Relevant bibliographies by topics / Museum of New Zealand Exhibitions

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Museum of New Zealand Exhibitions'

Author: Grafiati
Published: 11 December 2022
Last updated: 25 January 2023

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Journal articles on the topic "Museum of New Zealand Exhibitions"

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Michalik, Magdalena. "THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH." Muzealnictwo 59 (April 3, 2018): 28–33. http://dx.doi.org/10.5604/01.3001.0011.7254.

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The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.
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Smith, Greagh, Conal McCarthy, Bronwyn Labrum, Ken Arnold, Dominique Poulot, Jill Haley, Jun Wei, and Safua Akeli Amaama. "Book Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 235–49. http://dx.doi.org/10.3167/armw.2020.080118.

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Joan H. Baldwin and Anne W. Ackerson. Women in the Museum: Lessons from the Workplace. New York: Routledge, 2017.Christina Kreps. Museums and Anthropology in the Age of Engagement. London: Routledge, 2020.Ken Gorbey. Te Papa to Berlin: The Making of Two Museums. Dunedin, New Zealand: Otago University Press, 2020.Inge Daniels. What Are Exhibitions For? An Anthropological Approach. London: Bloomsbury, 2019.Dario Gamboni. The Museum as Experience: An Email Odyssey through Artists’ and Collectors’ Museums. Turnhout, Belgium: Brepols.Yulia Karpova. Comradely Objects: Design and Material Culture in Soviet Russia, 1960s–80s. Manchester: Manchester University Press, 2020.Gail Dexter Lord, Guan Qiang, An Laishun, and Javier Jimenez, eds. Museum Development in China: Understanding the Building Boom. Lanham, MD: Rowman and Littlefield, 2019.Philipp Schorch with Noelle M. K. Y. Kahanu, Sean Mallon, Cristián Moreno Pakarati, Mara Mulrooney, Nina Tonga and Ty P. Kāwika Tengan. Refocusing Ethnographic Museums through Oceanic Lenses. Honolulu: University of Hawai‘i Press, 2020.
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McCarthy, Conal. "Editorial." Museum Worlds 7, no. 1 (July 1, 2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.

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Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.
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Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.

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Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.
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Williams, Isabelle, Florence Esson, Yunci Cai, Lee Davidson, Valentin Gorbachev, Nathan Jones, Kirsty Kernohan, Heidi Weber, Xiaomei Zhao, and Xuelei Li. "Book Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 290–308. http://dx.doi.org/10.3167/armw.2022.100122.

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Women Mean Business: Colonial businesswomen in New Zealand, Catherine Bishop. Dunedin: Otago University Press, 2019.Imagining Decolonisation, Rebecca Kiddle with Bianca Elkington, Moana Jackson, Ocean Ripeka Mercier, Mike Ross, Jennie Smeaton, and Amanda Thomas, eds. Wellington: Bridget Williams Books, 2020.Cosmopolitan Ambassadors: International Exhibitions, Cultural Diplomacy and the Polycentral Museum, Lee Davidson and Leticia Pérez Castellanos. Wilmington, DE: Vernon Press, 2019.Museums, International Exhibitions and China’s Cultural Diplomacy, Linda Da Kong. London: Routledge, 2021.Curating (Post-)Socialist Environments, Philipp Schorch and Daniel Habit. Bielefeld: Transcript Verlag, 2021.A Cultural Arsenal for Democracy: The World War II Work of US Museums, Clarissa J. Ceglio. Boston: University of Massachusetts Press, 2022.Mobile Museums: Collections in Circulation, Felix Driver, Mark Nesbitt, and Caroline Cornish, eds. London: UCL Press, 2021.Écrire la muséologie: Méthodes de recherche, rédaction, communication [Writing museology, Research methods, writing, communication], François Mairesse and Fabien Van Geert. Paris: Presses Sorbonne Nouvelle Ed, 2021.Cultural Renewal in Cambodia: Academic Activism in the Neoliberal Era, Philippe Peycam. Leiden: Brill, 2020.Animal Classification in Central China: From the late Neolithic to the early Bronze Age, Ningning Dong. Oxford: BAR Publishing, 2021.
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Brulon Soares, Bruno, Jennifer Coombes, Ailish Wallace-Buckland, and Hollie Tawhiao. "Exhibition Review Essays." Museum Worlds 9, no. 1 (July 1, 2021): 145–74. http://dx.doi.org/10.3167/armw.2021.090113.

