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Contemporary Maori and Polynesian Art

1997

114.205


Lecturer: Rangihiroa Panoho

Department of Art History

University of Auckland

r.panoho@auckland.ac.nz



Kia ora koutou, talofa lava, kia orana, malo e lelei, ni sa bula,

fakaalofa lahi atu.

He huruhuru te manu karere, he ao te ra uhia.

When the bird has feathers it flies away, when clouds come the sky is

covered.

Change is a very important component in Polynesian culture. This quality has only been acknowledged recently with greater scholarly attention being paid to the exciting diversity and rich permutations of cultural expression which have found expression around the Pacific rim most spectacularly since the arrival of palagi/pakeha. This course is one of a growing number being run within the context of tertiary institutions around Aotearoa addressing the work of First Nation artists. This new attention acknowledges the importance and uniqueness of our South Pacific cultural context and heritage. Because of the pioneering nature of this shift in focus the contributions of both student and lecturer are vital to it's ongoing development. With your kete and our kete of knowledge and experience, we will build something together.

Background

The paper 'Maori and Polynesian Arts' was first taught in 1993 in the Art History Department. Introducing students to a range of current activity in Maori and Pacific Island visual arts, this paper encourages students to make connections between taonga and forms being produced today. It looks at major developments in the work of these artists since the 1950's and explores a range of ideological positions for reading current Maori and Pacific art.

The importance of cultural change as a survival mechanism, the traditional base leading artists have started, departed from or returned to; the cross cultural assimilation and redefinition involved in their work, First Nation art context and the implications of outside cultural definition and analysis. Historical models and contemporary theoretical positions will be referred to providing a context for the innovative work of contemporary artists operating within this paradigm. Social factors will also be examined to help account for new directions being taken.

Office hours:
 

Rangihiroa Panoho Tuesday 11:00-12:00
  Friday 10:30-11:30

LECTURE TIMETABLE

 

Place:  Architecture Lecture Theatre 
Time:  2.00-3.00 Wednesday

2.00-3.00 Friday

Lecturer: Rangihiroa Panoho

SEMESTER 2
 

July 23 What is Maori art?
July 25 Charles Frederick Goldie: the mana of the artist versus that of the sifter
July 30 Landscape and people as taonga
August 1 Maori/Pacific Connections
August 6 Nga Poropiti
August 8 Rangi and Papa Separated Again
August 13 Paratene Matchitt
August 15  Separation of Rangi and Papa Revisited
August 20 FIRST TEST
August 22 Guest Lecture : Jim Vivieaere
August 27 Guest Lecture: Tivaevae maker
August 29  Community Art

MID - SEMESTER BREAK

 

September 17 Young Polynesian Artists
September 19 Gauguin, La Pensee Sauvage
September 24 Appropriation
September 26 Radicals : artist as political activist
October 1 Wahine Toa, Rapira - Davies
October Artists and whenua
October SECOND TEST
October 10  Guest Lecture : Maori film-maker
October 15  Images of Maori in film and photography
October 17 Minimalism - Hotere and Pine
October 22  Review
October 24  Review

TUTORIAL PROGRAMME

The programme this year will focus on and develop issues raised in the lectures. This will be a time for students to share their views and explore the field of Contemporary Maori and Polynesian arts. Some tutorials will be held within the context of the art gallery or museum. Tutorials are optional but it is recommended that students attend in order to gain an insight into the topic. The programme runs weekly starting from the second week of term (30 July - 1 August) at the following times:
 

  Wed 12.00-1.00 GOl (N.B reliant on no.'s)
  Wed 3.00-4.00 GOl
  Fri 12.00-1.00 GOl
  Fri 3.00-4.00 GOl
July  23 and 25 No tutorials
July  30 and August 1 ACAG visit to Goldie exhibition - the show costs$2 per student (wehave arranged a group concession) 12:00 slots only on Weds. and Fri.
August 6 and 8 Mana and It's Vessels
August 13 and 15 Nga Poropiti
August 20 and 22 A.C.A.G visit, Matchitt: exhibition of Papa Kainga
August 27 and 29 Te Moemoea no Iotefa & Bottled Ocean exhibitions
September 17 and 19 the customboard mural design solution
September 24 and 26 ways of viewing the other
October 1 and 3 Cultural Ownership
October 8 and 10 Te Moemoea No Iotefa, and Bottled Oceans exhibitions
October 15 and 17 screening of Mita's film Bastion Point, 506
October 22 and 24 Review

 

ASSESSMENT: CLASSWORK I EXAMINATION

Paper 114.205 is assessed according to the following-.
1. Slide test 1 AUGUST 13
2. Essay 1 AUGUST 20
3. Slide test 2 OCTOBER 1
4. Essay 2 OCTOBER 3

 

The requirements of this paper are one 2,000 word essay and a three hour examination at the end of the semester.

