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Braided Rivers: Regionalism in New Zealand Art
Andrew Paul Wood focuses on some of the issues pertaining to New Zealands regionalist tensions, particularly the obvious division of the North and South Islands. Furthermore he looks at some of the opposing aesthetic qualities to have come from artists of the North and the South regions. This is here discussed through reference to artists Colin McCahon, Don Binney, Pat Hanly, Bill Sutton, Rita Angus, Gordon Walters, Milan Mrkusich, Gretchen Albrecht, Ronnie van Hout, Bill Hammond, John Pule, Elizabeth Allan, Dorothy Irvine, Sandy Gibb, Billy Apple, Sofia Tekela-Smith, Ani ONeil, Niki Hastings-McFall, Shigeyuki Kihara, Peter Robinson, Shane Cotton, Ralph Hotere, Robyn Kahukiwa, Tony de Latour, Seraphine Pick, Saskia Leek, Grant Takle, Peter Wheeler and James Robinson.
New Arrival: Brian Butler, Director of Artspace
Interview with Brian Butler, the new Director of Artspace, Auckland. Questions are raised regarding Butler's decision to leave his position at the Los Angeles cutting edge art gallery 1301PE in order to direct a publicly funded space in Auckland and his visions for the future of Artspace.
State of the Art New Zealand
This essay draws on some of the themes and issues raised by the 1997 report 'New Vision: A Critical View of the Visual Arts Infrastructure', commissioned by Creative New Zealand and the Chartwell Trust to document the state of New Zealand's visual arts infrastructure of the time. It is here used in reference to offer a series of (partial, personal and biased) snapshots that consider the state of the visual arts scene in New Zealand. Some key figures here referred to include Gordon H. Brown, Lee Weng Choy, Greg Burke, John Maynard, Cheryll Sotheran, Priscilla Pitts, John McCormack, Pae White, Sam Durant, Lee Bul, Peter Robinson, Ann Shelton, Fiona Clark, Giovanni Intra, Fumio Nanjo, Jonathan Watkins, Mercedes Vicente, Tyler Cann, Robert Leonard, David Hatcher, Louise Garrett, Simon Rees, Michael Stevenson, Ronnie van Hout, Francis Upritchard, Denise Kum, Yuk King Tan, Joyce Campbell, Hamish McKay, Andrew Jenson, John Gow, Gary Langsford, Michael Lett, Heather Galbraith, Jenny Todd, Brian Butler and others.
You And Me And Everyone We Know: Photography
This article looks at the controversy that surrounded Ans Westra's pictorial essay Washday at the Pa, published during the 1960's, as a way of addressing the current trends in New Zealand photography. Emma Bugden uses this example to raise issues of Maori and Pekeha representations in New Zealand art and the renewed interest in social realism among New Zealand photographers in recent years. Artists included in this discussion are Edith Amituana, Andrew Ross, Marti Friedlander, Peter Black, Peter Peryer, Anne Noble, Laurence Aberhart, Greg O'Brien, Justin Paton, Ava Seymour, Joel Peter Witkin, Fiona Amundsen and Neil Pardington.
Don't Misbehave! SCAPE 2006 Public Art Biennial
This article looks at the argument for public art in Christchurch subsequent to the phenomenal public debate sparked when Michael Parekowhai's 5m high fibreglass bunnies became the centrepiece of the SCAPE 2002 Biennial. Velde further examines some of the recent aims for SCAPE 2006 by curators Natasha Conland and Susanne Jaschko who are looking to embrace contemporary art's exploration of different media channels.
Visions and Revisions: Recent Work by Shane Cotton
Strongman here looks at the recent works of New Zealand artist Shane Cotton. Issues of transformation - of an ebb and flow of changes in form and meaning over time, of visions and revisions of and between cultures - have been central concerns of Cotton's work for more than a decade. Through extensive reference to Maori and Christian culture, Cotton explores what he describes as the 'collision and collusion' of New Zealand's two official cultures.
An Artist's Economy: Madden, Stevenson, Upritchard
New Zealand artists Peter Madden, Michael Stevenson and Francis Upritchard have each worked within disparate environments and local economies for some years, in Auckland, Berlin and London respectively. Each of them self-consciously explores alternative economies available to them through the production of art. Between them Madden, Stevenson and Upritchard have participated in such art events as the Venice Biennale and exhibited at the Tate Gallery, Darren Knight Gallery, the Museum of New Zealand, Herbert Read Gallery and the Bart Wells Institute.
