18/2/2019 bva 212 history week two
18/02/2019 BVA212 HISTORY WEEK TWO
Y= Visual Art Resources-school-visual arts-year 2- history BVA 212
Safe assign, google scholar and google books
BACHELOR OF
VISUAL ARTS
2019
Art
History 212
Tutor: Traci Meek
Phone: 03 211 2699 ext 3306
Email: traci.meek@sit.ac.nz
Office: Penthouse, Downtown Campus
Ralph
Hotere: (1984) Phoenix
BACHELOR OF VISUAL ART
Paper Title: Art
History 2
Paper Code: BVA
212
Level: 6
Credits: 15
Notes: Compulsory
Paper
Breakdown of Hours: Lecture and Tutorial
68
Independent
Study/Practice 82
Total hours 150
1 AIMS
Students will build on their understanding of
the history of art through engagement with an overview of art in the Pacific
with particular focus on its bicultural and emerging multicultural character.
The paper will develop knowledge and understanding by identifying and
explaining contexts and cultural practices from which art practice in New
Zealand has developed. Students
will further develop their understanding of the history of art by identifying
and beginning to articulate the ways in which these practitioners influence
their own relative practices. Students will be engaged in practice-based
explorations to extend their comprehension of relationships between history and
practice.
2
LEARNING OUTCOMES
On
successful completion of this paper, students have:
2.1 Evaluated
and contextualised relevant art practices
· Explained where and why specified art
works and practices are keys to understanding the story of art in the Pacific
· Evaluated the significance of practices
emerging within specific historic, cultural, geographic and social contexts
· Identified ways in which cultural and social
change have contributed to developments in art practice in the Pacific
2.2 Explored
relevance and impact of specific contexts on own practice
·
Explored own practice within specific historic,
cultural, geographic and social contexts
·
Critically analysed traditions and influences of
contemporary practices pertinent to own practice
·
Identified and articulated relevance of specific
practitioner’s work in context to own practice
2.3 Explored
and analysed influence of specific contents through practical exploration
·
Explored relevance of specific contexts through
practical exploration
·
Understood and employed practice-based research
methodologies to practical exploration
·
Reflected and articulated relevance of contexts
through practice-based exploration
2.4 Utilised
journaling as a research method
·
Utilised journaling effectively to document phases
of investigation and analysis
·
Employed
active documentation as a working tool to inform thinking
·
Demonstrated
an ability to integrate
historical and theoretical thinking alongside practical investigation in a
journal format
3 CONTENT
AND CONTEXT
The paper will be
delivered through a combination of lectures, practical workshops, and
independent study/practice. It will
cover:
·
Art and craft practices in New Zealand found from the time of
first European contact with the indigenous Maori.
·
Context for study of Maori art and craft includes knowing about
the function and ascribed value of moko, Whakairo, Kowhaiwhai, Tukutuku,
raranga and taniko.
·
Context for painting, sculpture and craft practices developed
from the time of European settlement will include reference to European and
international precedence and practices. There will be recognition of art
theoretical positions as they affect subjects, themes and their
interpretations.
·
Contemporary and traditional arts and crafts practices of
pacifica peoples are included.
·
Australian art: including that of the aboriginal peoples will be
investigated. This includes the strong
narrative tradition found in the presentation of landscape painting besides
contemporary arts and crafts.
·
Traditional and contemporary practices in the arts of Japan,
China and Korea will be introduced and contextual questions discussed.
4. Welcome to Art History and Theory BMA 212.
Last year, in BMA 112, we were introduced to an overview of
the history of Western European, and some North American art, largely because the ways of seeing found in
these cultures are familiar to us through entertainment media and therefore
make a comfortable starting point for launching our study. Even if we have not yet travelled overseas,
living in a culture saturated with visual images and conditioned by the habit
of looking at subjects with a photographic eye we can engage with images from
other places and other times.
Understanding the purpose for their making and use; what they might
signify, is another matter.
In BMA 112 we studied examples of art and architecture and
practiced the formal language of art terms,
identifying genres (types) of
subjects as well as recognising and describing their stories and themes. We spent time asking about the
contexts, events and beliefs from which art making arose.
This year in BMA 212 we bring these skills closer to our
Pacific home. Our range of study in Semester 1 covers New Zealand art from the
time of European contact with Maori.
We start with looking into traditional Maori art and craft practices and
shift this through to contemporary Maori art.
When we look at what is happening in New Zealand today we cannot overlook the fact
that more people who identify as being
from island cultures live in New Zealand than are resident in the Pacific. It follows that our second zone of study must
be the art of the Pacific. Pacifica
people have made a strong impression on the contemporary art scene in New
Zealand.
In Semester 2 we start with crossing the Tasman. Our study there also commences from the time
of first European contact with Aboriginal Australian cultures. Today we are witnessing a renaissance in
the art making practices of Australia’s first people.
Our journey continues with the themes of contact,
colonisation, assimilation and change
when we look at the stories of how artists in Japan, Korea and China have
adapted to influences from contact with
new ideas, new beliefs and different customs
that came ‘out of the West’.
However, this has
certainly not been a one way flow. We
will be looking at richly documented evidence of art making traditions in these
countries which are at least as old – older in recorded history - as those of Europe. We will identify the European fascination for
things Chinese in the 17th century
(Chinoiserie) and, in the 19th
century, the phenomenal effects of
Japanese decoration and ways of picturing which influenced such artists as
Edouard Manet, Mary Cassatt, Paul Gauguin and Maurice Denis, to mention
only a few. We know this fashion as ‘Japonisme’. This continues. Two new Zealand artists who engage with, and
have learned from, the contemporary
Japanese art world are Graham Bennett and Michael Reed, amongst others.
Today the exchange of artists and their ideas between Asian
countries and those colonised by, in
the first instance European culture and, later, the North American commercial mainstream has brought about a market driven
visual art culture with a consequent ‘dumbing down’ of the self
knowledge and reflective practice which is necessary if art is to have a
meaningful place in our lives.
However, when we
look at the struggle in Maoist China for civil liberties over the past 70 years
we find an extraordinarily vital art scene.
One of Peter Belton’s mentor teachers, who came from a traumatised
Europe after 1945, said: ‘No country will ever produce great art until
they have known what it is like to be occupied by a foreign power’. We might add the suppression of civil
liberties such as China experienced during a barbaric imposed ‘Cultural Revolution’ (1966-76)
as being a similar case. Today
we look to China for proof that art survives in the most challenging of
circumstances.
