Tag Archives: New Zealand

Kia ora from northern Germany

14 May 2013 – 7.51pm

Moin!

That is how you say Kia ora or Hello in Oldenburg, which is where my family and I have been living since August 2013. As I near the half-way point in my 18-month fellowship, I thought I would show you where I am living, update you on what I have been up to in the lab, and introduce you to my lovely colleagues here.

Oldenburg is located in the state of Lower Saxony in northern Germany and has about 160,000 inhabitants, most of whom get around by bicycle, ourselves included.

Getting on our bicycles at Pferdemarkt, Oldenburg, Germany, Sept 2012. Photo by Mauricio López.

Getting on our bicycles at Pferdemarkt, Oldenburg, Germany, Sept 2012. Photo by Mauricio López.

Each day I cycle to the University of Oldenburg, where I am curently based. The best part of my 15-minute daily commute  is cylcing down the last kilometre along Drögen-Hasen-Weg.

My trusty bicycle at the start of Drögen-Hasen-Weg, about 1 km from the University of Oldenburg, May 2013. Note also the beautiful spring flowers! Photo by Heidi Meudt.

My trusty bicycle at the start of Drögen-Hasen-Weg, about 1 km from the University of Oldenburg, May 2013. Note also the beautiful spring flowers! Photo by Heidi Meudt.

My colleagues tell me that "Drögen-Hasen-Weg" means "Dry Feet Way" in Plattdüütsch, the local dialect of German still spoken in this area. In earlier times, this road was a way for the locals to get around without having to cross any waterways. Photo by Heidi Meudt.

My colleagues tell me that “Drögen-Hasen-Weg” means “Dry Feet Way” in Plattdüütsch, the local dialect of German still spoken in this area. In earlier times, this road was a way for the locals to get around without having to cross any waterways. Photo by Heidi Meudt.

The beautiful native trees (“Traubeneiche”, or sessile oak, Quercus petrea) that line this “Eichenallee” (literally, “oak avenue”) are now a protected natural monument.

Sessile oak trees (Quercus petraea) along the Drögen-Hasen-Weg Eichenallee, Oldenburg, Germany. Here they are just beginning to show their new green spring leaves, May 2013. Photo by Heidi Meudt.

Sessile oak trees (Quercus petraea) along the Drögen-Hasen-Weg Eichenallee, Oldenburg, Germany. Here they are just beginning to show their new green spring leaves, May 2013. Photo by Heidi Meudt.

A fellow commuter along the Drögen-Hasen-Weg Eichenallee, Oldenburg, Germany, May 2013. Photo by Heidi Meudt.

A fellow commuter along the Drögen-Hasen-Weg Eichenallee, Oldenburg, Germany, May 2013. Photo by Heidi Meudt.

After cycling through the beautiful tunnel of oak trees (did I mention I get to do this every day?), I arrive at the science campus of the University of Oldenburg, and turn right at this sign to get to my office. Photo by Heidi Meudt.

After cycling through the beautiful tunnel of oak trees (did I mention I get to do this every day?), I arrive at the science campus of the University of Oldenburg, and turn right at this sign to get to my office. Photo by Heidi Meudt.

I have come to Oldenburg to work on a research project regarding polyploidy in New Zealand and European Veronica with Dirk Albach, and in the process learn some new techniques. Polyploidy means whole genome doubling, and it occurs in Veronica species from both areas. We will compare the genes that are expressed in European and New Zealand polyploid species with their closest diploid relatives to determine when these genome doubling events occurred, confirm that the polyploid species likely evolved following hybridisation of diploid ancestors, and compare patterns of evolution of duplicated genes. 

One of the first things I learned was how to extract RNA, or ribonucleic acid, from leaf tissue.

Here I am with Eike Mayland-Quellhorst, grinding up some Veronica leaf tissue in liquid nitrogen for RNA extractions in the lab, May 2013. Photo by Silvia Kempen.

Here I am with Eike Mayland-Quellhorst, grinding up some Veronica leaf tissue in liquid nitrogen for RNA extractions in the lab, May 2013. Photo by Silvia Kempen.

Once the tissue has been ground to a fine powder, it is poured with the liquid nitrogen into a small tube. Photo by Silvia Kempen.