Of New Zealand Art and Letters
When it comes to New Zealand publications, the excitement generated by each forthcoming issue is as good a yardstick as any to judge by.
Special (Auckland)
Special Gallery is an activity centre at Level 1, 26 Customs St East, Auckland. Exhibiting artists have included Jason Lindsay, Tahi Moore, Fiona Conner, Seung Yul Oh, Nick Austin, Tao Wells, Daniel Du Bern, Helga Fassonaki, Alex Vivian, Chris Cudby, Dave King, Julian Dyne, Fraser Munro, Eddie Clemens, Richard Bryant, Patrick Lundberg, Simon Denny, Jennifer Mason, Robin Kydd, Fin Ferrier, Ben Tankard, Chris Fitzgerald, Stephan Neville, Lou Darlington and Nate Williamson.
Enjoy (Wellington)
Enjoy was born out of transparency and openness and a focus on critical dialogue combined with some utopian ideals such as being 'Liberated from Commercial Constraints' and has been a place for dissent and discussion. Artists Ciaran Begley and Ros Cameron with administrator Rachel Smithies established enjoy in 2000. Exhibiting artists have included Caroline Johnston, Eve Armstrong and Violet Faigan.
Cuckoo
Cuckoo was formed in January 2001 by dreamers Ani O'neill, Daniel Malone, Judy Darragh (artists), Jon Bywater and Gwyneth Porter (writers). Collectively they created this space as a means for discussing ways to present artist's projects outside the traditional method of running a gallery space. Some of the artists involved with cuckoo are Dan Arps, Kate Newby, Sriwana Spong, Ben Tankard, Janet Lilo, Fiona Connor, Seung Yul Oh and Nick Austin.
RM103 (Auckland)
In 1997 a tiny office overlooking a record store in Auckland was turned into a gallery space called 'rm3'. Directors of the now 'rm103' include Andrew Barber, Kylie Duncan, Kirsten Dryburgh and Nicholas Spratt. Previously exhibiting artists include Bjorn Houtman, Sarah Gruiters, Finn Ferrier, Gaelen Macdonald and Erica van Zon.
Charles Merewether: Director of 15th Biennale of Sydney
It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.
Steve Kurtz: Critical Art Ensemble
An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.
2006 Contemporary Commonwealth
Australian Centre for the Moving Image: 24 February - 21 May National Gallery of Victoria 24 February - 25 June Festival Melbourne 2006 Commonwealth Games
21st Century Modern: 2006 Adelaide Biennial of Australian Art
Curated by Linda Michael Art Gallery of South Australia 4 March - 7 March 2006
Colliding Worlds, First Contact in the Western Desert 1932-1984
Curated by Philip Batty Tandanya National Aboriginal Cultural Centre Adelaide Bank Festival of Arts 18 February - 28 May 2006
What Survives: Sonic Residues in Breathing Buildings
Performance Space, Sydney 25 March - 22 April 2006
The Late Sessions
Videos presented by 1/2 dozen Curated by the 'pixel pirates', Soda_Jerk George Street Cinema, Sydney 25 January 2006
Corrupting Youth
Curated by Tristan Stowards Contemporary Art Services Tasmania, Hobart 4 March - 2 April 2006
The Larrakia Legacy of Billiamook
Larrakia people bore the brunt of colonial expansion in the Northern Territory when Darwin was settled by beraguds (white people) in 1869. Gary Lee writes of Billiamook, one of the first Larrakia to interact with the settlers and the first Aboriginal artist to have his work exhibited and recognised as art.
Under the Skin
The Aboriginal community of Balgo, situated on the cusp of the Tanami and Great Sandy Desert is a melting pot for contemporary Aboriginal art and culture. This article examines a group of white women artists and their various bodies of work which grew from their time spent at Balgo.
Just Really Out There
Steve Fox's job involves regular 1400km round trips from Uluru to some of the most remote communities in Australia. He reports on a typical four-day excursion in the Maruku troopcarrier.