The weighting of classwork to examination consists of two possible options:
 

1. 1 essay and 2tests

Examination

50%

50%

2. 1 essay

Examination

25%

75%


 

In either case wherever the examination is higher than the coursework it will be the mark recorded. If you decide to take the test option, BOTH tests must be sat.

Note that in general students fare better in coursework than in the final examination.

ESSAY 1 & 2 TOPICS:

These will be given out in the first lecture on July 23, ALT 1.

RESOURCES
 

(a) Guest Lectures:

Guest lecture slots have been scheduled. Lecturers will include contemporary Maori and Pacific Island artists, Maori carvers or weavers, curators and lecturers. Students are to be advised and content and schedule will be discussed during the course.

(b) Reading:
(i) Samples of reading material relevant to tutorials and lectures are enclosed within this booklet [not included in online version]. A fuller bibliography follows which allows for wider ranging reading pewrtinent to essay topics and the examination. Certain books will be put on Desk Copy for use with essays at the Fine Arts Library at Elam. These reserved book titles will be announced at lectures when the essay topics are handed out.
(ii) Other lilbraries with collections of material on Maori and Pacific art and culture include the following-.

Main University of Auckland Library; Auckland City Art Gallery Research Library (by appointment only), and the Auckland Institute and Museum Library.

(iii) Students will be advised of any upcoming exhibitions of Maori and Pacific Island art or taonga and performance events relevant to course material.
(c) Audio Visual

A range of historical and contemporary video material relevant to the course is held in the Audio Visual Library, English Department. This material can only be viewed in the Library facility. Video will also be used from time to time in tutorial and lecture contexts.

BIBLIOGRAPHY

CONTEMPORARY

Austin, M. "A Description of the Maori Marae", Thesis, School of Architecture, University of Auckland, c. 1980.

Brown, A. "Maori Art Today", Art New Zealand 45, Summer 1987/88, p. 52.

Burke, G. (ed.) Mana Tiriti, Wellington City Art Gallery, 1990.

Davis, F. Contemporary Maori Art, Waikato Museum of Art and History, 1977.

Dunn, Michael "HEADLANDS: Refiguring New Zealand Art", Art NZ 64,1992.

Ensign, Riemke "Telling Pictures: New Zealand Artists Response to New Zealand Writers", Art NZ 60.1991, p.58-62, (including Hotere and Kahukiwa).

Ford, J. Te koha 0 te Whenua; the Gift of the Land, Massey University, Palmerston North, 1988.

French, Blair "A Choreography of Form: The Paintings of Shane Cotton", Art NZ 60,1991, p.63-5.

George, Ta'i "Tivaevae", p.272-3, Standing in the Sunshine, Sandra Coney (ed.), Viking. Auckland, 1993.

Guerin, L. "Letting the Stone Speak". New Zealand Listener, 18/8/1984.

Habib, R. "Artists on the Marae", Te Maori, June, 1973. Vol. 5 (2)

Hemara, R. "Tapping the Springs of Creativity: New Maori Arts", Craft International, 1988: (vol. 6, 4): p.22-24

Hubbard, G. "Beyond Kia Ora: The Paraesthetics of Choice" Antic, December, 1990 (8) p.28-29.

Mane-Wheoki, Jonathan "Cultural Safety: Contemporary Art From New

Zealand", Art NZ 79, p.66-9. (including Peter Robinson, Jacqueline Fraser, Fiona Pardington. Michael Parekowhai).

Mataira, K. "The Arts of the Maori", (review). Te Ao Hou, March 1968 (38), p.25-28.

McDonald, Ewen "HEADLANDS: Pacifically Speaking". Art NZ 64, 1992. p.59-61.

