art, 2018. http://dx.doi.org/10.17658/rachronicle/1792.
Pełny tekst źródłaStreszczenie:
The display this year packed together monarchical, martial, and religious images on the Great Room’s walls. The prime spaces of the display featured numerous portraits of the royal family, some of which showed the princes of the realm wearing uniform. There were also images of an even more explicitly martial nature, including portraits of heroic military commanders past and present. These, in turn, were juxtaposed with large-scale religious paintings by Benjamin West and Henry Fuseli, which enjoyed similarly prominent locations. At a time when relations with Revolutionary France were approaching crisis, these paintings collectively generated a redoubtable image of a God-fearing, militarily powerful, and loyalist British state.
10
Teukolsky, Rachel. "Primitives and Post-Impressionists". W The Literate Eye, 192–233. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195381375.003.0006.
Pełny tekst źródłaStreszczenie:
Abstract Historians have often acknowledged the relation of the Bloomsbury Group to its Victorian predecessors. The Omega workshops, for example, which produced avant-garde household wares between 1910 and 1914, had obvious roots in the Arts and Crafts movement of the previous century. Roger Fry, Bloomsbury’s eminent art critic, wrote essays on “Art and Socialism” and dwelled on the ethics of art spectatorship in a manner familiar from Victorian meditations. Yet the dominant move in contemporary scholarship, especially in the study of British art movements, has been to underline a break between the nineteenth and twentieth centuries. In many ways, the narrative of that break was scripted by modernists themselves—as when Virginia Woolf memorably quipped that “on or about December 1910 human nature changed.” Woolf’s selection of this seemingly random date in fact refers to what is perhaps the most controversial art show ever held in Britain: the 1910 exhibition of post-impressionist paintings at the Grafton Gallery in London. Here the British public was introduced to—and scandalized by—the modern French paintings of Cézanne, Gauguin, and Matisse.
Streszczenia konferencji na temat "Painting, British – Exhibitions"
1
Hill, Rodrigo, i Tom Roa. "Place-making: Wānanga based photographic approaches". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.
Pełny tekst źródłaStreszczenie:
Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.