ScholarSpace will be down for maintenance on Thursday (8/16) at 8am HST (6pm UTC)
Please use this identifier to cite or link to this item:
The Resurgence of Maori Art: Conflicts and Continuities in the Eighties
|Title:||The Resurgence of Maori Art: Conflicts and Continuities in the Eighties|
|LC Subject Headings:||Oceania -- Periodicals.|
|Publisher:||University of Hawai'i Press|
Center for Pacific Islands Studies
|Citation:||Mane-Wheoki, J. 1995. The Resurgence of Maori Art: Conflicts and Continuities in the Eighties. The Contemporary Pacific 7 (1): 1-19.|
|Abstract:||The recontextualization of Maori art from anthropological museum artefact|
to aesthetic art object-the shift in its perception as belonging, not to a dead or
dying culture, but to a living and developing indigenous culture-represents one
of the most dramatic reversals in the institutional structuring of New Zealand's
cultural history to date. Not only has Maori art earned a distinctive and powerful
(if sometimes grudgingly conceded) national presence in New Zealand's
Pakeha-dominated art world, but the exhibition Te Maori, shown to considerable
critical acclaim in New York, Saint Louis, and San Francisco in 1984, inaugurated
a receptive international context for traditional Maori art that has
subsequently been extended, in touring exhibitions to Australia, Europe, and the
United States, to encompass modernist and contemporary, westernized Maori art
forms. Inevitably, the internationalization of Maori art within a pluralist art construct
has set up numerous tensions among Maori and Pakeha artists, and, in
their respective art worlds, between competing interests, aspirations, and ideologies.
This paper identifies and examines some of those areas of tension.
|Appears in Collections:||TCP [The Contemporary Pacific], 1995 - Volume 7, Number 1|
Please email firstname.lastname@example.org if you need this content in an ADA-compliant format.
Items in ScholarSpace are protected by copyright, with all rights reserved, unless otherwise indicated.