Once the tissue has been ground to a fine powder, it is poured with the liquid nitrogen into a small tube. Photo by Silvia Kempen.

Here I am extracting the RNA of the ground leaf tissue at the clean bench in the lab. Photo by Simon Pfanzelt.

Here I am extracting the RNA of the ground leaf tissue at the clean bench in the lab. Photo by Simon Pfanzelt.

Once the RNA is extracted and cleaned up, it is checked to determine whether it is of sufficient quality and quantity for sequencing. The next step will be to send the samples to a sequencing facility, and hopefully soon I will get some new data to analyse!

Another part of the project involves determining genome size, that is, measuring how much DNA (deoxyribonucleic acid) a particular plant contains in the nuclei of its cells. By working with Silvia Kempen, one of the technicians in the lab, I have learned how to use a flow cytometer and have measured the genome size of several Veronica species.

Getting everything ready in the flow cytometry lab to measure the genome size of three samples, May 2013. Photo by Silvia Kempen.

Getting everything ready in the flow cytometry lab to measure the genome size of three samples, May 2013. Photo by Silvia Kempen.

Chopping up the leaves from the first sample with a razor blade in preparation for flow cytometry, May 2013. Photo by Silvia Kempen.

Chopping up the leaves from the first sample with a razor blade in preparation for flow cytometry, May 2013. Photo by Silvia Kempen.

Watching Silvia calibrate the flow cytometer, which is the small machine to the right of the computer. Once the machine is calibrated, it is ready to measure the genome size of our prepared samples, May 2013. Photo by Eike Mayland-Quellhorst.

Watching Silvia calibrate the flow cytometer, which is the small machine to the right of the computer. Once the machine is calibrated, it is ready to measure the genome size of our prepared samples, May 2013. Photo by Eike Mayland-Quellhorst.

I must admit, the lab work has had its ups and downs, and it has taken me longer to get to this point than I had planned. One logistical problem we had, was that the plant material collected prior to my arrival did not result in good RNA extractions. That meant we needed to collect fresh plant material and retry the extractions, so I did my part by heading to Mallorca, Spain, on a collecting trip.

Collecting Veronica plants in Mallorca, Spain, with local botanist and PhD student Jaume Seguí Colomar. Photo by Mauricio López.

Collecting Veronica plants in Mallorca, Spain, with local botanist and PhD student Jaume Seguí Colomar. Photo by Mauricio López.

But perhaps delays, hiccups and changes are to be expected when one is learning new techniques, in a new lab, in a new country, and in a new language, no less! Although I speak quite a bit of English at the university, I am taking an evening language course, and I seek out daily opportunities to practice German with my colleagues. Speaking of which, here they are!

Photo of Dirk Albach's working group, outside our office and lab space at the Universtiy of Oldenburg, May 2013. Standing, left to right, Heidi Meudt, Eike Mayland-Quellhorst, Vera Mageney, Niklas Buhk, Katarzyna Palinska, Thomas Schmidt, Jane Looschen, Jennifer Nolzen, Lillian-Lee Müller, Imke Notholt, Simon Pfanzelt, Ute Friedrichs, Maria Brandes, Lena Koehler. In front, Bernhard von Hagen and Dirk Albach. Photo by Gerhard Zotz.

Photo of Dirk Albach’s working group, outside our office and lab space at the Universtiy of Oldenburg, May 2013. Standing, left to right, Heidi Meudt, Eike Mayland-Quellhorst, Vera Mageney, Niklas Buhk, Katarzyna Palinska, Thomas Schmidt, Jane Looschen, Jennifer Nolzen, Lillian-Lee Müller, Imke Notholt, Simon Pfanzelt, Ute Friedrichs, Maria Brandes, Lena Koehler. In front, Bernhard von Hagen and Dirk Albach. Photo by Gerhard Zotz.

Lab outings and field trips are a great way to get to know each other. One day last October, we took a trip to the nearby North Sea coast to the Wattenmeer (Wadden Sea), which is a UNESCO World Heritage Site.

At the Wattenmeer (Wadden Sea) along the North Sea coast in Germany in May 2013. From left to right Petr Kosachev, Eike Mayland-Quellhorst, Dirk Albach, Carolina García, Simon Pfanzelt. Photo by Heidi Meudt.

