Category Archives: Art

Our tamariki turned into dragons!

On Saturday and Sunday, visitors to the museum were given a shock. Our NatureSpace hosts had turned into dragons! Luckily, they didn’t look too scary.

Michael Discovery Centre Host wearing dragon mask

Michael, a Discovery Centre Host, wearing a dragon mask. Photo Ruth Hendry. © Te Papa.

Every weekend between 11am-12noon the Discovery Centres have free craft activities for children and families. Last weekend children made their own dragon masks: scary, silly and surprising.

Discovery Centre hosts and visitors wearing dragon masks

Discovery Centre hosts and visitors wearing dragon masks. Photo Ruth Hendry. © Te Papa.

There were some great dragon masks from our visitors; we were inspired!

Next week, get creative with us and decorate your own game player to celebrate the opening of GameMasters.

Visitor wearing his dragon mask

Visitor wearing his dragon mask. Photo Makaira Jenkins. © Te Papa.

Visitor wearing a dragon mask

Visitor wearing his dragon mask. Photo Makaira Jenkins. © Te Papa.

Birds of a feather

The Te Papa Store has just taken possession of a range of new stock inspired by the museum’s natural history collection. Dead Set is by textile designer Genevieve Packer, and is based on Te Papa’s haunting and strange collection of bird skins.

DEAD SET | KOTARE CUSHION, Digital print on hemp / organic cotton

DEAD SET | KOTARE CUSHION, Digital print on hemp / organic cotton

 
For the novice, of which I am in the case of natural history, bird skins are collected for research purposes, and are just that – boneless skins, stuffed with a bit of padding and a stick. Te Papa holds multiples of native bird skins. Collected over time and en masse they enable scientists to compare and contrast specimens.
 
Page from the British Museum's 1970 guide for collectors on preparing bird skins.

Page from the British Museum’s 1970 guide for collectors on preparing bird skins.

 
Grouped en masse, where difference suddenly comes to the fore, Genevieve Packer saw a design opportunity. She writes:
 
‘This new range of printed textiles and paper continues to expand on my ongoing interest in how we package and sell our culture and history – not only to foreigners, but to ourselves. It takes native New Zealand birds commonly used on souvenir / gift products – such as the Tui and Pukeko – and presents them in the rarely seen form of ’skins’ from Te Papa’s bird collection, exposing the care and beauty involved in preserving our natural history.’
 
DEAD SET | MIROMIRO SCARF, digital print on silk/cotton

DEAD SET | MIROMIRO SCARF, digital print on silk/cotton

 
The little birds above are tomtits or miromiro, of which there are five different subspecies. Te Papa has 169 miromiro skins plus a few wings and tails. A mix of male and female, adults, immature and juveniles, the oldest specimen was collected on Chatham Island in 1871 and the latest donated from Karori Wildlife Sanctuary (now Zealandia) in 2002.  Today, Te Papa does not actively collect live birds, but we do accept donations of deceased birds from Department of Conservation staff or members of the public.
 
The bird skins are stored in drawers, arranged very much as you see above. It was an image of drawers upon drawers of colourful bird skins and their keepers at the Smithsonian, that inspired Genevieve to pick up the phone and ring Te Papa. She was put in contact with Gillian Stone who looks after the bird collection, and who soon found herself in the role of stylist. Genevieve worked with Gillian to curate and ‘style’ the drawers – removing any odd or particularly damaged birds, arranging their labels etc and giving consideration to overall composition. They were then photographed under Genevieve’s direction by Te Papa photographer Kate Whitley.
DEAD SET POSTER | PUKEKO, offset print on 170gsm

DEAD SET POSTER | PUKEKO, offset print on 170gsm

 
Genevieve chose to primarily focus on Pukeko, with their wonderful balletic legs, Miromiro and Kakariki skins, along with the Kotare and Tui. She has produced a range of products from cushion covers and scarves to postcards, that have already provoked quite a reaction.
 
‘The response has been quite polarising. Some viewers get it and love it. Others not so much! But it has certainly been a conversation starter.’
 