5. Attendance:
To qualify for a pass grade students are expected to have
an 80% attendance record. Students who
are over ten minutes late for a class, without prior notification to the tutor,
will be counted as absent. If absent for any reason it is the student’s
responsibility to catch up with the required course material. If you are sick; notify the tutor before the
class commences and your record will show you as excused. A doctor’s certificate may be asked for.
6. Class times: All classes will be in The Cell unless notified as otherwise.
Semester
1
|
Day
|
Time
|
Semester
2
|
7. Assessment: As noted in your course Schedule.
Essays are to be sent to: traci.meek@sit.ac.nz
And, hard copy to be posted into the BVA assignment box in
the student common room.
Seminar presentations will be assessed in class.
Seminar
1 Research due 11th March
|
5%
|
Essay 1 due
21st June
|
30%
|
Seminar
2 Research due 5th August
|
10%
|
Essay 2
due 1st November
|
30%
|
Journal
due 1st November
|
25%
|
Total possible:
|
100%
|
Grades Explained:
- ‘A’ range:
Performance is clearly very strong or exemplary in relation to the
question. The student demonstrates a high level of understanding of
subject matter, relevant to the Question set, and can explain or analyse
relationships to key ideas and events which give historical context
.
- ‘B’ range: Performance is generally strong in
relation to the Question set. Student demonstrates a good level of
understanding of subject matter and no significant gaps or weaknesses are
evident. Student is able to identify and give some explanation of key
ideas and events in relation to historical context
.
- “C’ range: Performance is adequate for a pass. There
are inconsistencies and /or gaps in
the response to the Question., though there is evidence of a developing
understanding. Some explanation of key ideas and
events in relation to historical context is presented.
- ‘D’ range: Poor.
Performance is unacceptably weak in relation to the Question set.
Work presented has significant gaps of information asked for and/or errors
of fact or interpretation. Little or no attempt has been made to relate
the subject material to key ideas or historical events
.
- ‘E’ range: Evidence from which a proper
assessment can be made is either unavailable or insufficient.
BVA 212. Art History. Class
Schedule , 2017
Week
|
Content
|
Sessions
|
2
18 Feb
|
Power-point: Maori Art: Classic. Intro to the Maori meeting House (Wharewhakairo, Wharenui); Carving/Whakairo; Moko;
Tukutuku; Kowhaiwhai; Raranga; Taniko; Korowhai and Piupiu (clothing); Waka Taua (War Canoe); Tau ihu (Prow); Sternpost (Taurapa); Patu and Mere; Taiaha; Tiki. (notes and drawings)
Two single hour sessions. Student
reporting tasks set:
|
|
3
25 Feb
|
Maori perspectives: Te Tiriti
(Treaty of Waitangi);
Alfred Gell (Anthropologist) on Art
and Agency with regard to Marcel
Maus’ Gift Exchange Theory and its
application to how we might understand an issue at the core of treaty
settlements.
Reading: A brief Encounter…. Keith, H. (2008) The
Big Picture. Auckland. Random House (done?)
Students
present information from Session 1.
|
|
4
4 Mar
|
Student reporting on Tasks set; to
cover: Identification, Description,
Explanation (use and value), analysis
of the object as Taonga. Set reading: (to be decided)
Student reporting:
Power- point: Contemporary Maori and
Pacifica art practices.
|
|
5
11
Mar
|
Student reporting on Tasks set; to
cover: Identification, Description,
Explanation (use and value), analysis
of the object as Taonga. Set reading: (Alfred Moore)
Student reporting:
Museum
visit with sketchbooks. Journal Task TBA
(1)
Select and
sketch 3 Maori artefacts in the SMAG collection. Record any information given
to explain each.
(2)
Review the content and presentation of the Maori
Artefacts presentation in SMAG.
Question: Is there a better way to present Maori
Taonga to a viewing public?
(2)
Identify how Taonga might be presented and explained in contexts other
than what we see at SMAG. ( total: 300
words minimum)
|
|
6
? Mar
|
TBA
Visit to Te
Rau Aroha Marae, Bluff . With task sheets to be shared next class.
Two hour session.
Remind: Class writing task set at the
Museum is due next class.
|
|
7
25 Mar
|
Film:
Cliff Whiting. (55min)
Film:
Ralph Hotere (34 min) Compare and contrast the manner of
representation of these artists; one
being a narrative about how Whiting’s practice engages whole communities and
the other is a discussion about Hotere the artist and his work by academics
and gallery owners.
Identify issues pointed up by this
contrast.
|
|
8
1
April
|
Issues arising when we look at the
presentation and representation of Maori Art today:
Reading: Imitation and appropriation (Robert-Goldwater-Library)
Reading: Engaging with Maori Art and
Identity (Wereta) Students read and identify questions
arising: to present next class.
|
|
9
8 April
|
Power-poin:t Contemporary Maori and Pacifica Artists and their practice;
Subjects and Themes. Materials as signifiers. Critical
reception.
Shona Rapira Davis. Rachel
Rakena. Emire Karaka
|
|
10
29
April
|
Term Break. 2 weeks.
13th April-28th
Power-poin:t Contrasting tellings of New Zealand History
through depictions in art : J.A. Gilfillan, Gustavus
Von Tempsky, Selwyn
Muru (Parihaka), Shane Cotton.
War artist: Russell Clark.
War artist: Peter McIntyre.
Power-point
Wash day at the pa controversy. Show Film: Ans Westra; Full Circle.
|
|
11
6 May
|
Through European Eyes : Power-point Landscape painting in New Zealand from
1773. Webber, Hodges,
|
|
12
13 May
|
Depicting People: Portraiture through art in New Zealand
from Gisselman’s images of Maori (1642) until the present: Power-point. (From Gisselman and Parkinson to Pearson
and Pick)
|
|
13
13 May
|
Journal task: Students to write 3 paragraphs (length of each not specified but, total word count guide, 400-600 words.):
·
The concept
of Taonga and what it means for
the telling of New Zealand histories.
·
The
question of ownership of Maori
objects and stories. ( refer to Maus’
gift exchange theory as explained and contextualised by Alfred Gell)
·
Discuss
examples of appropriation
of Maori artefact images and brands with regard to effects and consequences for not just Maori
but all New Zealand peoples.
Seminar:
Research Proposal (1)
Assessment = 5%
of final mark.
To be handed in at the conclusion of
class.
|
|
14
27 May
|
European and North American Modernism
affects New Zealand artists.
Power-point: Toward
abstraction in New Zealand painting.
|
|
15
3
June
|
Power-point: Multi media used in New Zealand Sculpture post 1945.
