Tag Archives: Collections Online

A tribute to font designer Joseph Churchward (1933-2013)

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Joseph Churchward standing before portraits of his family, 2008 (photo: Norman Heke).

We would like to pay a special tribute to Samoan artist Joseph Churchward who sadly passed away last weekend. We were privileged to have worked with Joseph in 2008, when my colleague Sean Mallon (Senior Curator Pacific Cultures) and I curated the exhibition Letter Man: Joseph Churchward’s world of type (2008). I recall well Joseph’s sense of humour and his love of family history.

Joseph’s work ethic and commitment to his art practice was inspiring, and a small collection of his work housed in Te Papa’s Pacific Cultures Collection is a testament to his lifelong passion of designing fonts. To view Joseph’s collection, please visit Te Papa’s Collections Online links below

Joseph Churchward’s collection at Te Papa

Queen’s service medal for font designer Joseph Churchward

Joseph’s work in print and digital media is a lasting legacy. Our sincere condolences to the Churchward family at this time.

Ia manuia lau malaga Joseph. May you rest in peace.

Ralph Hotere, 1931-2013

Te Papa is deeply saddened by the death yesterday of Ralph Hotere – one of the country’s greatest artists. Our thoughts go out to his family, his friends, and the arts community.

Marti Friedlander, ‘Ralph Hotere outside “first studio” on Flagstaff, Port Chalmers’, circa 1976, black and white photograph, gelatin silver print. Purchased 1999 with New Zealand Lottery Grants Board funds, Te Papa.

Ralph once commented that ‘There are few things I can say about my work that are better than saying nothing’. Keeping this in mind, to remember this remarkable artist and his incredible contribution to New Zealand art, here is a selection of his works in Te Papa’s collection.

Ralph Hotere, ‘Cruciform II’, from the series ‘Human Rights’, 1964, acrylic on wood. Purchased 1981 with New Zealand Lottery Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere, ‘Black Phoenix’, 1984-88, burnt wood and metal. Purchased 1988 with Mary Buick Bequest funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere and Bill Culbert, ‘Blackwater’, 1998-99, lacquer on corrugated aluminium, fluorescent tubes, cable, wood. Purchased 1999 with New Zealand Lottery Grants Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere and Bill Culbert, ‘Pathway to the sea / Aramoana’, 1991, fluorescent lamps, paua shells, rocks. Purchased 1993, Te Papa.

If you are in Wellington we invite you to come into Te Papa and view one of Hotere’s last great works, ‘VOID’ (2006) made with long-time collaborator Bill Culbert.

Ralph Hotere and Bill Culbert, ‘VOID’, 2006, neon tubes, rubber, glass, steel, paint. Commissioned 2006, Te Papa.

From tomorrow morning, the following work will also be on public display in tribute:

Ralph Hotere, ‘ Lo negro sobre lo oro’, 1992, mixed media on glass, Purchased 1997 with New Zealand Lottery Grants Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

- Megan Tamati-Quennell (Curator, Contemporary Maori and Indigenous Art) and Sarah Farrar (Curator, Contemporary Art)

News from Loans – Where to see Te Papa collection items – taonga

Over the past few months I’ve let you know where to see Te Papa collection items on display in other places. The de Serville anchor at the Far North Museum, the Minke Whale skeleton at Auckland Museum, the Adam’s Island lifeboat and NZL32 at Voyager New Zealand Maritime Museum, Governor Grey’s bed at Mansion House, Kawau Island in October 2012. Items associated with the Boer War, and significant Wellington items at the Museum of Wellington City & Sea, and relics of Baron von Alzdorf’s hotel at Bowen House also reported in October 2012. Model ships on display at Otago Museum and mementoes of sub-Antarctic Island shipwreck survivors at the Southland Museum& Art Gallery in November 2012. And paintings on display in places you would not necessarily expect to find them also in November 2012, such as Government House, the Wellington Club, St Patricks College and the Royal Society of New Zealand.

Today I’m going to let you know where to find taonga Maori from Te Papa’s collections on display in other places.

At the Department of Conservation Haast Visitor Centre you will find a large argillite toki (adze blade) found early last century at Bruce Bay, South Westland. The toki is part of an informative display about the unique cultural, historic, and natural features of South Westland.

Ipu (bowl), Wellington. Maker unknown. Purchased 1963. Te Papa

We recently lent eighteen taonga to the Muaupoko Tribal Authority for display at the newly built Horowhenua Cultural and Community Centre in Levin. Muaupoko see the display of taonga associated with the area as a chance to showcase rare items retrieved from lakes and streams in the district. One of the taonga is an ipu, a small delicately carved bowl associated with Waipata Island, an artificial island at the southern end of Lake Horowhenua, once the site of a pā (stockade).

