Pub Date : 2019-07-01DOI: 10.24135/backstory.vi6.46
Laura Campbell
This article analyses the wave of avant garde art movements that arrived on our shores in the late nineteenth century and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular reference to Kennett Watkins’ speech given at a meeting of the New Zealand Art Students’ Association’ in 1883, this account looks at the display of Māori objects in both public settings and in the privacy of the artist’s studio. It also acknowledges the role of illustrated magazines in promoting the public profile of professional artists working in Auckland at the turn of the twentieth century. Many patrons in the elite social circles of Auckland admired artists such as Charles F. Goldie for being arbiters of taste and hisbeautifully decorated studio both linked him to the ways European academic artists presented themselves, while using local artifacts to connect his practice to New Zealand. The dispersal of illustrated art magazines in New Zealand became a marketing tool for artists to promote their art practice but, most of all, elevate their status as members of the social elite in urban centres.
这篇文章分析了前卫艺术运动的浪潮，抵达我们的海岸在十九世纪后期和它的影响应用艺术和一般的生活方式的艺术家和赞助人在新西兰。特别参考Kennett Watkins在1883年新西兰艺术学生协会(New Zealand Art Students’Association)的一次会议上所做的演讲，这篇文章着眼于Māori在公共场合和艺术家工作室的隐私中展示的物品。它还承认插图杂志在促进二十世纪之交在奥克兰工作的专业艺术家的公众形象方面所起的作用。奥克兰精英社交圈的许多赞助人都钦佩Charles F. Goldie等艺术家，因为他是品味的仲裁者，他装饰精美的工作室将他与欧洲学院派艺术家的表现方式联系在一起，同时使用当地的手工艺品将他的实践与新西兰联系在一起。插图艺术杂志在新西兰的传播成为艺术家推广其艺术实践的一种营销工具，但最重要的是，提升了他们作为城市中心社会精英成员的地位。
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Pub Date : 2019-07-01DOI: 10.24135/backstory.vi6.44
Sian Van Dyk
On his fridge, Peter Peryer kept a quote by Ansell Adams that read: “You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books that you have read, the music you have heard, the people you have loved”. This photographic essay considers how Peryer’s personal experiences and passions became intertwined with his practice, and how his understanding of the photographic image saw him create enduring images that will continue to test our own observations of everyday life.
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Pub Date : 2018-12-01DOI: 10.24135/backstory.vi5.37
M. Mollgaard
From the late 1980s until around 2010 a new type of national conversation arose around music created in Aotearoa/ New Zealand. This conversation was played out in popular literature, public forums, academic research and ultimately in government policy outputs. This period of energy and enthusiasm for claiming a unique musical heritage and in developing the cultural, social and economic potential of this music was brief, but notable. Looking back, we can clean interesting insights into a period of real enthusiasm for New Zealand music as an important signifier of what it meant to be ‘from New Zealand’ through books about New Zealand music aimed at mainstream audiences. This interest in discussing New Zealand music in new ways was also reflected in the academy, with attempts to deconstruct the popularity of New Zealand music and government involvement in it being published around the same time. This article is by no means an exhaustive history of this period in New Zealand music literature, but a review of key books and the common themes that strung them together in what represents not a canon, but a moment in New Zealand music that captured the popular imagination and was celebrated in print as well as discussed in broader academic forums too. This moment can be critiqued as gendered – dominated by male writers and therefore male perspectives, but that is not the purpose of this article. This flurry of publishing is cast here as a reaction to popular culture that was very much of its time and the wider contexts of New Zealand’s socio-political culture during that period. It is argued that ultimately, this rash of books about New Zealand music reflected an energy around trying to connect New Zealand music to the wider work of identifying and celebrating a maturing and definitive understanding of what it meant to be from New Zealand. This fed a wider interest in New Zealand music as significant inside the academy andalso within government agencies charged with supporting cultural work.