Bird skins have long been the subject of conversation and debate, especially in regards to the international trade of bird skins, or as it was known ‘plume traffic’.  In New Zealand Victorian ornithologist Walter Buller, from whom the national museum acquired its first collection of bird skins in 1871,  has long been at its centre. The controversial Buller features as the suspect in a Tales from Te Papa episode entitled Who Killed the Huia? and in the exhibition  Buller’s Birds: The art of Keulemans and Buchanan (on at Te Papa until 27 January 2013). The latter features a number of skins collected by Buller, and coincides with a brand new publication from Te Papa Press – Buller’s Birds of New Zealand: The complete work of JG Keulemans.
 

Buller’s Birds of New Zealand by Geoff Norman

Both Buller’s Birds of New Zealand and Genevieve Packer’s provocative Dead Set collection are available from the Te Papa Store - Christmas gifts perhaps for bird lovers, conversationalists or provocateurs. Whether or not Dead Set is to everyone’s taste, it has been wonderful experience having a designer use our collections as a design resource.

PS: for more on the history of Walter Buller’s collections of New Zealand birds read Sandy Bartle and Alan Tennyson’ in-depth article here.

News from Loans: Where to see Te Papa collection items – paintings

  My last few blogs let you know where you will see Te Papa’s collection items on display at other places.  Today I am going to let you know where to see some of our paintings in places you would not necessarily expect to find them. 

Next time you are in Wellington, and have the opportunity to visit the following venues, make a point of seeking out our paintings.

Linear aspect (A), 1969, New Zealand. Wong, Brent. Gift of the New Zealand Academy of Fine Arts, 1970. © Brent Wong www.brentwong-painter.com. Te Papa

Linear aspect (A), 1969, New Zealand. Wong, Brent. Gift of the New Zealand Academy of Fine Arts, 1970. © Brent Wong http://www.brentwong-painter.com. Te Papa

 At Government House we have four paintings on display in the Liverpool Room. This beautiful room is a meeting room before you proceed into the Blundell Room where you will find another painting of ours.  Look out for Fatbird 1964 by Don Binney in the Blundell Room and Hedge (garden painting) 1973 by Philip Trusttum, Suburban inlet 1981 by Peter Siddell, Linear aspect (A) 1969 by Brent Wong and Fourteen days at Paekakariki 1988 by Peter Ireland in the Liverpool Room.

Quatre Bras, 1897. Hamilton, Vereker. Gift of the artist's wife, 1934. Te Papa

Quatre Bras, 1897. Hamilton, Vereker. Gift of the artist’s wife, 1934. Te Papa

If you are visiting The Wellington Club on The Terrace have a look at the painting titled Quatre Bras, painted in 1897 by Vereker Hamilton.  The oil on canvas shows the Battle of Quatre Bras on 16 June 1815 during the Napoleonic Waterloo campaign.

Portrait of Archbishop Redwood, 1934, Wellington. Ellis, Frederick. Gift of St Patrick's College Old Boys Association, 1935. Te Papa

Portrait of Archbishop Redwood, 1934, Wellington. Ellis, Frederick. Gift of St Patrick’s College Old Boys Association, 1935. Te Papa

If you happen to be at St Patricks College in Kilbirnie check out the painting of Archbishop Redwood painted in 1934 by Frederick Ellis.  This painting was given to Te Papa in 1935 by the St Patricks Old Boys Association but it has been at the College since 1939.

Portrait of Sir Joseph Banks, 1970. Aris, Joyce, Reynolds, Sir Joshua. Te Papa

Portrait of Sir Joseph Banks, 1970. Aris, Joyce, Reynolds, Sir Joshua. Te Papa

Portrait of Sir Joseph Banks is a 1970 copy by Joyce Aris of the famous Sir Joshua Reynolds painting held by the National Portrait Gallery in London.  Recognising the importance of Joseph Banks to the history of New Zealand the copy was commissioned in 1969 as part of the Cook Bicentenary celebrations.  The painting is on display at the Royal Society of New Zealand in Thorndon and has been there since 1979.

Movember memories

Movember is drawing to a close, and thousands of men in New Zealand and around the world are sporting moustaches for a good cause.  In New Zealand, the funds raised are being used for research, advocacy and survivor support around men’s cancer and mental health.  Here’s a small selection of moustachioed men, drawn from our photograph collection to inspire you in Movember’s final days … and remember, these moustaches are the culmination of years of effort!

