8,132 research outputs found
Does Māori art history matter?
No full textThis essay, the edited text of a lecture presented by Deidre Brown and Ngarino Ellis and written by these two authors in collaboration with Jonathan Mane-Wheoki, outlines a methodological approach to their larger project: the writing of a Maori history of Maori art. In 2013 these three scholars began a three-year Marsden-funded project entitled 'Toi Te Mana: A History of Indigenous Art from Aotearoa New Zealand'. The present publication points towards that much larger study. Sadly, Jonathan Mane-Wheoki died as this text was being prepared; it stands as a tribute to his many years of work towards its ambitions
Does Māori Art History Matter?
No full text" Does Māori Art History Matter?, by Deidre Brown, Ngarino Ellis and Jonathan Mane-Wheoki, outlines a methodological approach to their larger project : the writing of a Māori history of Māori art. Concerned to adopt a way of talking about Māori art's history that is in tune with that culture's particulartemporal rhythms, value systems and sense of community, the authors seek to develop a kind of art history that, as they put it, can allow 'to be hapū, iwi, Māori, and indigenous in the world.' " -- Back cover
Te Puna: Maori art from Te Tai Tokerau Northland
No full textThis book documents customary and contemporary Maori art practice in the Taitokerau (Northland) region. Contributors include Chanel Clarke, Jonathan Mane-Wheoki and Toi Maihi as well as the editors.http://librarysearch.auckland.ac.nz/primo_library/libweb/action/display.do?fn=search&doc=uoa_voyager1712235&vid=UOA2_
Robert Arthur Lawson, architect, 1833-1902
No full textPROBLEM
Why did Lawson at the height of his professional career in 1889, decide to
leave Dunedin and set up anew in Melbourne?
METHOD AND PROCEDURES
In attempting to trace the professional career of Lawson, the starting point is made with his personal diary written aboard the 'Tongataboo' when he sailed from London to Melbourne between the 13th of July and the 2nd of November 1854. Whilst he gives no specific reasons for emigrating to the other side of the world a comment written the first day aboard in London Docks perhaps gives a clue:
"I seemed to have been thrown into that position in life which pointed to this, as the means of satisfying a nameless craving ... "
Lawson was a pious young man but this did not prevent him from fully participating in shipboard life, and it was he who wrote a letter of thanks on behalf of the pasengers, to the captain and crew at the end of the voyage.
The first view of Melbourne on Wednesday 1 November 1854 seems to have been something of a disappointment although he was to spend the next seven years in Victoria. This period was not particularly fruitful in the architectural sense, but in 1861 a breakthrough came when Lawson, then 28 years of age won the design competition for the First Church of Otago, Dunedin, New Zealand.
A considerable amount of information is available for the time Lawson spent in Dunedin, that is from 1862 until 1889, but other portions of his life remain relatively obscure. Such periods include his early years, his apprenticeship in Perth and Edinburgh, the time spent in Victorian goldfields, and latterly the years in Melbourne from 1889 to 1900. No family matters are mentioned throughout his long professional career and it is concluded that Lawson's professional life and his family affairs were separated into watertight compartments.
This thesis is not an attempt to cary out a detailed analysis of Lawson's architectural career but is a biographical sketch tracing various stages in his development as follows:
Early years
Architectural Influences
Victoria, Australia 1854-1861
Dunedin, New Zealand 1862-1889
Melbourne, Australia 1889-1900
Dunedin, New Zealand 1900-1902
SUMMARY OF CONCLUSIONS
The 'Seacliff Lunatic Asylum', the most ambitious of all Lawson's projects led in 1888 to a Government Commission of Inquiry and censure of the architect. It is felt that this, rather than a downturn in the economyu led to the departure of Lawson for Melbourne in 1889. His architectural career was not over but it was in decline. Finally he spent the last years from 1900 to 1902 in Dunedin, his professional life at this stage effectively over
Robert Arthur Lawson, architect, 1833-1902
No full textPROBLEM
Why did Lawson at the height of his professional career in 1889, decide to
leave Dunedin and set up anew in Melbourne?
