Jonathan Ngarimu Mane-Wheoki

Ngā Puhi, Te Aupouri, Ngāti Kurī

1943 - 2014

Jonathan Mane-Wheoki was born in Otumoetai and educated at Pongakawa Primary School, Bay of Plenty, Titirangi Primary School and Kelston Boys High School in Auckland. He studied speech and drama at the Bailey Academy of Dramatic Art in Auckland under Gil Cornwall. From 1966-71 he attended the University of Canterbury's School of Fine Arts and completed a Dip.FA (Hons) in Painting in 1969 and a BA in English Language and Literature in 1971. He pursued postgraduate studies at the University of London Courtauld Institute of Art and graduated MA in Art History in 1974. In 1975 he was appointed Lecturer in Art History, School of Fine Arts, University of Canterbury, and from 2001-2004 he was Dean of Music and Fine Arts at the University of Canterbury. In 2004 he took up the appointment of Director of Art and Collection Services, Museum of New Zealand Te Papa Tongarewa and in 2009 he was appointed Head of Elam School of Fine Arts at the University of Auckland.

He wrote numerous non-fiction articles, papers, publications, reports and reviews with a focus on Māori art, New Zealand art, Victorian architecture, church architecture, early modern European art, cultural issues and museology. He delivered many conference papers and keynote addresses in New Zealand and overseas, and curated exhibitions with a focus on contemporary Māori art. He was interviewed on Radio New Zealand National and Concert, ABC Radio, Television One, TV3, commercial and access radio and television and for articles in New Zealand’s news media.

Mane-Wheoki served on many national and international bodies including the council of the New Zealand Academy for the Humanities: Te Whāinga Aronui; CNZ assessment panels; convenor, the Oceania Working Party for the Second Asia-Pacific Triennial of Contemporary Art, 1975; the committé Internationale du Pilotage for the Centre Culturel Jean-Marie Tjibaou, Nouméa, New Caledonia; panel member, Humanities, Marsden Fund, 1997-2000 and convenor 2001-2006; ministerial appointment to Marsden Council 2002-2006; ministerial appointment to Te Waka Toi 1994-1996; ministerial appointment to Arts Council, Creative New Zealand, 1996-1998; re-appointed 1998-1999. He was honorary Kaitiaki Māori [Curator of Māori Art], Robert McDougall Art Gallery, Christchurch from 1992-2004. He was a governor of the Arts Foundation of New Zealand, Deputy Chair of the Council for the Humanities and a member of the Council of the Royal Society of New Zealand.

Mane-Wheoki received many awards, scholarships and honours including the Ethel Rose Overton Scholarship (1969), L. B. Wood Travelling Scholarship (1972), University of Vienna Studentship (1973), QE II Arts Council Award (1974), Chettle Fellow, Department of Architecture, University of Sydney (1993), Visiting Lecturer, Agence de Developpement de la Culture Kanak, New Caledonia (Nov-Dec 1995), Visiting Scholar, Cultural Heritage Studies Research Centre, University of Canberra (Apr-May 1996), Visiting Scholar, Centre for Cross-Cultural Research/Humanities Research Centre, Australian National University (2000), Anna Crighton Award for Services to Heritage, Christchurch Civic Trust (2003), Honorary Life Member, Christchurch Art Gallery Society of Friends (2004).

Mane-Wheoki passed way on 10 October 2014



Biographical sources

  • Interviews and email correspondence with Jonathan Mane-Wheoki and access to his CV in 1996, 1998 and Sept. 2007.
  • New Zealand WHO'S WHO Aotearoa 1995 Edition. Ed. Alistair Taylor. Auckland, N.Z.: New Zealand Who's Who Aotearoa, 1995. 353.
  • "He maimai aroha Jonathan Mane-Wheoki" Mana. 14 October, 2014. accessed 23 September 2016 (URL: http://www.mana.co.nz/news/he-maimai-aroha-jonathan-mane-wheoki)

    Non-fiction

  • "Ecclesiology and Pre-Raphaelitism." Australasian Victorian Studies Association: Brisbane Conference Papers, 1978. Brisbane, Austral.: Queensland UP, 1980. 48-59.
  • A detailed study of the rise of the ecclesiological movement in England and its relationship with the Pre-Raphaelite painting movement. This paper was delivered at the Australasian Victorian Studies Association Conference held at the University of Queensland in August 1978.
