Page 319 - Constructing Craft

14
Juliet Batten ‘Art and Identity’, in David Novitz and Bill Willmott, eds, Culture and Identity in New
Zealand, Wellington, 1989, p.226.
15 Sovereignty.
16
Ranginui Walker, Ka Whawhai Tonu Mätou: Struggle without End, Revised edn, Auckland, 2004,
pp.156 - 7.
17
Geoff Bertram, ‘The New Zealand Economy, 1900 – 2000’ in Giselle Byrnes, ed., The New Oxford
History of New Zealand, South Melbourne, Vic., 2009, p.561.
18
Ray Thorburn, 'Maori Art Today: Taonga Yesterday Today Tomorrow', New Zealand Crafts,
Summer 1986. Three major exhibitions were held between April and June 1986 in Gisborne,
Wellington and Auckland.
19 Scotts and Mounsey, 'The Souvenir Market', p.6. Part 4, 5.2.
20
Jim Timings to the Gallery Director, CCNZ Records, 92-278, Box 47. Timings later wrote a book that
emphasised his commercial approach. See Jim Timings, Bone Carving: A New Zealand Guide to
Tools, Techniques and Marketing, Christchurch, 1995.
21 Jim Timings to the Gallery Director.
22
ibid.
23 Brett Riley, 'Pakeha Taniwha', New Zealand Listener, 24 November 1984, p.56.
24
ibid.
25
Quoted in Moyra Elliott and Damian Skinner, Cone Ten Down: Studio Pottery in New Zealand, 1945
- 1980, Auckland, 2009, p.130.
26 E. H. Gombrich, The Story of Art, London, 1967, p.428.
27
Glenys Christian, 'Return to the Simple Things', New Zealand Crafts, December 1882, p.10.
28 Mirek Smίšek, Mirek Smíšek: 60 Years, 60 Pots, Waikanae, 2009, p.23.
29
Grant Finch, 'Owen Mapp ‒ Ivory Carver', New Zealand Crafts: Crafts Council News, July 1982, p.3.
30 Glenys Christian, 'Hepi Maxwell: Mastermind Carver', New Zealand Craft, May 1982, p.21.
31
Finch, p.4. Mapp was a member of Ngā Puna Waihanga (Māori Artists and Writers Society) which
was founded in 1973 at Te Kaha.
32
Owen Mapp, 'Letter to the Editor: New Zealand Bi-Cultural Art Versus Ethnic Art', New Zealand
Crafts, Summer 1985, pp.4-5.
33
ibid., p.5.
34 ibid.
35
The largest South Island iwi or tribe.
36
Riley, p.56.
37
Beatson and Beatson, p.9.

15. United We Stand

1
Maria Gazzard, President of the World Craft Council (1982) in April Hersey, Women in Australian
Craft, Sydney, 1975, unpaginated
2
Peter Cape, Please Touch. A Survey of the Three-Dimensional Arts in New Zealand, Auckland,
1980, p.151.
3 ibid.
4
ibid.
5 CCNZ Records, 92-278, 06/13
6
Dorothy Pascoe to Dorothea Turner, June 1978, CCNZ Records, 92-278, 08/02.
Ironically, because the exhibition had been planned before the formation of the CCNZ, it was
presented as a NZWCC exhibition.
7
A 1980s estimate of the number of craftspeople in twelve national craft groups placed these three
groups in the following order in terms of their membership as a percentage of the total membership of
all national organisations: NZSWWS 56%, NZEG 27.7%, and NZSP 5.1%. See CCNZ Records, 92-
278, Box 35.
8
Jenny Poore, to all NZSWWS members, 27 May 1978. A copy was also sent to the President of the
CCNZ. See CCNZ Records, 92-278, 10/04.
9
Howard Williams to the Crafts Council of New Zealand, 24 August 1984, Appendix 3(1), CCNZ
Records, 92-278, 10/01.
10
Williams to the Crafts Council of New Zealand, Appendix 3(1), CCNZ Records, 92-278, 10/01. In
1988 the CCNZ received its first full year of funding from the QEII Arts Council in the form of a
$192,000 grant representing 36.4% of its budget for the 1987/88 year. See 'Crafts Council of New
Zealand (Inc) 1987/88 Annual Report', 1987, CCNZ Records, 92-278, 01/11

Constructing Craft