Len, Lye, Don Driver, Bronwyn Cornish, Elena Gee,
Terry Stringer, Neil
Dawson, Andrew Drummond, Peter Nichols, Derek ball,
Michelle Bevors, Scott
Eady, Richard Reddaway, Jeff Thompson, Graeme Snowden, Hannah Kidd, Kate B. & Hayden
Prujean, and others.
|
|
Queens Birthday
|
||
16
10
June
|
Assessment 3. Set essay writing task (1500-2000) words:
The
question of Identity? Art
practices in New Zealand; what do they owe to traditional Maori
and/or European ways of seeing and
what evidence of assimilation do we find in New Zealand art practices today?
( To illustrate your points of
explanation, refer 3-5 examples of New Zealand art made from the time of
European settlement to the present.
You should identify and explain signifiers in this essay.)
. Essay 1 Due : Friday
Due
Date: Friday 21st of June
at 5pm This essay = 30% of your total mark. Email
WORD attachment to:
traci.meek@sit.ac.nz
1. Look at New Zealand Art Criticism with examples and explanations.
2.
Identify
issues arising with the production, commissioning, patronage and critical
reception of New Zealand art.
Len
Lye: Films Youtube (35 mins in total); with notes.
Vimea:
Conceptual Art in NZ. (Rachel
Rakena) Art
in performance. (Daniel Belton)
|
|
17
17 June
|
Art in performance: Soundings: 55min
(Daniel Belton)
Films:
Atomik. Atomis. (Each 10min)
Film: Leaf (10 min)
|
|
Semester Break: 24 June to 7 July
|
||
Semester2
1
8 July
|
Traditional practices in the Arts and
Crafts of Pacific cultures:
Micronesia; Melanesia; Polynesia.
Power-point with response task sheets.
|
|
2
15 July
|
Cultural adaptation; cultural appropriations and the products of
cultural contacts reflected in contemporary Pacifica arts practices. Notes:
Youtube: Nicki Hastings-McFall; Annie O’Neil. Johnathan Pule; Michael Tuffery.
|
|
3
22 July
|
Australia: Art,
Painting, printmaking and some sculpture from the colonisation till 1939 (World War Two)
Power-point: Narrative in Australian Landscape Painting
Task sheet.
Set student reporting tasks for Seminar presentation in Session 22.
|
|
4
29 July
|
Power-point. Portraiture in Australian Art: drawing, painting, sculpture and printmaking.
Film:
Wendy Whiteley on Brett Whitely
(33miin)
Film: Self Portrait in the
Studio. (5.21 min)
|
|
5
5 August
|
Seminar
discussion: (not assessed). (1) How
might collectors, museums and national expositions present indigenous
art? (2) When, if ever, is art not indigenous?
Essay to read and discuss at some
later moment: Kylie message: Contemporary
Identity, Culture and the Art of Redress:
Tokyo Street Style and Shigeyuki Kihara in Aotearoa New Zealand.
|
|
6
12 August
|
Power-point: Traditional Japanese Art:
The phenomenon of Japonisme in 19th
Century Western Art.: Powerpoint.
Notes on traditional Religion in Japan
|
|
7
19 August
|
Power-point.: Contemporary Japanese Art:
Collaborations between 2 NZ and
Japanese artists. (Michael Reed and
Graham Bennett)
|
|
8
26 August
|
Power-point: Korean Art: Traditional
and Modern.
Revisit the Kylie Message Essay
introduced in session 22.
|
|
9
2 Sep
|
Film:
The Sculpture of Noguchi;
Japanese American. (1 hour
07min)
Films:
Bunraku Theatre (10min) Bunraku
(27min) and (13min)
|
|
10
16 Sept
|
Term break: 7-15 September
Power point: Traditional Chinese Art:
Notes:
Religion and Philosophy in Ancient China.
Notes: The explorations and adventures
of Admiral Zheng 1407 -33.
|
|
11
23 Sept
|
Contemporary Chinese art Part 1.
Power-point.
Texts on the affects and effects of 20th
Century Chinese history on civil liberties reflected in art practices.
Discuss
possible topic range for the second essay; due 30th October.
A
list of possible topic questions will be given.
|
|
12
1 Oct
|
Research
Proposal for Essay 2Seminar 2. Student
Presentations.
|
|
13
7 Oct
|
Contemporary Chinese Art session 2.
Artists include: Al Weiwei;
Xu Bing; Yue Minjun and wang Jinsong; Cia Guo Qiang; Wenda Ghu; Sung
yuan & Peng Yu; Huang Rui. Wang
Youshen (can do others)
Film:
Ai Weiwei: Sunflower Seeds (14.42min)
Ai Weiwei: Detained.
His personal TED film (11.38)
Readings presented: Al Wei Wei. Persecution of Falun Gong. Artists International
Issue:
Chinese Government suppression of Tibetan culture and art.
|
|
14
14 Oct
|
Contrasting contemporary sculptural
practices around the Pacific Rim countries.
Power Point: New Zealand Maori; Australian
Aborigine; Japanese, Korean,
Chinese, Amer-Indian, Buddhist,
Islamic, Hindu.
Students present abstracts for their
second essay:
|
|
Labour Day. Oct 24
|
||
15
21 Oct
|
Release time, in class, for essay writing: students to present
drafts to Tutor for a response in this
session.
|
|
16
28 Oct
|
Second
essay due on Friday 1 November (40%)
Film:
Contemporary performance art in
Asia:
Film
making Sense of the World.
William Kentridge. (South African)
(36 min)
|
|
17
4 Nov
|
Final contact: course evaluations and food.
|
Southern Institute of Technology. BVA 212 Art History
Seminar Presentation: Research toward Assignment 1
Student:
Tutor: Traci Meek
Subject
|
|
Tutor Response
|
|
The research proposal addresses a New Zealand
Maori Art topic (from the range previously discussed and approved by the
Tutor)
Evidence: student identifies and
describes relevant content; student identifies and explains context; student
identifies issues arising.
|
|
The student interrogates
their sources for subject material with questions arising.
Student’s
understanding of subject is coherent and explained well.
|
|
Power–point presentation
is well illustrated, well and sequenced so that the presentation is easy to
understand.
|
|
Total Weighting:
5% of final result
|
Southern Institute of
Technology. BVA
212. Art History.
In class
exercise: Journal component. (part of the final journal assessment which will be worth 25%)
Student:
Tutor: Traci Meek
Task: (1) Select and Sketch 3 Maori artefacts. Record
information.
(2) Review presentation of artefacts in the SMAG
collection.
(3) Identify how Taonga might be presented and
explained in other contexts than SMAG
.From
the Scheduled visit to The Southland Museum and Art Gallery TBA
What is looked for.