Looking Forward Looking Back: in the East Kimberly
Marrying visual art, dance and inspirational rhetoric has been one of the hallmarks of the Jirrawun Artists Co-operation operating out of Kununarra. These traditional people have been at the forefront of contemporary political debates and Indigenous art practice. Cath Bowdler follows the story of Jirrawun Artists Co-operation from its inception in 1998 to the present day. A non-government funded body, Pro bono partnerships with the corporate and private sector.
Kuninjku Modernism
Kuninjku Modernism pays respect to the wellspring of the Indigenous art movement and the many artists of Western Arnhem Land, furthermore exploring the several countries or nations of this large civic nation.
Looking Elsewhere: Asia at the Top End
The top end has a distinctly Asian flavour not only because of its cultural heritage prior to 1880s but also because of the significant East Timorese connection. This article looks at the Northern Territorys strong and visionary commitment to cultural exchange with Indonesia and the increasing Asian character of Darwin's rapidly changing population.
Sitting Down with Indigenous Artists
Erica Izett explores the cultural convergence between Australias indigenous and non-indigenous people over the past few decades and the rewarding implications it is having on Australias artistic and cultural practice and awareness.
Bush Techies and Secret Data Business
Caroline Farmers position at 24HR Art, the Northern Territorys Centre for Contemporary Art required an involvement with projects specifically aimed to help indigenous artists acquire new media skills. What she found in the Territory however required her to think in an entirely new way. Farmer discusses some of her experiences with her new found traditionally and technologically aligned environment.
Art at the Frontier: Franck Gohier
Frank Gohier has distinguished himself as a resident Darwin artist whose work as a painter, sculptor, printmaker and teacher reflects a different perspective of the far northern - one based on lived experience. Addresses the impact of the indigenous community on his Anglo perspective art.
From Fregon to Srinigar and Back
Kaltjiti Arts is a community owned arts centre in Fregon. A cross-cultural project between two groups of community artists based in South Australia's remote and traditional Anangu Pitjantjatjara Yankunytjatjara Lands and in Srinigar, the turbulent capital of Kashmir is based on the combining of these two isolated and very different cultures via their arts and traditions.
Neverland vs. Reality: How to Sustain an Art Practice in the Territory
Historically, people in the Territory have viewed southeners with suspicion, often characterising them as missionaries or carpetbaggers. Some emerging artists here are beginning to question these attitudes and are starting to take advantage of the financial and critical lifelines that the south has to offer. Bronwyn Wright and Tobias Richardson are two who have engaged energetically with southerners and achieved high levels of recognition.
Making the Gospel Their Own
Eastern Arrernte Catholics at Ltentye Apurte, the former Santa Teresa Catholic mission east of Alice Springs, are making the local church and liturgy a ground for telling their recent history and reflecting their ancient yet evolving traditions. A mural project was initiated by a local non-aboriginal woman Cait Wait in 2002 with the help of eight neophyte artists.
Women's Business by Remote
In the past two decades the face of Australian art practice has been changed immeasurably by a renewed focus on the culture of Indigenous people and the efflorence of Aboriginal art. This article looks at the work of three non-Indigenous artists who worked in places regarded as remote and developed art practices through engagement with Aboriginal people.
The Art of Fiona Hall
Queensland Art Gallery, Brisbane 19 March - 5 June 2005 Julie Ewington, Fiona Hall, Piper Press, 2005, RRP $88.
The 14th Annual Linden Postcard Show
Linden St Kilda Centre for Contempory Arts 5 February - 19 March 2005
Seeking Transcendence
Curator: John Stringer 10 February - 5 May 2005 Perth International Arts Festival
Proof: The Act Of Seeing With One's Own Eyes
Curator: Mike Stubbs Australian Centre for the Moving Image, Melbourne 9 December 2004 - 13 February 2005
Giant Steps and Transcriptions
Experimental Art Foundation 25 February - 2 April 2005 Greenaway Art Gallery 22 February - 1 March 2005 Adelaide Film Festival
Not Far From Here
Davenport Regional Gallery 28 January - 6 Marcg 2005 Bett Gallery, Hobart 9 March - 23 March 2005
3 Into 1: Hermie Cornelisse, Amanda Davies and Mish Meijers
CAST Gallery, Hobart 5 February - 6 March 2005
Modern Machine Art
Information processing technology influences our notions about creativity, perception, and the limits of art ... It is probably not the province of computers and other telecommunication devices to produce works of art as we know it; but they will, in fact be instrumental in redefining the entire area of esthetic awareness.