  • "Pilgrim Churches." Historic Buildings of New Zealand: South Island. Ed. Frances Porter. Auckland, N.Z.: Methuen, 1983. 68-81.
  • An extensive essay on the Anglican origins of the Canterbury settlement and early church architecture in the province.
  • "A Colonial Architect Rediscovered: William Barnett Armson 1834-1883." Historic Places in New Zealand 3 (Dec. 1983): 18-19.
  • A detailed study of the architectural contribution of William Armson in Dunedin, the West Coast and Christchurch from 1862 to 1883.
  • "Lost and Found: The Architecture of W. B. Armson." Art New Zealand 29 (Summer 1983): 54-57.
  • In this essay Mane-Wheoki explores the contribution of William Barnett Armson to colonial architecture in New Zealand from the 1860s until his death in 1883.
  • W. B. Armson: A Colonial Architect Rediscovered. Ed. I. J. Lochhead and Jonathan Mane. Christchurch, N.Z.: Robert McDougall Art Gallery, 1983.
  • An exhibition catalogue edited by Mane and Lockhead. The introductory essay discusses the reclamation of an architect who had almost been forgotten.
  • "St Michael and All Angels: A Colonial High Victorian Gothic Church." Christchurch - St Michael's: A Study in Anglicanism in New Zealand 1851-1972. U of Canterbury Publication No. 36 Christchurch, N.Z.: Canterbury UP, 1986. 194-204.
  • Text by Marie Peters with an appendix by Jonathan Mane.
  • "Gilbert Scott's Colonial Churches." Australasian Victorian Studies Association: Christchurch Conference Papers, 1987. Christchurch. N.Z.: Canterbury UP, 1987: 31-42.
  • Mane-Wheoki examines Gilbert Scott's work designing churches in the expanding British empire and notes the various problems he encountered in terms of climatic variations, restricted building supplies, lack of finances in the colonies, and working with local architects to see the work completed. The paper is accompanied with various photographs and sketches of his colonial churches and Mane supplies a list of colonial churches designed by Scott.
  • "Don Peebles in London." Art New Zealand 47 (Winter 1988): 93-95.
  • Mane-Wheoki discusses Don Peebles' two year visit to Britain as the recipient of the Association of New Zealand Art Societies' fellowship from 1960-1962, and notes the strong influence of Victor Passmore's writing on abstract art and his constructionist work on Peebles' own artwork.
  • "The Architect of Ivey Hall: Frederick Strouts (1834-1919)." Historic Places in New Zealand 24 (1989): 5-7.
  • Mane-Wheoki writes a detailed account of the architecture of Frederick Strouts from the 1860s to the early 1900s and questions why someone with an architectural career spanning four decades and responsible for designing many buildings should have drawn so little attention.
  • "Refurbishment Update: Ivey Hall." Architecture New Zealand (July/Aug. 1989): 46-49.
  • Mane-Wheoki provides a report of the refurbishment of Lincoln University's Ivey Hall which, under threat of demolition, was sensitively restored and upgraded as the University Library by Christchurch architects Trengrove and Blunt.
  • "New Zealand's First European Architects." New Zealand Historic Places 28 (1990): 37-41.
  • A discourse on the early European architects who designed buildings in New Zealand, including John Verge, William Mason, Sampson Kempthorne, Edward Ashworth, James Baber, Frederick Thatcher, Henry Cridland, Samuel Farr and Benjamin Mountfort.
  • "Towards a History of Contemporary Māori Art." Three Contemporary Māori Artists/Nga Taonga Purākau Māori O Te Ika A Maui. Ngapine Allen, John Bevan Ford, Darcy Nicholas. McDougall Art Annex 13 June - 17 July 1990. Robert McDougall Art Gallery and Jonathan Mane-Wheoki. Christchurch, N.Z.: Christchurch City Council, 1990.
  • Mane-Wheoki writes an overview of the emergence of contemporary Māori art from the 1950s, notes the key protagonists and discusses Pakeha and Māori responses to 'non-traditional' Māori art.
  • '"Temporary Edifices" Set New Directions.' New Zealand Historic Places 29 (1990): 21-25.
  • An account of the architecture of Frederick Thatcher who arrived in New Zealand in 1843 and designed around a dozen churches under the employ of Bishop Selwyn. One of the significant features of his architecture was the development of wooden church architecture which was initially designed to be of a temporary nature.
