Relevant bibliographies by topics / New Zealand Artists

Contents

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

Academic literature on the topic 'New Zealand Artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "New Zealand Artists"

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Campbell, Laura. "Worshipping Beauty in the South Seas." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 75–90. http://dx.doi.org/10.24135/backstory.vi6.46.

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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 tur
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Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists
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Nunn, Pamela Gerrish, Anne Kirker, Max Germaine, and Sandy Kirby. "New Zealand Women Artists: A Survey of 150 Years." Woman's Art Journal 17, no. 1 (1996): 49. http://dx.doi.org/10.2307/1358532.

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Kulka, Ed. "NEW ZEALAND CONTEMPORARY ART PROJECT PART I : ARTISTS INFORMATION FILE." AICCM Bulletin 11, no. 4 (1985): 47–51. http://dx.doi.org/10.1179/bac.1985.11.4.004.

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Pauli, Dorothee. "Seeing Red and Feeling Blue: Social Commentary and Protest in the Work of Michael Reed." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 69–93. http://dx.doi.org/10.24135/backstory.vi9.65.

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Accounts of politically inspired art occupy the margins of New Zealand art history. The career of Michael Reed (born 1950, Christchurch) offers an opportunity to discuss how a New Zealand artist has responded to shifts in 20th and early 21st century global debates regarding social justice, economic exploitation, cultural domination and war. He works across a range of mainly print-based techniques but has also found international recognition for his technically innovative ‘medals of dishonor.’ Through his frequent involvement in collaborative projects, Reed has become part of national and inter
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Hillary, Sarah, Katherine Campbell, Melanie Carlisle, Herant Khanjian, Tom Learner, and Michael Schilling. "The early use of synthetic emulsion paints by New Zealand artists." AICCM Bulletin 34, no. 1 (2013): 44–56. http://dx.doi.org/10.1179/bac.2013.34.1.006.

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Hillary, Sarah, Katherine Campbell, Melanie Carlisle, Herant Khanjian, Tom Learner, and Michael Schilling. "The early use of synthetic emulsion paints by New Zealand artists." AICCM Bulletin 34, no. 1 (2014): 44–56. http://dx.doi.org/10.1179/bac.2014.34.1.006.

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Randerson, Janine. "Between Reason and Sensation: Antipodean Artists and Climate Change." Leonardo 40, no. 5 (2007): 442–48. http://dx.doi.org/10.1162/leon.2007.40.5.442.

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The author, drawing on her experience as a New Zealand artist who has collaborated with meteorologists, suggests that artists may enter climate change discourse by translating (or mis-translating) scientific method into sensory affect. She examines three recent art projects from Australasia that draw on natural phenomena: her own Anemocinegraph (2006–2007), Nola Farman's working prototype The Ice Tower (1998) and Out-of-Sync's ongoing on-line project, Talking about the Weather. The author cites Herbert Marcuse's 1972 essay “Nature and Revolution,” which argues that sensation is the process tha
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Snook, Barbara, and Ralph Buck. "Artists in Schools: “Kick Starting” or “Kicking Out” Dance from New Zealand Classrooms." Journal of Dance Education 14, no. 1 (2014): 18–26. http://dx.doi.org/10.1080/15290824.2013.835052.

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Dudley, Michael. "Images of Psychiatry in Recent Australian and New Zealand Fiction." Australian & New Zealand Journal of Psychiatry 28, no. 4 (1994): 574–90. http://dx.doi.org/10.1080/00048679409080781.

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Psychiatry is variously portrayed in Australian and New Zealand fiction. This paper describes mental health professionals, settings, conditions, treatments, and social themes essayed in 128 works by 103 authors, published between 1957 and 1992. The predominant images are negative or markedly ambivalent: possible reasons for this are discussed. The perception of psychiatry by the culture in which it is formed and located, as mediated by its creative artists, has important implications for psychiatrist's understanding and explication of their social role, and has an impact on patient's expectati
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Dissertations / Theses on the topic "New Zealand Artists"

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Dempsey, Adrienne M. "To Market: Representations of the Marketplace by New Zealand Expatriate Artists 1900-1939." Thesis, University of Canterbury. Centre for Fine Arts, Music and Theatre, 2012. http://hdl.handle.net/10092/7277.

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New Zealand expatriate artists working in England, Europe and North Africa in the early twentieth century painted a wide variety of market scenes. The subject features in the oeuvre of Frances Hodgkins, Maud Sherwood, Sydney Lough Thompson, Maude Burge, Owen Merton, Robert Procter and John Weeks and made a significant contribution to their artistic development. Like their contemporaries in the artists’ colonies and sketching grounds of England and Europe, New Zealand artists were often drawn to traditional rural and fishing villages and sought to capture the nostalgia of the ‘old world.’ Earl
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Barbour, Kim Jaime. "Constructing Artistic Integrity: An Exploratory Study." The University of Waikato, 2006. http://hdl.handle.net/10289/2474.