Artlink - The Second Decade 1991-2000
Britton recaps on the decade that was and discusses some of the significant challenges she and her team at Artlink faced such as marketing, distributing, staffing, staying solvent and avoiding terminal burnout. Also looks at some of Artlinks major achievement over the past ten years.
Screen Gallery
At the time of this article, Screen Gallery, the world's first gallery for the exhibition and research of digital media, was anticipated to open at Federation Square in Melbourne. Screen Gallery is located underground, on the site of a couple of old railway platforms 100 metres long, 15 metres wide and seven metres deep. Creative Director of the Screen Gallery, Ross Gibson spoke to Stephanie Radok over the internet.
Australian Aboriginal Cultures Gallery
The new Australian Aboriginal Cultures Gallery, the spearhead of the new and improved South Australian Museum development program, set out to unlocked one of the great ethnographic collections of the world and give insight into one of the worlds oldest, most continuous living cultures. Some of the artefacts on display included totem poles from Elcho Island, headdresses from Central Australia, Darwin area and Mornington Island and wooden shields from across Australia.
Artlink and Museums, Past and Present
The issues raised by revisiting in some degree the past within Artlink touch upon a more general invocation to the authority and precedent of history in an Australian context. Some of these issues are here discussed with reference to key figures such as the Papunya Tula movement, David Kerr, Jude Adams, Drusilla Modjeska, Joan Kerr, Anne McClintock, Louise Dauth, Penny White, Zara Stanhope, Stuart Hall, Nicholas Rothwell, Paul Carter and Donald Brook.
The Link Exhibition
The Link Exhibitions were a series of contemporary art exhibitions run on a very low budget by the Art Gallery of South Australia between 1974-1979 to increase communication and understanding between Australian artists . This article is a retrospective account of the events and responses to the Link Exhibitions. Key figures discussed are Imants Tillers, Jim Cowley, Bob Ramsay, Brian Medlin, Terry Smith, John Baily, Noel Sheridan, Donald Brook, Hank Vischedyk, John Kaldor, Charlotte Moorman, Nam June Paik, Ann Newmarch, Hossein Valamanesh, Aleks Danko, Tony Coleing, Marcus Beresford, Alison Carroll, Ian Maidment, Dick Richards and Barry Pearce.
Craft Theory
The twentieth anniversary of Artlink has provided an occasion for an article on the current state of craft theory and its ramifications. This article gathers and presents a knowledge that eddies around craft and engages in the ontology of craft theory. Its aspirations: for craft theory to be not only approached from the point of view of the useful, instrumental or skilful but as offering new ways of moving and thinking. William Morris, Adolf Loos, David Walker, Sue Rowley, Grace Cochrane, Justin Clemens, Mark Pennings, Kevin Murray, Gilles Deleuze, Nicole Tomlinson, John Rajchman, Felix Guattari, Tony Fry, Frances Lindsay and Paul Carter are discussed through this text.
Design Practice: Trawling the Speculative Field
This article is a response to a renewed interest by design practice into the cultural and natural environment for inspiration, and a renewed focus of design education and practice on investigations in the field. The recent installation works of two architectural practices - Lyons: City of Fiction inspired by the Museum of Contemporary Art, Sydney and Shop:Dunescape by PSI New York - are here described.
Art/Body the Liminal Experiences of Indigeneity
Art from an indigenous context cannot be transferred wholly into another context for reading. This denies the fact that indigenous contexts do have ways of seeing and making sense of their art. Mel presents a discourse for alternate ways of viewing such indigenous artwith reference to terms such as postmodern, objectivity and subjectivity. The Mogei people of Mt Hagen area in Papua New Guinea are examined through this text.
Social Ecology
In March 2000, Stuart Hill attended the Mildura Palimpsest #3 Science and Art Symposium organised by Sunraysia TAFE and La Trobe University. One of the speakers was Stuart Hall, scientist and ecologist who, in his talk introduced the concept of social ecology, a cross-disciplinary field of which he is the inaugural professor at the University of Western Sydney, Hawkesbury Campus. Here is Hill's interview with Stephanie Radok.
