Brooke Crofskey @cocabrookecrofskey-blog - Tumblr Blog

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 11

Task one:

Tūrangawaewae is a place where we feel at home. I applied this concept to a successful series of photographs in Lens, of a place in Wellington that felt like home.

Task two:

I created a series of photographs which were collaged together to make one large final print. As Tūrangawaewae means for a place that feels like home, I chose the Seatoun reserve as this was earlier in the year and I was struggling with missing my home town. This beach had an instant connection with myself making it feel just like home. It was a getaway from the rush of the big city, dark coloured sand and a beautiful place to be. It all reminded me of the beaches of my hometown which allowed for a stronger connection with this place making it feel like a place to stand.

Task three:

I considered indigeneity in my work as it means to be produced naturally and this the direction my photos took as well as the natural land I chose to capture. My photos show a natural connection for myself and the viewer. I also considered gender as I chose a very gender neutral place. This reserve can be enjoyed by anyone and I wanted to show how our contemporary western culture allows for both genders to enjoy these surreal surroundings. There is no limit for one gender over the other within our culture’s ideologies.

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 10

I was born and raised in the beautiful region that is taranaki or as we call it, ‘the Naki’. I grew up with a loving family who all were raised in Taranaki also. When considering my cultural identity, I naturally say I identify as “New Zealand European” which typically sets me apart from others of different race or culture when really we are all one culture that mix to form New Zealand’s identity as a whole. Despite what I naturally identify myself as, I hold Māori culture and heritage within myself as my whanau all include Māori ethnicity. Growing up, I had embraced this with joining groups such as Pasifika and Kapa Haka in primary school. I competed in events for Kapa Haka and truly captured what is part of my own cultural identity. In 1866, Parihaka was created. Further embracing my cultural identity, when I was younger I attended Parihaka with members of my family. Growing up, I have always said I identify as “New Zealand European” when really, I am a mix that together make up my own cultural identity.

Michael Parekowhai, The indefinite Article 1990, wood and acrylic, Auckland Art Gallery Toi o Tamaki and Chartwell Gift Collection, purchased with generous assistance from Jim Barr and Mary Barr, 2009.

Looking at this work by Michael Parekowhai, that spells the letters I,A,M,H,E , there is no specific reference to who “I am”. It simply states “I AM HE” which I feel relates to myself and my creative writing piece as my cultural identity is not one specific, it is a mix that makes up one whole and although I tend to identify myself as “New Zealand European” or “Pakeha”, even these I feel are not specific to ones own or New Zealand’s culture. So this is me. With not one specific cultural identity that I specify, ‘I am she’.

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 9 || Task one

From this weeks first task, I created a sort of story board to explain the stages of a Powhiri.

1. A karakia is performed while manahiri (visitors) wait outside the gate.

2. One or more armed warriors perform a wero.

3. The warrior places a sprig leaf on the ground and indicates to the visitors to pick it up.

4. The leader of the visitors which is a man will pick up the sprig to signify peace.

5. A women will perform a karanga.

6. Visitors move in and are seated. Generally here a male will perform a whakarero.

7. A waiata is performed next.

8. The visitors will then give the tangata whenua a gift/koha of appreciation. This is generally food or another sacred item such as a cloak.

9. Visitors and tangata whenua of the maori hongi and will shake hands.

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 9 || Task two

A stereotype reinforces the racial distinction within New Zealand between Pakeha and Maori. Degrading Maori culture is one example of stereotyping. This is due to the culture’s differences to the dominant western culture present in New Zealand. These differences were not thought of until settlers came to New Zealand and in fact ‘Maori’ originally meant ‘normal’ or ‘us’ whereas ‘European’ meant ‘stranger’ or ‘them’. (Wall 40). With traditional means referred to as ‘Maori’ and modern means referred to as ‘pakeha’ (Wall 41) it is often found Maori are stereotypically degraded for these differences, even if found to be adapting to these modern means.

Wall, Melanie. Stereotypical constructions of the Maori race in the media. New Zealand Geographer, 1997. Print.

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 8 || Task two

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 8 || Task one

Nisbet, Al. Untitled. 2013. Cartoon on paper. Marlborough Express, New Zealand.

