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Crafting Aotearoa


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Table of Contents

Contents 8 Introduction 18 Chapter 1 Craft and island nations 23 The Ancestors of the Arts, Tevita 'O Ka'ili 30 No Tangaroa ke tena Marae: Connecting with Oceania, Julie Paama-Pengelly 39 The Exchange of Kula Feathers, Tarisi Vunidilo 43 Pulotu, Hawaiki and Lapita, Hufanga `Okusitino Mahina 48 Chapter 2 Craft on board 57 Cook Samplers, Vivien Caughley 61 Blacksmithing on Guam, Michael Bevacqua 64 The Ancestry of Te Aute, Nikau Gabrielle Hindin 67 An Iconic Collectible, Donald Kerr 78 Chapter 3 Craft and belief 85 Craft and `Civilisation' at the LMS Museum, Chris Wingfield 89 Identifying Early Colonial-made Furniture, William Cottrell 96 The Art of Tuvalu Crochet: Kolose, Marama T-Pole 99 A Victorian Gothic Masterpiece, Ann Calhoun 102 `God in their luggage', Julie Adams 108 Chapter 4 Craft and the authentic 120 Needlework in the New Zealand Education System, Stella Lange 127 St Barnabas' Chapel, Norfolk Island, Ann Calhoun 141 Polynesian Corpuscles: Tracing Cultural Stratification Through Craft, Ioana Gordon-Smith 144 From Furniture Restoration to Faking Taonga, Elizabeth Cotton 148 Makea: Queen of Rarotonga, Preserver of Women's Weaving Traditions, Joanna Cobley 151 The Havelock Work: Craft and the Occult, Georgina White 158 Liberty and Co. in New Zealand, Walter Cook 161 Mary Eleanor Joachim, Bookbinder, Margery Blackman 166 The Women's Section, Moira White 168 Chapter 5 Craft and tourism 177 Souvenirs of the `Eighth Wonder of the World', Richard Wolfe 180 Crafting Kapa Haka, Tryphena Cracknell 190 A Novelty Barometer, Marguerite Hill 198 The Coral Route, Lynette Townsend 200 The Coconut Shell As Art Object, John Perry 207 Maori Culture and the Contemporary Scene, Taarati Taiaroa 211 Fashioning Souvenirs, Elizabeth Wratislav 215 The Geyser Room Experience, Michael Smythe 217 The World Came Knocking, Kevin Murray 220 Chapter 6 Craft and the modern 225 Making Do in Hard Times, Rosemary McLeod 229 `Something to See': Women's Institutes, Claire Regnault 237 Guilds and Societies in Craft Practice, Helen Schamroth 241 Theo Schoon: Bauhaus to Our House, Andrew Paul Wood 245 Joseph Churchward's Handcrafted Typefaces, Safua Akeli Amaama 256 Studio Craft and the Everyday, Moyra Elliott 262 A New Vision for New Zealand Craft, Lucy Hammonds 267 Indigenous Pacific Museums and Cultural Centres, Tarisi Vunidilo 272 Craft and the Hippie Myth, Vic Evans 278 Peter Stichbury and Abuja, Justine Olsen 288 Chapter 7 Craft and belonging 293 The Craft of Punk, Simon Swale 295 The Permanent Crucible, Benjamin Lignel 299 Craft and Conceptual Art, Warren Feeney 301 Bone Stone Shell across the Ditch, Julie Ewington 316 What Planet Do You Come From?, Rosanna Raymond 322 New Zealand Wearable Art and the Craft Conundrum, Natalie Smith 325 Words Were Loaded, Siliga David Setoga 330 Tatau as Craft, Sean Mallon 331 Crafting a Continuum, Ane Tonga 335 Mau Mahara, Philip Clarke 337 The 1983 Tokomaru Bay Weaving Hui, Christina Hurihia Wirihana 344 Pacific Men's Craft in New Zealand, Sean Mallon 346 Chapter 8 Craft in the contemporary 351 Street Craft in a Cracked City, Reuben Woods 355 From Craft Practitioners to Designer-makers, Michael Smythe 358 Crafting Make Believe, Claire Regnault 363 Contemporary Quilting Communities, Jane Groufsky 367 Slow Fashion and Craft Activism, Natalie Smith 369 More Than Just a Cup of Tea, Johnny Hui 373 The Social and Sustainably Crafted Object, Andrea Bell 381 Masi: Wedding Ceremonial Dress Practices in Fiji, Joana Monolagi 386 Performing Measina: Craft in Contemporary Pacific Performance, Lana Lopesi 389 Kowhaiwhai Ceramics, Tharron Bloomfield 394 Our Mothers Were Not Marked, Julia Mage'au Gray 400 He Rauemi Tuturu: Muka in Contemporary New Zealand Jewellery Practice, Tryphena Cracknell 409 Meliors Simms: Agent of Change, Bronwyn Lloyd 416 Casting Shadow, Chasing Light, Lydia Baxendell 422 Notes Further reading More about craft About the editors Contributors Acknowledgements Objects Image credits Index

About the Author

Kolokesa U Mahina-Tuai has a background in art history, social anthropology and museum and her-itage studies and was curator of Moana Oceania cultures at the Museum of New Zealand Te Papa Tongarewa from 2004 to 2008 and Auckland War Memorial Museum Tamaki Paenga Hira from 2013 to 2017. She has been a guest curator and consultant for Auckland Art Gallery Toi o Tamaki, and a consultant for Alt Group and the Government of Tonga's Culture Division, Ministry of Tourism. She is co-author of Nimamea`a: The fine arts of Tongan embroidery and crochet (Objectspace 2011), Tangata o le Moana: New Zealand and the people of the Pacific (Te Papa Press, 2012) and Kolose: The Art of Tuvalu Crochet (Mangere Arts Centre - Nga Tohu o Uenuku, 2014). Damian Skinner is a Pakeha art historian and curator who lives in Gisborne. He received his PhD in art history from Victoria University of Wellington in 2006, for a thesis exploring the dynamic rela-tionship between customary and modern Maori art in the twentieth century. He has written a number of books about Maori and Pakeha art, and Pakeha craft. His most recent book is Theo Schoon: A biography (Massey University Press, 2018). Karl Chitham (Nga Puhi) is Director of the Dowse Art Museum and was formerly the Director and Curator of Tauranga Art Gallery. He has been involved in the arts in Aotearoa in a variety of roles for over fifteen years. His projects have included a series of exhibitions and accompanying publica-tions highlighting contemporary toi Maori such as Whatu Manawa: Celebrating the weaving of Matekino Lawless, Toi Mauri: Contemporary Maori art by Todd Couper and Whenua Hou: New Maori ceramics.

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