  • "Selwyn Gothic: The Formative Years." Art New Zealand 54 (1990): 76-81.
  • A well-documented account of the rise of the Selwyn churches in New Zealand during Selwyn's episcopate in New Zealand from 1841-1868.
  • "Nga Tikanga Rua o Te Hahi Mihinare." Te Deum 2 (Nov. 1990): 7.
  • An article on biculturalism in the Anglican Church.
  • "Work of Māori Architects adds to our Heritage." New Zealand Historic Places 31 (1990): 29-33.
  • An essay on the work of Māori architects John Scott, William Taurau Royal and Rewi Thompson and a discussion of their unique juxtaposition of Western traditions of architecture and the whakapapa of traditional Māori building styles, motifs and protocol.
  • Three Contemporary Māori Artists/Nga Taonga Purākau Māori o te ika Maui: Ngapine Allen, John Bevan Ford, Darcy Nicholas: McDougall Art Annex 13 June - 17 July 1990. Jonathan Mane-Wheoki. [Christchurch, N.Z.]: Christchurch City Council, [1990].
  • "The Early Designs of Robert Lawson." New Zealand Historic Places 33 (June 1991): 35-38.
  • Mane-Wheoki examines the architectural work of Robert Lawson in light of the disparaging review in The Press on 14 March 1870 of George O'Brien's composite panoramic view of Lawson's architectural designs.
  • "A Treaty Issue: Max Hailstone's 1990 Project." Art New Zealand 60 (Spring 1991): 56-57.
  • In this discussion of Max Hailstone's 1990 Project, Te Tiriti o Waitangi, Mane-Wheoki articulates the need, in such projects, for observing the correct procedures of Māori etiquette and consultation because of the sacredness of the Māori 'signatures' used by Hailstone in his large screen prints. Mane-Wheoki examines the different readings of the project ranging from the art historical conceptual framework based on a Western mindset that would designate such works as 'primitivist' through to the Māori reading which would elevate the spiritual significance of the marks of the tupuna and the grief surrounding broken Treaty promises.
  • "Simon Ogden: The Choreography of Abstraction." Art New Zealand 61 (1991-92): 38-41.
  • A critique of the artwork of Ogden that includes biographical notes, influences and his exhibitions during his eight years in New Zealand.
  • "From the 'Athens of the North' to the 'Edinburgh of the South': the architecture of Robert Arthur Lawson." Catalogue for the Exhibition of Lawson's Drawings in the Hocken Library, Dunedin, July-August, 1991 and the inaugural R. A. Lawson Lecture. No further details. Rpt. in Bulletin of New Zealand Art History 13 (1992): 3-14.
  • These exhibition catalogue notes are divided into four sections in which Mane-Wheoki describes the early years of Robert Arthur Lawson's architectural career, and then discusses Lawson's architecture under the separate categories of churches, public works and commercial buildings.
  • "Conceptual Frameworks and the Construction and Dissemination of Knowledge in New Zealand Universities: Implications for Māori and Non-Māori Academics." 'Beyond 1990 - where do we go from here?': Proceedings of the Third Annual Conference of the Māori University Teachers Association, Taumutu Marae, Ellesmere, Canterbury, 1-3 February 1991/'A Muri i te Tau 1990 - Ka Ahu Pehea Tatau?': Te Ripoata me Nga Pepa o Te Hui-a-Tau a Te Matawhanui. Ngāti Moki Marae Taumutu, Te Waihora Te Wai Pounamu. 1-3 Pepuere/Hue Tanguru, 1991. Ed. K. L. Garden, J. N. Mané-Wheoki, R. Parker. Christchurch, N.Z.: Nga Pu Kōrero: U of Canterbury: Lincoln U, [1992]. 31-37.
  • Mane-Wheoki challenges the 'accepted' monocultural and Eurocentric conceptual frameworks from which many university courses are taught and the imposition of these frameworks on Māori history and knowledge by academics. Mane-Wheoki explores how these frameworks could be changed to examine New Zealand's history and culture from a Māori conceptual framework.
  • "Sacred Sites, Heritage and Conservation: Differing Perspectives on Cultural Significance in the South Pacific." Historic Environment 9.1 & 9.2 (1992): 32-36.
  • "Colonial Brick and Marble: High Victorian Gothic in the Antipodes." Victorian Gothic: Australasian Victorian Studies Association Conference Papers 1992. Sydney, Austral.: U of Sydney, 1992. 151-161.