McDonald, L. "Ragged House Photographs: Ans Westra's 'Washday at the Pa'," Photofile South Pacific, Spring. 1988.

McLaughlin, A. "Cliff Whiting: Art is Part and Parcel of his Life-Style", Te Maori, October, 1974, Vol. 6 (6). p.25.

Mendelssohn, Joanna "HEADLANDS: The Sydney View", Art NZ 64,1992.

p.52-8.

Nicholas, D. "Weaver of Lines, History and Genealogy". Art NZ 49, Summer 1988/1989. p.51-53.

O'Regan, S. Te Wehenga o Rangi raua ko Papa: na Cliff Whiting, National Library of New Zealand, Wellington, C. 1987.

Panoho, Rangihiroa "Haonga te Taonga", Art NZ Spring 1986, p.31-33,82.

Panoho, Rangihiroa "Another View of the Photographs of Laurence Aberhart", Antic, December 1990, (8), p.22-27.

Simmons, W. "The Parihaka Paintings", New Zealand Listener, 20 December, 1975.

Te Waka Toi, Catalogue, Wellington, 1992.

Te Waka Toi, Creative New Zealand Taiarotia, Contemporary Maori Art to the USA,

Wellington.

Waikato Art Museum Contemporary Maori Art: Waikato Art Museum.

Walker, Tim "Everything is Connected - The Art of Michel Tuffery", Art NZ 70,1994, p.64-7.

Wedde, I. And Matchitt, P. "People are amazed. So am I", Paratene Matchitt, Now See Hear! Art, Language and Translation, Wellington City Art Gallery, (ed. Greg Burke), 1990, p.238-249.

Wheoki, J. Three Contemporary Maori Artists, Robert McDougall Art Gallery, Christchurch, June, 1990.

Zelenka, Gloria "HEADLANDS: Utopia: A Discreet Investigation", Art NZ 64, 1992, p.62-3.

GENERAL - MAORI

Awatere, D. Maori Sovereignty, Auckland, 1984.

Barlow, C. Tikanga Whakaaro: key Concepts in Maori Culture, Oxford University Press, 1991.

Blakely, R. "The Exhibitions of Maori Art in Auckland 1884-1885", (documents the New Zealand Art Student Association), Antic, November 1987(3), p.116-122.

Bosworth, R. Whanganui: Photographs of a River, Anne Noble, Sarjeant Gallery, Wanganui Photoforum, (51/52), September, 1982.

Brougham, A. Maori Proverbs, Auckland, 1963.

Buck, P. The Coming of the Maori, Christchurch, 1966.

Castleberg, J. Maori is my Name. Historical Writings in Translation, (ed.), Dunedin, 1975.

Goodall, M. "Translation and the Treaty", Now See Hear! Art, Language and Translation, Wellington City Art Gallery, (ed. Greg Burke), 1990, p.23-4.

Hamilton, A. Ma on Art, Wellington, 1901.

Kawharu, H. Waitangi: Maori and Pakeha Perspectives of the Treaty of Waitangi, Oxford University Press, Auckland, 1989.

Mataira. K. Maori Artists of the South Pacific, Raglan, 1984.

Nicholas, D. Seven Maori Artists, Wellington, 1986.

Orange, C. The Treaty of Waitangi, Wellington, 1987.

Salmond, A. Eruera - The Teachings of a Maori Elder, Wellington, 1980.

Schwimmer, E. (Ed.) The Maori People in the Nineteen-Sixties, Auckland, 1968.

Scwimmer, E. The World of the Maori, Wellington, 1977.

Taiapa, P. "Tukutuku", (1953), Marae, 1, 2, 1974, p.11-16.

Te Awekotuku, N. "The Sociocultural Impact of Tourism on the Te Arawa People of Rotorua, New Zealand", Unpublished PhD Thesis, University of Waikato, 1981.

Thompson, P. Maori Rock Art An Ink That Will Last Forever, Wellington, 1989.

Williams, H. A Dictionary of Maori Language, Wellington, 1975.

FIRST NATIONS

Martin, J. H. Magiciens de la Terre, Editions du Centre Pompidou, Paris, 1989.

McEvillery, T. Fusion: West African Artist at the Venice Biennale, New York, 1993.