One representation of poverty is the portrayal of Maori/Pacific Island families as poor and unable to prioritize their money and how they spend. This comic is referring to the free meals at schools for children from lower socio-economic backgrounds (Children’s Commissioner). It depicts the stereotypical beliefs of a Maori or Pacific Island family and the lengths they would go in order to afford these “booze, smokes and pokies.” This is further driven by statistics, “In New Zealand today, some groups do better than others. The groups that do worse in terms of … economic well-being … tend to be Māori, Pasifika…” (Children’s Commissioner) The poor are generally categorized as either deserving or undeserving (Gans. 20-24) with this comic showing these individuals would fall under the undeserving category. This key concept is explained by differentiating “…between the ‘deserving’ and the ‘undeserving’ poor. The ‘deserving’ are those in need who are unable to work because they are too old, disabled, or too sick. The ‘undeserving’ are people who don’t want to work…” (hernist)

Working Paper. “A framework for food in schools programmes in New Zealand.” Children’s Commissioner. OCC, May 2013. Web. 25 September 2016.

Gans, Herbert J. Herbert J. Gans. The Uses of Poverty: The Poor Pay All. (n.d.): n. pag. Herbert J. Gans. The Uses of Poverty: The Poor Pay All. Web. 28 Sept. 2016.

Beder, Sharon. “Deserving vs Underserving Poor”. Herinst. Sharon Beder, 2016. Web. 25 September 2016.

SEMESTER 2 || 237.131 || Assessment Two || Conversations in Creative Cultures || Week 7 || Task one || Task two || Task three

1. Paraphrase an academic source based from one key point from the lecture

One key point identified in the lecture was the stereotypical culture and differences of New Zealand and the Pacific Islands. As explained in “Where are you from?” written by Laura Toailoa, New Zealand culture tends to be more materialistic as opposed to Pacific Island culture where material items aren’t considered as most important but family is “…I am utterly grateful to be born into a family that I feel homesick for.” (Toailoa)

Toailoa, Laura. “Where are you From” e-tangata. The Mana Trust, 11 September 2016. Web. 20 September 2016.

2. Art/design/creative responses to the socio-political situation that confronted Pacific Islanders in Aotearoa in the late 20th century

Anae, Melanie. Unemployment, the dangers of immigration and the horror of overpopulation in New Zealand cities. 1975. Mixed Media. Private Collection. All Power to the People. Wellington: Te Papa Press, 2004. 228. Print.

Pacific Islanders in New Zealand during the 20th Century were targeted as overstayers and were described very negatively. The government took action to show their belief of how the Pacific Island overstayers were damaging New Zealand’s economy and to remove such immigrants with this sketch being one example of the action taken. Here a Pacific Islander is depicted as aggressive as well as an overstayer, in attempts to use stereotyping to rid of the immigrants from New Zealand.

Anae, Melani. (2012). All power to the people.

Editorpuehu. "Racist National Party Advertising." YouTube. YouTube, 04 July 2011. Web. 21 Sept. 2016.

3. Synopsis of the documentary ‘Dawn Raids’

Migrants came to New Zealand to work all the dirty, unwanted jobs, despite issues with visa permits. It wasn’t until a problem of unemployment broke out that the government began to crack down on this. Pacific Islanders became targets with police raiding their homes and work places, in efforts to rid of these individuals. Despite two thirds of over stayers mostly being European, they were allowed to remain.

Screen, NZ On. "Dawn Raids | Television | NZ On Screen." Dawn Raids | Television | NZ On Screen. N.p., 2005. Web. 21 Sept. 2016.

#237.131 #Conversations in Creative Cultures #Task 1 #Task 2 #Task 3 #Week 7 #Semester 2

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 6 || Task one || Task two

TASK 1

Once the Europeans colonised New Zealand, Maori visual and material culture was seen to be over taken by European art, “...When the first Europeans arrives in New Zealand, the country possessed in its Māori art a unique native culture which the impact of civilisation was ultimately to destroy,” (Wheoki 6) This separation of Maori art from European art is the leading factor as to why minimal presentations of Maori art are seen in galleries throughout New Zealand. Not only this, Maori art is not present in many New Zealand art history books due to not being considered important and a European invention (Wheoki 6) These European influences and factors show how the Maori visual and material culture has been framed by predominately western accounts.

TASK 2

Anderson, Atholl. Vaertuig en Gadaente der inwoonders van Selandia Nova. 1642. Medium. Alexander Turnbull Library, Wellington. Tangata Whenua. Aotearoa: Bridget Williams Books, 2014. 133. Print.