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This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contempor
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Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers." Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.

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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lens
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Syme, Gemma. "AC/DC : a study in art, gender and popular culture : an exegesis presented in partial fulfilment of the requirements for the degree of Master in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/947.

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This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representa
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Pauli, Dorothée E. "Mina Arndt (1885-1926) : the making of a New Zealand artist." Thesis, University of Canterbury. Dept. of Art History, 2000. http://hdl.handle.net/10092/10811.

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Mina Arndt (1885-1926) belongs to the generation of New Zealand born artists, who established early patterns of professional art practice in this country. The events of her life show how Arndt followed career strategies similar to other New Zealand artists of her time, but the cultural, social and political contexts, which shaped her work and professional conduct also set her apart from her contemporaries. Min a Arndt was born into the sophisticated Jewish community of colonial Dunedin. Her family background and upbringing in the liberal climate of late 19th-century Dunedin ensured
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Grainger, Sheila, and n/a. "Accessing the Professional Artistry of Teaching." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031114.084528.

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This study accesses the professional artistry of teaching which I argue is being eroded by the representation of teaching in a discourse of technical rationality (Fish, 1991, 1995). Accessing professional artistry is the first step towards identifying how it figures in teaching practice and how it can be (mis)represented in theory, policy and teachers' own talk about their practice. The research method involved: analysing the official New Zealand documents pertaining to teacher performance management to demonstrate how the dominant or hegemonic discourse of technical rationality marginalises
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Leleisi'uao, Andy. "My Samoan accent an investigation discussing issues that emanate out of my identity as a New Zealand born Samoan artist : [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2004.]." Full thesis. Abstract, 2004.

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Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.

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This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the
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Klekottka, Anna. "Ngaromoana Raureti Tomoana : indigenous village artist, story teller and ahi kaa : [a thesis submitted in partial fulfillment [ie. fulfilment] of the requirements for the degree of Master of Arts in Art History /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/3683.

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Ngaromoana Raureti Tomoana is a painter from the East Coast of the North Island. In more than 30 years she has produced and shown a large body of work, like many other women artists concurrently juggling motherhood and artistic performance. Over approximately the last 10 years, she has formalized her education completing the Advanced Diploma for Maori Visual Arts at Toihoukura in Gisborne as well as a Bachelor of Arts and a Masters of Maori Visual Arts at Massey University. The artist, who identifies as an Indigenous Village Artist, is hardly known outside her local area of Northern Hawkes B
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Plumridge, Elizabeth Winifred. "The negotiation of circumstance : New Zealand women artists, c.1890-1914." Phd thesis, 1985. http://hdl.handle.net/1885/133637.

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As a study of the emergence of women artists in New Zealand, c.1890-l9l4, this thesis is also a study in the ideological and material basis of Cultural production and Cultural life in the colony. It is argued here that during this period, the imperial relationship created an environment in the colony which both empowered and disabled women as Artists. The material conditions of life and work in the Art world, the way the recruitment, practice and profession of Artists was organized, enabled women to compete on terms of near equality with men. Further, the congruence that existed throu
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Books on the topic "New Zealand Artists"

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Kirker, Anne. New Zealand women artists. Reed Methuen, 1986.

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Another 100 New Zealand artists. Godwit, 1996.

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100 New Zealand craft artists. Godwit, 1998.

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Hollis, Renee. Artists of Golden Bay. R. Hollis, 2008.

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Conly, Maurice. "Send for the artists--". Random House New Zealand, 1995.

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Packer, Ann. Stitch: Contemporary New Zealand textile artists. Random House New Zealand, 2006.

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Shute, Gareth. Insights: New Zealand artists talk about creativity. Random House New Zealand, 2006.

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Visions of New Zealand: Artists in a new land. David Bateman, 1988.

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Robinson, Denis. A painted country: Contemporary New Zealand artists paint their favourite places. New Holland, 2007.

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InForm: New Zealand graffiti artists discuss their work. Reed Publishing, 2007.

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Book chapters on the topic "New Zealand Artists"

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Johnson, Henry. "Artistic activism, cultural diplomacy and Aotearoa New Zealand." In China in Australasia. Routledge, 2019. http://dx.doi.org/10.4324/9781351203470-7.

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Donkers, Laura. "Arousing Public Attention on Sea Level Rise in New Zealand through Art-Science Collaboration." In Climate Change - Recent Observations [Working Title]. IntechOpen, 2022. http://dx.doi.org/10.5772/intechopen.108329.