At the Wattenmeer (Wadden Sea) along the North Sea coast in Germany in May 2013. From left to right Petr Kosachev, Eike Mayland-Quellhorst, Dirk Albach, Carolina García, Simon Pfanzelt. Photo by Heidi Meudt.

Then in February, one afternoon our lab took a “Grünkohlfahrt” (literally, “kale walk”), which is a regional custom involving walking around with your friends or colleagues while eating, drinking, and playing special, regional games together. Oldenburg claims to be the kale capital of Germany.

Here I am on our Grünkohlfahrt ("kale walk") taking my turn at the northern German sport called "Boßeln", which is essentially outdoor road bowling! Feb 2013. Photo by Silvia Kempen.

Here I am on our Grünkohlfahrt (“kale walk”) taking my turn at the northern German sport called “Boßeln”, which is essentially outdoor road bowling! Feb 2013. Photo by Silvia Kempen.

At the end of the Grünkohlfahrt, we sat down together to share some excellent regional cuisine…

Our traditional northern German dinner after the "kale walk", including two types of German sausages (Pinkel and Kochwurs), potatoes, and (of course!) kale! Feb 2013. Photo by Silvia Kempen.

Our traditional northern German dinner after the “kale walk”, including two types of German sausages (Pinkel and Kochwurs), potatoes, and (of course!) kale! Feb 2013. Photo by Silvia Kempen.

And earlier this month, we had a very exciting special visitor, Radio New Zealand journalist Veronika Meduna, who came to interview Dirk and me about our collaborative research. You can hear the resulting interview here.

Dirk Albach and his son Felix, Veronika Meduna, and Heidi Meudt in the University of Oldenburg glasshouses during our interview. There is one Veronica plant in a pot in front of us, and several kale plants behind us. April 2013. Photo copyright Veronika Meduna, Radio NZ National.

Dirk Albach and his son Felix, Veronika Meduna, and Heidi Meudt in the University of Oldenburg glasshouses during our interview. There is one Veronica plant in a pot in front of us, and several kale plants behind us. April 2013. Photo copyright Veronika Meduna, Radio NZ National.

On both professional and personal levels, our experience in Germany so far has been at times enlightening, challenging, surprising, and overwhelming. Germany is a great place to do scientific research, and there are countless opportunities to learn about and experience its fascinating culture and history. Our first 9 months have certainly qualified as an adventure so far, and I look forward to experiencing what the next 9 months will bring.

Bis dann!

A big thank you to my whanau for supporting and accompanying me in this adventure. Here they are in the Schlossgarten (Palace Garden) in the winter snow! The main church of Oldenburg, Lambertikirche, is in the background. Jan 2013. Photo by Heidi Meudt.

A big thank you to my whanau for supporting and accompanying me in this adventure. Here they are in the Schlossgarten (Palace Garden) in the winter snow! The main church of Oldenburg, Lambertikirche, is in the background. Jan 2013. Photo by Heidi Meudt.

By Heidi Meudt | Posted in Biodiversity, Field trips, Plants, Veronica | Also tagged , , , , , , , , , | Comments (1)

How to learn ferns

15 April 2013 – 8.27am

Last weekend I was out with the Kapiti-Mana branch of Forest and Bird, giving them an introduction to ferns. A few weeks back, I gave a similar walking-talk at Otari-Wilton’s Bush in Wellington. Many people find ferns an appealing group to learn. Aside from their iconic status in New Zealand, good learning resources are available, and there are enough different New Zealand ferns to be a challenge without being overwhelming. Most forested sites in New Zealand will be home to between 20 and 50 species of fern.

Te Papa’s online guide to Common New Zealand ferns.

Te Papa’s online guide to New Zealand tree ferns.

When teaching people how to identify a fern plant, I stress that there are four characteristics to initially look for:

1) does it have reproductive structures? Fern reproductive structures occur on the underside (or margins) of the frond. The shape (e.g., round versus elongate into lines) and position (i.e., on the margin or away from the margin) are important. Related ferns almost always have similar reproductive structures, even if their fronds look completely different.