This image here clearly shows the deliberate intention of not representing Maori culture, rather depicting European settlers. The artist has chosen to exclude traditional Maori form by leaving out traditional tattoos and weaved clothing and other carvings. This is done so to portray the group as a threat. The image holds a place in New Zealand art history despite being a false represenation and due to it not presenting from a Maori world view, but because it signifies a battle that truly occurred. (Anderson 133)

Works Cited:

Anderson, Atholl. “Chapter 5: In the Foreign Gaze”. Tangata Whenua: An Illustrated History. Ed. Atholl Anderson, Judith Binney, and Aroha Harris. Aotearoa: Bridget Williams Books, 2014. 132-159. Print.

Mane-Wheoki, J. Art’s Histories in Aotearoa New Zealand. Aotearoa, 2014. 1- 12. Print.

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 5

During 1840, a French colony settled in New Zealand, potentially allowing for control over New Zealand to have taken place (Belch 179). It was then the British Empire’s power grew and took all chances of this from the French Empire. Although, despite this, both colonies shared the same objective, conquest of Maori (Belich 180). Full sovereignty was then to be claimed of the whole of New Zealand which meant for differences and changes between the Maori version and Pakeha version of the Treaty of Waitangi (Belich 195). The power of Maori was underestimated when Pakeha tried to convert Maori to British ways which meant disrespect for the Treaty. This dispute was sought to be resolved reasonably with the Chief’s words reading, “If the Europeans will not listen, and continue to do wrong, neither will the Maori’s take heed...if you the Europeans will do their part, I will do mine and will make amends...” (Heke 203) The Chief, known as Hone Heke, found his attempt failed and sought war against the British Colonies to define. “partnership, land alienation, the nature of British empire in New Zealand, and of the limits of Maori consent.” (Belich 203)

WORK CITED

Chapter 8: Making Empire? Making Peoples: A History of the New Zealanders, from Polynesian settlement to the end of the nineteenth century. Hawaii Press, 2001. 179- 203. Print.

How I think these events impacted on visual and material culture in Aotearoa/New Zealand?

One major impact was of the New Zealand Flag. The union jack had previously been rejected by Maori as it was too far of a representation of the British. There was too much blue and the Maori insisted there to be more of a particular shade of red as it is associated with Mana, trades and cultural coding. However today, in contradiction, blue dominates New Zealand’s current flag.

GLOSSARY

Glossary for this assessment is in the drop down menu on the left

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 4 || Task 2

A taonga work is a creation from mātauranga Māori. It is the result of effort and creativity. One-way intellectual property and copyright laws are insufficient to address the misuse of taonga works is the very limiting way IP law protects the Kaitiaki interest in taonga works and mātauranga Māori. This only protects these works when they “fall within and meet the specific requirements of certain categories of IP LAW” ( dunno 55.) The law does not “recognise kaitiakitanga in respect of taonga works and mātaurana Māori”. (dunno 34.) These works are being misused and the laws are not written to stop this. There needs to be more room in the law for taonga works and the relationships it has as the relationships are strong and that is what keeps New Zealand culture strong after all.

WORKS CITED

"Taonga Works and Intellectual Property." Ko Aotearoa Tēnei: Te Taumata Tuatahi: A Report into Claims concerning New Zealand Law and Policy Affecting Māori Culture and Identity. Wellington, N.Z.: Legislation Direct, 2011. 29-59. Print.

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 4 || Task 1

When considering Tikanga, Tapu is an important concept. Tapu is present worldwide. it is located in people, words, places and buildings, to name a few. Tapu goes hand in hand with Mana, Māori identity and cultural practices. Māori respect the tapu of places, buildings and individuals with the head being the most tapu part of a person. These are the values and ideals Maori believe in. (Mead 30.) This can be applied to art and design practices through the locations used to display art and design works such as art galleries as all places are considered Tapu.

Mead, Moko. "Ngā Pūtanga O Te Tikanga: Underlying Principals and Values." Tikanga Maori: Living by Maori Values. N.p.: n.p., n.d. 25-33. Print.

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 3

Anderson, Atholl. Putatara. N.D. Triton Shell fitted with a carved wooden mouthpiece and a cord. WRM, Aotearoa. Tangata Whenua: An illustrated history. Aotearoa: Bridget Williams Books, 2014. 108. Print

Here is an example from Te Puawaitanga – the flowering period (1500–1800 AD) of New Zealand art history. As the Polynesians arrived, bringing their knowledge here, this was further adapted and during the flowering period their knowledge was expanded. This tool was used to summon and gather others, often in time of war (Anderson 108). The materials used to create this trumpet relates to the art historical period.

