Chance Wilson, who’s writing his University of Auckland MA thesis on Rembrandt prints in the public collections of Aotearoa New Zealand, recently visited Te Papa to examine our remarkable holdings of this iconic artist. Here are his top five favourites from our collection.
One hundred years ago an armistice (truce) between Germany and the Allies was signed in France on 11 November 1918. Around the same time, a devastating influenza pandemic spread worldwide. History curator Stephanie Gibson looks at two women with ties to both events.
What does your inner monster look like? For New Zealand painter Tony Fomison (1939–1990) it was a creature drenched in darkness, his face covered in wolfish hair. Art curator Chelsea Nichols explains more.
‘The range of emotions that students come up with is confronting and powerful.’ Learning Innovation Specialist Donald James describes how the Learning Team at Te Papa have helped children empathise with war.
History curator Stephanie Gibson talks to Chris McBride, designer and member of Wellington Media Collective, about artists and designers making protest objects.
How do you care for artworks that are made entirely of paint? Conservator Paintings Linda Waters explains.
‘An artist whose portraits have never gone out of fashion in 400 years’. Dr Mark Stocker, Curator Historical International Art, looks at a fascinating selection of portraits in Te Papa’s print collection by Sir Anthony van Dyck.
A steampunk Pokémon sea dragon, mutant whales, and a sabre-toothed devil bunny of the Aztecs. Librarian Martin Lewis (aka @RareBookGuy) presents his favourite curious creatures while researching this month.
We invited Victoria and Shannon from Deaf Aotearoa to speak to us about why using NZSL is so important and how best to make effective use of it.
In November 2017 media producer Kate Whitley joined a Te Papa expedition to Tokelau. Reflecting on her journey, Kate explores the photos of Glenn Jowitt in our collection and talks with Paula Faiva about growing up in Tokelau and the importance of the inati (equal portions) system that underpins island life.
How do museums learn to tell the truth about what they hold in order to become “decolonised archives”?