F. W. Harrington, circa 1860, Dublin. Chancellor and Son. Purchased 1916. Te Papa

F. W. Harrington, circa 1860, Dublin. Cabinet photograph by Chancellor and Son. Purchased 1916. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Campbell 12 PS, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Campbell 12 PS, circa 1908, Wellington. Gelatin dry plate negative by Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

India Series:, 1960 s, India. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

India series: soldier, 1960s, India. Colour transparency by Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 - 1866, circa 1860. Maker unknown. Purchased 1916. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 – 1866, circa 1860. Cabinet photograph, maker unknown. Purchased 1916. Te Papa

Self portrait, 1930 s, Wellington. Lee-Johnson, Eric. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

Self portrait, 1930s, Wellington. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

See more moustaches from our collection

 

Guest blog: Art in the Service of Science – Dunedin’s John Buchanan

Ever wondered how different people’s surnames end up as part of the scientific names given to plants and animals?  It is considered very bad form to name a new species that you describe after yourself, but someone else might do it for you as a mark of respect.  That is what happened to nineteenth century botanical collector and draughtsman to the Colonial Museum and Geological Survey, John Buchanan FLS (1819-1898).

John Buchanan, Plagianthus lyalli 1865, watercolour on paper, 143 x 225mm. This plant is now known as Hoheria lyalli, and was one of the original illustrations to John Buchanan’s A Sketch of the Botany of Otago, the essay he produced for the New Zealand Exhibition in Dunedin in 1865. Te Papa

Unsurprisingly, given the energetic botanical collecting he engaged in as soon as he arrived in New Zealand from Scotland in 1852, most of the species that bear John Buchanan’s name are plants.  But there is also a predatory sea snail, Antimelatoma buchanani described by Frederick Wollaston Hutton in 1873.  Over eighty examples of this marine snail, gathered from Deep Water Cove to Queen Charlotte Sound, are in the mollusc collection at Te Papa. 

When Hutton described the features of this new species, he was working as assistant geologist to James Hector in the Geological Survey Department in Wellington.  John Buchanan was a colleague whose sharp eye for flora and fauna that might be new to science was much admired.  His technical drawing skills were superlative, and he was the illustrator for eighteen issues of the Transactions and Proceedings of the New Zealand Institute from the date of its first publication in 1868.

Sterocaulon

Stereocaulon buchanani, illustration from Transactions and Proceedings of the New Zealand Institute, Volume 7, 1874.

The ornamental grass Danthonia buchanani and orange sedge Carex buchanani are also named after John Buchanan, who won the first prize at the Melbourne Exhibition in 1880-81 for his technical ingenuity in producing The Indigenous Grasses of New Zealand.  This folio-sized book was nature –printed direct from the specimens themselves, and appeared in three parts in 1878, 1879 and 1880.  There is still printer’s ink on some of the grasses that Te Papa holds that were used by Buchanan to produce the lithographic plates.

Buchanan sent many of the plants he found back to experts in Glasgow or to Kew Gardens. The lichen Stereocaulon buchanani  he sent to James Stirton M.D., who – like Buchanan- had become a foundation member of the Glasgow Society of Field Naturalists in 1871. Stirton published his description as Article LIV in Volume 7 of the Transactions, and Buchanan illustrated it.

From his humble beginnings as a designer for printed calico for the textile industry back home in Glasgow, Buchanan reinvented himself as a man of science on emigration to Dunedin in 1852.  His drawing skills were his ticket to professional employment opportunities.  He worked first on the Reconnaissance Survey with Alexander Garvie, and then was recruited by James Hector M.D. in April 1862 to work as a draughtsman and botanical artist for the Otago Geological Survey.

John Buchanan, Coprosma lucida 1865, watercolour and ink on paper, 146 x 224mm. Another one of the original illustrations to John Buchanan’s A Sketch of the Botany of Otago, the essay he produced for the New Zealand Exhibition in Dunedin in 1865. Te Papa.