The Pūtātara, or pūmoana, includes a carved wooden mouthpiece and sometimes decorated cord which would be done so with feathers (Anderson 180). This intricate detail along with how the triton shell would occasionally wash ashore, suggests the item was treasured or sacred to chief’s. The plaited cord appears to communicate the idea of the instrument being held close to the wearer by being worn around the neck at all times. The shell has been extremely worn which further implies it’s amount of use and its existence of possibly hundreds of years (Anderson 108).

Anderson, Atholl. “Chapter 1: Ancient Origins”. Tangata Whenua: An Illustrated History. Ed. Atholl Anderson, Judith Binney, and Aroha Harris. Aotearoa: Bridget Williams Books, 2014. 16 - 41. Print.

ray! Here's your new citation: Wilson, A. C. "Te Ara Encyclopedia of New Zealand." Pūtātara (shell Trumpet) – Telecommunications –. N.p., 9 May 2016. Web. 09 Aug. 2016.

SEMESTER 2 || 237.131 || Assessment One || Conversations in Creative Cultures || Week 2

British Museum, Oc1896,-.925.a

This visual text is an important belonging to the Ngati Rehia chief Titore, who led his people through the years 1820 to 1840. This hei tiki most likely dates to the eighteenth century and was cut into a blank which has partly been shaped as a hei matau.

Breaking this image down, it is a neck pendant (hei) in the shape of a human being (tiki). These pendants were images of ancestors which were often called ‘tiki’ throughout East Polynesia although they did not portray any in particular.

This example is important as Hei Tiki were highly-prized. They once resembled East Polynesian figurines although by the seventeenth century changed toward the classic Maori form. Numerous contemporary Maori artists continue to explore the significance of hei tiki. It remains significant in historical events and in a contemporary environment within popular culture.

#237.131 #Conversations in Creative Cultures #Week 2 #Task 1 #Hei Tiki

Assessment 3// 237.130 // Wk 13 // FINAL BLOG POST

Crofskey, Brooke. Graffiti Culture Is Todays Change. Digital image. N.p., 08 June 2016. Web. 08 June 2016.

Graffiti culture is one of the world’s largest art movements and is continuing to rapidly grow in popularity amongst artists. Despite this, the culture is not always associated with positivity. Graffiti is known to promote cases of vandalism and illegal activity. “In Dunedin…A council spokesman said between July 2009 and June 2011 the city property department spent about $22,000 on graffiti removal.” (Harvey. Sunday Star Times)

An extreme amount of money worldwide is being spent on removing all forms of graffiti, one of which being train graffiti. It is now learning to take the ‘vandalism’ and turning it into ‘street art’. Furthermore, doing “What graffiti promises but doesn’t deliver.” (Eine. 2013) I took inspiration from the May Lane Project where John Doe who participated in this project spoke, “If you have a bunch of guys like us who are given a little wall like this that we can play around with for a week, then that’s probably 10 walls in the surrounding area that aren’t going to get touched.” (Doe. 2010),

I critically analyzed this aspect of train graffiti and its environment. Train stations and surroundings are not always inviting places. They can be dull, gloomy and particularly at night, intimidating. I was further inspired by Molotow and their artists who paint legal walls and Molotow’s very own train which in the end result, are extreme works of art that are so aesthetically pleasing and leave the viewer amazed. From these aspects, I have taken the approach to minimize illegal activity and subside the extravagant amounts of money spent on graffiti removal, by encouraging designated areas and trains that these artists can create works of art on and in return brighten these places up for the public and perhaps even create tourist attractions and shed a new light on graffiti/street art culture.

I feel my final work communicates every aspect of concern I am wishing to voice and promotes change effectively. The viewers eye is drawn to the bright graffiti/street art on the train evidentially showing how brightening these items and/or places can have a positive impact on the environment and the public. Less vandalism will occur on the streets as these artists will no longer feel the need to illegally get their work or name out into the public eye as this legally allows for the promotion of their work, gets their name out there and creates an understanding for change as Mirzoeff states “Visual culture has to respond day to day in its effort to understand change in a world too enormous to see but vital to imagine” Mirzoeff (285)

WORKS CITED

Mirzoeff, Nicholas. How to See the World. London: Pelican Books, 2015 Print.

May Lane Street Art Project at Samstag Museum - University of South Australia. Dir. University of South Australia. Youtube. N.p., 7 June 2011. Web. 08 June 2016.