Identify and Explain.
|
Tutor’s comment.
|
3 carefully observed and accurate sketches in which media is used
effectively to record surface detail and effects such as ‘wear’.
Information correctly identifies
the object and explains its use.
|
|
Look at the whole exhibition space and ask how effectively the
objects have been positioned, lit and, significantly, grouped to best signal
a context and use.
|
|
Alternative Ways!
Here you should go online and look at images of Museum presentations
of ethnic (not necessarily Maori) artefacts.
And, You should look at other ways of presenting , outside the
confines of a room.
This might include sites for live demonstrations, replicated Pa
settings and interactive media.
|
Southern Institute of
Technology.
BVA 212 Art History
Essay 1 : Subject Choice Range, for discussion
What is looked for: identify
and explain
|
Understanding attitudes and
values: Maori Art
(1) With examples; Explain The Concept of Taonga and what it
means in the context of telling New Zealand histories. Do this with two cited
examples.
(2 ) Discuss the question of
ownership of Maori objects and stories.
Do this with reference to Maus’ gift exchange theory. Relate
this to perceived differences in the interpretation of the Treaty of
Waitangi with regard to land ownership and sovereignty.
(3) Identify and discuss 2 examples of appropriation of Maori
artefacts images and brands with regard to effects and consequences not just
for Maori but all New Zealand peoples.
( ‘All peoples’ covers, besides Maori, Pacifica, Pakeha, Asian and Middle Eastern ethnicities.)
|
Seeing New Zealand through
European Eyes.
(1) Land:
Describe 2 examples of
Topographical Landscape painting in
early New Zealand: its purpose and
value.
(2) Land: A romantic utopian vision in 19th
C. depictions. Describe 2 paintings of
landscapes with figures. Explain what
is meant by ‘Romantic’.
(3) European Impressionism and its effects in New
Zealand painting. 2 examples.
|
A New Zealand identity in
Painting emerges.
(1) Regionalism. Describe 2 examples of New Zealand painting
made between 1930 and 1960 which, I their choice of subject and manner of
depiction couls be explained as Regionalist.
Explain why.
(2) Compare
and contrast one painting by each of
these artists: Sutton, McCahon, Woollaston and Binney.
(3) Your
final paragraph: Discuss the idea of
identity and what this might mean to us.
You might interrogate this idea by comparing contrasting depictions in
portraiture: exemplars; Robyn Kahukiwa, Evelyn Page, Alan Pearson
|
How International Art fashions have affected
New Zealand art after 1970
(1) Teachers bring a new awareness of
international practices. These
include: John Weeks (Cubism),
A.N.Field (Fauvist colour),
Rudi Gopas (German Expressionism),
Don Peeble (Constructivism),
Louise Henderson (varieties of
French Modernism), Ian Scott (Pop Art), Dick Frizzell (All of the above) Describe one example from each of the
above,
(2) Describe
one sculptural work by Len Lye
(3) Describe
one performed piece by Rachel Rakena.
|
Mark out of 100. =
This becomes 30% of your final mark. =
|
Southern Institute of
Technology.
BVA 212 Art History
Student:
Tutor: Traci Meek
Assessment Schedule
for Essay 1 (1200-1500).
Student’s essay Topic
is from a selection of subjects from the art of New Zealand, Maori, Pacifica and/or European influenced.
|
Title
|
What is looked for:
|
Tutor comment.
|
Evidence of well researched material; properly
APA referenced in the bibliographic listing and keyed into your text.
|
|
Your abstract
clearly Identifies your subject with a linked question. It identifies examples of art practice
relevant to the question. It may make reference to theories or judgements
made by other commentators about your examples; all points to be developed in
the body of the essay.
|
|
The body of the essay:
(1) Describes art examples relative to contexts in which they are
found.
(2) Explains characteristics ascribed to these.
(3) Is clear and coherently
written. Spelling and grammar are correct.
(4) Interpretations and /or judgements are justified by accurate explanation.
|
|
Conclusion summarises key points identified
in the body of the essay.
Summary may take the form
of a reasoned analysis which
addresses (besides ‘what’, ‘Who’, ’where’, ‘when’) ‘How come’ and ‘why this or that
interpretation’.
(note: no new subject material can be introduced into the conclusion)
|
|
Mark out of 100
|
30% 0f your final grade
|
Southern Institute of Technology. BVA 312 Art History
Seminar Presentation: Research toward Assignment 2
Student:
Tutor: Traci
Meek
Subject
|
|
Tutor Response
|
|
Description and contextual analysis of
the development and the affects of an Australasian Art Topic presented
clearly with full and accurate information.
|
|
The student
interrogates their sources for subject material with questions arising.
Student’s
understanding of subject is coherent and explained well.
|
|
Power–point presentation
is well illustrated, well and sequenced so that the presentation is easy to
understand.
|
|
Total Weighting: 15% of final result
|
Southern Institute of
Technology.
BVA 212 Art History
Essay 2: Subject Choice Range, for discussion
What is looked for: identify
and explain
|
How has Indigenous Art in Australia
become assimilated.
1) Discuss the question of
ownership of Austtralian Aboriginal objects and stories. Give one example of an Australian myth
which has become the subject of an Australian painting or sculpture today.
(2) Compare and contrast 3 examples of Australian Aboriginal
artefacts ; one from the Dreamtime with two contemporary
pieces by indigenous artists
.(3) Describe one cycle of
paintings by a Europen Australian which presents a subject centred around the
Aboriginal experience.
(4) Identify issues, such as caricature and parody which have
affected the perception and reception of Aboriginal peoples. Describe an example.
|
Narrative through Australian
landscape painting. (Give an
account o when, where, by whom:
subject/story. Composition/arrangement and effect/expression.)
(1)
Describe two contrasting examples: One, made
prior to 1850 which presents a diaristic record of an encounter and one which
gives a romanticsed story about an
event, or a work activity in the ‘new’ and ‘raw’ country.
(2)
Describe a painting by each of these artists
which depicts a story within a landscape setting: Russell Drysdale, Sydney Nolan, Arthur
Boyd, William Robinson.
(3)
Urban landscape has stories too… Describe one
painting by Jeffrey Smart.
|
Portraiture in Australian
Painting.
(1) Describe and explain contrasting depictions of Australian
Indigenous people by Europeans.
Give two examples: one from the 19thC and one from the
20thC.
(2)Compare and
contrast: A society portrait with a
‘genre’ portrait from the 20th C.
(3)Expression in
portraiture: compare and contrast
portraits by the following: William Dobell’ Brett Whiteley; Ben Quilty (his
portrait of Margaret Olley. Explain
Why Margaret Olley was significant)
(4) The
tradition of ‘taking the Mickey’: give
two examples and explain the significance of caricature/cartoon drawing in
Australian art.
|
Art in China After the Demise of the
Cultural Revolution.