Simons, S and H. Stevenson

Luk Luk Gen! Look Again, Perc Tucker Regional Gallery, Townsville, 1990.

Dreamings.

Wright, R. Stolen Continents, The Indian Story Pimlico, London, 1992.

MUSEOLOGY

Adams, Mark. Land of Memories. A Contemporary View of Places of Historical Significance in the South Island of New Zealand. Whenua I Maharatia Haehae Nga Tangata. Land of Memories Scarred by People. Tandem Press, Auckland, 1993.

Clifford, J. 'Histories of the Tribal and the Modern", Art In America, April 1985, p.164-77,215.

Corbett, J. "Te Maori: and the Middle Ground", Metro, November 1989, p. 186-99.

McDonald, R. "'The Ongoing Relation Between Maori and the Art World", Listener, March 25, 1991: p.48-9.

Mead, S. Te Maori: Maori Art from New Zealand Collections, Auckland, 1984.

Mead. S. Magnificent Te Maori, Auckland, 1986.

Neich, R. "The Veil of Orthodoxy: Rotorua Ngati Tarawhai Woodcarving Art", MA Thesis, University of Victoria, Wellington, 1977.

Schulz, D. "'The Gallery at It's Limits: Whatu Aho Rua and Te Ao Maori at the Sarjeant Gallery", Art NZ 52, Spring 1989, p.56-61

Sciascia, Piri "Ka Pu te Ruha, Ka Hao te Rangatahi", Te Maori, Hirini Moko Mead (ed.), 1984.

Tamehana Te Ao, N. "'Who Owns Our lmages", AGMANZ Journal, 1989:20(1), p.17-18.

PACIFIC - GENERAL

Art and Asia Pacific Pacific Art, Vol. 2, No. 4, 1995.

Barr, J. And M. Mau Mahara: Our Stories in Craft, Auckland, 1990.

Bell, L. Colonial Constructs, European images of Maori 1840-1914, Auckland University Press, 1992.

Cross, Mark "Liku and the New Hiapo of John Pule", Art NZ 66, 1993, p.43-5.

George, Ta'i "Tivaevae", p.272-3, Standing in the Sunshine, Sandra Coney (ed.), Viking, Auckland, 1993.

Griffin, Jane "'Southern Presence - Meetings with Five Pacific Artists", Art NZ 64, 1992, p.85-9, (including Lily Laita, Fatu Feu'u, Jim Vivieaere and Ioane Ioane).

Hanson, A. (Ed.) The Art of Oceania, Boston, 1984.

McDonald, Ewen "'HEADLANDS: Pacifically Speaking", Art NZ 64, 1992, p.59-61.

Mead, S. The Art and Artists of Oceania, Palmerston North, 1983.

Rongokea, L. Portraits of Cook Island Quilting, Daphne Brasell Associates Press, 1995.

Thomas, Nicholas Oceanic Art, Thames and Hudson, London, 1995.

Vivieare, J. The Island Race in Aotearoa, ArtLInk, 1996.

Walker, Tim "'Everything is Connected - The Art of Michel Tuffery", Art NZ 70,1994, p.64-7.

Wendt, A. (Ed.) Nuanua: Pacific Writing in English Since 1980, Auckland University Press, 1995.

Wolfe, Richard "'Primitive Perceptions. Changing Attitudes Towards Pacific Art", Art NZ 69, p.76-81.

WEAVING

Aotearoa Moananui a Kiwa Weavers Nga Nui o te Ra, Te Waka Toi Arts Council, 1993.

Aotearoa Moananui a Kiwa Weavers Pingao: the Golden Sand Sedge, Nga Puna Waihanga, 1991.

Aotearoa Moananui a Kiwa Weavers Quarterly Periodical.

Johnson, L. Nga Taonga a o Tatou Kuia, Govett Brewster Art Gallery, New Plymouth.

Mead, S. The Art of Taniko Weaving, Wellington, 1968.

Mead, S. Traditional Maori Clothing.' A Study of Technological and Functional Change, Wellington, 1969.

Pendergrast, M. Te Aho Tapu. The Sacred Thread.' Traditional Maori Weaving, Auckland 1987.

Pendergrast, M. Feathers and Fibre.' A Survey of Traditional and Contemporary Maori Craft, Penguin, 1984.