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The Museum of Removals in Vila Autódromo, Rio de Janeiro by Bruno Brulon SoaresDifferent Histories: A Story of Three Exhibitions in Canberra by Jennifer CoombesNational Treasures: Airing New Zealand’s History on the Small Screen by Ailish Wallace-BucklandE Hina e! E Hine e! Mana Waahine Maaori/Maoli of Past, Present and Future by Hollie Tawhiao
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Frigo, Manlio. "The International Symposium “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” Paris (France), February 22–23, 2008." International Journal of Cultural Property 15, no. 4 (November 2008): 437–39. http://dx.doi.org/10.1017/s0940739108080260.

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The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the case of thetoi moko, the Maori tattooed head belonging to the collection of the Natural History Museum in Rouen, France, since 1875. The restitution of thetoi mokoto the Papa Museum in Wellington, New Zealand, deliberated by the city of Rouen, was recently banned by the Administrative Tribunal of Rouen, on request of the Ministry of Culture at the end of 2007. The head actually belonged to a municipal museum, which was in fact part of the Musées de France, and therefore it was considered part of a public collection. Accordingly, the 2002 French statute providing for the inalienability of state properties was applicable.
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Brown, Maria. "Representing the Body of a Nation: The Art Exhibitions of New Zealand's National Museum." Third Text 16, no. 3 (September 2002): 285–94. http://dx.doi.org/10.1080/09528820110160709.

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Kaino, Lorna. "What Difference Does a Museum Make? TE Papa's Contribution to the New Zealand Economy." Media International Australia 117, no. 1 (November 2005): 31–42. http://dx.doi.org/10.1177/1329878x0511700105.

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Te Papa museum opened in Wellington, New Zealand in 1998. This paper examines its impact on economic growth in Wellington and New Zealand. It argues that Te Papa's outstanding achievements in visitation numbers and reception have been pivotal to the transformation of Wellington into an attractive tourist, leisure and working destination. Te Papa's exogenous wealth has been considerably boosted by a high overseas visitation rate. In addition, its popular, accessible exhibition programs, augmented by extensive education and outreach programs to arts and education institutions, business people and the general public, have provided a cultural milieu that attracts both arts and business practitioners to Wellington.
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McCarthy, Christine. "Bicultural Architecture." Architectural History Aotearoa 6 (October 30, 2009): 21–32. http://dx.doi.org/10.26686/aha.v6i.6752.

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The 1980s appears to be the first time in New Zealand that "biculturalism," a term first coined in Canada in 1940, became linked to New Zealand architecture. The 1980s was a period when the significance of Māori art and culture was increasingly apparent. Te Kōhanga Reo was established in Wainuiomata in 1982, Keri Hulme's The Bone People won the 1985 Booker Prize. The enormously successsful "Te Māori" exhibition, the first international exhibition of Māori taonga, opened at the Metropolitan Museum of Art, New York in 1984, later touring New Zealand in 1986 renamed: "Te Māori: Te Hokinga mai. The Return home." The cultural and political inevitabilities of the Tangata Whenua (1974) television series, the establishment of the Waitangi Tribunal (1975), the Māori Land March (1975), the republication of Dick Scott's The Parihaka Story (1954) as Ask that Mountain (1975), the Bastion Point protests (1977-78), the occupation of Raglan Golf Course (1978), and the Springbok Tour (1981), meant that by the 1980s Pākehā and Māori were questioning their relative postions in New Zealand society. In architecture the success of urban marae, the construction of institutional marae (e.g. Waipapa Marae, University of Auckland by Ivan Mercep, Jasmax, 1988), and the recognition of John Scott's Futuna Chapel as bicultural, twinned with a growing awareness of the asymmetrical privileging of Pākehā over Māori, would all contribute to a greater motivation for biculturalism in architecture. This paper examines the development of the use of the term "bicultural architecture" in New Zealand, and the architecture proposed as warranting it, during this period of New Zealand's history.
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Dissertations / Theses on the topic "Museum of New Zealand Exhibitions"

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Williams, Paul Harvey. "New Zealand's identity complex : a critique of cultural practices at the Museum of New Zealand Te Papa Tongarewa /." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1542.

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This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Smith, Daniel Charles Patrick. "City revealed : the process and politics of exhibition development : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/253.