(1)With examples: describe and explain how the art of China has
embraced and added to ways of seeing and depicting imported from Europe and
North America. Give two examples in
painting and two of three dimensional art.
Take into account:
Criticism (art as a political
tool); Humour (Art as a subversive weapon); Memory (various aspects from grief to redemption);
2) The Ai Weiwei
phenomenon. Describe in detail one of
his politically inspired works which employs collaborative practice.
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Contrasting illustrative art practices from the History
of Japan.
(1) The
Floating world of Ukiyo-e: woodcuts- subjects
and style
(2) Woodcut
illustrations from the period after 1852 which show European affects, such as
perspectives; European technology and
dress.
(3) Two
examples of Japonisme in Europe.
(4) Compare
and contrast: Manga Art with Studio
Ghibli practice
|
Southern Institute of
Technology.
BVA 212 Art History
Student:
Tutor: Traci Meek
Asessment Schedule
for Essay 2 (1200-1500).
Student’s essay Topic is from
a selection of subjects dealing with Art in the Asia Pacific Region.
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Title
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What is looked for:
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Tutor comment.
|
Evidence of well researched material; properly APA referenced in the bibliographic
listing and keyed into your text.
|
|
Your abstract
clearly Identifies your subject with a linked question. It
identifies examples of art practice with the issues and their
contexts, which you will discuss. It
may make very brief reference to the method of your investigation and to
theories or judgements made by other commentators about your subject; all points to be developed in the body
of the essay.
|
|
The body of the essay:
(1) Describes art examples relative to contexts in which they are
found.
(2) Explains functions and values ascribed to these.
(3) Identifies issues arising from point (2)
(4) Is clear and coherently written. Spelling and grammar are
correct.
(4) Interpretations and /or judgements are justified by accurate
explanation.
|
|
Conclusion summarises key
points identified in the body of the essay.
Summary may take the form
of a reasoned analysis which addresses (besides ‘what’, ‘Who’, ’where’, ‘when’), ‘How come’ and ‘why this or that
interpretation’.
|
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Mark out of 100
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30% 0f your final grade
|
Total mark for the year: %
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Grade.
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Southern Institute of Technology BVA 212 Art History
Art History Journal, 2018
Due: Friday 26th October
Name: Tutor:
Traci Meek
What is Seen
|
Tutor Comment
|
There is a comprehensive range of gathered
and annotated work, with illustrations.
Examples cover all topics dealt with this
rear
|
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Examples of practice are interrogated;
questioned and explained.
Student shows awareness of the contexts in
which art examples were made; their relationship tp other art and how they
have been received.
There is evidence of the student going beyond
the briefs and gathering new material of their own interest.
|
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This Journal is easy to read and well
presented so that it will be useable in future.
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Total out of 100
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As 25% mark becomes:
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Readings for BVA 212; 2018
Listed books can be sourced from any one of:
Southern Institute of Technology, Invercargill
Bill
Robertson Library; University of
Otago/Otago Polytecnic. (Interloan
request)
Invercargill City Library
Dunedin Public Library
(Interloan request)
New Zealand
Abbott, D, (2015. Vivid.
Auckland. R.F. Books.
Adsett, S. & Whiting, C. (eds) (1999) Mataora:
the living face: contemporary Maori art.
Christiansen, I.
(2013) Cliff Whiting. He Kupenga
Hao I Te Reo. Palmerston North.
Docking, G. Dunn, M & Hanflin, M. (2013)
200 Years of New Zealand Painting. Bateman.
Auckland. Bateman
Dunn, M. (1996) Contemporary Painting in New Zealand. Bateman
Auckland.
Dunn, M. (2003) New Zealand painting: a concise history. Bateman.
Auckland.
Eggleton, D. (2006) Into the Light: a history of New Zealand photography. Craig Potton. Nelson
Evans. M. Lonie, B.
& Lloyd,T. (1976) A
Women’s Picture Book Spiral
Collective/ Govt. Printing Wellington.
Hanson, A.
(1983) Art and the Maori Construction of Reality.
Ch.14 (in) Mead, H & Kernot (1983) Art
and Artists of Oceana. Palmerston
North. Dunmore.
Johnstone, C.
(2013) Landscape Painting of New Zealand: a journey from North to South. Random House Auckland
Keith, H. (
2008) The Big Picture.
Bateman. Auckland
Kirker. A. (1986
) New
Zealand Women Artists. Reed
Methuen. Wellington
Kirker Ann
(2016) New Zealand Women Artists. 36
Research papers can be accessed on
National Library of New Zealand Website.
Kirker,A. (1993) Women Artists: a survey of 150 years. Craftsman House. Sydney
Lay, G. (2008) In Search of Paradise. Godwit.
Auckland.
McAloon, W. (2009) Art at Te Papa. Te Papa Press. Wellington.
Mead, S. $ Kernot.
(1983) Art and Artists of Oceana.
Palmerston North. Dunmore.
Mead, S. (ed)
(1984) Te Maori: Maori Art from New Zealand Collections. Govt. Printing. Wellington.
McNeich, R. (1993) Painted Histories: early Maori figurative
painting. AUP. Auckland.
O’Brien, G. (1996)
Lands and Deeds: profiles of contemporary New Zealand Painters. Godwit. Auckland
Panoho, l. (2015)
Maori Art. Bateman. Auckland
Pound , F.
(1982) Frames of the Land: early
landscape painting in New Zealand. Collins.
Auckland.
Pound, F. (2010) The
Invention of New Zealand Art & national Identity: 1930-70 AUP.
Auckland
Smith, H. (2007)
Taiwhaio II: 18 conversations
with Contemporary Maori Artists. Te
Papa. Wellington
Starzecka, D. (ed.)
(1996) Maori: art and culture. Art
Media Resources. Chicago.
Te Papa: (2007) Taiawhio
II. 18 Conversations with Contemporary Maori Artists. Wellington, Te Papa
Tapsell, P. (2006) Maori Treasures of New Zealand. Auckland.
Bateman.
Young, J. (2010) Appropriation in the Arts. Wiley-Blackwell. Chichester. UK.
Pacific.
Brunt, P. (ed)
(2012) Art in Oceana. T&H London.
Cochrane, S. (2001) Beretara. Contemporary pacific Art. Halstead. Sydney.
D’Aleva, A.
(1999) Art of the Pacific Islands.