Pendergrast, M. Raranga Whakairo.' Ma on Plaiting Patterns, Coromandel Press, no date.

Puketapu-Hetet, Maori Weaving, Pitman, 1989.

Erenora Reid, M. Ngaa Kakahu Tuku Iho.' Garments From the Past, Taranaki Museum, New Plymouth.

Te Kanawa, Diggeress Weaving a Kakahu, Bridget Williams Books, 1992.

TA MOKO

Angas, G. F. Portraits of the New Zealand Ma on Painted

Best, Elsdon The Maori, Vols 1 and 2

Brown, Elaine C. Maori Moko, an Ethnohistorical Reconstruction

Cowan, J. "Maori Tattooing Survival. Some Notes on Moko", JPS, 84: 431-40,1975.

Ellis, Elizabeth Mountain "Te Kauae o nga Wahine Maori", Standing in the Sunshine, p.264-265, Sandra Coney (ed.), Viking, Auckland, 1993.

Gell, Alfred Wrapping in Images - Tattooing in Polynesia, 1993

Graham, Pita Maori Moko or Tattoo

Hiroa, Te Rangi Coming of the Maori

Johansson, Dean

Wearing Ink, David Bateman, 1994

"Kauae Moko, 1996" (visual)

Journal of the Polynesian Society "Moko and C. F. Goldie", JPS, 84: 431-40,1975.

King, Michael

"Tattooing", JPS, 84: 431 - 40; 85: 551

Te Puea, Hodder and Stoughton, Auckland, 1977.

King, Michael and Marti Friedlander

Moko.' Maori Tattooing in the 20th Century, Alister Taylor, 1972

Moko

"Derek Lardelli: Tohunga-ta-Moko" (visual)

Laugsen, Carl T. Te Ahua - Maori Portraits by Laugsen.

Mead, H. M. "Introduction", Faces From the Past, Zambucka, Kristin (ed.)

New Zealand Heritage "Maori Tattooing in the 2Oth Century", Vol. 5, p.1937.

Nicholas, Anne The Art of the New Zealand Tattoo, Tandem, 1994

Nicholas, Thomas "The Art of the Body". Oceanic Art, p.98 - 114,1995

Oldman, Maori. G., "Skilled Handiwork of the Maori", JPS, 14, 1946.

O'Regan, S. "Tattooing", JPS; 85: 550-1.

Palmer, J. B.

"Tattoo in Transition", Journal of the Polynesian Society, 67, 4.

"Post-European Tattooing", JPS, 67: 387-93.

Phillipps, W. J. "Moko or Maori Tattoo", Te Ao Hou, 9:26

Prager, Emily Tatau Maohi Tatau, Tupuna Productions

Robley, Major-General

Moko, or Maori Tattoo, Southern Reprints, 1987

"Tattooing Patterns", JPS, 40: 44 - 6.

Moko: an Exhibition of 19th Century Portraiture

Ta Moko - The Art of Maori Tattoo, Reed Methuen, Auckland, 1986.

Roth, Henry Ling "Maori Tatu and Moko," Journal of the Anthropological Institute of Great Britain and Ireland, Vol. 33, 1901.

Simmons, D. R. Ta Moko: The Art of Maori Tattoo

Zambucka, Kristin Faces From the Past, AH and AW Reed Ltd, Wellington, 1971.

NGATA AND HIS LEGACY

Boon, Kevin Apirana Ngata, 1993, Nelson Price Milburn, Petone.

Butterworth, G. V. Sir Apirana Ngata, 1968, AH and AW Reed, Wellington, Auckland, Sydney.

King, Michael Apirana Ngata, E Tipu E Rea, 1988, Department of Education, Wellington.

Journal of the Polynesian Sir Apirana Ngata Memorial Tribute, 1951.

Society.

Ngata, Apirana

Apirana Turupa Ngata, 1966.

Na To Hoa Aroha, 1986.

Nga Moteatea, 1988.

Rauru-nui-a-Toi lectures, 1972.

Ta Apirana: Nga Taonga Tuku Photographs., 1994.

Ramsden, Eric Sir Apirana Ngata and Maori Culture 1948, A.W. and A.H. Reed, Wellington.

NGA POROPITI

Alexander, J. "Maungapohatu: An Epoch in History", Te Ao Hou, (26), December, 1959, p.34-38.