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This thesis examines the ways in which the process of exhibition development and the politics this involves affects the practice of history in the museum. It does this by establishing the broad parameters of history practice in the museum and places this in relation to academic practice, focusing on the New Zealand context and specifically upon Auckland War Memorial Museum. From this basis the thesis examines the development of City exhibition at Auckland Museum as a large-scale museum history exposition. The development process for this exhibition was created with the aim of changing the traditional Museum approach so as to create a more engaging and scholarly history exhibition than is traditional. At the same time however, there was also an aim of retaining the appearance of the traditional Museum within this programme of change. These aims were to be met by the innovation of the collaboration between an academic historian and the Museum's practitioners in the development process.The research is based upon a detailed investigation of the roles played by the exhibition team members and the decisions, negotiations and compromises that they made through the development process. Beginning with their original intentions and concepts for the exhibition its metamorphosis into the exhibition as it was installed in the Museum gallery is traced. Emphasis is placed on the resonance that the various decisions and changes carried into the finished exhibition. The findings indicate that the Museum's traditions of developing and displaying knowledge exerted a strong conservative effect over the exhibition development in conflict with the programme of change. This conservatism vied with the authorial intentions of the exhibition development team. As a result of this influence the exhibition developed leant towards the conventional. The unexpectedly orthodox outcome resulted from the absence of critical museological practice. The thesis argues that although Auckland Museum had undergone extensive restructuring, including the introduction of new exhibition development processes and a new outlook as an organisation, the conception of history in the Museum had not changed. Ultimately this precluded that the practice of history in the institution would advance through the revised exhibition development process. However, the development of City did help achieve the updating of social history in the Museum and remains a platform upon which a more critical approach to the past can be built.
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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.

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Gore, James Michael. "Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa /." [Australia] : J. Gore, 2002. http://eprints.unimelb.edu.au/archive/00000320.

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Boyanoski, Christine. "Decolonising visual culture : Canada, Australia, New Zealand and South Africa and the Imperial Exhibitions 1919-1939." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271816.

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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004." Full thesis. Abstract, 2004.

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Algers, Maria. "Museums as tools for Cultural Citizenship: Two case studies in New Zealand." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21590.

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This thesis will explore the concept of cultural citizenship by researching visitor’s responses to five exhibitions across two museums in the Lower Hutt region of New Zealand. The thesis will also examine museum management and staff’s perspectives on these exhibits, and compare these to visitor’s. The aim of the thesis is to understand how museum visitors reflect upon and use museum exhibits as tools in relation to their cultural heritage and cultural citizenship. This approach provides a focus for reflection regarding the cultural importance of museum exhibitions. Stuart Hall’s encoding/decoding model will serve as an overall framework for the study, and the theoretical concepts of memory, rhetoric, meaning making and cultural citizenship will further inform the analysis. The results indicate that museum visitors reflect upon exhibits as tools for reminding, and also indicate that exhibits are seen important for learning and representation. Furthermore, the study finds that visitors do not find exhibits particularly challenging or personal. Museum staff provide other perspectives on the importance of museum exhibits, such as their art historical, representational and community-museum relationship building potential, but the study finds that these themes are seldom explicitly recognised by visitors. The concluding discussion reflects on these results, and suggests avenues for future research.
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Hourston, Laura. "Romantic nationalism and modernity as competing narratives of identity in the Museum of Scotland, with reference to the Canadian Museum of Civilization and the Museum of New Zealand Te Papa Tongarewa." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23058.

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Cobley, Joanna. "The museum profession in Aotearoa New Zealand: A case study in economic restructuring and investigating the movement towards feminisation." Thesis, University of Canterbury. Gender Studies, 2002. http://hdl.handle.net/10092/4489.

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This study investigates the impact of economic restructuring and the movement towards feminisation of the museum profession in Aotearoa New Zealand in the period 1984 - 1999. Radical economic and structural changes were imposed on most public sector organisations by the fourth Labour Government (1984-1990) and the subsequent National Government (1990-1999). During this time, museums increased the numbers and ratio of women employed in professional roles at such a rate that it cannot be wholly accounted for by the introduction of Equal Employment Opportunities legislation (EEO) and improved education and employment opportunities for women. This thesis explores three factors that contributed to this increase. First, the impact of the restructuring policies paved the way for a new business ethos to enter and reshape museum practice in unprecedented ways since 1984, shifting from a public service model into a public management culture of competitiveness and commercialisation. Second, transformations in the sector already occurring prior to 1984 involving democratic ideals instigated a shift in the museum's conception of their public; improving public access, increasing the museum's popularity and serving under-represented audiences. Third, a shift in perception ofthe museum visitor since 1984 from citizen to consumer has in tum led to greater emphasis of the customer service role and contributed to a decline in the status of museum work. The devaluation of museum work can be linked to the dramatic employment growth of women in the museum sector. This growth is evaluated in terms offeminisation theory but only in so far as the increased importance of customer service work roles in the museum sector are associated with the "feminine". Qualitative data from semistructured interviews with 17 mid-career museum professionals is utilised as a means to conceptualise, describe and assess the effects of economic restructuring, the introduction of the new management model and the relationship to feminisation.
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Books on the topic "Museum of New Zealand Exhibitions"