Regional Art: Theorising the regions
This article seeks to challenge regional communities away from the self-prophesying defeatism of whingers from the bush towards a concept of growing communities . The arts have an intrinsic contribution to make within the chosen future. Fettling discusses this with reference to globalisation, de-centred cultural and ethnic hybridization and individuality. Featured artists include Megan Jones, Andrew McDonald, Janet Gallagher, Vicki Reynolds, Danielle Hobbs, Chris Booth, Craig Christie, Rodney Spooner, Michael Doneman, Motoyuki Niwa and Lee Salomone.
Art for Social Change: Footsteps from the Past to the Future
We have arrived at a point where we are constantly experimenting with and experiencing a new understanding of diversity in Australia. Art discovers new directions through the development of strategies that enable it to penetrate and interpret the unknown other in a more profound way. This sets up the topical discussion for this article with references to exhibitions Boghcheh (Bundle), Defiling the Object, Embellishing the Family Photograph and The City which showed at the Gabriel Gallery in 2000. Featured artists include Karen Lunn, Mehmet Adil, Peter Bok, Alan Cruickshank, Helen Fuller, Catherine K, Pramod Kumar, Michelle Nikou, Deborah Paauwe, Bronwyn Platten, Hossein Valamanesh, Zita Weelius, Mei Wong, Anthony Figallo, Fassih Keiso, Samia Mikhail, Yatzek Szmuc and John Tsiavis.
Unsentimental Experimental: The Experimental Art Foundation 25 years on
Bilske looks at the history of EAF: Experimental Art Foundation and some of the significant events which have contributed to its success since its inception in 1974. Discusses briefly Stephanie Brittons publication A Decade at the EAF written in 1984 and the role Donald Brook has played in tackling head-on the problem of just what the experimental in Experimental Art Foundation means. Some of the artists involved with EAF include Aleks Danko, Mike Parr, Michael Craig-Martin, John Barbour, George Popperwell, Shaun Kirby, Craige Andrae, Nic Folland, Hayley Arjona, Sam Wilde, Samantha Small, Jim Moss, Chris Chapman, Sally-Ann Rowland and Michael Newall.
Donald Brook's Art Theory
This text is a dedication to Donald Brooks literary contributions to Artlink magazine over the years. Different from his specifically theoretical writings on art, those featured in Artlink focus on temporal and local issues, and are often written in a wittily ironic style that leaves readers unsure whether they have understood his position.
Culture Without Limits: a reflection of art, politics, and shabby nationalism
In this article Kapetopoulos reflects on the watersheds which reinforce her attachment to multiculturalism. The watersheds are the works of certain artists involved with Multicultural Arts Victoria (MAV) and the rise of One Nation. The artists Kapetopoulos writes about are: Yumi Umiumare, Tina Yong and Sung Ping; Charito Saldana; Renato Cuocolo and his innovative theatre company IRAA; Emmanuel Santos and Sandor Matos.
Adelaide Studios
This article celebrates the diversity of some of the groupings whichlink artists within the city that is Artlink's birthplace, Adelaide. Gray Street Workshop, Central Studios, Experimental Art Foundation (EAF), Australian Network for Art and Technology (ANAT), Jam Factory Contemporary Craft and Design, Jamboree Ceramic Workshop, SAAW (South Australian Artists Workshop), Red Door Facing East, Butcher's Studio, Blythe Street Studios, Rice Art, Zu Design, SEAS Studios and the Electronic Writing Research Ensemble are all examined.
Lin Onus
Lin Onus had a remarkable career, from motor mechanic and political activist to maker of marvellous, witty and original paintings and sculptures. He was also widely loved and respected for his compassion and willingness to lead the cause of Aboriginal advancement.
A memorial for the dead: Commemorating 200 years of loss
In 1988 the artists of Ramingining, a remote Central Arnhem Land community, were responsible for perhaps the most-moving political statement made during Australia’s bicentenary year. Djon Mundine tells UK-based anthropologist Howard Morphy, how this extraordinary monument came to be made.
Contemporary Australian Aboriginal Art
Art Co-ordinator: No ordinary job
Howard Morphy interviews Djon Mundine at Ramingining in Arnhem Land, Northern Territory.