Wakahuia (treasure box), 1800, New Zealand. Maker unknown. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa

In 2010 we lent the New Zealand Ministry of Justice a wakahuia (treasure box), from the prestigious Oldman Collection, to be displayed alongside the Queen’s silver inkstand at the newly opened Supreme Court building. The wakahuia and the inkstand act as symbols of nationhood.

Poutoti (stilts), Bay of Plenty. Maker unknown. Exchanged 1964. Te Papa

Ngā Pūmanawa o Te Arawa: The Beating Hearts of Te Arawa was unveiled to the public on 2 September 2011 at Rotorua Museum’s newly built Don Stafford Memorial Wing.  The exhibition traces the rich history of Te Arawa, one of Aotearoa’s most famous tribal confederations.  The exhibition brings together many of the tribe’s most iconic taonga (treasures) for the very first time, and through them tells the Rotorua region’s most amazing stories.  Nine of those taonga are from Te Papa’s collections including the stilts illustrated above.

Five pou whakarae (stockade posts), that have been at Te Manawa since 1994, were recently reinstalled into the refurbished Te Rangi Whenua gallery.  The exhibition shares the stories of iwi (tribal) groups in the Manawatu, Rangitikei and Horowhenua regions.  Four of the pou are associated with PuketotoraPa, Rangiotu, carved around 1830.

 At the Hokitika Museum eleven taonga made from pounamu (New Zealand jade) from Te Papa’s collection are exhibited in the exhibition Te Tai O Poutini (The place of Pounamu).  Prior to the discovery of gold, the West Coast was home to Poutini Ngai Tahu who had a string of settlements along the Coast.  Maori collected and carved pounamu, a treasured stone, which, because of its usefulness and beauty, was traded throughout New Zealand.

 Three carvings lent to Puke Ariki in 2003 have been redisplayed in their exhibition Te Takapou Whariki o Taranaki (The Sacred Woven Mat of Taranaki).  Each of the three carvings has its own individual and unique story and is well worth a visit.

The Berry Boys – The First 50

For me the new year is an opportunity to stop for a moment and reflect on the achievements of the past year.  Today my focus has been on Te Papa’s Kiwi Faces of World War I project where we have been identifying soldiers in a collection of negatives taken at the Berry & Co Photography studio. The soldiers, their identities and stories have slowly but steadily been revealing themselves over the past year and now we have almost 60 soldiers identified in our group of 108 – we are half way!

Harry Spire Powell Circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Harry Spire Powell Circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

The latest identification, Harry Spire Powell was helped along by an expert in uniforms and badges. Barry O’Sullivan’s knowledge of the fine details of military regalia has already helped with the identification of two soldiers. In this case it was the style of the ammunition bandolier that clinched it. Much of the work on this project wouldn’t have been possible without the help of our wonderful volunteers.  Genealogists Chris McLennan and Lynley Goldsmith, have been doing an amazing job of exploring the family histories of soldiers once identified, and Victoria University students, Coralie Clarkson and Matariki Williams have also generously volunteered their time to help identify soldiers and record their stories.

Once the first 50 were identified I decided it was a good moment to reflect on how the group represented the experiences of New Zealand’s World War I soldiers in general.

Amazingly, this relatively small but distinct group has proven to be very representative. Of the fifty identified thirty-seven survived, seven died in action and six died of an illness. A slightly higher percentage of the Te Papa group died overseas, about 24% including those that died of illness, compared to the national figure of about 18% or 18,500 out of the 103,000 that served overseas.

The geographical spread is also representative. Of those that were involved in active service, three went to Samoa, six fought at Gallipoli, eight were based in Egypt, and twenty-eight on the Western Front. Many of these soldiers fought in New Zealand’s most devastating battles including Passchendaele, the Somme and Messines.

While I’m pleased to know that this group of images reflects the big picture, it is still the personal stories that resonate the most. One incredible story that came to the fore last month was that of Private Lance Bridge who died of wounds obtained during the Gallipoli campaign.

Private Lance Bridge, (image on left) with unknown soldier circa 1914, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Private Lance Bridge, (image on left) with unknown soldier circa 1914, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Lance volunteered to take his wounded comrades back to safety early in the attack on Chunuk Bair but was badly wounded while doing so. He was taken down to the beach but refused to be taken to the hospital ship, until the many wounded who were worse off than he was had been looked after. He lay for two days in the hot sun, with only food or water given by passing soldiers. He was finally taken aboard ship, but died there and was buried at sea.  (From Hutchinson, G. (2012) Pilgrimage: A Traveller’s Guide to New Zealanders in Two World Wars)

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

The Berry Boys – Girl Day

One of the fascinating aspects of the Berry & Co photographs of World War I soldiers is that they were often photographed with family and friends. These family photographs bring to the fore the fact that women and children were affected by the war. Life on the home front was far from easy. People had to learn to live with the constant worry and fear that their loved one might be killed or injured. Food and other resources were severely limited and expensive. With so many men away, the work force was greatly reduced. Women often had to bring up young children on their own both during the war when their husbands were away and sometimes for the rest of their lives, if their loved one died.