Different groups of ferns are characterised by their reproductive structures, which can come in many forms. Clockwise from top left: 1) Polystichum; shield ferns. The reproductive structures are aggregated into round patches. Each of the black spheres is a sporangium (plural = sporangia), the capsule that produces the spores (in Polystichum, there are 64 spores in each sporangium). A distinct cluster of sporangia is called a sorus (plural = sori). In many ferns the sori are partially covered by protective tissues, called indusia (singular = indusium). In Polystichum, the indusia are round, giving rise to the common name of shield fern for this group. 2) Cardiomanes; kidney fern. The sori occur on the margins and arise from tubular indusia. 3) Gleichenia; tangle ferns. Two or three sporangia (the yellowish dots) occur on the underside of each frond segment. 4) Hypolepis; pig ferns. The sori are on the margin of the frond and are partially protected by the inrolled margin of the frond. 5) Asplenium; spleenwort ferns. The sori occur in lines away from the margin, and are arranged in a ‘herring bone’ pattern. 6) Pteris. The sori line the margins of the frond. Photos Leon Perrie, montage © Te Papa.

Different groups of ferns are characterised by their reproductive structures, which can come in many forms. Clockwise from top left: 1) Polystichum; shield ferns. The reproductive structures are aggregated into round patches. Each of the black spheres is a sporangium (plural = sporangia), the capsule that produces the spores (in Polystichum, there are 64 spores in each sporangium). A distinct cluster of sporangia is called a sorus (plural = sori). In many ferns the sori are partially covered by protective tissues, called indusia (singular = indusium). In Polystichum, the indusia are round, giving rise to the common name of shield fern for this group. 2) Cardiomanes; kidney fern. The sori occur on the margins and arise from tubular indusia. 3) Gleichenia; tangle ferns. Two or three sporangia (the yellowish dots) occur on the underside of each frond segment. 4) Hypolepis; pig ferns. The sori are on the margin of the frond and are partially protected by the inrolled margin of the frond. 5) Asplenium; spleenwort ferns. The sori occur in lines away from the margin, and are arranged in a ‘herring bone’ pattern. 6) Pteris. The sori line the margins of the frond. Photos Leon Perrie, montage © Te Papa.

The nature of the reproductive structures can be critical for identifying a fern. If I happen upon a fern I don’t know and it does not have reproductive structures, I do not bother attempting to identify it. If you’re learning ferns, I recommend you do the same.

2) does it have scales or hairs or is it naked (glabrous)?

There are two major groups of tree ferns in New Zealand: Cyathea tree ferns are scaly, whereas Dicksonia tree ferns are hairy. Photos Leon Perrie, © Te Papa.

There are two major groups of tree ferns in New Zealand: Cyathea tree ferns are scaly, whereas Dicksonia tree ferns are hairy. Photos Leon Perrie, © Te Papa.

 

Close up of the scales of Cyathea (left) and the hairs of Dicksonia (right). Photos Leon Perrie, © Te Papa.

Close up of the scales of Cyathea (left) and the hairs of Dicksonia (right). Photos Leon Perrie, © Te Papa.

Hairs are only one cell wide, but this can only be checked with a microscope. As a general rule, if you can’t decide whether something on a fern is a scale or a hair, call it a scale if it is obviously wider than your own hairs.

3) how divided is the frond? It might be undivided (= “simple”), or once divided, or twice divided… etc.

Loxogramme dictyopteris, lance fern, has undivided/simple fronds. Asplenium oblongifolium, shining spleenwort, has once divided fronds. Asplenium bulbiferum, hen & chickens ferns, has three-times (or nearly so) divided fronds. Photos Leon Perrie, montage © Te Papa.

Loxogramme dictyopteris, lance fern, has undivided/simple fronds. Asplenium oblongifolium, shining spleenwort, has once divided fronds. Asplenium bulbiferum, hen & chickens ferns, has three-times (or nearly so) divided fronds. Photos Leon Perrie, montage © Te Papa.

4) are the fronds tufted, or do they arise along a creeping rhizome (modified stem)?

Blechnum discolor, crown fern, has tufted fronds. Right: In Arthropteris tenella, the fronds arise at intervals along a creeping rhizome; several creeping rhizomes can be seen as brown lines up the tree trunk. Photos Leon Perrie, montage © Te Papa.

Left: Blechnum discolor, crown fern, has tufted fronds. Right: In Arthropteris tenella, the fronds arise at intervals along a creeping rhizome; several creeping rhizomes can be seen as brown lines up the tree trunk. Photos Leon Perrie, montage © Te Papa.