  • Part of a larger study on the influence of the ecclesiological movement on church buildings in the colonies and in particular the interpretation and expression of High Victoria Gothic.
  • Te Ripoata me Nga Pepa o Te Hui-a-Tau a Te Matawhanui: 'A Muri i Te Tau 1990 -Ka Ahu Pehea Tatau/'Proceedings of the Third Annual Conference of the Māori University Teachers Association: 'Beyond 1990 - where do we go from here?' Taumutu Marae, Ellesmere, Canterbury, 1-3 February 1991. Ed. K. L. Garden, J. N. Mane-Wheoki, and R. Parker. Christchurch, N.Z.: Nga Pu Kōrero, U of Canterbury: Lincoln U, January, 1992.
  • "Armson, William Barnett." The Dictionary of New Zealand Biography. New Zealand Dept. of Internal Affairs. Volume Two: 1870-1900. Wellington, N.Z.: Bridget Williams Books and the Dept. of Internal Affairs, 1993. 11-12.
  • A detailed biography and account of the architectural career of William Armson (1823/33? -1883).
  • "Lawson, Robert Arthur." The Dictionary of New Zealand Biography. New Zealand Dept. of Internal Affairs. Volume Two: 1870-1900. Wellington, N.Z.: Bridget Williams Books and the Dept. of Internal Affairs, 1993. 265-266.
  • An account of the career of architect Robert Lawson (1833-1902), who set up an architectural practice in Dunedin in 1862.
  • "Strouts, Frederick." The Dictionary of New Zealand Biography. New Zealand Dept. of Internal Affairs. Volume Two: 1870-1900. Wellington, N.Z.: Bridget Williams Books and the Dept. of Internal Affairs, 1993. 488.
  • Mane-Wheoki writes of the architectural career of Frederick Strouts (1834-1919), and describes his architecture in the Canterbury region.
  • Groundswell: Four Contemporary Māori Artists. Palmerston North, N.Z.: Manawatu Art Gallery, 1993.
  • In this exhibition essay, Mane-Wheoki notes the links between the four artists in the exhibition - Peter Robinson, Chris Heaphy, Shane Cotton and Eugene Hansen - and examines some of the difficulties in defining Māori art and Māori artists.
  • Mataatua: No Wai Tenei Whare Tupuna? A Report on Ngatai Awa Claim (Wai 46) Commissioned by the Waitangi Tribunal March 1993.
  • "Aoraki/Hikurangi." Catalogue Notes for Aoraki/Hikurangi. McDougall Art Annex, Christchurch with the Kind Assistance of Te Waka Toi, 21 June-7 August 1994. McDougall Art Gallery and Jonathan Mane-Wheoki. N.p: n.p, n.d.
  • In these exhibition catalogue notes, Mane-Wheoki writes of the significance of mountains to Māori and particularly of Aoraki and Hikurangi to the Ngāi Tahu and Ngāti Porou tribes. In this exhibition six Ngāti Porou artists exhibited with six Ngāi Tahu artists on the occasion of the centenary of Sir Apirana Ngata's graduation from Canterbury College with a Master of Arts degree in 1894. Mane-Wheoki provides a brief biography of Ngata and discusses his great contribution to the 'renaissance' of Māori arts in the twentieth century.
  • "Māori Graduates of Canterbury (University) College." The Life, Works and Legacy of Sir Apirana Ngata: 20-26 June 1994, Otautahi, Te Wai Pounamu/Christchurh New Zealand: the Centeray Celebrations of the First Māori Graduate: including Seminars, Art Exhibitions and a Cultural Festival. Christchurch, N.Z.: Ta Apirana Ngata Centenary Committee, 1994. No further details.
  • Aoraki/Hikurangi. Christchurch, N.Z.: Robert McDougall Art Gallery, 1994.
  • "In Her Formative Years." New Zealand Historic Places 52 (1995): 19-21.
  • An essay on Ngaio Marsh's association with St Michael and All Angels Church in Christchurch and a brief discussion on the Anglo-Catholic years at St Michaels.
  • "Bicultural Taonga." New Zealand Historic Places 52 (1995): 22-23.