Binney, Judith, Gillian Chaplin and Craig Wallace Mihaia: The Prophet Rua Kenana and His Community at Maunga Pohatu, Oxford University Press, Wellington, 1976.

Binney, Judith Redemption Songs - A Life of Te Kooti Rikirangi Te Turuki, 1995.

Brown, D. And McKay, B. Buildings of the Morehu: Te Ao Hou, Interstices, 2, A Journal of Architecture and Related Arts, University of Auckland, 1992, p.113-133.

Chapman, R. "Concerning Te Kooti Rikirangi Te Turuki", Dominion Museum, Wellington, 1972.

Eady, R. "The Visions of Alan Taylor", Art NZ, Summer, 1988/1989, p.44-45.

Greenwood, W. "The Upraised Hand or the Spiritual Significance of the Ringatu Faith", Polynesian Society Memoir, (21) Wellington, 1942

McLintock, A. "Maori Flags", Auckland Institute and Museum, R. F. 427.

Neich, R. "Early Maori Figurative painting", Art NZ, Summer, 1987/1988, p.70-74.

Neich, R. "The Veil of Orthodoxy: Rotoruia Ngati Tarawhai Woodcarving in a Changing Context", Te Maori: Maori Art from New Zealand Collections, (ed.), S. Mead, Auckland, 1984, p. 63-75.

Taylor, A. Maori Folk Art, Century Hutchinson, Auckland, 1988.

PARATENE MATCHITT

Bacon, R. The Boy and the Taniwha, (Matchitt), Auckland, 1966.

Bacon, R. Rua and the Sea People, (Matchitt), Auckland, 1968.

Mataira, K. Te Atea, School Publications Branch, Department of Education, Wellington, 1975.

Panoho, Rangihiroa "The Principle of Change in Maori Art", Art NZ 45, Summer 1987/1988, p.63-67.

Ritchie, J. "Windows on a Maori World", Art NZ 45, Summer 1987/1988, p.67-69.

WESTERN INFLUENCES

Daley, D. (Ed.) The 1950's Show, New Zealand Home and Building Souvenir Edition, Auckland City Art Gallery, 1992.

McCaughy, P. Picasso, National Art Gallery of Victoria, 1984.

Moore, H. My Ideas, Inspiration and Life as an Artist, London, 1986.

Porzio, D. Pablo Picasso: Man and his Work, New Jersey, 1973.

Read, H. Barbara Hepworth: Carvings and Drawings, London, 1952.

Russell, F. Picasso's Guernica - The Labyrinth of Narrative and Vision, London, 1980.

ARCHITECTURE

Austin, M. "A Description of the Maori Marae", Thesis, School of Architecture, University of Auckland, c. 1980.

Barrow, T. Maori Wood Sculpture of New Zealand, Rutland, Vermont, 1969.

Cooper, W. "Photography in Maori Society", Photofile South Pacific, Spring 1988.

Fowler, L. Te Mana o Turanga, New Zealand Historic Places Trust, Wellington.

Ivory, Susan The Maori Meeting House: a Reflection of Cultural Stability and Change, 1982.

Jenner, A. And N. Ryan (eds) Interstices 1: a Journey of Architecture and Related Arts, Auckland, 1991.

Mead, S. Te Toi Whakairo: The Art of Maori Carving, Auckland, 1986.

Phillipps, W. Maori Carving, Wellington, 1949.

Phillipps, W. Maori Carving Illustrated, (1955), Wellington, 1981.

Simmons, D. Whakairo: Maori Tribal Art, Auckland, 1985.

Thompson, A. "Architecture and Translation", Now See Hear! Art, Language and Translation, Wellington City Art Gallery, (ed. Greg Burke), 1990, p.223-228.

CROSS-CULTURAL

Baritone, T. After McCahon: Some Configurations h Recent Art, Auckland City Art Gallery, 1989.

Bell, L. Colonial Constructs, European Images of Maori 1840-1914, Auckland University Press, 1992.

Brown, G. Colin McCahon: Artist, Wellington, 1984.

Cartwright, G. "Recent Work by Tony Fomison", Art NZ 52, Spring 1989, p.66-69.

Cartwright, G. "Chris Booth", Art NZ 56, Spring 1990, p. 60-2.