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Massey, Claire. Exhibiting enterprise generating income in New Zealand museums: A report. [Wellington, N.Z.]: Museum of New Zealand Te Papa Tongarewa, 2001.

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Hakubutsukan, Tōkyō Kokuritsu, ed. Māori: Rakuen no kamigami : Nyūjīrando Kokuritsu Hakubutsukan Te Papa Tongarewa meihin ten = Mauri Ora : Māori treasures from the Museum of New Zealand Te Papa Tongarewa. [Tokyo]: Tōkyō Kokuritsu Hakubutsukan, 2007.

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Gordon, Maitland, and Bennett Virginia J, eds. Whakaahua: Photographic images of Maori life, 1860s-1930s, from the collection of the Auckland Institute and Museum. [Auckland]: Auckland Institute and Museum, 1987.

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Tyler, Linda. Cross currents: Contemporary New Zealand and Australian art from the Chartwell Collection : Waikato Museum of Art and History, Te Whare Taonga o Waikato, 14 July-25 August 1991. Edited by Orchard Ken and Waikato Museum of Art and History. Hamilton, N.Z: The Museum, 1991.

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Te ao Maori =: The Maori world. Dublin: National Museum of Ireland, 1990.

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E tū ake: Māori standing strong. Wellington, N.Z: Te Papa Press, 2011.

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Pataka Porirua Museum of Arts and Cultures, ed. Mua ki muri: Intergenerational creativity : 6 contemporary Māori artists, Israel Birch, Shane Cotton, Bob Jahnke, Rachael Rakena, Ngataiharuru Taepa, Kura Te Waru Rewiri : 7 October 2009-7 February 2010, Pataka Museum of Arts and Cultures. Porirua City [N.Z.]: Pataka Museum of Arts & Cultures, 2010.

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Paulin, C. D. A list of New Zealand teleost fishes held in the National Museum of New Zealand. Wellington, N.Z: National Museum of New Zealand, 1985.

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Martin, Tony. New Zealand images of war. Palmerston North, N.Z: Dunmore Press, 1990.

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Gallery, Queensland Art, ed. Unnerved: The New Zealand project. South Brisbane, Qld: Queensland Art Gallery, 2010.

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Book chapters on the topic "Museum of New Zealand Exhibitions"

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Sommer, Christopher. "Mapping Museums in New Zealand: The Representation of Place Identity in the Permanent Exhibition at the Puhoi Bohemian Museum." In Mapping Migration, Identity, and Space, 85–115. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77956-0_4.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 7542–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2294.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_2294-2.

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McCarthy, Conal. "Museum of New Zealand Te Papa Tongarewa." In Encyclopedia of Global Archaeology, 5114–16. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_2294.

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Sanghott, Samba, and Alena van Wahnem. ""The Museum in my Pocket"." In Edition Museum, 317–26. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457900-018.

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Samba Sanghott, Technical Director of the Museum of Black Civilizations in Dakar and Alena van Wahnem, a master's student in social and cultural anthropology in Frankfurt/M and Paris, discuss in this chapter different digital alternatives for visiting museums in a new way - both in physical exhibitions and in virtual spaces: Which options are desirable, which are not, and how do they affect the way we relate to museums? Finally, how does the Dakar Museum of Black Civilizations position itself in this regard? In their conversation they try to answer these questions and share their experiences and personal opinions on the matter.
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Orchiston, Wayne. "The ‘Cook’ Gregorian Telescope in the Museum of New Zealand Te Papa Tongarewa." In Exploring the History of New Zealand Astronomy, 207–26. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-22566-1_7.

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Mallon, Sean. "Agency and authority: the politics of co-collecting." In Curatopia, 279–95. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0018.

