Lissa Mitchell, Te Papa’s Curator Historical Documentary Photography, discusses the photography on display in Framing the View. Framing the View reveals the centrality of the land as a subject and a resource for nineteenth-century art in New Zealand.
Rebecca Rice, Curator Historical New Zealand Art, considers the desire of the second director of the Colonial Museum, Augustus Hamilton, to build a collection for an imagined National Maori Museum.
Join Sarah Farrar for a discussion of Bill Culbert’s works Drop and Daylight flotsam Venice . Created as part of his exhibition at the prestigious Venice Biennale in 2013, this is the first time they have been exhibited in New Zealand.
A symposium of international group of scholars, curators and artists addressing the question of the relationship between the histories of Indigenous modernisms in New Zealand, Australia, North America, Africa and the Pacific, and the artistic conditions of our own era.