Hector respected Buchanan’s botanical knowledge and commissioned an essay on the botany of Otago for the New Zealand Exhibition in Dunedin in 1865, later to be published in the Transactions. Te Papa has Buchanan’s watercolours of the plants which were displayed at the exhibition as part of the work of the survey.  Many of these, including Coprosma lucida and Plagianthus lyalli have been loaned to the Hocken Library for the exhibition Art in the Service of Science: Dunedin’s John Buchanan,  which runs until 9 February 2013.

John Buchanan, Ranunculus buchanani 1865, pencil and watercolour on paper, 277 x 202mm. This plant was described by Joseph Dalton Hooker, and named after John Buchanan. It is one of the original illustrations to John Buchanan’s A Sketch of the Botany of Otago, the essay he produced for the New Zealand Exhibition in Dunedin in 1865.

Corollary to the exhibition, a two day symposium will be convened on 29 and 30 November at Salmond College in Dunedin for researchers to present their work on Buchanan.  It includes a presentation by Jim Endersby of Sussex University, whose talk at Otago Museum on Thursday evening is provocatively entitled Imperial Science: the invention of New Zealand plants.

For more on John Buchanan and the symposium you can watch an interview with Linda Tyler here.

Written by Linda Tyler, Director, Centre for Art Research, University of Auckland and Te Papa Research Associate and guest blogger.

Can you help identify the yellow sack used in this artwork?

This afternoon I have been sitting down to write a wall label about New Zealand artist Don Driver’s incredible work in Te Papa’s collection Blue and green Pacific (1978). I’ve become rather hung up on a particular detail: the yellow sack in the centre. I’d dearly like to know what it might have originally been used for. Can anyone help?

Don Driver, 'Blue and green Pacific', 1978,  plastic tarpaulins, ropes, plastic sack. Purchased 1981 with Ellen Eames Collection funds, Te Papa

Don Driver, ‘Blue and green Pacific’, 1978, plastic tarpaulins, ropes, plastic sack. Purchased 1981 with Ellen Eames Collection funds, Te Papa

I’m guessing that Driver found this sack in or around New Plymouth, where he lived, at some point in the 1970s. The words that are visible on the sack read ‘PACIFIC / P.D.V. SCREENED / GRADE V43 / THROUGH 36 MESH 425 MICRONS / CERTIFIED TO B S S 998′. I’ve been wondering if it might have held an agricultural product. Is ‘Pacific’ a brand name, or a product?

I really cannot explain my passion for doormats and old bags. My wife says I should see a psychiatrist.’ – Don Driver, 1979.

Why is it important to know what sort of bag Driver used in Blue and green Pacific? Well, of course, it may not be in terms of understanding or appreciating Driver’s work. However, I am intrigued by Driver’s re-use of found objects and the sorts of materials he was drawn to. For example, consider his use of ‘Huttons skin and bone meal’ sacks in another work from Te Papa’s collection… not to mention the possum skins.

Don Driver, 'Huttons skin and bone', 1984, mixed media assemblage. Gift of the Goodman Suter Biennale, 1986. Te Papa

Don Driver, ‘Huttons skin and bone’, 1984, mixed media assemblage. Gift of the Goodman Suter Biennale, 1986. Te Papa

It’s reasonably uncommon to find examples of contemporary New Zealand art that engage with the role that agriculture plays in New Zealand’s economy and society. Perhaps this is what gives Driver’s works some of their punch; while they are very much ‘of this place’, they reveal a side that we don’t often put on display.

Sarah Farrar
Curator of contemporary art

‘Vacant lot of cabbages’ documentation enters Te Papa’s archives

In 1978 contemporary New Zealand artist Barry Thomas undertook a public art project in inner city Wellington. Utilising a vacant lot on the corner of Willis and Manners Streets, the artist and his friends cut through a wire perimeter fence, delivered a truckload of top soil to the site and planted 180 cabbages.

Barry Thomas, 'Vacant lot of cabbages' documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Barry Thomas, ‘Vacant lot of cabbages’ documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

The project Vacant lot of cabbages (also known as ‘The cabbage patch’) immediately caught the public attention and received extensive media coverage. Barry was interviewed in local newspaper The Evening Post where he challenged Wellingtonians to occupy the vacant lot and claim the site as their own. The lot was quickly filled with all sorts of objects—which the city council promptly cleared away—except for the cabbages. For several months the vacant-lot-turned-urban-garden became the site of informal gatherings, events and a one-week arts festival called ‘The Last Roxy Show’.