In recognition of United Nations ‘International Day of the Girl Child’ I’d like to dedicate today’s blog to the women and children in the Berry & Co photographs. This annual event aims to raise public awareness about the equal rights of girls. It therefore seems appropriate and timely to highlight some of the girls featured in these photos and explore what their lives were like growing up in New Zealand.

Herbert and Marguerita Freeman with baby Zena, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Baby Zena situated in the centre of this photo was the first child of Marguerita and Herbert Freeman. She was about three months old when this photo was taken. Her father was granted leave for four months in December 1916 on grounds of ‘hardship’ and that his wife Marguerita was a ‘very delicate woman’, which was code for her being pregnant. When he eventually embarked for the Great War on the 1 August 1918, Zena already had a sister, Rita who was born in April 1918. The family was lucky because even though Herbert was away from home for about a year, he arrived in England just prior to the Armistice in November 1918.

Arthur and Amy Gamon with baby Kathleen, Circa 1918, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

 Kathleen Gamon pictured here between her father Arthur and mother Amy was born on 20 June 1916. This photo was probably taken in about 1918 prior to Arthur leaving for the war. 

Life in New Zealand when Zena and Kathleen were born and growing up, was very different from today. The 1877 Education Act meant that there was free compulsory education for children aged between five and 14 but although secondary schooling was available, most children left school when they turned 14.

Kathleen attended the Lyall Bay Primary School but it is not known where Zena went to school. It is highly likely that they shared their classroom with up to 40 other children. Children were crammed into rows and the rooms were often hot in summer and cold in winter. Fresh air was considered to be highly beneficial so teachers were encouraged to keep the windows open year-round.

Most children learned to write on slate boards and when good enough they moved on to paper and pencil, and then ink. Widespread use of the strap and the cane ensured children followed the rules, held their pencils correctly and did their homework!

The 1920s was a time when the educational and professional sectors expanded in New Zealand. Women seized new opportunities in employment. The School Dental Nurse service, established in the 1920s, provided an opportunity for women to train as Dental Nurses and the Plunket Society trained Plunket and Karitane nurses all considered good career choices for young women.

Like most women, both Zena and Kathleen married and had children. Kathleen died in 2003 but Zena is still alive. It’s amazing to think about the changes she would have seen in her life time. The opportunities for girls in New Zealand today are vast in comparison to when Zena and Kathleen were little girls and it’s hard to imagine a time when women weren’t allowed to take part in parliament or choose to have a career or university education. In many countries though, there are still huge levels of inequality for girls. ‘The International Day of the Girl Child’ is an important date and moment to think about girls’ rights and the recognition girls deserve as citizens and as powerful agents of social change.

Farewell Don Binney

We are saddened to hear that contemporary New Zealand artist Don Binney has passed away.  Our thoughts are with Don’s family and friends.

Don Binney, 'Pacific frigate bird', 1968, Te Papa

Don Binney, ‘Pacific frigate bird’, 1968, Te Papa

Unforgettable: Michael Parekowhai’s ‘On First Looking into Chapman’s Homer’

If you live in the Wellington region then I really hope you’ll come to Te Papa and visit Michael Parekowhai’s On First Looking into Chapman’s Homer, which is on show on Level 5 until 23 September 2012.

Rather than describing my own experience of these works, I thought I’d share with you some of our visitors’ comments instead…

Hear Courtney Johnston talking about it on Radio NZ.

Excerpt from a letter to the editor from Wellington’s Capital Times, 5 September:

My ten year old boy and I visited Te Papa while the beautiful Steinway, carved, inlaid and painted to within a semi – quaver of its life, was being played. Have you ever seen the insides, let alone put your head beneath the lid (and under the watchful “Don’t Touch!” gaze of the attendants) of a grand piano, as Chopin is being played? We neither. Until today!  

The beautifully played music (thanks Ariana Odermatt) and the applied imagination of Parekowhai filled the exhibition space, as it did my body, mind and heart. This installation reflects and celebrates my understanding of bi- culture. Far out! Kia ora! 

Tom White, Island Bay (abridged).

Find out more about the exhibition and about a special event next Thursday night.

If you’ve already seen the works and want to share your response, please feel free to leave a comment below.

Sarah Farrar

Curator of Contemporary Art

The Berry Boys – another story from the photos featuring World War 1 soldiers

One of the amazing things about researching the Berry and Co portraits is that with each identification comes new insight into World War 1. The stories behind the people and their experiences make what happened during the war more real and personal. One image in particular pulled at my heart-strings this month, that of John Owen Clay and his involvement in the Battle of the Somme.