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At the Museum of New Zealand Te Papa Tongarewa, there are two positions dedicated to curating Pacific Cultures. Since 2002, the curators have been of Pacific Islands descent. One of our ongoing challenges is how to represent Pacific societies and cultures, which are increasingly transnational and indeed global, in our exhibitions and collections. We are conscientiously developing co-curating and co-collecting strategies in our approach to this milieu. However, there is actually a long history of Pacific communities in New Zealand engaging the museum in curating, collecting and exhibiting processes. In this chapter, I share some examples, highlighting how Pacific communities have exercised their agency and authority, influencing their representation in the National Museum. I describe our curatorial responses and examine what was at stake in these interactions, and what tensions and politics were and remain at play.
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Goodnow, Katherine. "SECTION ONE Traditional Methods and New Moves: Migrant and Refugee Exhibitions in Australia and New Zealand." In Museums, the Media and Refugees, 30–66. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781789204032-004.

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"New Challenges for Museum Exhibitions." In Sustaining Cultural Development, 163–72. Routledge, 2016. http://dx.doi.org/10.4324/9781315611594-20.

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"Unit 29 Planning new displays and exhibitions." In Museum Basics, 105–7. Routledge, 2006. http://dx.doi.org/10.4324/9780203018989-36.

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Conference papers on the topic "Museum of New Zealand Exhibitions"

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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
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Hornecker, Eva, and Matthias Stifter. "Digital backpacking in the museum with a SmartCard." In the 6th ACM SIGCHI New Zealand chapter's international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1152760.1152773.

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Day, Kristen, and Erin Campbell. "Four Melbourne Architects (1979): The Creation of Contemporary Perceptions for Australian Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3994pszy5.

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In 1979, Peter Corrigan conceived the idea for the ‘Four Melbourne Architects’ exhibition to be held at South Yarra’s Powell Street Gallery. Corrigan led the charge to draw a line between a new generation of architectural practitioners with a fresh design agenda and the conservative practices represented by the Royal Australian Institute of Architects (RAIA). This exhibition, along with the establishment of the Half Time Club and the launch of Transition Magazine, provided platforms for a lively and vigorous profession. The ‘Four Melbourne Architects’—Greg Burgess, Peter Crone, Norman Day and Edmond and Corrigan—were diverse in their approach to architectural design yet shared common concerns of the post-Whitlam generation. The research for this paper examines the documentation between the four architects as they prepared their exhibition, recording the projects exhibited, along with critical reviews of the exhibition. Interviews have been undertaken with the surviving architects involved and people who attended the exhibition. Four Melbourne Architects was the first of many exhibitions during that period, which became one of many vehicles for public engagement with early postmodernism and those creating it, where collaboration, inclusion, and connectivity informed designers. That process activated a search for a contemporary Australian identity leading to the development of the ‘Melbourne School’.
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Kalenov, Nikolay Evgenevich, Irina Nikolaevna Sobolevskaya, and Alexander Nikolaevich Sotnikov. "Using the Capabilities of the Common Digital Space of Scientific Knowledge for Educational Purposes." In 23rd Scientific Conference “Scientific Services & Internet – 2021”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/abrau-2021-5s-ceur.

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The role of the Common Digital Space of Scientific Knowledge (CDSSK) in the development of educational technologies is considered. CDSSK is being implemented by a number of Russian organizations as a digital environment of a new generation for the purpose of providing information for scientific research, education, popularization of science and preservation of scientific heritage. The CDSSK structure provides for the formation and support of special components related to secondary and higher education. One of the elements related to education in the structure of the CDSSK is a scientific virtual exhibition. Such an exhibition can be dedicated both to a specific person and a scientific event in general. Virtual exhibitions combine a variety of resources related to the presented topic (biographies of scientists, related museum and archival materials, copies of films, interactive multimedia resources). The paper presents the basic principles of constructing the CDSSK educational component, provides examples of implemented virtual exhibitions used in the educational process. Virtual exhibitions are implemented on the digital library “Scientific Heritage of Russia” platform.
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Yousefnia, Ali Rad. "Provocation, Ultra-Resistance and Representation: A Case Study-Based Research Course & the Student Exhibition ‘Re- Presented’." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3993p1uq3.