Vacant lot of cabbages featured in Jim and Mary Barr’s exhibition When art hits the headlines: a survey of controversial art in New Zealand at the National Art Gallery’s Shed 11 venue in 1987. The project is also discussed in Christina Barton’s history of temporary art in Wellington published in Wellington: a city for sculpture (Wellington: VUP and Wellington Sculpture Trust, 2007).

Journalist Chris Trotter has described Vacant lot of cabbages as ‘a conceptual artistic statement against the life-negating conservatism of the Muldoon years [which] quite literally grew into a life-affirming (and edible) challenge to Wellington’s bureaucratic soul’ (Dominion Post, 20 August 2010, full article here).

Barry Thomas, 'Vacant lot of cabbages' documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Barry Thomas, ‘Vacant lot of cabbages’ documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Te Papa has recently acquired Thomas’s archive of the Vacant lot of cabbages project for its collection as it documents an important moment in New Zealand’s art and social history. It is especially timely to consider the project in light of recent art initiatives (e.g. Letting Space in Wellington and Gap Filler in Christchurch)—not to mention wider social phenomena such as the Occupy movement, urban farming and guerrilla gardening.

Sarah Farrar
Curator of Contemporary Art

p.s. Wellingtonians take note – this Saturday 3-5pm at City Gallery there will be a discussion about recent temporary art  including Letting Space, Gap Filler and the Performance Arcade.

A slice of Wellington life: the Berry & Co collection

Wong Lee, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Wong Lee, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Te Papa has a collection of nearly 4,000 glass plate and film negatives taken by the Wellington photography studio Berry & Co.  The studio was founded by William Berry in 1897, and operated in Cuba St until 1931.  The negatives are mainly portraits – of families, children, men and women, soldiers in uniform, the occasional pet – and are a wonderful resource for those interested in our history, or in the history of fashion. 

Find out about our project to identify WWI soldiers in the Berry & Co collection

 1,479 of our Berry negatives had been digitally imaged and put online over the past ten years, leaving us 2,397 more to photograph and upload to the web.  We’re keen to make more of this great historical resource available online, so we have started a mass imaging project, to photograph them in batches of 100 per week.  At this rate, it will take about six months to do them all. 

Joliffe 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Photo Michael Hall. Copyright Te Papa. Negatives can be difficult to ‘read’, so creating a positive digital image makes it easier for us to improve our catalogue data, for example by using clothing details to estimate the date the photograph was taken.

From cold storage to the studio

The negatives are all kept in our cold storage vaults, as low temperatures and humidity slow their deterioration.  They have to be brought up to room temperature slowly (acclimatised), otherwise there’s a risk that moisture will condense on the surface of the negatives, and damage or destroy the image.   

 We are using small chilly bins to acclimatise and transport the negatives.  These are handled very carefully, but as additional protection against bumps which could crack the glass, the bins are padded out with foam and pillows. 

One of the transport chilly bins. The negatives are stored in archival paper sleeves, to protect the surface of the image. Photograph Anita Hogan, copyright Te Papa.

The negatives are placed on their edges in  the chilly bin, as this is the way they are designed to travel.  The bin is then left closed for five days, so the plates can slowly acclimatise to room temperature.

 In the studio

Once the plates have acclimatised, we move them to the photography studio and they are photographed on a light box by one of our imaging team.

Photographing a Berry & Co glass plate negative. We use a Phase I P40 camera and Schneider 110 lens, used with extension tube, with a 40MB back. This gives us a 38MB digital image, which is our ‘access master’ size. Photograph Michael Hall, copyright Te Papa.

When the photographs have been taken, the negatives are moved back to the cold storage vault.  As one set of negatives acclimatises another is being photographed, so there are always three sets of chilly bins on the move.

 So far we’ve photographed 500 of the negatives in the project, and they are being uploaded as we go.  Here’s a small selection.  I’ll be putting up more as the project continues, or you can keep an eye out for new additions on Collections Online.