Yale . New Haven
Herle, A.: Stanley,
N. (eds) (2002) Pacfic Art: Change and Meaning.
Hirst. London
Hooper, S. (2006)
Pacific Encounters. British Museum. Sainsbury. London
Hooper, S. (2006)
Pacific Encounters. British Museum. Sainsbury. London
Kaeppler, A. (2008)
The Pacific Arts of Polynesia and
Micronesia. OUP. London
Lay, G. (2008) In Search of Paradise: artists and writers in colonial south
pacific. Godwit/Random
House. Auckland
Young. J. (2010) Appropriation
in the Arts. Wiley-Blackwell. Chichester. UK.
Australia:
Allen, C. (1997) Art in
Australia: Colonisation to Post Moderism.
Dolphin. London
Allen, C. (2001) Cross Currents in Contemporary Australian
Art. Craftsman House. Sydney.
Allen,T. (2001) Cross Currents in Contemporary Australian
Art. Craftsman House. Sydney
Berndt, R & Berndt, C,
(1981) Aboriginal Australian Art.
Sydney. Methuen.
Banks, D. (2015)
Sydney Nolan’s Ned Kelly. 6
minute film. You Tube.
Boulter, N. (1991) The
Art of Utopia: New Directions in Contemporary Aboriginal Art.
Craftsman House. Sydney
Capon, E. (1999) Jeffrey Smart. Art Gallery of New South Wales. Sydney
Caruna, W. (1987)
Aboriginal Art. T&H.
(Dolphin) London.
Chanin, E.
(1990) Contemporary Australian Painting.
Craftsman House. Sydney.
City Gallery Wellington (eds) (2004)
Rosalie Gasgoigne: Plain Air Victoria University. Wellington.
Coote,J. & Shelton, A.
(1992) Anthropology, Art and Aesthetics.
Oxford. Clarendon.
Dury, N. & Voight, A. (1996) Fire
and Shadow: Spirituality in Contemporary
Australian Art. Craftsman House.
Wellington.
Drysdale, R.
(nd) The Drover’s Wife. Youtube
clip ( 1 min .30)
Featherstone, D. (2013)
Arthur Boyd: Figures in the
Landscape. Youtube clips retrieved
from: Featherstone, D. (1985) Arthur Boyd: Figures in the Landscape.
Motion Picture. Phaidon London.
Green, C. (1991) Peripheral Vision. Craftsman House. Sydney.
Grishin, S. (1998) John Wolseley: Land Marks. Craftsman House. Sydney.
Grishin, S. (2014) Australian Art: a history. Melbourne.
Miegunyah Press.
Hart, D. (2014) Arthur Boyd: agony and the ecstasy. Canberra. National gallery of Australia.
Hart, P. (2013) The
Poems of Henry Lawson: selected and illustrated by Pro Hart . Sydney, NH
Hughes, R (1966)
The Art of Australia. Pelican. London
Kerr, J. Holder, J.
(1999) Past Present. Craftsman
House. Sydney.
Klepac, L. (1980) The Drawings of Russell Drysdale. Art Gallery of Western Australia. Perth
Kupka, A. (1965) The Dawn of Art. Angus Robertson/Halstead. Sydney.
Leviticus, G.
(1997) Lying About the Landscape.
Craftsman House. Sydney.
Levy, M. (2006)
Void in Art Bramble
Sydney
Marsh, A. (1993) Body and Self . OUP,
Sydney.
McGrath, S. (1992) Brett Whiteley. Bay Books.
Sydney
Sayers, A. (2001)
Australian Art. OUP.
London . Sydney.
Smith, B. (1969) The
Death of the Artist as Hero.
OUP. Sydney.
Stone, W. (1981) The
Poems of Henry Lawson. New Holland.
Sydney
Topliss, H. (1996)
Modernism and Feminism. Australian
Women Artists 1900-1940.
Craftsman House. Sydney
Asia.
Ames; R. (2011)
Reading Xu Bing’s Book from the
Sky: Links to Daoist Teaching. Albany. State of New York University Press
Brand, N. (1995) Traditions of Asian Art. National gallery of Australia. Canberra.
Burckhardt, T. (1976)
The Art of Islam: language and
Meaning. World of Islam Festival Trust Westerham Kent UK
Chong, D (2012) Tokyo 1955-7-: A new Avant- Grade. MOMA.
New York.
Clark, J. (1988) Modern Asian Art. Craftsman house. Sydney.
Cosbey, R. (1995) Watching China Change
Desai, N. et al.
((1996) Contemporary Art in Asia: Traditions and Tensions. Abrams.
N.Y.
Dirlik, A. & Keping, V.
( ) Issues
in Contemporary Chinese Thought and Culture. Chicago. Brill
Hart, D. (2014) Arthur
Boyd. Canberra. National gallery of Australia.
Hunt, J. (1087) Understanding
Far Eastern Art (Technical
information only) Phaidon. London.
King, C.(ed)
(1999) Views of Difference: Different Views of Art. Yale.
New Haven.
Kingston, J.
(2014) Critical Issues in
Contemporary Japan. N.Y. Routledge.
Lee, S. (1988) A
History of Far Eastern Art.
T& H. London.
Li, C. & Watt, C.
(1987) Chinese Scholar’s Studio.
T&H. London.
Portal, J. (2000) Korea: Art and Archaeology. British Museum. London.
Reeve, J. (2005) Japanese Art in Detail. British Museum. London
Roe, J. (2001) Contemporary
Korean Art. Craftsman House. Sydney
Talbot-Rice, D.
(1976) Islamic Art. T&H. London
Tilden, J. ((1992) First Under Heaven. Hali
London.
Trewby, M. (1999) Chinese Splendour. Dunedin Public At Gallery. Dunedin
Turner, C. (Ed)
(nd) Art and Social Change: Contemporary Art in Asia and the Pacific.
Pandanus. Sydney
Wilson, T,L,R. (1986)
The Buried Army of Quin Shihuang. Auckland City Art Gallery. Auckland
Magazines available at SIT Library:
Art Asia Pacific.
Art in Australia.
Art New Zealand
Art News.
These bibliographic listings are not complete but, rather,
are a starting point. You can enter
names on Wiki and scroll to the bibliographic lists under the artist subjects
of your search. Do not depend on Wiki. It is not peer reviewed and may not present
accurate content or interpretations. It
is, however, useful as a marker of the territory of your research.
There will be summaries of topics given by your tutor. Keep all of these. Read them with a pen in your hand and
annotate, question and make your own connections between ‘facts’, contexts and
ideas or opinions.
Texts downloaded or
printed from magazines: This list
is being added to.
