Heritage et AL

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. Praise was spread more lavishly for male artists than it was for women, and the notable attention paid to women in early pieces of art literature was much less frequent.  Women in the 1930s and 1940s possessed excellent artistic capabilities that were (at least) comparable to their male counterparts. Yet, women faced persistent challenges of getting the recognition, exposure, and financial reward that they deserved. The art scene was dominated by male commendation and talented women were often ignored or marginalised, with approval exp

Waiwaia ngā ngutu (Speak Eloquently) Waiwaia ngā ngutu celebrates the eloquence and expression of te reo Māori from the nineteenth century to the present day.  This exhibition showcases taonga from Auckland Libraries Heritage Collections, including hand-written manuscripts recording whakapapa and kōrero tupuna, early publications of Māori grammar books and Bibles, Māori students’ copybooks as they learned their language in written form, and contemporary translations of works into te reo Māori. The rich soundscape accompanying the exhibition brings the written word to life and affirms the essence of te reo Māori: a language heard and spoken with eloquence. Come and experience  Waiwaia Ngā Ngutu on Level 2, Tāmaki Pātaka Kōrero |  Central City Library from 4 September - 1 February 2025.

  Waiwaia ngā ngutu (Speak Eloquently) Waiwaia ngā ngutu celebrates the eloquence and expression of te reo Māori from the nineteenth century to the present day.  This exhibition showcases taonga from Auckland Libraries Heritage Collections, including hand-written manuscripts recording whakapapa and kōrero tupuna, early publications of Māori grammar books and Bibles, Māori students’ copybooks as they learned their language in written form, and contemporary translations of works into te reo Māori. The rich soundscape accompanying the exhibition brings the written word to life and affirms the essence of te reo Māori: a language heard and spoken with eloquence. Come and experience  Waiwaia Ngā Ngutu   open on Level 2, Tāmaki Pātaka Kōrero | Central City Library, from 4 September - 1 February 2025. Shelve 1 Track 1 Te Korimako: Etahi Whakatauki a te Pakeha Ngā Pātaka Kōrero - Auckland Libraries · Te Korimako: Etahi Whakatauki a te Pakeha Track 2 Te Korimako: Te Tukunga iho o nga Kupu rere

 “Those entering the sex industry as workers do so primarily for economic reasons, a factor highlighting the economic marginalisation of some sectors of our communities, and the difficulties of securing well-paid employment.” -  Jan Jordan, 2005. On the 25th of June 2003, parliament passed the Prostitution Reform Act on a conscience vote, and Aotearoa New Zealand became the first country in the world to decriminalise sex work. The Act’s slim margin of success (60-59) reflected the controversial nature of the legislation at this crucial tipping point. While this was a progressive step, the road to decriminalisation was littered with societal angst. Until this point, the morality, contractual legitimacy, and humanity of sex work was often narrated by a hostile and conservative media climate. The law consistently undermined the profession, and sex workers were frequently either demonised or subject to paternalistic saviour complexes. Outside public debate, the lived experiences and realit

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. This series of articles seeks to depart from that tradition, exploring the deep interconnection between the social histories of Asian and Eastern European migrants in Aotearoa, and their contributions to the horticultural sector. Tāmaki Makaurau was central to this history as so many of these migrants settled on its fertile land. To help readers understand the following articles, this first one will provide a condensed historical background. It will also explain the scope of this project and comment on the key theme of continuity and change. Image: " Martin's Farm at Auckland & Gt. South Road New Zealand." circa 1863. Auckland Mus

The story of Crown Lynn begins as one of classic New Zealand innovation. Its trajectory throughout the 1940s is characterised by aspiration and enterprise, as well as a connection to foreign affairs that would last the company’s lifetime. Crown Lynn’s ascension from a Hobsonville brick-and-pipe works to New Zealand’s preeminent pottery was the result of industry, innovation, and constant reassessment of their techniques. The nascent company identified where they could improve, hire people, or find equipment that would progress their craft. And, despite all of this, it never could have happened without the economic vagaries of the Second World War. This research project looks at the perennial link between economic conditions and fortunes at Crown Lynn, specifically their reliance on economic protections. The Second World War acted as a microcosm for these forces, with a complete ban on nonessential imports facilitating their rise from one of many pottery companies on the New Lynn scene