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Cowie 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Giving matters – David Carson-Parker (1932-2012)

Te Poho o Rawiri, Kaiti, Gisborne, 29.06.1962, Gisborne. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Te Poho o Rawiri, Kaiti, Gisborne, 29.06.1962, Gisborne. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

One of the most generous ways museums acquire items for their collections is from individuals donating things they have made for the benefit of others. This is one way that unique material becomes available to the public and especially to researchers. It is in this spirit that David Carson-Parker, who died 21 October, donated many decorative art and photographic items to Te Papa. However it is the donation of photographs taken by David himself that makes up the largest share of his legacy to the museum.

During the 1960s David travelled around the North Island of New Zealand taking photographs on 35mm colour slide film of numerous meeting houses. Described by David as a ‘personal project’ – I assume he meant self funded – he used Carved Maori Houses of Western and Northern Areas of New Zealand (1955) by William J. Phillips, as a guide book to identify where to go. Now these images provide a valuable record of how these wharenui (meeting houses) looked prior to restoration.

Whitikaupeka, Moawhango, 05.12.1962, North Island. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Whitikaupeka, Moawhango, 05.12.1962, North Island. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Through his involvement in the New Zealand Potters Association, David also took photographs documenting the visit of British potter Michael Cardew to Wellington in early 1968. Cardew was an important influence on New Zealand potters such as Peter Stichbury. During Cardew’s visit he demonstrated his method of work to local potters and David’s black and white photographs still enable us to see something of the potter at work – physically stretching, kneading and shaping clay.

Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

 

Sometimes David’s donations were quite personal. One of my favourite items David gave to Te Papa is a beautiful spoon made in Dunedin by Frank Hyams and gifted to David’s grandmother, by her husband, on the birth of David’s mother Elizabeth, in 1903.
 Spoon, 1899, Dunedin. Frank Hyams. Gift of David Carson-Parker, 1995. Te Papa

David took on many roles that directly supported the creative sector, including a stint as President of the Friends of Te Papa. On behalf of staff at Te Papa I extend our sympathy and condolences to David’s partner and family.

——

Contemporary New Zealand art on display in China

Two weeks ago I was in Shanghai for the opening of the exhibition Meridian Lines: Contemporary Art from the Museum of New Zealand Te Papa Tongarewa at the China Art Museum with artist Yuk King Tan and Wen Powles, Te Papa’s International Strategy Advisor.

The China Art Museum is the new home of the Shanghai Art Museum, which has relocated to the China Pavilion from the 2010 World Expo.

The China Art Museum in Shanghai. Photo: Hutch Wilco, Te Papa

The China Art Museum in Shanghai. Photo: Hutch Wilco, Te Papa

As part of their re-opening celebrations, the China Art Museum invited several international museums to contribute exhibitions from their collections. The other museums included the British Museum, the Rijksmuseum, the Whitney Museum of American Art, the Victor Hugo Museum and the National Council for Culture and the Arts of Mexico.

While many of these institutions selected important historical works from their collections, we decided to present a selection of contemporary art from New Zealand. Meridian Lines includes works by Bill Hammond, Ralph Hotere, Ani O’Neill, Michael Parekowhai, John Pule, Yuk King Tan and Gordon Walters.

Here’s a glimpse at our exhibition…

From left to right, artworks by Yuk King Tan, Ralph Hotere and Gordon Walters. Photo: Hutch Wilco, Te Papa

From left to right, artworks by Yuk King Tan, Ralph Hotere and Gordon Walters. Photo: Hutch Wilco, Te Papa

The response to the exhibition was really quite overwhelming with a strong level of interest from both the local Chinese and other international visitors. Yuk King Tan’s work was reproduced on the second page of the English language South China Morning Post newspaper and one morning I discovered the show being featured on a Chinese television station.

Yuk King Tan’s work featured in the 'South China Morning Post', 2 October 2012.

Yuk King Tan’s work featured in the ‘South China Morning Post’, 2 October 2012.

The China Art Museum anticipates that approximately half a million people will visit the museum by the end of the year, when our exhibition closes.

Listen to Mary Kisler discussing the exhibition with Kim Hill on Radio New Zealand National.

Sarah Farrar

Curator of Contemporary Art

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