Adam, A. (2005) High
Risk Business of Cultural Borrowing. http://www.nzherald.co.nz/lifestyle.news/article.cfm?c_id=6&objectid=10359797
Ai Weiwei, (20120
China’s Art World Does Not Exist.
https://theguardian.com/artanddesign/2012/sep/10/ai-weiwei-china-art-world
Is Maori Culture too
Precious to Brand? http://www.idealogue.co.nz/magazine/9/is-maori-culture-too-precious-to
–brand
Davies, C.
(2014) The people who want their
language to disappear. London. BBC
News Magazine.
Gilroy: P. (1997)
Scales and Eyes: ‘race’ making difference. Golding, S. (1997) Otherness. NY & London. Routledge
Goldwater, R. Pissed off Maori: Imitation, inspiration or
appropriation?
http://newsgrist.typepad.com/robertgoldwaterlibrary/2006/10/pissedoff_maori.html
Jackson, M. (1991) Maori Law, Pakeha law and the Treaty of
Waitangi.
(Pub ) Haeta,et al (1991)
mana Tiriti: Wellington. Daphne Brassell
Lai, J, C.
(2010) Creation and Trade of Maori Culture. Lai
J.C. (2010) Maori Culture in the modern World: its creation, appropriation and trade. Lucerne.
International Communicatoins and
Law.
Ning Lu (2013) How
Chinese Art became Contemporary. https://news.artnet.com/art-world/how-chinese-art-became-contemporary-50469
Project Waitangi
(1989) Te Tiriti O Waitangi: questions
and answers. Wellington. Govt.
Printing Office
Prospero, (2012)
Japanese Contemporary Art: More than Murakami. (a look at trends)
http://www.economist.com.blogs/prospro/2011/12japanesecontemporaryart
Toshidama. (2012)
Mimesis- bunraku puppets and Living Dolls.
https://toshidama.wordpress.com/2012/05/15/mimesis-bunraku-puppets-and-living-dolls
Wereta, S.
(2007) Engaging with Maori Art
and Identity: a conversation with Maori artists in Otepoti. http://review.mai.ac.nz
Texts prepared by
Tutor used in the presentation of this course: (the list is added to as additional material
comes to light);
These are not copied
to student shared drive but hard copy will be given in class and again if
requested.
Power-points listed
are available on student shared drive.
Alfred Gell on Style and Culture
Art and Anthropology
(Gell, summarised)
Paragraph writing task:
Taonga. Appropriation issues.
Art Criticism Practice model
Art Detective
Museum Visit Task
Maori Art and Crafts: Introduction
Most of Dumont d’Urville
(Stations of the Cross series as a response to NZ landscape)
Traditional Art and
Crafts of Maori: power-point
Contemporary Maori
Art Practices: power-point.
Waiata for visit to Bluff
( Te Rau Aroha) Marae
Wharenui: key to
reading this as a metaphor
Traditional Pacifica
art: Power-point
Contemporary Pacific
art: power-point
Landscape Painting in
New Zealand: Power-point
Portraiture in New
Zealand painting: Power-point
Alan Pearson New
Zealand Painter
Abstraction in New
Zealand Art. Power-point
Sculpture in New
Zealand: Power-point
Semester 1 Essay Topic Selection
Australian Portrait Painting: Power-point
Narrative in
Australian Landscape Painting.
Power-point
BVA 212 Planning an
Essay.
Traditional art of
China (2): power-point
Traditional Art of
Japan; Power -point
Japonisme: power-point
Contemporary art in
China: power-point
Contemporary art in
Japan: power-point
Traditional into
Modern Korea: Power-point
Traditional Spiritual Practices in China
Timeline: China
Islamic definitions and concepts.
A Japanese fable:
Technique’s marginal Centrality.
Metropolitan Museum of Art
Sappho
Artist: Julia Margaret Cameron (British (born India), Calcutta 1815–1879 Kalutara, Ceylon)
Date: 1865
Medium: Albumen silver print from glass negative
Dimensions: 35 x 27.3 cm (13 3/4 x 10 3/4 in. )
Classification: Photographs
Credit Line: The Rubel Collection, Purchase, Jennifer and Joseph Duke and Anonymous Gifts, 1997
Accession Number: 1997.382.39
Description
Mary Hillier, a beautiful young house servant at Dimbola, Cameron's home in Freshwater, was often pressed into photographic service, frequently in the role of the Virgin Mary. She managed to assume her various guises in a remarkably unselfconscious way, projecting both gentleness and strength of character. Hillier is also the model for Cameron's Sappho, a profile portrait in the Florentine Quattrocento style, perhaps inspired by the chromolithographic reproductions of Italian paintings distributed by the Arundel Society, of which Cameron was a member. The image has great presence, so much so that Cameron decided to print it even though she broke the negative. Precisely what the picture has to do with the Greek poet of Lesbos is unclear, especially since Cameron inscribed another print of the same image Adriana. The titles of two close variants reveal that, by looking left instead of right, Hillier was apparently transformed from Sappho into Dora or, when photographed from one step further back, Clio. Although Cameron often set out to portray a certain ideal, she also titled pictures after the fact, sometimes because the image seemed to embody the character of a certain literary or biblical figure, but sometimes, one suspects, quite simply because there was more of a market for images of the Virgin, Sappho, or Christabel than for portraits of the photographer's niece or a parlor maid from the Isle of Wight.
https://www.metmuseum.org/toah/works/
I am interested in old style photography techniques, so this piece of art was of interest.
Museums of interest
https://www.metmuseum.org
https://www.tepapa.govt.nz/
https://www.artsper.com/en/contemporary-artists?
https://www.artsper.com/en/contemporary-artworks/photography/477169/a-little-twist-in-cooperation-with-catherine-perrette
Maori Art: Traditional practices. Student reporting to be illustrated.
(all bold text identifies proper nouns which require further investigation)
Wharenui / Wharewhakairo: meeting house. See attached page.
Identify: Iwi, Hapu and Whanau
Whakairo: is a generic (as in ‘family’ or group) term covering all carving on wood, stone, bone and human flesh.
This encompasses the telling of stories/myths and the transmission of tribal memory found in the decoration of wharenui large meeting houses also known as wharewhakairo (carved houses).
Other applications of carving on wood (usually Totara) include waka (canoes); gateways to Pa (fortified vilages); pataka (food store houses); burial caskets (hollowed tree trunks for the protection and preservation of bones); patu (clubs); taiaha ( combination of fighting stick and spear); waka huia (small caskets made for the preservation of huia feathers which serve as a sign of status). See attached page (3).