Noting these features will help you identify a fern. These features are what I make sure I record when I am collecting and/or photographing ferns.

The Kapiti-Mana Forest and Bird trip was to Mangaone Walkway near Waikanae. Below are the ferns we discussed. Several of them already feature in:

Te Papa’s online guide to Common New Zealand ferns.

Blechnum novae-zelandiae, kiokio. Most Blechnum species have different looking fertile (top left) and sterile fronds. Fertile Blechnum fronds are usually reduced to narrow segments, which are green when young, black when the spores are mature, and brown after the spores have been shed. Most Blechnum species also have only once-divided fronds. Photo Leon Perrie. © Te Papa.

Blechnum novae-zelandiae, kiokio. Most Blechnum species have different looking fertile (top left) and sterile fronds. Fertile Blechnum fronds are usually reduced to narrow segments, which are green when young, black when the spores are mature, and brown after the spores have been shed. Most Blechnum species also have only once-divided fronds. Photo Leon Perrie. © Te Papa.

Blechnum fluviatile, creek fern. Photo Leon Perrie. © Leon Perrie.

Blechnum fluviatile, creek fern. Photo Leon Perrie. © Leon Perrie.

Blechnum discolor, crown fern. Photo Leon Perrie. © Te Papa.

Blechnum discolor, crown fern. Photo Leon Perrie. © Te Papa.

Blechnum colensoi, Colenso’ hard fern. Photo Leon Perrie. © Te Papa.

Blechnum colensoi, Colenso’s hard fern. Photo Leon Perrie. © Te Papa.

Cyathea smithii, kätote. A scaly tree fern. Has a distinctive skirt of dead frond stalks.

Cyathea smithii, kätote. A scaly tree fern. Has a distinctive skirt of dead frond stalks.  Photo Leon Perrie. (c) Leon Perrie.

Dicksonia squarrosa, whekï. A hairy tree fern. Photo Leon Perrie. © Leon Perrie.

Dicksonia squarrosa, whekï. A hairy tree fern. Photo Leon Perrie. © Leon Perrie.

Asplenium flaccidum, hanging spleenwort. Usually grows from tree trunks. Photo Leon Perrie. © Leon Perrie.

Asplenium flaccidum, hanging spleenwort. Usually grows from tree trunks. Photo Leon Perrie. © Leon Perrie.

Asplenium bulbiferum, hen & chickens fern. This looks very different to the hanging spleenwort, but they have the same arrangement of their reproductive structures, reflecting their close relationship. (They commonly form (sterile) hybrids.) Photo Leon Perrie. © Te Papa.

Asplenium bulbiferum, hen & chickens fern. This looks very different to the hanging spleenwort, but they have the same arrangement of their reproductive structures, reflecting their close relationship. (They commonly form (sterile) hybrids.) Photo Leon Perrie. © Te Papa.

Microsorum pustulatum, hound’s tongue fern. Photo Leon Perrie. © Leon Perrie.

Microsorum pustulatum, hound’s tongue fern. Photo Leon Perrie. © Leon Perrie.

Hymenophyllum revolutum. Filmy ferns have very thin leaves, and many look translucent. There are three principal groups in New Zealand: Hymenophyllum, Trichomanes, and Cardiomanes. Most Hymenophyllum species have their reproductive structures enclosed by two separate flaps. Photo Leon Perrie. © Leon Perrie.

Hymenophyllum revolutum. Filmy ferns have very thin leaves, and many look translucent. There are three principal groups in New Zealand: Hymenophyllum, Trichomanes, and Cardiomanes. Most Hymenophyllum species have their reproductive structures enclosed by two separate flaps. Photo Leon Perrie. © Leon Perrie.

Trichomanes venosum. In Trichomanes, the reproductive structures are enclosed by a tubular, often trumpet-like structure. Photo Leon Perrie. © Te Papa.

Trichomanes venosum. In Trichomanes, the reproductive structures are enclosed by a tubular, often trumpet-like structure. Photo Leon Perrie. © Te Papa.

Cardiomanes reniforme, kidney fern. More closely related to Hymenophyllum than Trichomanes, although the reproductive structures are at least superficially more similar to the latter. Photo Leon Perrie. © Leon Perrie.

