This is housed in what used to be known as the foreign ethnology collection, and this collection has not had much public exposure. An exception that was entirely new to me was the ancient Egyptian eye ring chosen by Justine Olsen. I guess I have worked at Te Papa long enough (16 years) and at its predecessor, the National Art Gallery, that I knew pretty much all the works selected. Maybe I was surprised that I wasn’t surprised. What works surprised you the most about what your colleagues selected to write about? You must know the collection fairly well, even outside your area of photography. If we asked you to summarise it even more succinctly, in ten words or so, what would you say?īritish oriented until the mid-1960s woefully underfunded by government and largely reliant on a few bequests until the 1980s consequences today are that there is a lot of catching up to do to cover earlier missed opportunities. Your introductory essay is a brief history of the creation of New Zealand’s national art collection. As I suggest in my introduction, it’s easy to have an opinion, but it’s quite a bit harder to reflect in a sustained way on the basis of your opinion – on what it is that makes you like a work so much. But you have to look within yourself more to find your own response.
You don’t have such a responsibility to speak with the anonymous voice of Te Papa’s authority. Writing at a more personal level about an art work. That is, until we had the idea of doing something entirely different instead. We were initially planning a revised and reduced edition of Art at Te Papa, and the heavy sense of responsibility of choosing the right works and dutifully saying the right things about them was really weighing on us. Are you pleased that it took this approach?Ībsolutely. I guess that’s because they are expected to speak with the voice of the neutral, authoritative tone of their institution. But while there are certainly books that take a more personal approach to art (Anthony Byrt’s recent This model world: Travels to the Edge of Contemporary Art on New Zealand artists, for example), you don’t see museum curators talking about work in their own collection in this manner. I’m not aware of any other books like it. Ten Questions with Athol McCredie How unusual is this new book as a book about an art museum collection? Corporate partnerships Hononga kaipakihi.Friends of Te Papa: Our membership programme Ngā Hoa o Te Papa: Te hōtaka mema.Media sales and licensing Te hohoko papāho me te manatā.Past exhibitions Ngā whakaaturanga o mua.
Touring exhibitions Ngā whakaaturanga poi haere.Guides to caring for objects Tiaki Kohinga, Tiaki Taonga.For museums and galleries Mō ngā muhiama me ngā whare toi.Read, watch, play Kōrero, mātaki, purei.Discover the collections Tūhuratia ngā kohinga.
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