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A Whakapapa of Tradition: One Hundred Years of Ngati Porou Carving, 1830-1930
The chieftainess Te Ao Kairau lived in the north of the Waiapu Valley. Desiring carving for the meeting houses that she was having erected, she chose her nephew Iwirakau to travel to Uawa to learn the arts of carving at the Rawheoro whare wananga. Iwirakau had a studious nature and practical bent, and many close connections to major lines in Ngati Porou. Upon his return from his studies, Iwirakau added new details acquired from Uawa to the designs and styles of the Waiapu, and became a leader of carving in the Waiapu area. When the whare wananga later declined, such was the strength of the passing down of knowledge that the style of carving associated with them continued. And one of the stro...
Toi Te Mana
A landmark account in words and pictures of Māori art, by Māori art historians--from Polynesian voyaging waka to contemporary Māori artists. He toi whakairo, he mana tangata. Through artistic excellence, there is human dignity. In six hundred pages and with over five hundred illustrations, this volume takes us on an extraordinary voyage through Māori art--from ancestral weavers to contemporary artists at the Venice Biennale, from whare whakairo to film, and from Te Puea Hērangi to Michael Parekōwhai. Deidre Brown, Ngarino Ellis, and Jonathan Mane-Wheoki explore a wide field of art practices, including raranga (plaiting), whatu (weaving), moko (tattooing), whakairo (carving), rākai (jewellery), kākahu (textiles), whare (architecture), toi whenua (rock art), painting, photography, sculpture, ceramics, installation art, digital media, and film. The works discussed span a period from the arrival of Pacific voyagers eight hundred years ago to the contemporary artists working around the world today. With expansive chapters and breakout texts focusing on individual artists, movements, and events, Toi Te Mana is an essential book for anyone interested in te ao Māori.
A Whakapapa of Tradition
From the emergence of the chapel and the wharenui in the nineteenth century to the rejuvenation of carving by Apirana Ngata in the 1920s, Maori carving went through a rapid evolution from 1830 to 1930. Focusing on thirty meeting houses, Ngarino Ellis tells the story of Ngati Porou carving and a profound transformation in Maori art. Beginning around 1830, three previously dominant art traditions – waka taua (war canoes), pataka (decorated storehouses) and whare rangatira (chief's houses) – declined and were replaced by whare karakia (churches), whare whakairo (decorated meeting houses) and wharekai (dining halls). Ellis examines how and why that fundamental transformation took place by ex...
Robert Ellis
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Te Ata
Te Ata is a regional perspective on contemporary Maori art by a new generation of Maori art critics. Its focus is on the vibrant range of arts that have arisen out of the creative traditions of Te Tairawhiti -- the East Coast-Poverty Bay region. Six writers -- Witi Ihimaera, Katerina Te Hei Koko Mataira, Ngarino Ellis, Ngapine Te Ao, Chris Bryant and Paerau Corneal -- discuss the major art movements in East Coast history, such as carving traditions, painted houses and weaving. With the many colour reproductions of contemporary art forms, the book explores the development of these East Coast traditions in the modern context, through the work of leading artists such as Cliff Whiting, Robyn Kahukiwa and Bob Jahnke, as well as the new wave of young artists like Michael Parekowhai, Dion Hitchens and Natalie Robertson. Essays also consider the ground-breaking Gisborne art school, Toihoukura, and the politics of museum art collections. Four years in the writing and production, Te Ata is a bold statement about Maori creativity by Maori, one that is much awaited by both a general readership and an educational audience.
Te Puna
Te Puna - Maori Art from Te Tai Tokerau Northland gathers writing about the art of Te Tai Tokerau - carving, painting, weaving, architecture, ceramics and digital art - by leading art historians and curator. It discusses how Maori art was collected by museums and others, and argues that Te Tai Tokerau was the cradle for contemporary Maori art. Shorter essays focus on moko (tattoo) and waka building, and highlight artists such as Ralph Hotere, Shane Cotton and Kura Te Waru Rewiri.
The Routledge Companion to Decolonizing Art History
This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, res...
Pūrangiaho
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