Cardiomanes reniforme, kidney fern. More closely related to Hymenophyllum than Trichomanes, although the reproductive structures are at least superficially more similar to the latter. Photo Leon Perrie. © Leon Perrie.

Leptopteris hymenophylloides, single crape fern. The sporangia are spread over the frond underside rather than being clustered into sori of regular shape and size. The frond is translucent like a filmy fern. Photo Leon Perrie. © Te Papa.

Leptopteris hymenophylloides, single crape fern. The sporangia are spread over the frond underside rather than being clustered into sori of regular shape and size. The frond is translucent like a filmy fern. Photo Leon Perrie. © Te Papa.

Tmesipteris elongata, a fork fern. More closely related to ferns than to seed plants or lycophytes. Nevertheless, the relationship is a distant one, and it doesn’t look very fern like. There are at least five species in New Zealand, and they are usually epiphytic on tree ferns. Photo Leon Perrie. © Te Papa.

Tmesipteris elongata, a fork fern. More closely related to ferns than to seed plants or lycophytes. Nevertheless, the relationship is a distant one, and it doesn’t look very fern like. There are at least five species in New Zealand, and they are usually epiphytic on tree ferns. Photo Leon Perrie. © Te Papa.

Lycopodium volubile. A lycophyte rather than a fern. Ferns are more closely related to seed plants than they are to lycophytes, but ferns and lycophytes share a similar mode of reproduction. The leaves of lycophytes are only small, and the leaves bearing sporangia are often clustered into distinct ‘cones’. Photo Leon Perrie. © Leon Perrie.

Lycopodium volubile. A lycophyte rather than a fern. Ferns are more closely related to seed plants than they are to lycophytes, but ferns and lycophytes share a similar mode of reproduction. The leaves of lycophytes are only small, and the leaves bearing sporangia are often clustered into distinct ‘cones’, which are the pendulous, brown structures in this image. Photo Leon Perrie. © Leon Perrie.

By Leon Perrie | Posted in Biodiversity, Ferns, Plants | Also tagged , , , , | Comments (2)

Guide to Fijian tree ferns

26 February 2013 – 12.28pm

An abundance of tree ferns is one of the botanical characteristics that New Zealand shares with many of the larger Pacific Islands. The number of different species is not especially high, but tree fern individuals feature prominently in many Pacific and New Zealand landscapes.

Following my work in Fiji, I’ve produced an online guide to Fiji’s tree ferns.  Pictures and diagnostic tips should help distinguish the different species.  This complements our existing online guide to New Zealand’s tree ferns.

Online guide to Fiji’s tree ferns.
Online guide to New Zealand’s tree ferns.

I hope the Fijian tree fern guide will be useful to tourists interested in Fiji’s biodiversity, and to locals managing these plants as a resource.

Cyathea lunulata, recognisable by its pale scales and frond stalks. The most prominent tree fern in the Fijian lowlands. Photo by Leon Perrie. (c) Te Papa.

Cyathea lunulata, recognisable by its pale scales and frond stalks. The most prominent tree fern in the Fijian lowlands. Photo by Leon Perrie. (c) Te Papa.

Cyathea lunulata is a good species to initially learn, as it is the most obvious tree fern in the lowlands of Fiji. It also occurs on other Pacific Islands. In fact, most of the tree ferns in Fiji also occur somewhere else, meaning this guide has some applicability to places like Samoa, Vanuatu, Tonga, and the Cook Islands (but not to New Caledonia, which has its own distinct set of tree ferns).

All of the photos in the online guide are high resolution, and you should be able to ‘zoom in’ on them. However, technical limitations of our website currently prevent this. If you want to see this fixed, leaving a comment below may help prioritise the development of Te Papa’s website.

By Leon Perrie | Posted in Biodiversity, Collections Online, Ferns, Field trips, Pacific, Plants | Also tagged , , , , , | Comments (1)

Ralph Hotere, 1931-2013

25 February 2013 – 3.22pm

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)

By Sarah Farrar | Posted in Art, Collections Online, Māori, News, Uncategorized | Also tagged , , , | Comments (1)

Helping to save our rare and endangered orchids

30 January 2013 – 9.43am

Orchids are one of the top five plant groups with conservation issues in New Zealand. Unlike many other endangered or uncommon plants, propagation of native orchids from seed for conservation has not been attempted in New Zealand before. With the help of funding from the Otari Wilton’s Bush Trust, the Wellington Botanical Society and the San Diego County Orchid Society (USA) we will implement seed germination techniques commonly used overseas to propagate New Zealand’s rare and endangered orchids.