Contemporary Australian Aboriginal Art
An Artist's Project: Banduk Marika
Margie West talks to NE Arnhem Land artist Banduk Marika about artists working in Yirrkala, an Aboriginal community. She addresses traditional ceremonies today, the appropriate use of traditional designs, payment for work, copyright, and working to redress environmental damage to the beaches and lands by regenerating native trees and plants.
Contemporary Australian Aboriginal Art
East to West: Land in Papunya Tula Painting
Painting movement at Papunya 1971-75 one of the few positive offshoots of the Government's Assimilation Policy. Senior men began to paint on boards and made murals for the school, initially showing sacred secret material, later self-censored. Paintings use complex patterning and dotting to describe formation of land by Ancestors, natural features and travel.
Contemporary Australian Aboriginal Art
The Land made Visible: Native Title Now
Written with Vincent Megaw. Looks at land claims and the role of artworks in these claims in the context of the exhibition 'Native Titled Now' shown as part of the Telstra Festival of Arts 1996. Good overview of indigenous art practice and talks about artists such as Raymond Arone Meeks, Lin Onus, Gordon Bennett, Alice Hinton-Bateup, Avril Quaill, Kerry Giles, Daphne Naden, Mick Namarari, Turkey Tolson, Danie Mellor, Jonathan Kumintjara Brown, Clifford Possum, Ellen Jose, Lindsay Bird Mpetyane, Heather Shearer and Kathleen Wallace.
Indigenous Arts of the Pacific
An Alternative to the Art Market
The market must acknowledge its role in the commidification of indigenous cultures through cultural objects....What the market must acknowledge is the relationship of interdependency which exists between itself and the artists that it promotes and as such, the market must ensure that its actions do not prove detrimental to the artist and the community in the long run.
Indigenous Arts of the Pacific
Tandanya - Captivating Culture
Brief overview of the current focus of Tandanya the National Aboriginal Cultural Institute in Adelaide, South Australia.
Indigenous Arts of the Pacific
New Developments for the Papua New Guinea National Museum
Brief article outlining the current directions and focus for the PNG Museum and Art Gallery in Port Moresby.
Indigenous Arts of the Pacific
Art is Land: Land is Art - Talks with Banduk Marika
Discussion with the artist Banduk Marika about the issues facing her community of Yirrkala in Arnhem Land, Northern Territory. Indigenous art practice and land rights, cultural heritage, education and knowledge, environmental protection and mining intrusions are discussed.
Indigenous Arts of the Pacific
The Waka and the Cattle Truck
What do a traditional Maori canoe (waka) and a cattle truck have in common?...In both these cases these vehicles were conveyors of culture. These images are central to two collaborative works at the second Asia Pacific Triennial of Pacific Art at the Queensland Art Gallery.
Indigenous Arts of the Pacific
Pacific Wave: A Festival of Pacific Arts
Brief article outlining Pacific Wave, a celebration and investigation of contemporary trends in art and cultural life of the Pacific taking place across Sydney November 2-17 1996.
Indigenous Arts of the Pacific
Nucleus: Feeling Compromised
As Judy Watson was about the commence her residency in France, the French Government announced they would be conducting nuclear tests in the Pacific. As an Australian, an Aboriginal, a conservationist, a woman and an artist, she felt compromised. Discusses her work in this context.
Indigenous Arts of the Pacific
Maori Film Images and Intellectual Property Rights - A Breakthrough?
For those depositing films with a significant Maori content, the New Zealand Film Archive has developed a Deposit Agreement which acknowledges that named Maori guardians have spiritual guardianship authority over their image treasures in perpetuity. This goes way beyond white copyright regimes.
Indigenous Arts of the Pacific
Contemporary Maori Architecture - The Case for the Untraditional
One of the most insidious myths about contemporary Maori architecture is that it does not exist, since 'traditional' Maori building design has been influenced by colonial architecture. Looks at contemporary issues in Maori architecture.
Indigenous Arts of the Pacific
Taki Rua: Bi-cultural Theatre in Aotearoa
Taki Rua Theatre has been at the cutting edge of indigenous theatre since its inception in 1983. It has now produced a season of Maori plays in te reo Maori (Maori language).
Indigenous Arts of the Pacific