Student report, Wharenui:
Student report: Waka:
Student report: Bone caskets:
Moko (tattoo) also comes under the classification of whakairo. The elements (parts) of moko could be read as signifiers. Think of moko as being rather like a coat of arms in another culture. The elements (parts) were arranged strictly according to protocol so that the wearer’s Iwi (‘Nation’ group affiliated to one of the seven founding canoe voyages), status as with Ariki (High Chief: aristocrat), Tohunga (Seer, priest and teacher) or Rangitira ( leader in action. Second tier nobility) could be read and this sometimes included allusion to function such as a Tohunga being a specialist in whakairo, or as a healer with medicines. For men, Moko was/is applied over the whole face; for women Moko was/is generally applied to the top lips, chin and (rarely) as a diamond shape on the forehead. There are accounts of Ariki women having had a half face Moko.
Student report, Male Moko:
Student report, Female Moko:
Kowhaiwhai: is the term given to painted wood surfaces. Pigments were mixed with fish oil to give some permanence and to fix colour onto a surface. Traditional colours used were black (charcoal), ‘brick’ red and yellow ochre (natural earth colours ) and white clay.
The most common site for finding Kowhaiwhai in early wharenui was on the rafters (ribs) of the house. Each rafter had a linear trajectory of repeating design elements which presented as a ‘reflected’ pattern (sometimes also with an inversion.)
The best description of Kowhaiwahi painting depicting the cosmological concept of Utu (the cycles of life: balancing and returning) is to be found in Alan Hanson’s essay on Kowhaiwhai in Sidney (Hirini) Mead’s book: The Art and Artists of Oceana.(1996). Available: SIT library.
The repeating patterns were given names such as, for example: (swimming) Pataka (flounder) and Kowhai (tree flowers): elements familiar in the natural world given a metaphysical value.
At a later time Kowhaiwhai was/is also found in wharekai (eating house).
Student report: Kowhaiwhai.
Tukutuku: is the name given to the traditiuon of making decorated (patterned) wall panels which were/are located between the Pou (upright wood pillars which support the painted rafters). Tukutuku were made by tying a horizontal layer of finely split totara rods over a vertical wall of toetoe (which can be escribed as a giant tussock grass; it has a spectacular ‘horsetail’ flower.); using pingao ( a flexible native grass) or keikei cords. ( Keikei is a perching plant, an epithite, found in trees. ) The pattern established by tying the horizontal rods onto the vertical toetoe will present us with striking geometric designs. These were given such evocative names as ‘stairway to Heaven’; swimming flounder and ‘Thousand Stars’. Traditionally, Tukutuku was womens’ work.
Student report:, Tukutuku:
Taniko: is the generic name given to the decoration of Korowhai (cloak) edges and can also be found on other garments such as the belt of piupiu (traditional grass skirts)
The patterns have a geometric appearance not dissimilar to Tukutuku.
Taniko was originally made using finely processed and shredded flax (Harakeke) which was then finger woven.
In post (European) contact time taniko has also been made using spun wool and cotton yarn. This enabled an extension in the colour range to include colours such as blue (found in Nelson, Whakatu Marae) and green.
Traditionally, Taniko was womens’ work.
Student report, taniko:
Raranga: is the generic name given to the practice of weaving harakeke (flax) to make Kete (baskets), rope (Aho), sandals and Kupenga (fish nets, and eel traps.) as well as rain capes.
Women made kete and other clothing from flax. The making of fishing gear was, however, regarded as a Tapu activity and was, therefore, the responsibility of men.
Student must report on other words we frequently come across:
Marae;
Powhiri;
Tangata Whenua; Manihiri;
Tapu and Noa;
Haka; Waiata; Karakia;
Tangi; Hangi; Hongi;
Koha;
Aroha;
Whakapapa; Iwi; Hapu; Whanau;
Very simple definitions. One sentence for each will do. Go online.
Reporting next Tuesday’s class (subject to change if the Marae visit changes)
The metaphor we find in the Wharenui is
the body of ancestors. The Wharenui is the ‘vessel’ which,
in its signifying parts holds and transmits tribal memory.
A= Kuaha, carved door= waha (mouth)
B= Whatu (eye). Pare (over the eye)= carved lintel
C= Manawa (heart figure after whom the House is named
D= Poupou. support posts with carved ancestor figures.
E= Tukutuku panels with cosmological patterns.
F= Maihi do the work of Ringa (arm)
G= Raparapa. Hands and fingers.
H= Amo (legs) carved figures support the Maihi.
I= Mahau (porch) with Paepae (low wall.)
J= Tahu. Ridge pole (spine)
K= Heke or Rara; (ribs) with Kowhaiwhai
L=Tekoteko. Iwi ancestor. Guardian figure.
M= Koruru. Face ancestor after whom the house is named.
N= Kanopi. Whole front of house (face)
Iwi throughout New Zealand
https://www.google.com/search?rlz=1C1GCEB_en&biw=1920&bih=1057&tbm=isch&sa=1&ei=yPhpXNTBMJKGyAPetYu4BQ&q=maori+iwi+map&oq=IWI+MAORI&gs_l=img.1.1.0j0i8i30.33094.43764..46204...0.0..0.263.1257.0j4j2......1....1..gws-wiz-img.......0i67.iFsn5JLAKbo#imgrc=StxvPZgtKNSUGM:
Why flax coffins are a dead good idea
Artist Rawinia Puna and the first casket she made, which was dubbed Kahu after the native harrier hawk
The inside of the organic casket made of cardboard and Harakeke flax.
students searched and found these images
now to find images of a kaitiaki images
Kaitiaki – guardians
https://teara.govt.nz/en/kaitiakitanga-guardianship-and-conservation/page-4
Kaitiaki – Shared Measurement System :
This is the carved figure behind the tauihu that looks back over the paddlers. The purpose of the kaitiaki is to protect the paddlers ensuring they stay on course. In the same way the shared measurement system informs stakeholders of the results of their activities and progress toward achieving the goal
This is the carved figure behind the tauihu that looks back over the paddlers. The purpose of the kaitiaki is to protect the paddlers ensuring they stay on course. In the same way the shared measurement system informs stakeholders of the results of their activities and progress toward achieving the goal
Kaitiaki by Mike Glover
https://www.prints.co.nz/page/fine-art/PROD/9883
MOKO traditional female and male.
https://flashbak.com/44-captivating-native-maori-portraits-fom-19th-century-new-zealand-32789/
http://www.zealandtattoo.co.nz/tattoo-styles/maori-tattoo/
by Sofia Minson
https://www.newzealandartwork.com/page/contemporary-maori-portrait-paintings/
Kowhaiwhai.
https://sonz.kiwi/product/kowhaiwhai-double-heart/
traditional design of kowhaiwhai
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