Ladies tresses orchid (Spiranthes novae-zelandiae), is a native species currently ranked as Nationally Vulnerable. Habitat destruction is one of the main causes for the continuous decline of this orchid. Photo: C.A. Lehnebach; © Te Papa.

Ladies tresses orchid (Spiranthes novae-zelandiae), a native species currently ranked as Nationally Vulnerable. Habitat destruction is one of the main causes for the continuous decline of this orchid. Photo: C.A. Lehnebach; © Te Papa.

Orchids are well known by their unusual flowers and elaborate pollination systems. Many orchids rely on insects to produce seeds and disruption of this relationship may threat orchid’s survival. Orchids, however, also require another organism to survive; a fungus. Unlike other plants, orchid seeds lack of endosperm; the nutritious tissue found inside seeds. This tissue provides food to the embryo during germination and until the very first leaves are formed.

Seed of the native spider orchid Nematoceras trilobum. The round structure in the centre is the embryo and the net-like tissue around it is the seed cover. Orchid seeds are very small; this one here is less than 1 mm long. Photo: C.A. Lehnebach; © Te Papa.

To overcome this peculiarity, orchid seeds use a fungal “infection” to get carbon and mineral nutrients from the soil into the embryo and developing seedling. This association is essential for orchid seeds to germinate and it may last for the entire life of the plant. Inside the infected cells, either in the roots or the base of the stem, the fungus forms roundish structures known as “pelotons”. Some orchids are very flexible and may use a variety of fungi species while other are species-specific and will only germinate if the correct fungus is present in the soil.

Cross section of the root of the grass-leaved greenhood orchid (Pterostylis graminea) with pelotons (red arrow). Photo & Copy Rights: Jonathan Frericks

To artificially infect orchid seeds with its fungal partner, first the pelotons need to be dissected out of the roots of an adult plant and cultured in a special agar medium. Within a couple of days, several fungi will grow in the plate and sub-cultures need to be set aside to obtain pure cultures of each fungus.

Plates with fungi isolated from the root system of the large bird orchid (Simpliglottis valida), a species native to Australia which has naturally spread to New Zealand. Photo & Copy Rights: Jonathan Frericks

After the fungus has been isolated and identified by analysing its DNA, seeds can be put in contact with the fungus to promote infection and seed germination. After about three months, if the correct fungal species has been used and the infection has successfully taken place, tiny small green leaves will appear in the plate. At this stage the seedlings are less dependent on the fungus and can produce their own food.

Plate with seedlings of a terrestrial orchid growing at Kings Park and Botanic Garden (Perth, Australia). Photo & Copy Rights: Jonathan Frericks.

Jonathan Frericks, MSc student at Victoria University of Wellington, has travelled to Australia to learn these techniques from scientists at Kings Park and Botanic Garden (Perth). His trip to Perth was funded by a grant from the Australian Orchid Foundation. As part of his thesis, Jonathan will isolate and identify the fungal partner of a selected group of native terrestrial orchids and, in collaboration with Otari Wilton’s Bush, cultivate a subset of them. Jonathan’s project will gather information vital to implement seed germination methods for conservation purposes and understand orchid-fungal interactions in our native orchids.

By Carlos A. Lehnebach | Posted in Biodiversity, Orchids, Plants | Also tagged , , , | Comments (1)

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

29 January 2013 – 3.41pm

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.

By Jo Torr | Posted in Borrowing and Lending | Also tagged , , , | Comments (0)

News from Loans – What to see in January 2013

8 January 2013 – 12.02pm

It is a new year and I suspect you are not at work again just yet but happily enjoying the gorgeous sunny weather we have been having. Well… here in Wellington anyway!

While you are still out and about can I remind you of some of the exhibitions that we have lent our collection items to?

