AHI Summer Research Scholarships
Research Articles
Where Good Things Go to Die: Requiem for the Dramatist.
Part Four Where Good Things Go to Die: Requiem for the Dramatist.Part One Chasing the Dragon: Hubris, the folly of man. Part Two Chasing the Dragon: Coup de grâce Part Three Growing Pains: The persistence of emerging theatres. By Peter Wallace* “The...
Growing Pains: The persistence of emerging theatres.
Part Three Growing Pains: The persistence of emerging theatres. Part One Chasing the Dragon: Hubris, the folly of man. Part Two Chasing the Dragon: Coup de grâce Part Four Where Good Things Go to Die: Requiem for the Dramatist. By Peter Wallace* ...
Chasing the Dragon: Coup de grâce
Part Two Chasing the Dragon: Coup de grâce Part One Chasing the Dragon: Hubris, the folly of man. Part Three Growing Pains: The persistence of emerging theatres. Part Four Where Good Things Go to Die: Requiem for the Dramatist. By Peter Wallace* ...
Chasing the Dragon: Hubris, the folly of man.
By Peter Wallace*
Amateur theatre satisfies a niche that professional theatre cannot occupy. Raw deliveries and modest budgets emphasise the discrepancy between actor and character, who present more one and the same in professional performances. Preventing that abstraction succeeds in communicating the personality of a production, particularly the risks and anxieties that high-end stage shows distract from.
‘Public Boon’ or Public Bother? Tāmaki Makaurau’s Itinerant Traders and the Campaign to Keep Them Out
Part Four ‘Public Boon’ or Public Bother? Tāmaki Makaurau’s Itinerant Traders and theCampaign to Keep Them Out Part One Unstable Ground: Migrant Producers, Selling, and Discrimination in Auckland 1890-1920sAuckland’s Women Artists: 1950-1960 Part Two Resilient...
Radi i štedi: Auckland’s Dalmatian growers in an Age of Prejudice and Prohibition
Part Three Radi i štedi: Auckland’s Dalmatian growers in an Age of Prejudice and ProhibitionPart One Unstable Ground: Migrant Producers, Selling, and Discrimination in Auckland 1890-1920sAuckland’s Women Artists: 1950-1960 Part Two Resilient Roots:...
Resilient Roots: Restrictions, Regulation, and Auckland’s Chinese Grocers and Growers 1890-1920s
Part Two Resilient Roots: Restrictions, Regulation, and Auckland’s Chinese Grocers and Growers 1890-1920sPart One Unstable Ground: Migrant Producers, Selling, and Discrimination in Auckland 1890-1920sAuckland’s Women Artists: 1950-1960 Part Three Radi i štedi:...
Unstable Ground: Migrant Producers, Selling, and Discrimination in Auckland 1890-1920s
by Emily O’Callaghan*
Beginning a narrative part way through makes for a confusing story. Yet, recollections of Auckland’s horticultural histories often do exactly that. Prioritising the quaint Victorian garden and divorcing horticultural practice from other intersecting histories of war, of survival, and of immigration, has made for an incomplete retelling.
Auckland’s Women Artists: 1980s
Part Four Auckland’s Women Artists: 1980sPart One Auckland’s Women Artists: 1928-1940Part Two Auckland’s Women Artists: 1950-1960 Part Three Auckland’s Women Artists: 1970s by Katryn Baker* In the last few years, more and more women have been writing on...
Auckland’s Women Artists: 1970s
Part Three Auckland’s Women Artists: 1970s Part One Auckland’s Women Artists: 1928-1940Part Two Auckland’s Women Artists: 1950-1960 Part Four Auckland’s Women Artists: 1980s by Katryn Baker* A big factor of women artists is the sociological factors which...
Auckland’s Women Artists: 1950-1960
Part Two Auckland’s Women Artists: 1950-1960 Part One Auckland’s Women Artists: 1928-1940Part Three Auckland’s Women Artists: 1970s Part Four Auckland’s Women Artists: 1980s by Katryn Baker* In tracing the lives and careers of (these) women, it shows that...
Auckland’s Women Artists: 1928-1940
by Katryn Baker*
The positionality of women artists in the Tāmaki Makaurau Auckland art scene from just over a century ago is complex. By the close of the 1920s, women were certainly not excluded from published literature nor from exhibition spaces. However, the trend of the twentieth century tended toward situating men such as John Weeks or Colin McCahon, to be the drivers of art history in Auckland, often at the expense of marginalising the influence of women artists.