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How and why do works make their way into a public art collection? Who decides what will be hung on the walls, placed on plinths, displayed in cases? These important, but seldom discussed, questions lie at the heart of this ‘cultural biography’ of the 70 years during which the Robert McDougall Art Gallery was Christchurch’s civic art gallery. The book explains how the collection came together, how it developed, and how the public, and artists and critics, reacted to it. The book is presented in three parts, each of which has its own introduction. It provides an analytical framework in detail and in context by defining terms and explaining particular, recurrent concepts. These include, and indeed highlight, selection and presentation cultures derived from the core museological functions of collection and display. These, together with the framework’s other concepts, are related to mainstream methodology in the social sciences, particularly political science. The latter is especially relevant to the study of a public art gallery – owned and funded by the public and its elected representatives, and controlled by these representatives and their appointed agents. Furthermore, the framework explores the concept of post-colonial tensions between heritages – specifically indigenous, transplanted and autochthonous ones. The significance of this becomes more apparent when the concepts used in relevant previous studies of specific public art galleries in New Zealand are reviewed. There is also a strong emphasis on the development of a public Maori art collection. It is a story, too, of vivid and influential personalities – the directors and curators who fought for the gallery and the artists represented in it. But the book is more than just the story of a single gallery’s collection: it shines a light on concerns and patterns that will be familiar to galleries everywhere, and provides a unique perspective on New Zealand’s cultural development over much of the twentieth century.
Tangata Whenua: An Illustrated History charts the sweep of Māori history from ancient origins through to the twenty-first century. Through narrative and images, it offers a striking overview of the past, grounded in specific localities and histories. The story begins with the migration of ancestral peoples out of South China, some 5,000 years ago. Moving through the Pacific, these early voyagers arrived in Aotearoa early in the second millennium AD, establishing themselves as tangata whenua in the place that would become New Zealand. By the nineteenth century, another wave of settlers brought new technology, ideas and trading opportunities – and a struggle for control of the land. Survival and resilience shape the history as it extends into the twentieth century, through two world wars, the growth of an urban culture, rising protest, and Treaty settlements. Today, at the beginning of the twenty-first century, Māori are drawing on both international connections and their ancestral place in Aotearoa. Fifteen stunning chapters bring together scholarship in history, archaeology, traditional narratives and oral sources. A parallel commentary is offered through more than 500 images, ranging from the elegant shapes of ancient taonga and artefacts to impressions of Māori in the sketchbooks and paintings of early European observers, through the shifting focus of the photographer’s lens to the response of contemporary Māori artists to all that has gone before. The many threads of history are entwined in this compelling narrative of the people and the land, the story of a rich past that illuminates the present and will inform the future.
Gender and the Making of Modern Medicine in Colonial Egypt investigates the use of medicine as a 'tool of empire' to serve the state building process in Egypt by the British colonial administration. It argues that the colonial state effectively transformed Egyptian medical practice and medical knowledge in ways that were decidedly gendered. On the one hand, women medical professionals who had once trained as 'doctresses' (hakimas) were now restricted in their medical training and therefore saw their social status decline despite colonial modernity's promise of progress. On the other hand, the introduction of colonial medicine gendered Egyptian medicine in ways that privileged men and masculinity. Far from being totalized colonial subjects, Egyptian doctors paradoxically reappropriated aspects of Victorian science to forge an anticolonial nationalist discourse premised on the Egyptian woman as mother of the nation. By relegating Egyptian women - whether as midwives or housewives - to maternal roles in the home, colonial medicine was determinative in diminishing what control women formerly exercised over their profession, homes and bodies through its medical dictates to care for others. By interrogating how colonial medicine was constituted, Hibba Abugideiri reveals how the rise of the modern state configured the social formation of native elites in ways directly tied to the formation of modern gender identities, and gender inequalities, in colonial Egypt.
This critical examination of Maoriland literature argues against the former glib dismissals of the period and focuses instead on the era’s importance in the birth of a distinct New Zealand style of writing. By connecting the literature and other cultural forms of Maoriland to the larger realms of empire and contemporary criticism, this study explores the roots of the country’s modern feminism, progressive social legislation, and bicultural relations.
William Hodges is well known as the artist who accompanied Cook's second voyage to the South Pacific as official landscape painter. This book forms a major reappraisal of his career and reputation, arguing a central place for him in the development of British art. The nine essays included in this catalogue are by some of the foremost scholars in the area. They consider Hodges's work comparatively, in terms of the rise of ethnology, the investigation of Indian history, the encounter with peoples 'without history' and the development of empirical science and rationalism.
How did the European settler perceive M&āori? What images of M&āori society and culture did European artists create for their distant audiences? What preconceptions and aesthetic models lay behind early European depictions of M&āori? These are some of the questions explored by art historian Leonard Bell in this major study of the relationship between the visual representation of M&āori and the ideology of colonialism. He explores the complex and unbalanced cultural interchange between Europeans and M&āori in nineteenth-century New Zealand, in addition to showing how the great range and variety of pictures often revealed more about the artists &– and their society and its attitudes &– than they did about M&āori themselves. This lively and readable book is well illustrated with examples of the artists' work and will be an important contribution to the understanding of colonial New Zealand and the role played by the artist in expressing and creating cultural patterns.
"Political economy is defined in this volume as collective state or corporate support for art and architecture in the public sphere intended to be accessible to the widest possible public, raising questions about the relationship of the state to cultural production and consumption. This collection of essays explores the political economy of art from the perspective of the artist or from analysis of art's production and consumption, emphasizing the art side of the relationship between art and state. This volume explores art as public good, a central issue in political economy. Essays examine specific cultural spaces as points of struggle between economic and cultural processes. Essays focus on three areas of conflict: theories of political economy put into practices of state cultural production, sculptural and architectural monuments commissioned by state and corporate entities, and conflicts and critiques of state investments in culture by artists and the public."--amazon.com edit. desc.
Combines a survey of world art with maps showing the associations and dissemination of culture across the globe.