  • Mane-Wheoki provides a background to the installation of a carved wakahuia, 'Te Tapenakara o Te Ariki' (Tabernacle of the Lord), in St Michael and All Angels in Christchurch. The wakahuia, built to contain the reserved sacrament, was carved by Riki Manuel and was dedicated on 26 June 1994 to commemorate the centenary of Apirana Ngata's graduation from Canterbury College.
  • "Robyn Kahukiwa: My Ancestors Are With Me Always." Art New Zealand 75 (1995): 60-63. Rpt. in Toi Ata – Robyn Kahukiwa: Works from 1985-1995. Robyn Kahukiwa and Bowen Galleries. Wellington, N.Z.: Bowen Galleries with Assistance from the Arts Council of New Zealand, Toi Aotearoa, 1995. No further details.
  • A comprehensive discourse on the art work of Robyn Kahukiwa noting her process 'of establishing her identity and credibility as Māori', her explorations into questions of identity as woman and as Māori, her return to her Ngāti Porou tribal roots and her solidarity with other indigenous women artists.
  • "The Resurgence of Māori Art: Conflicts and Continuities in the Eighties." The Contemporary Pacific 7.1 (1995): 1-19.
  • Mane-Wheoki presents a comprehensive study of the changing nature of Māori art in terms of its practitioners and its shifts from ethnography to art work and from the margins to the mainstream and the resulting tensions these shifts have made both within and outside the Māori world. Mané-Wheoki also provides a chronological overview of landmarks in contemporary Māori art.
  • "City of Magnificent Edifices." Historic Places 54 (1995): 5-7.
  • About the early architecture of Invercargill with a particular focus on Frederick Burwell.
  • "Nga Ao Weherua: Paul Gauguin and Taonga Māori." Paul Gauguin and Māori Art. Bronwen Nicholson. Auckland, N.Z.: Godwit in association with the Auckland City Art Gallery, 1995. 74-77.
  • Gauguin's use of Māori art from a Māori point of view.
  • "Imag(in)ing Our Heritage: Museums and People in Aotearoa." Selected Conference Papers 1992-1994. Spec. issue of New Zealand Museums Journal 25.1 (1995): 2-8.
  • In this Keynote Address at the 1992 AGMANZ Conference, Mane-Wheoki writes a comprehensive discourse on the mechanisms that have constructed and perpetuated a New Zealand identity with its continuing vestiges of linking in with colonial, Eurocentric, monocultural models of identity. He promotes instead a framework for the discussion of an emerging New Zealand identity that recognises Māori and Pakeha components - an identity which breaks free from British roots and subscribes to a unique locally based ideology.
  • "A Recentered World: Post-European Pro-Indigenous Art from Aotearoa/New Zealand and Te Moananui-a-Kiwa/The South Pacific." The Second Asia-Pacific of Contemporary Art Triennial Brisbane Australia 1996. South Brisbane, Austral.: Queensland Art Gallery, 1996. 28-30.
  • In this paper Mane-Wheoki discusses the repositioning amongst Māori and Pacific artists of the centres of their art world away from the imported Eurocentric traditions to traditions firmly based in the Pacific.
  • "Korurangi/Toihoukura: Brown Art in White Spaces." Art New Zealand 78 (1996): 43-47.
  • A comparison and contrast between two exhibitions on at the same time in late 1995 - "Korurangi" and "Toihoukura".
  • "Māori Art." Microsoft Encarta 96 Encyclopedia. [CD-ROM] 1996.
  • A survey on Māori art from ancient art to contemporary art. Mane-Wheoki positions those contemporary developments in a line of descent from the ancient world.
  • "Formative Stages: Ngaio Marsh, the Church and the Theatre." Return to Black Beech: Papers from a Centenary Symposium on Ngaio Marsh, 1895-1995. Ed. Carole Acheson and Carolyn Lidgard. Christchurch, N.Z.: Centre for Continuing Education, University of Canterbury, 1996. No further details.
  • Mane-Wheoki argues that Ngaio Marsh's sense of choreography may well have come out of her love of liturgical ritualism. Although she drifted away from the church she retained a strong affection for St Michael's. He also discusses the Eucharist in terms of theatre and drama.
  • "Cultural Safety: Contemporary New Zealand Art in Germany." Art New Zealand 79 (1996): 66-69.
  • Mane-Wheoki discusses this exhibition and the Maori artists represented in it.