Clay, John Owen, circa 1916, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Clay, John Owen, circa 1916, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Sergeant John Clay had fought extensively in France where he was wounded several times. His medical records show that he received medical treatment in Alexandria and Estaples but it was the last entry on his medical record that linked the experiences of John to one of New Zealand’s most devastating battles – the Battle of The Somme, September 1916.

The Somme was New Zealand’s first major engagement on the Western Front, beginning with an advance across ‘No Man’s Land’ at 6.20am on 15 September. The NZ Division fought for 23 consecutive days in bad weather conditions and suffered heavy losses. There were 7000 casualties with 1500 men killed. John was there and was one of those injured.

His military medical report documents that on the 25 September John received a compound fracture of the skull. The record states, ‘While in a bayonet charge he was struck by a bullet, sustaining an extensive depression over posterior frontal region’. John was lucky to survive, but after a period of recovery he was discharged from service in April 1917.

Medical record for John Owen Clay. New Zealand Defence Force Personnel Records. Archives New Zealand.

Medical record for John Owen Clay. New Zealand Defence Force Personnel Records. Archives New Zealand.

It appears that John lived in the Wellington region after the war, he may have gone back to his old job working for the New Zealand Railways in Trentham. He died at the Silverstream Hospital in July 1968 aged 81 years old. His next-of-kin at the time of his death was Mrs B Clay who was possibly his wife.

John lived a long life and it would be great to know more about what happened next.  This is the next stage of the project and to help with this we now have two wonderful researchers from the Wellington branch of the New Zealand Society of Genealogists using their research skills and networks to flesh out the stories of the people we identify in these portraits. We now have about 30 soldiers as well as their family identified and are starting to build up quite a fascinating collection of stories.

If you would like to see all of the World War 1 photos by Berry & Co you can search the group on Collections Online or go to Flickr where you can leave us a message.

Materials and process: Karl Fritsch

Karl Fritsch, April 2012. Photo: Justine Olsen, Te Papa.

Karl Fritsch, April 2012. Photo: Justine Olsen, Te Papa.

German jeweller Karl Fritsch, whose jewellery and objects are on display in Collecting Contemporary now lives in Wellington.  The building of this workshop has been a key ingredient in the development of some of his work in the show.

Ring, below, was made in 2010 soon after settling into Wellington and about the time that the construction of his studio occurred. You can see the associations: working from a cast silver shank and building the decoration using nails, screws and bolts.

'Ring', 2010, New Zealand. Fritsch, Karl. Purchased 2011. Te Papa

'Ring', 2010, New Zealand. Fritsch, Karl. Purchased 2011. Te Papa

Through viewing his work in the exhibition, you can see that materials are his starting point in the making process. Silver, gold, bronze and now ceramics are amongst some of those materials that are cleverly worked, achieving delightful and original outcomes. It’s a highly intuitive process that can include casting, reshaping of found objects and manipulation of materials resulting in the questioning of conventional thinking in jewellery.

I wanted to enlarge my understanding of Karl’s practice so last week I visited his studio. When you step through the door, objects and materials reveal many stages of making jewellery and objects. For Karl, casting can be the first stage in the construction: it’s known as the lost wax process. This traditional method allows for highly accurate reproduction from the original wax form. You can see this stage in this photo below. Different coloured waxes allow soft or hard modelling to occur.

Inside Karl Fritsch's workshop, April 2012. Photo: Justine Olsen, Te Papa.

Inside Karl Fritsch's workshop, April 2012. Photo: Justine Olsen, Te Papa.

In this image you can see the way Karl considers his ideas. The blue and yellow wax modelled ring, in the foreground is particularly interesting. Karl shapes the claws in a similar way to the sprus, (used during the casting method to provide a means for the casting molten material to flow away from the model and air to escape). Traditionally, sprus are removed  but Karl has added this highly functional device into a new form of decoration: it’s a way of turning the making process that traditionally is hidden on its head.   You can see this idea used again by Karl in Gingerbronze , below, from the installation Gesamtkunsthandwerk when Karl collaborated with Francis Upritchard and Matino Gamper. The work can be seen in Collecting Contemporary.

'Gingerbronze. From Gesamtkunsthandwerk'. 2011, New Zealand. Gamper, Martino, Upritchard, Francis, Fritsch, Karl. Purchased 2011, Te Papa.

'Gingerbronze. From Gesamtkunsthandwerk'. 2011, New Zealand. Gamper, Martino, Upritchard, Francis, Fritsch, Karl. Purchased 2011, Te Papa.

For more information on the lost wax casting method, visit this website that shows larger sculpture created through this process.

For more visits to jeweller’s workshops, check out Collecting Contemporary and the artists interviews.

Justine Olsen

Curator of Decorative Art (Contemporary)

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