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In New Zealand, climate scientists predict that climate change-induced sea level rise will have an earlier and greater impact on coastal communities than previously anticipated. In Auckland, the “City of Sails,” Aucklanders’ prize the opportunity to sail on the ocean and live near the beach. However, in 2019 Auckland Council released information that by 2060, a projected increase of 50 cm sea level rise would inundate the homes of 43,000 citizens. If citizens are to safeguard their lifestyles, they need to make effective decisions about how and where they choose to live. While artists are not often qualified to disseminate scientific knowledge, they are able to offer artistic comprehension through aesthetic intelligence, experientiality, and the creation of mental imagery. Building on this position, this chapter explores how an art-science exhibition, Blue Radius, deployed a range of sensorial, emotional, and scientific perspectives to imaginatively engage citizens with the phenomena of climate change-induced sea level rise and present relevant scientific information to assist citizens develop informed decision-making skills.
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Griffiths, Martin. "‘The Chorus Girl and the Tariff’ by Katherine Mansfield." In Katherine Mansfield and Children. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491907.003.0009.

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KM took literary inspiration from America-based performers that visited Wellington and London, including pianist Teresa Carreño and actress ‘Mrs. Hannibal Williams’ – she associated with performing artists throughout her short life – and took an interest in American theatre and cinema. KM used theatrical conventions, techniques and characters in her stories and had a desire to reach or create an audience in America. ‘The Chorus Girl and the Tariff by Katherine Mansfield’ is a monologue concerning the dull humiliation of scratching a living off, and on, Broadway, New York. Despite problematic jargon and detailed geography specific to locations in New York, attribution of the text to KM – who toured as a chorus girl with Garnet Trowell and the Moody Manners Opera Company in 1909 (when it was published) – is plausible and the sketch has the potential to shed light on some of the obscure events of KM’s early life in New Zealand and London.
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Skolasińska, Agnieszka. "Przypadek Janet Frame – pułapki autobiografizmu. Triumf autobiografii." In Biograficzne badania nad twórczością. Teoria i empiria. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-224-9.08.

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The article is an analysis of a three-volume autobiography of a New Zealand writer, Janet Frame (1924–2004). A literary description of life of a writer not well-known in Poland is taken as an example of an extraordinary triumph of literature. Thanks to Frame’s talent it becomes possible to transform the social stigma that is connected with schizophrenia into her individual mark of artistic independence. However, Frame’s trilogy is now read also as an example of a broader problem: mutual relations between social norms and human creativity.
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Fullagar, Kate. "Return of the Traveler." In The Warrior, the Voyager, and the Artist. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243062.003.0010.

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The final chapter traces Mai’s voyage back from Britain to the Pacific. This voyage was arranged by the British government and led, again, by James Cook. Mai experiences various adventures during the voyage, including some altercations with different indigenous groups. In New Zealand, Mai secures two Maori boys to join him as servants. His arrival on Tahiti proves moving for Islanders and British alike. Here Mai reunites with a sister and an aunt, wrangles with a chief, and acquires a large canoe. Mai expects to be deposited back on Ra‘iatea, but Cook at the last minute decides against it, fearing Islander conflagration, and takes him to Huahine instead. Disappointed, Mai is at least gratified to have Cook’s men build him a house. In many ways, Mai’s plotline is the most tragic of the three characters: he begins as a refugee from his own society and never fulfils his dream of restitution. Even so, Mai offers at least one small twist to the old tale—European empire never steals the limelight in his story; instead, Mai turns the tables by employing European empire, almost entirely on his own terms, to seek his ultimate end.
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"14. Augustus Earle’s The Meeting of the Artist and the Wounded Chief Hongi, Bay of Islands, New Zealand, 1827 and His Depictions of Other New Zealand Encounters: Contexts and Connections." In Voyages and Beaches. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824865511-015.

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Nadel, Ira. "Mansfield, Movement and the Ballets Russes." In Katherine Mansfield and Russia. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474426138.003.0006.

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Mansfield and the world of the Ballets Russes, is the focus of this discussion of the importance of movement and dance for her writing and life. Incorporating aspects of Russian dance, especially its expressiveness, gesture and experimentation, into her prose becomes an important feature of her writing marked in part by the physical actions of her characters. Balancing the Chekhovian dispassion of her short stories was a vitality located in her incorporation of elements of the Ballets Russes which became, for a period, the intellectual and fashionable centre of London. Part of their originality was collaboration with dancers and choreographers working with set designers and musicians. The Ballets Russes also confirmed her own artistic efforts to unite novelty and tribalism, especially in her New Zealand stories. Her co-editing Rhythm became another venue for her support of the innovative work produced by Diaghilev, choreographed by Massine, costumed by Léon Bakst and highlighted by sets designed by Cocteau and Picasso. Sharing the impact of the Ballets Russes with high profile admirers, Mansfield applied their originality to her own efforts recognising that their overall impact was not technique alone but the expression of technique into idea as the Times wrote in June 1911.
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Orvell, Miles. "Conclusion." In Empire of Ruins. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0009.

