AHI Summer Research Scholarships
Research Articles
151 Queen Street
by Riley Bogard-Allan*
The 1980s were a time of transformation in New Zealand, marked by economic liberalisation, corporate excess, and a cultural shift that redefined the country’s identity ‘from the world’s first welfare state to the world’s first post-welfare state’.
Friendship at Home: the NZCFS and Chinese in New Zealand
Part Three Friendship at Home: the NZCFS and Chinese in New Zealandby Germaine Han* The year was 1989, and the New Zealand China Friendship Society (NZCFS) was reeling from the violent events of the Tiananmen Square Massacre. As explained in my second article, the...
The Desire for Unity: the NZCFS and China
Part Two The Desire for Unity: the NZCFS and Chinaby Germaine Han* A message in 1974 reads: ‘Chairman Mao says people must start with the desire for unity, and controversial issues among people should be settled by the democratic method—which is discussion, criticism...
Clearing ‘the Mists of Ignorance’: the New Zealand China Friendship Society in the 1970s
by Germaine Han*
In a series of letters written in July 1975, Wilfred ‘Bill’ McAra applied for membership to the New Zealand China Friendship Society (NZCFS), formally known as the New Zealand China Friendship Society. ‘Dear Jack,’ he wrote in one letter, ‘Enclosed $4 to cover membership for Diana Wilsie and myself’.
‘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.