Harvey, Sarah. “It’s Costing Us Dear.” Stuff. Sunday Star Times, 19 Feb. 2012. Web. 07 June 2016.

Sprayingbricks. “Spraying Bricks - BEN EINE.” YouTube. YouTube, 15 Feb. 2013. Web. 07 June 2016.

#A3 #237.130 #Final Blog Post #wk 13

Assessment 3 // 237.130 // wk 12 // Final blog post // DRAFT

Crofskey, Brooke. Graffiti Culture Is Todays Change. Digital image. N.p., 08 June 2016. Web. 08 June 2016.

Visual thinking and visual activism go hand in hand with one another. The process includes individuals creating visual pieces, like graffiti art on the side of a large wall, to voice their concern and get their point across rather than using violence or causing upset. Simply, seeing global issues and seeing the world is not enough. As Nicholas Mirzoeff states, “The point is to change it.” (Mirzoeff. 298) This is exactly the point I have drawn inspiration from throughout this whole assessment. Graffiti culture is present anywhere you go. It is one of the worlds largest art movements and is continuing to rapidly grow in popularity amongst artists. Despite this, the culture is not always associated with positivity. Graffiti is known to promote cases of vandalism and illegal activity. “In Dunedin...A council spokesman said between July 2009 and June 2011 the city property department spent about $22,000 on graffiti removal.” (Harvey. Sunday Star Times)

An extreme amount of money worldwide is being spent on removing graffiti, with there being so many forms of this movement to have time and money spent on. One of such being train graffiti. It is learning to take the ‘vandalism’ and turning it into ‘art’. Furthermore doing “What graffiti promises but doesn’t deliver.” (Eine. 2013) It is about promoting change and taking inspiration from the May Lane Project where John Doe who participated in this project spoke, "If you have a bunch of guys like us who are given a little wall like this that we can play around with for a week, then that's probably 10 walls in the surrounding area that aren't going to get touched." (Doe. 2010), I critically analysed this aspect of graffiti and its environment. Train stations and surroundings are not always inviting places. They can be dull, gloomy and particularly at night, intimidating. It is my approach that in order to minimise illegal activity and subside the extravagant amounts of money spent on graffiti removal, we have designated areas and trains that these artists can create works of art on and in return brighten these places up for the public and perhaps even create tourist attractions and shed a new light on graffiti culture.

I feel my final work communicates every aspect of concern I am wishing to voice and promotes change effectively. The viewers eye is drawn to the bright graffiti art on the train showing the positive viewpoint and evidence behind my claims and research.

There is such relevance with this critical and contextual study to making/art/design practises as it encourages critical thinking and analysing which an artist or designer needs to possess in order to work in this industry and strive for success in each presented work.

WORKS CITED

Mirzoeff, Nicholas. How to See the World. London: Pelican Books, 2015 Print.

May Lane Street Art Project at Samstag Museum - University of South Australia. Dir. University of South Australia. Youtube. N.p., 7 June 2011. Web. 08 June 2016.

Harvey, Sarah. "It's Costing Us Dear." Stuff. Sunday Star Times, 19 Feb. 2012. Web. 07 June 2016.

Sprayingbricks. "Spraying Bricks - BEN EINE." YouTube. YouTube, 15 Feb. 2013. Web. 07 June 2016.

#237.130 #Final blog DRAFT #A3 #CCC #wk 12

Assessment 3 // 237.130 // wk 11 // The Creative Work

From narrowing down the chosen subject of graffiti and street art, I am now able to focus on my selected issue of graffiti on trains which I talked about in last weeks blog post (http://cocabrookecrofskey.tumblr.com/post/144888915117/assessment-3-237130-wk-10-generation-of) From refining this subject, It has helped guide my decision for my final creative work. I have chosen to create a graffiti/street art piece on a toy train to resemble a real life situation which I then may possibly photoshop into context, depending where my work takes me during my creative process of creating it. I have been gathering research and inspiration which I have collated through my workbook, although in the process I have found there are no artists or designers that create works to present similar ideas, so instead I have focused on legal street artists who work’s act as inspiration and guides for those who are acting illegally. For example, I have discovered the Molotow team who's artists actually paint a legal train and it in fact works with my idea tremendously and proves the points I have and will be communicating. One example includes this video here (https://www.youtube.com/watch?v=ly00duRhNWg). I am using all of these factors to now help create my final project to the best of my ability.

#A3 237.130 #A3 #wk 11 #Creative work

Trending Blogs

Recently Viewed Blogs

Brooke Crofskey