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The conclusion of Empire of Ruins recalls the book’s examination of ruin photography as it relates to modernity—the traumas of war and climate change. But it places that narrative within a larger context by relating this theory of American ruins to a historical conjunction between ruins and revolution that has been visible in European history for centuries. Most notably, it is visible in Hubert Robert, who painted ruins during the French Revolution, and in Joseph Gandy, who depicted John Soane’s Bank of England as a future ruin, emerging from the financial crisis of the 1820s. Thomas Jefferson, during the American Revolution, had the same fear of future ruin that Thomas Cole had in his epic series, The Course of Empire, painted in the 1830s. And in the revolutionary moment of the Great Depression, Stephen Vincent Benét imagined—in a classic work of speculative fiction—a future world in which the ruins of the present world would be discovered. That same trope, recalling Doré’s New Zealander, is used by contemporary artist Ellen Harvey in her satiric sculptural installation, The Alien’s Guide to the Ruins of Washington, D.C. The book ends with a reflection on J. B. Jackson’s famous argument for the necessity of ruins and whether our present trajectory will allow us to begin again.
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Conference papers on the topic "New Zealand Artists"

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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking w
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Christopher, Kameron R., Ajay Kapur, Dale A. Carnegie, and Gina M. Grimshaw. "Implementing 3D visualizations of EEG signals in artistic applications." In 2013 28th International Conference of Image and Vision Computing New Zealand (IVCNZ). IEEE, 2013. http://dx.doi.org/10.1109/ivcnz.2013.6727042.

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Putri, Tieta, Ramakrishnan Mukundan, and Kourosh Neshatian. "Artistic style characterization and brush stroke modelling for non-photorealistic rendering." In 2017 International Conference on Image and Vision Computing New Zealand (IVCNZ). IEEE, 2017. http://dx.doi.org/10.1109/ivcnz.2017.8402475.

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Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.

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In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the d
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Saniga, Andrew, and Andrew Wilson. "Barbara van den Broek. Contributions to the Disciplines of Landscape Architecture, Town Planning and Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4024pu9ad.

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Barbara van den Broek (1932-2001) trained as an architect in Auckland, New Zealand before moving to Brisbane with her husband and fellow architect Joop, where they established an architectural practice. van den Broek went on to run an office as a sole practitioner and took on architecture and landscape architecture projects. Over the course of her career she completed post-graduate diplomas in Town and Country Planning, Landscape Architecture and Education, and a Master of Science – Environmental Studies, and collaborated on a number of key projects in Queensland and Papua New Guinea (PNG). Ou
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Faumuina, Cecelia. "'Asi - The presence of the unseen." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.110.

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This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.

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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical
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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.

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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our ow
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Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.

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In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of t
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Reports on the topic "New Zealand Artists"

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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, 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 future
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2

Woodruffe, Paul. Suburban Interventions: Understanding the Values of Place and Belonging Through Collaboration. Unitec ePress, 2012. http://dx.doi.org/10.34074/ocds.12012.

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How can a socially defined project facilitate meaningful knowledge transfer between community, corporate and institution? In order to address this question, this paper focuses on an ongoing live project in suburban Auckland New Zealand begun in 2010, undertaken by a post-graduate student and researcher collective. The collective currently creates subtle interventions sited within local cyberspace, and through this current project will employ impermanent and small-scale design to advocate for a series of neglected and disputed sites. It explores the impact and value the presence of artists and
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3

Woodruffe, Paul. Suburban Interventions: Understanding the Values of Place and Belonging Through Collaboration. Unitec ePress, 2012. http://dx.doi.org/10.34074/ocds.12012.

Full text
Abstract:
How can a socially defined project facilitate meaningful knowledge transfer between community, corporate, and institution? In order to address this question, this paper focuses on an ongoing live project in suburban Auckland New Zealand began in 2010, undertaken by a post-graduate student and researcher collective. The collective currently creates subtle interventions sited within local cyberspace, and through this current project will employ impermanent and small-scale design to advocate for a series of neglected and disputed sites. It explores the impact and value the presence of artists and
APA, Harvard, Vancouver, ISO, and other styles
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