Dunn, M. Gordon Walters, Auckland City Art Gallery, 1983.

Dunn, M. "The Art of Theo Schoon", Art in New Zealand, 1982, (25), p 22-23.

Dunn, M. "Theo Schoon, Photographs of the Thermal Regions", Art NZ, Spring, 1984, p.46-49.

Leonard, R. "No Good Going to Bed With Cold Feet: Ans Westra's 'Washday at the Pa' and the Debate Surrounding It", Photofile South Pacific, Spring, 1988.

Mackle, T. "E. Mervyn Taylor (1906-1964)", Art NZ 49, Summer, 1988/1989, p.72-5.

Main, W. (ed.) The Maori, Millwood Press, Wellington, 1976.

Main, W. "Burton's Maori at Home: Notes Towards an Analysis and Interpretation of Nineteenth Century Concepts and Concerns", Art NZ 451, Summer, 1987/1988, p.78-81.

Maitland, G. Whakaahua: Photographic Images of Maori Life 1860's - 1930's From the Auckland Institute and Museum, Auckland Museum, 1987.

Panoho, Rangihiroa "Maori at the Centre/on the Margins", Headlands, Museum of Contemporary Art, Sydney, 1992.

Pound, Francis The Space Between - Pakeha Use of Maori Motifs in Modernist New Zealand Art, Workshop Press, Auckland, 1994.

Reed, A. (Ed.) Early Paintings of the Maori: Illustrated and Described by George French An gas, Wellington, 1979.

Salmond, A. Two Worlds: First Meetings Between Maori and Europeans 1642-1772, Penguin Books, Auckland, 1991.

Simmons, D. Gordon Walters: Order and Intuition, Auckland, 1989.

Thomas, Nicholas Colonialism's Culture, Anthropology, Travel and Government, Polity Press, Oxford, 1994.

Waaka, P. "The Grand Pattern of Life" (Schoon), New Zealand Listener, 31 July 1982.

MINIMALISM

Batcock, G. Minimal Art: A Critical Anthology New York, 1968.

MAORI AND POLYNESIAN WOMEN'S ART

Aotearoa Moananui a Kiwa Weavers Amokura o te Maori, National Museum and Hawkes Bay Museum.

Barton, T.

After McCahon, (including Emare Karaka), 1989, ACAG.

Black and White: Dealing with Differences, (including Kura Te Waru Rewiri), 1994,

Wanganui.

Brown, Amy Mana Wahine: Women Who Show the Way, Reed, 1994.

Eastmond, Elizabeth and Penfold, Merimeri Women and the Arts in New Zealand: Forty Works 1936-1986, Penguin, 1986.

Grace, P. Wahine Toa: Women of Maori Myth, Auckland, 1984.

Fisher Gallery Karanga, Karanga, an exhibition of contemporary creations by Maori women, 1986.

Govett Brewster Gallery Nga Taonga a o Tatou Kuia: Treasures of Our Grandmothers, , New Plymouth, 1987.

Kahukiwa, Robyn Robyn Kahukiwa: Works from 1985-1995, 1995, Bowen Galleries, Wellington.

Kirker, Anne New Zealand Women Artists: A Survey of 150 Years, Reed Methuen, 1986.

Ihimaera, Witi "Karaka", Art NZ 60, 1991, p.78-81, 109.

Mane-Wheoki, Jonathan "Robyn Kahukiwa" Art NZ 75,1995, p.61-3.

Mane-Wheoki, Jonathan "Mana Tiriti - The Art of Protest and Partnership - A Review" Art NZ 6O, 1991.

Marshall Seifert Gallery Women Artists Respond: They who do not hear must be made to respond, (including Robyn Kahukiwa), 1989, Dunedin.

McQueen, Cilia "Notes on the Work of Marilyn Webb", Art NZ 69, 1993, p.48-51.

Museum of New Zealand Nga Puna Roimata o te Arawa, 1993.

Pitts, Priscilla "Karanga, Karanga", Art NZ 40, 1986, p.28-9.

Pound, Francis "Jacqueline Fraser", Distance Looks Our Way 1992, Sarjeant Gallery, Wanganui, p.47-54.