METHOD AND PROCEDURES
In attempting to trace the professional career of Lawson, the starting point is made with his personal diary written aboard the 'Tongataboo' when he sailed from London to Melbourne between the 13th of July and the 2nd of November 1854. Whilst he gives no specific reasons for emigrating to the other side of the world a comment written the first day aboard in London Docks perhaps gives a clue:
"I seemed to have been thrown into that position in life which pointed to this, as the means of satisfying a nameless craving ... "
Lawson was a pious young man but this did not prevent him from fully participating in shipboard life, and it was he who wrote a letter of thanks on behalf of the pasengers, to the captain and crew at the end of the voyage.
The first view of Melbourne on Wednesday 1 November 1854 seems to have been something of a disappointment although he was to spend the next seven years in Victoria. This period was not particularly fruitful in the architectural sense, but in 1861 a breakthrough came when Lawson, then 28 years of age won the design competition for the First Church of Otago, Dunedin, New Zealand.
A considerable amount of information is available for the time Lawson spent in Dunedin, that is from 1862 until 1889, but other portions of his life remain relatively obscure. Such periods include his early years, his apprenticeship in Perth and Edinburgh, the time spent in Victorian goldfields, and latterly the years in Melbourne from 1889 to 1900. No family matters are mentioned throughout his long professional career and it is concluded that Lawson's professional life and his family affairs were separated into watertight compartments.
This thesis is not an attempt to cary out a detailed analysis of Lawson's architectural career but is a biographical sketch tracing various stages in his development as follows:
Early years
Architectural Influences
Victoria, Australia 1854-1861
Dunedin, New Zealand 1862-1889
Melbourne, Australia 1889-1900
Dunedin, New Zealand 1900-1902
SUMMARY OF CONCLUSIONS
The 'Seacliff Lunatic Asylum', the most ambitious of all Lawson's projects led in 1888 to a Government Commission of Inquiry and censure of the architect. It is felt that this, rather than a downturn in the economyu led to the departure of Lawson for Melbourne in 1889. His architectural career was not over but it was in decline. Finally he spent the last years from 1900 to 1902 in Dunedin, his professional life at this stage effectively over
Jonathan Ned Katz Author Event: The Daring Life and Dangerous Times of Eve Adam
No full text“The Daring Life and Dangerous Times of Eve Adams,” interview with author, Jonathan Ned Katz, moderated by Emily Weiner (WWU) and organized by Congregation Beth Israel
Contemporary Literature. Analysis of Jonathan Bazzi's novels
No full textopenDopo una breve panoramica della letteratura italiana degli ultimi vent’anni si analizzano i due romanzi di Jonathan Bazzi "Febbre" e "Corpi minori" dai punti di vista formale, stilistico e tematico. Si discute inoltre il rapporto tra social media, autofiction e autore; nel capitolo 4 si riporta l'intervista che Bazzi ci ha gentilmente concesso, in cui questi argomenti vengono ripresi.
Si individuano alcune differenze che i testi mostrano rispetto alla letteratura moderna, e gli aspetti che hanno in comune con quella contemporanea; nel fare questo si accennano quindi alcune caratteristiche della società che li ha prodotti.The paper starts off with a brief overview of the contemporary Italian literature; then the reader is guided through an analysis of Jonathan Bazzi's novels, "Febbre" ("Fever") and "Corpi minori" ("Minor bodies"), both translated in English and published by Scribe. The relationship between author, autofiction and social media will also be discussed; in chapter four the reader will find the interview Bazzi kindly granted us
Art’s histories in Aotearoa New Zealand
No full textThis is the text of an illustrated paper presented at ‘Art History’s History in Australia and New Zealand’; a joint symposium organised by the Australian Institute of Art History in the University of Melbourne and the Australian and New Zealand Association of Art Historians (AAANZ); held on 28 – 29 August 2010. Responding to a set of questions framed around the ‘state of art history in New Zealand’; this paper reviews the ‘invention’ of a nationalist art history and argues that there can be no coherent; integrated history of art in New Zealand that does not encompass the timeframe of the cultural production of New Zealand’s indigenous Maori; or that of the Pacific nations for which the country is a regional hub; or the burgeoning cultural diversity of an emerging Asia-Pacific nation
Making New Zealand: Promoting a National Identity in Art at the New Zealand International Exhibition 1906-07
No full text- …