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Pub Date : 2018-12-01DOI: 10.24135/backstory.vi5.35
A. McCredie
The term ‘photobook’ is very recent, yet numerous studies now survey histories of its development right back to the invention of photography. This article examines photographic books in New Zealand up to 1970 and concurrently explores definitions of the ‘photobook’ and whether, or to what extent, they can be applied to any of these publications. It considers nineteenth century albums, early scientific publications, and in particular, the books of scenery that have become such a stock item of New Zealand photographic book production. It also looks at a handful of books in the 1950s and 1960s that reacted against the scenic, as well as books of the 1960s inspired by photojournalism.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.5
Jani Katarina Taituha Wilson
This article explores the deeper meanings of the term whakamā so it is understood as a fundamental inhibitor of Māori potential, particularly in relation to rangatahi (Māori youth). The kupu (word) whakamā has a number of distinct meanings; firstly, whakamā comprises ‘white’ and ‘clean’,1 and together literally mean to be whitened clean. Secondly, to reflect the process of the blood draining from the face, whakamā is also to be ‘embarrassed’ or ‘ashamed’. As I will show through one of my tribal pūrākau (stories) and a close-reading/analysis of characters in recent feature White Lies (2013, dir. Dana Rotberg), whakamā is far from a straightforward concept. The analysis of White Lies in particular demonstrates and underlines some of the subliminal elements of whakamā in the characterisations of Marāea (Rachel House) and Rebecca (Antonia Prebble), particularly in terms of landlessness. As a Māori film scholar who is generally focused on what cinematic representations of Māori in film history get wrong, I was taken by White Lies for what it gets right in terms of whakamā, particularly in terms of the contribution of whakamā to the clarity – or lack thereof – in decision-making. For the most part, whakamā is a feeling that cannot be easily expressed, and this essay contemplates some of the difficult qualities necessary to explain the effects of whakamā.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.2
S. Higgins
An ambrotype photographic view of Auckland presents one of the earliest extant photographs of the urban landscape in the city. As a rare example of a landscape presented as a cased image it marks an early scenic view that would be repeated in later technology. Identification and supporting evidence dates the cased photograph to circa 1857. Of the photographers working in Auckland at that time two primary candidates for the creation of this work are discussed, Hartley Webster and John Nicol Crombie with the argument that the former is the most likely. Several other photographic views from 1858 to 1859 are shown as examples of known early landscape photographs of Auckland. One in particular shows a wider view taken from a similar point on Constitution Hill looking across to Mechanics Bay and Parnell.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.6
M. Moore
This article provides an account of the 1970’s practice of Paul Cullen (1949-2017) including a focused discussion on his exhibition ‘Building Structures’ at the Barry Lett Galleries, Auckland (November/December 1979). While Cullen received attention in the last two decades of his life, little is known of the origins of his work in the 1970s, and how the foundation for key facets of his career's work is located there. Although his quite radical 1979 solo exhibition 'Building Structures' was a definitive statement in the context of ‘post-object’ and conceptual art in Auckland, with art critic Wystan Curnow noting at the time the work’s significance, the exhibition has been overlooked in historical accounts of the period. The article concludes by bringing ‘Building Structures’ up to date in regard to Anthropocene thinking and with reference to itsreconstruction for a 2018 exhibition.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.3
Robin Woodward
In the realm of public art, New Zealand artist Nic Moon’s practice extends from permanent outdoor sculpture to ephemeral, site-responsive installations and staged public events. Such a range spans the trajectory of contemporary public art, a genre which theorists struggle to define categorically: historical precedents for public art offer no template for the present or for the future. Working in conjunction with mana whenua iwi, local government agencies, art institutions, museums, architects and the community¸ Moon creates large-scale object art as well as temporary and relocatable works, circumstantial installations, public artworks as utilities, and ephemeral art with a short life span. Her public art encompasses a broad spectrum of forms while speaking constantly of human ecology - the interdisciplinary study of relationships between people, our social systems and our environments. It is these relationships that underpin the work of Moon who, in common with new genre public artists internationally, is prepared to work outside the historical framework of public art to engage her audience in socially conscious, political art.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.7
Julie Hawkins
In the last two or three decades many New Zealanders have collected and treasured consumer goods manufactured and often designed in this country in the post-war period. These items are valued not necessarily for their quality but because they were local and symbolic of emergent understandings of national autonomy and distinctiveness. In a time when global corporations flood national markets with low-cost generic goods produced where there is low-cost labour, there is an international movement by ‘baby boomer’ collectors to conserve items produced in their nations when they were young.
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Pub Date : 2018-09-19DOI: 10.24135/backstory.vi4.4
J. Barnett, Lesley Kaiser
The myth of de Ritz, when first we heard of him, was that of an itinerant late-nineteenth century painter (a view echoed in Una Platts’ 1980 Nineteenth Century New Zealand artists: a guide & handbook). Seeing the paintings, one imagined a Romantic wanderer at makeshift easel, smoke rising lazily from a fire whereupon a billy boiled, a river before, a tent beyond: a remittance man, perhaps, a shamed scion escaping old Europe for Antipodean bush, fleeing heartacheor financial scandal or the outcome of a duel.
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