Ramsden, Irihapeti "Robyn Kahukiwa and Diane Prince: After Mana Tiriti", Art NZ 59, 1991, p.72-5.

Ritchie, Jim "Kura Rewiri-Thorsen talks to Art New Zealand", Art NZ 45, 1987, p.56-9.

Rowe, Neil "Robyn Kahukiwa", Art NZ 45, 1987, p.60-2.

Sanderson, Anna "Maureen Lander", Art NZ 75, 1995, p.72-3, 98.

Dayle, Jane "Theoretically Speaking - Alter/Image in Suffrage Year", Art NZ 70, (including Robyn Kahukiwa), 1994, p.49-51.

Sotheran, Cheryll "Shona Rapira Davies at the Govett-Brewster", Art NZ 45,1987, p.45-7.

Tamati-Quennell, M. Pu Manawa: a Celebration of Whatu, Raranga and Taniko, 1993, Wellington, Museum of New Zealand.

Taranaki Museum Nga kakahu Tuku Iho: Garments From the Past, 1987.

Te Ao, Ngapine Tamihana, "Pu Manawa: The Heart on the Margins", Art NZ 68, 1993, p.58-61.

Te Awekotuku, Ngahuia

"He Wahine, He Whenua: Maori Women and the Environment", Mana Wahine Maori, 1991, p. 66-70, New Women's Press.

"Te Pa Harakeke", Standing in the Sunshine, p.278-9, Sandra Coney (ed.), Viking, Auckland, 1993.

Wellington City Art Gallery Whakamamae, 1988, Wellington.

FILM AND VIDEO

Alter/Image: Feminism and Representation in New Zealand Art 1973-1993.

Blythe, Martin J. Naming the Other: Images of the Maori in Film and Television, 1994, The Scarecrow Press, New York and London.

Bobo, Jacqueline Black Women as Cultural Readers.

Edwards, S. "Cinematic Imperialism and Maori Cultural Identity", Illusions, March 1989.

Hawkes Bay Cultural Trust Te Atea: Katarina Mataira/Paratene Matchitt

Kaplan, E. A.

Women and Film: both sides of the Camera, 1983, Garland, New York.

Maori and Pacific Films from New Zealand.

Mita, Merata "The Soul and the Image", Film in Aotearoa New Zealand, 1992, Dennis J. And J. Bierenga (eds.), p.36-56.

Nia, Eruera Nga Tai o Makiri, Rangiatea Films.

Nia, Eruera Huakina, National Art Gallery.

Parekowhai, C. "Te Poho o Paikea: Barry Barclay and Ngati", Art NZ 45, Summer 1987/1988, p.75-77.

Point of View Productions Pleasures and Dangers, Artists of the 1990's, 1991.

Reihana, Lisa "Lisa Reihana", p.116-128, Pleasures and Dangers: Artists of the 90's, Longman Paul, Auckland.

Reihana, Lisa Shared Techlines: video art from the Pacific Rim, 1993, Artspace, Auckland.

Reihana, Lisa Struggle and Celebration, kit, 1991, Learning Media, Wellington.

Reihana, Lisa Tauira

Te Awekotuku, Ngahuia "He Take Ano: Another Take - Conversations with

Lisa Reihana", Art NZ 68,1993, p.84-7.

Te Awekotuku, Ngahuia "Kura Te Waru Rewiri", Art NZ 68,1993, p.91-3.
 


BINARY OPPOSITES

Adams, M. Pakeha/Maori. A Conjunction. Documentary Photographs Taken in the Rotorua Region 1978-1986., The Bathouse, Rotorua, 1986.

Bois, Y. "La Pensee Sauvage", Art in America, April 1985, p. 178.

McEvillery, T. Art and Otherness, Crisis in Cultural Identity, McPherson and Company, New York, 1992.

Said, E. Culture and Imperialism, Vintage, London, 1994.

Said, E. Orientalism, Vintage, New York, 1978.

Teilhet, J. "The Influence of Polynesian Vulture and Art on the Works of Paul Gauguin", Unpublished PhD thesis, University of California, Los Angeles, 1975.

VIDEOS AVAILABLE

Bastion Point Day 507

Four Frames. Women Film-Makers in Aotearoa.

Kohia Ko Taikaka Anake.

New Zealand Animation.

Pleasures and Dangers: Artists of the 90's.


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