Untitled. From the portfolio: Underwood, 2001, New Zealand. Leek, Saskia. Purchased 2001. Te Papa

At the Dowse Art Museum in Lower Hutt, look for the seven paintings Te Papa lent to the exhibition titled Saskia Leek: Desk Collection. The exhibition provides the first opportunity for audiences to see a broad range of Leek’s work and appreciate Leek as an artist whose works may be physically modest in scale, but whose artistic reach is considerable. The exhibition is on until 14 April 2013 so you have plenty of time to visit.

The Clerkenwell flower makers, 1896. Fisher, Samuel Melton. Gift of Levin and Co. 1912. Te Papa

You have until 27 January 2013 to indulge in the sumptuous Victorian and Edwardian paintings at the Tauranga Art Gallery.  Fifteen of the twenty-three paintings in the exhibition Love, Life and Loss: Emotive and Evocative Paintings from the Victorian and Edwardian Eras are from Te Papa’s collection.

Ranunculus buchananii Hook.f. circa 1865, New Zealand. Buchanan, John. Acquisition history unknown. Te Papa

If you are in Dunedin check out the exhibition Art in the Service of Science – Dunedin’s John Buchanan on at the Hocken Collection gallery.  You have until 22 April 2013 to spot the sixty-two botanical, bird and fossil drawings, wood engravings and watercolours Te Papa has lent to this exhibition.

Back in Wellington you have until 10 February 2013 to catch two exhibitions that include Te Papa collection items. 

 At the Adam Art Gallery the exhibition We will work with you, not for you! Wellington Media Collective 1978-1998 examines the politics of style implicit in the Wellington Media Collective’s substantial body of graphic work, and through this lens, surveys a history of public culture in Wellington and New Zealand.  Included in this exhibition is a flag from Te Papa’s collection made for anti-Springbok rugby tour protests on the day of the second test at AthleticPark, Wellington, in August 1981.  Made by Chris McBride, the flag is screen-printed in black and brown with a clenched fist and the words Amandla Amandla.  Amandla, a Xhosa and Zulu word meaning power, combined with a clenched fist makes the flag forceful and dramatic.  The Springbok protests were about something much deeper than rugby; people were taking a stand about apartheid in South Africa and racism in New Zealand.

The photographer’s shirt, 09 Sep 2003, Wellington. Cauchi, Ben. Purchased 2003. Te Papa

You still have time to check out and find the Ben Chauchi photographs at the City Gallery Wellington.  Ben Cauchi: The Sophist’s Mirror explores Chauchi’s intensive investment in and negotiation of the processes, histories and codes of photography offering new ways for historical photography techniques to work the contemporary world.  Look out for The photographer’s shirt from Te Papa’s collection.

By Jo Torr | Posted in Borrowing and Lending | Also tagged , , , , , | Comments (0)

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

30 November 2012 – 1.18pm
  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.

By Jo Torr | Posted in Art, Borrowing and Lending | Also tagged , , , , , , , , , , , , , | Comments (3)

Climb every mountain

14 November 2012 – 1.45pm

Brian Brake grew up in Arthur’s Pass and retained a love of New Zealand’s mountains all his life.  He took hundreds of photographs of South Island peaks, lakes and rivers.   If you’re an alpine enthusiast, a keen tramper, or you know the South Island well, please take a look and let us know if you can name any of these mountains, rivers and lakes …

[mountain from the air], 1960 - 1985, New Zealand. Brake, Brian. Gift of Wai Man Lau, 2010. Te Papa

1. Which mountain? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Wai Man Lau, 2010. Te Papa

New Zealand Scenery: Unidentified Locality, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

2. A mirror lake. Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Farming and Horticulture: Sheep Muster, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

3. Sheep muster where? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Coastal Township, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

4. Coastal township, possibly Kaikoura? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1970 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

5. Southern Alps perhaps? But which mountain? Nice flares … Colour transparency, 1970s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1960 s - 1980 s, Southern Alps. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

6. Mountain and river valley, Southern Alps? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Westland, 1960 s - 1980 s, West Coast. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

7. Which river in Westland? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

By Anita Hogan | Posted in Photography | Also tagged , , , , , , , , | Comments (5)

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

9 November 2012 – 4.14pm

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

By Sarah Farrar | Posted in Art, Collections Online, Uncategorized | Also tagged , | Comments (3)
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