  • "Don Binney in Retrospect: From Elam to Ilam." Don Binney: Recent Works: A Selection. 27 May - 7 June 1996. School of Fine Arts Gallery, University of Canterbury, Christchurch, New Zealand in conjunction with the Brooke/Gifford Gallery. Christchurch, N.Z.: School of Fine Arts Gallery, University of Canterbury, 1996.
  • An overview of Don Binney's painting career spanning thirty years from the 1960s to the 1990s with discussion on the changing nature of critical review of his work in this period.
  • "Armson, William Barnett." Ed. Hugh Brigstocke. London: MacMillan Publishers, 1996. No further details.
  • "Clayton, William Henry." Macmillan Dictionary of Art. Ed. Hugh Brigstocke. London: MacMillan Publishers, 1996. No further details.
  • "Lawson, Robert Arthur." Macmillan Dictionary of Art. Ed. Hugh Brigstocke. London: MacMillan Publishers, 1996. No further details.
  • "Thatcher, Frederick." Macmillan Dictionary of Art. Ed. Hugh Brigstocke. London: MacMillan Publishers, 1996. No further details.
  • "New Zealand, II. Arch, 1. Before 1900." Macmillan Dictionary of Art. Ed. Hugh Brigstocke. London: MacMillan Publishers, 1996. No further details.
  • Ngāti Wahiao and Whakarewarewa: A People, A Place, A History & A Heritage. Part 1 of a Report prepared for the Ngāti Wahiao Forest & Land Claims Committee in support of their claim WAI 282. [Interim report, October 1996]
  • "Beyond Objects: Defining and Communicating Cultural Relativity in New Zealand Museums." Communicating Cultures: Museums Australia 1995 National Conference Proceedings. Ed. Libby Quinn and Lynne Seear. Brisbane, Austral.: n.p. 1997. 16-20.
  • "Buck Nin and the Origins of Contemporary Māori Art." Art New Zealand 82 (Autumn 1997): 61-65.
  • Mane-Wheoki takes issue with the authors of Mataora, the Living Face: Contemporary Māori Art concerning the origins of the contemporary Māori Art movement, and presents an account of the pivotal role of Buck Nin in the 1960s and 1970s in promoting contemporary Māori art.
  • "Hotere - Out the Black Window." Landfall 194/New Series 5.2 (1997): 233-240.
  • Mane-Wheoki provides a substantial review of Ralph Hotere's exhibition and accompanying catalogue by Gregory O’Brien Hotere - Out the Black Window: Ralph Hotere's Work with New Zealand Poets, and discusses Hotere's apparent 'institutional neglect' by the New Zealand art establishment.
  • "Indigenism and Globalism: ‘First Nation’ Perspectives in the Contemporary Art of Aotearoa/New Zealand and Te Moananui-a-Kiwa/the Pacific." Present Encounters: Papers from The Second Asia-Pacific Triennial of Contemporary Art. Brisbane, Austral.: n.p., 1997. 32-35.
  • "Out On His Own: Ralph Hotere and the Māori Art Movement." Hotere: Seminar Papers from ‘Into the Black.’ Ed. Roger Taberner and Ronald Brownson. Auckland, N.Z.: Auckland Art Gallery, [1998?]
  • "Brief careers in Christchurch." New Zealand Historic Places 67 (Mar 1998): 28-31.
  • "Forever Buck Nin." Forever Buck Nin. Ed. Helen Kedgley and Darcy Nicholas. Porirua, N.Z.: Porirua Museum of Arts and Cultures, 1998. 11-18.
  • "Burwell, Frederick." Southern People: A Dictionary of Otago Southland Biography. Dunedin, N.Z.: Longacre Press in association with Dunedin City Council, 1998. No further details.
  • "From Van Gogh to German Expressionism." Art in the Twentieth Century: Modern Masterpieces from the Collection of the Stedelijk Museum Amsterdam. Wellington, N.Z.: City Gallery, 1998. 16-19.
  • "Contemporary Māori Art on the Brink." He Kupu Tiori 3 (1999): 7-10.
  • "Toi Hiko: Māori Art in the Electronic Age." Hiko! New Energies in Māori Art. Ed. Felicity Milburn. Christchurch, N.Z.: Robert McDougall Art Annex, 1999.
  • "Gordon Tovey and the History of the Contemporary Māori Art Movement." Tovey & the Tovey Generation. Ed. Helen Kedgley. Porirua, N.Z.: Porirua Museum of Arts and Cultures, 1999. 2-7.
