In episode two of The Big Art Trip hosts Douglas Lloyd-Jenkins and Nick Ward discover the art of crochet with sculptor Ani O’Neill and attend CAKE Collective’s roadside poster exhibition where they talk to photographer Deborah Smith. They also visit renowned sculptor Greer Twiss in his studio, talk with young multi-media artist Gerald Phillips about his music videos for band Betchadupa, drop in on painter and political activist Emily Karaka and head to Whangarei to see filmmaker Gregory King and the veteran star of his short film Junk, Rosalie Carey.
This episode of Koha episode looks at the milestone Te Māori exhibition of Māori art. The exhibition toured the United States in 1984, opened up a world of Māori taonga to international audiences, and returned home to applause and swelling Māori pride. The episode features the powhiri at the New York Metropolitan Museum of Art, with future Māori Party co-leader Pita Sharples leading a kapa haka performance. Koha - a weekly, 30 minute programme broadcast in English - was the first regular Māori programme shown in primetime, and provided a window into te ao Māori.
Regular Māori programmes started on TVNZ in 1980 with Koha, a weekly, 30 minute programme broadcast in English. It was the first regular Māori programme shown in primetime. This episode gets two unique perspectives on the milestone Te Māori exhibition of Māori art. It interviews "American tangata whenua": noted Iroquois artist Peter Jemison, and John Kaaho (Tuhoe), security guard for the exhibition at New York's Metropolitan Museum of Art. Te Māori toured the United States in 1984 and opened up a world of Māori taonga to international audiences.
Director Stewart Main talked to artist Pat Hanly about life as painter and activist for 1998 documentary Pacific Ikon, from which this excerpt is taken. Interviewed at his Mt Eden home, Hanly discusses his painting career and inspirations — both political and personal. Also interviewed are his wife Gil, who supported him personally and financially, and children Ben, Tamsin and Amber. Like his work, Hanly is ebullient, energetic and articulate, At one point he says: "We are awaiting death with interested anticipation. Some of my best friends are dead." Hanley died in September 2004.
In this documentary for TV One, director Aileen O'Sullivan turns the camera on three sets of mother/daughter artists, and asks whether art is in the genes. Interviewing each other about their creative lives are actor Kate Harcourt and actor/acting teacher Miranda Harcourt; weaver Erenora Puketapu-Hetet and weaver/painter Veranoa Hetet (née Hauwaho); and painter Jacqueline Fahey and performer/sculptor Augusta McDonald. Frank yet loving discussions abound, like when Hetet tells her mother "sometimes you come up with silly things".
Auckland Museum's Volume exhibition told the story of Kiwi pop music. It's time to turn the speakers up to 11, for NZ On Screen's biggest collection yet. Turning Up the Volume showcases NZ music and musicians. Drill down into playlists of favourite artists and topics (look for the orange labels). Plus NZOS Content Director Kathryn Quirk on NZ music on screen.
In 2006 the two-year long Pasifika Styles exhibition launched at Cambridge University’s Museum of Archaeology and Anthropology. The show was ground-breaking for confronting the contentious origins of the museum's Pacific artefacts, by inviting 15 contemporary Māori and Pacific artists over to show works and "revitalise the taonga" already on display. Shown on Māori Television, this documentary follows two of the artists, George Nuku and Tracey Tawhiao, from K Road to the cloisters of Cambridge to collaborate with objects, curators, fellow artists and scholars.
Before he was an acclaimed cinematographer, Leon Narbey was another kind of artist. Narbey shot this film to document Real Time, an immersive light and sound installation he created for the opening of New Plymouth's Govett-Brewster Art Gallery in 1970. Real Time took over the entire gallery: viewers entered an altered landscape of glittering materials, neon flashes and an industrial soundtrack triggered by the movements of the crowd. The film opens with quickfire shots of the official opening ceremony, before the camera enters a new and strange world of sensory thrills.
Rangi Hetet was only 17 years old when he began working as an apprentice, carving the Tāpeka meeting house. Six decades later, his life and work are examined in this documentary, as his children prepare to exhibit his work at the Dowse Art Museum alongside that of their mother, the late Erenora Puketapu-Hetet. The feature-length documentary also explores the art of whakairo (carving), and its cultural significance within Māori communities. Mo Te Iwi director Robin Greenberg's earlier film Tu Tangata: Weaving for the People (2000) was about Erenora and her Māori weaving.
This documentary looks at Māori painter/sculptor Darcy Nicholas. Nicholas grew up in the Taranaki, among extended whanau. “We didn’t have much money, but we had a lot of aroha and a lot of land to play in”. Director Lala Rolls looks at Nicholas’s relationship to his Māoritanga, and at how he took on the mantle of helping organise Toi Māori: The Eternal Flame — the first touring exhibition of Māori weaving. He and other participants recall travelling to America, and weaving “a map of friendship” with native American tangata whenua.