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The core premise of the paper focuses on approaching a specific case study as the subject and the object of an architectural research heritage course, in this case, the UQ Union complex (UQU). During the summer semester 2020 – 2021, thirteen students in the M. Arch program at the University of Queensland (UQ) studied and interpreted the tangible and intangible heritages of the UQU. Once an award-winning project back in the 1960s, the entire complex faced the threat of demolition by the university’s proposed master plan in 2017. There is no doubt that the demolition proposal was an ‘Ultra’ decision. The process followed an ‘Ultra’ reaction in the form of a campaign for saving UQU, supported by hundreds of activists, UQ staff, students, and alumni. Therefore, an ‘Ultra’ synthesis emerged from this dialectic. Besides the pedagogical approaches of the course, the site’s rich history shaped an important section of the paper. Given the spirit of the recent period, the ‘ultra-temporal’ and uncertain times caused by the COVID-19 pandemic created an ambiguous situation, and there is a major pause for the demolition proposal. The new response from the UQ administration was also briefly discussed at the end of the paper. Within the course, the curiosity to have an in-depth understanding of a built environment transformed and evolved. Thus, the outcome was two exhibitions titled ‘re-Presented’ as a result of this collective work. The course created the opportunity for students to think critically about the role of the UQU Complex within the new master plan and re-image its position in the university’s future by their provocative proposals. These innovative and creative exhibition pieces went beyond conventional methods of documentation. The paper focuses on the students’ journey and how they unpacked the site’s history. It explains how their ideas re-presented a daily built environment that has dispatched from its past and alienated among its users. In summary, an ‘Ultra’ perspective, such as the one exemplified by the described course, comes back in a full circle.
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Ozretić Došen, Đurđana, Emanuela Cvetinović, and Tanja Komarac. "MARKETING OF RIJEKA MUSEUMS: CURRENT PRACTICES AND FUTURE DIRECTIONS." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.37.

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Purpose – The paper is dedicated to the marketing of Rijeka museums. It presents the research that encompassed a) museum professionals’ marketing knowledge and skills and their implementation in practice b) core and additional services offered by museums c) museum professionals’ opinions and attitudes about the new trends in museum marketing. Methodology – Exploratory research was conducted. Data for the theoretical foundations were collected from secondary scientific sources and by searching the websites, social networks, and promotional materials. Qualitative research in the form of in-depth, semi-structured personal interviews with key informants was performed to collect primary data. Findings – The level of familiarity with the services marketing in Rijeka museums was low, pointing to a lack of marketing professionals. Nevertheless, the need for marketing was recognised, and museums were striving to implement some generic marketing activities. The core services (exhibitions and/or collections of materials) showed predominant product orientation, with insufficient orientation on a visitor. Opinions and attitudes of interviewees on museum marketing trends were positive. However, museums could not include new content despite wishes due to the lack of capacity. Furthermore, the legal frame prevented expanding the offer of a souvenir shop. Contribution – Although the research was conducted before the onset of the pandemic, the paper provides theoretical insights and practical suggestions, which could help academics and professionals to understand better and deal with the potential opportunities and threats in museum marketing in the dramatically changing environmentns.
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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Jin, Xin. "Making with the Past: Bricolages in Wang Shu’s Design Writings and Built Projects." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4002phgul.

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This study explores how design research writing can engage with historical reference in a radical way. In the 2002 essay “Shijian Tingzhi de Chengshi” (“City Froze in Time”), based on Chapter 2 of his 2000 PhD thesis, Xugou Chengshi (Fictionalising City), the Chinese architect Wang Shu proposes reinterpreting the traditional Chinese architecture and city through the anthropologist Claude Lévi-Strauss’s notion of “bricolage”, which is defined as making do with available objects. Bricolage is informative for understanding Wang’s design undertakings, which involve skilful adaptations of vernacular building types and construction techniques in new urban projects. Nevertheless, its fundamental role in shaping Wang’s design writings is yet to be fully understood. In his design writings, Wang employs a specific quotation method whereby words and paragraphs from other writers’ preexisting works are reused and woven into new textual compositions. Through formal analysis of “City Froze in Time” and comparisons of compositional patterns between the essay and Wang’s built projects, mainly the Xiangshan Campus of the China Academy of Art, Phase II, Hangzhou (2007) and the Ningbo History Museum, Ningbo (2008), this piece explores three issues. First, it demonstrates how textual fragments found in the past and uttered by others undergo bricolage in Wang’s essay. Second, it foregrounds the intention behind Wang’s chosen writing strategy and investigates broader critical issues, such as authorship and the past–present nonlinear order associated with Wang’s strategy. Third, it expresses how historical materials – understanding “materials” in an inclusive sense – are treated in comparable ways in Wang’s written and built works. By examining Wang’s case, this paper highlights a radical case of contemporary architectural research writing in which an attempt is made to demolish the boundary between theory and design by extending the make-do logic of design into the field of design reflection.
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.

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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.
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Reports on the topic "Museum of New Zealand Exhibitions"

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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