  • "Introduction: Kai te Tiaho He Whetu i Runga." Shane Cotton. Ed. Linda Tyler. Dunedin, N.Z.: Hocken Library, University of Otago, 1999. 5.
  • "My Favourite." B.116 (1999): 2-3.
  • "States of Flux: the Third Asia-Pacific Triennial of Contemporary Art." Art New Zealand 93 (Summer 1999/2000): 46-49.
  • "New Zealand Colourists." Think Colour: Art is Never Just Black & White. Helen Kedgley and Jonathan Mane-Wheoki. Porirua City, N.Z.: Pataka Porirua Museum of Arts & Cultures, 2000. 2-12.
  • "The High Arts in a Regional Culture: from Englishness to Self-Reliance." Southern Capital: Christchurch: Towards a City Biography, 1850-2000. Ed. John Cookson and Graeme Dunstall. Christchurch, N.Z.: Canterbury University Press, 2000. 299-324.
  • "Arnold Manaaki Wilson: the Godfather of Contemporary Māori Art." Art New Zealand 96 (2000): 94-98, 111.
  • "Gopas, Rudolf 1913-1983." Dictionary of New Zealand Biography. New Zealand Dept. of Internal Affairs. Vol. 5. 1941-1960. Auckland, N.Z.: Auckland UP and the Dept. of Internal Affairs, 2000. 191.
  • "Joseph Kosuth in New Zealand: Nga Manuhiri me Nga Tauiwi, Nga Ture me Nga Tikanga." Art New Zealand 96 (Spring 2000): 61-62.
  • "The Black Light Paradox: the Sumptuous Austerity of Ralph Hotere's Art." Art New Zealand 98 (2001): 72+.
  • "An Ornament for the Pakeha: Colin McCahon’s Parihaka Triptych." Parihaka: The Art of Passive Resistance. Ed. Te Miringa Hohaiea, Gregory O’Brien, and Lara Strongman. Wellington, N.Z.: City Gallery. Wellington; Vicotira UP; Parihaka Pa Trustees, 2001. 128-137.
  • "He Kahui Whetu Hou: Contemporary Māori Artists: a New Constellation." Art New Zealand 100 (2001): 101+.
  • "Afterglow." Your Mouth is Stained with Sun. Ross T. Smith. Porirua, N.Z.: Pataka Museum of Arts and Culture, 2001. 2.
  • "Bi-Polar: New Zealand Artists at the Venice Biennale." ANZAAE: Aotearoa New Zealand Art Educators 5.2 (2001): 8-10.
  • Techno Māori: Māori Art In The Digital Age: A Partnership Exhibition Between City Gallery Wellington and Pataka Porirua Museum of Arts and Cultures, 29 September-2 December 2001. CD-ROM. Wellington: Prorua, N.Z.: City Gallery Wellington: Pataka Porirua Museum of Arts and Cultures, 2001.
  • "Change of Tempo: The Queensland Art Gallery’s Asia-Pacific Triennial 2002." Art New Zealand 105 (2002/2003): 54-57.
  • "A New Flowering of Ngai Tahu Art." Te Puawau o Ngai Tahu Twelve Contemporary Ngai Tahu Artists. Christchurch, N.Z.: Christchurch Art Gallery, 2003. 18-33.
  • "Culturalism and the Arts Curriculum." The Arts in Education: Critical Perspectives from Aotearoa New Zealand. Ed. Elizabeth M. Grierson and Janet E. Mansfield. Palmerston North, N.Z.: Dunmore Press, 2003. 81-91.
  • "McCahon and the Māori ‘walk’." Colin McCahon: a Question of Faith: Papers From a Seminar. Gordon H. Brown et al. Auckland, N.Z.: Sue Fisher Art Trust, 2003.
  • "Tau ana! a Perspective." Tau ana! Hemi Macgregor, Reuben Paterson, and Lisa Reihana. Whangarei, N.Z.: Whangarei Art Museum, [2004]
  • Exhibition catalogue of three contemporary Te Tai Tokerau Māori artists held from 22 December 2003 to 15 February 2004 at Whangarei Art Museum.
  • "Ecclesiology in Early Colonial Nelson: Selwyn, Hobhouse, Suter and the Aesthetics of Dispossession." A Turn in the Garden, Your Grace? Walking past each other on location with the Bishop. Nelson, N.Z.: The Suter Te Aratoi o Whakatu, [2004?]
  • The Art of defining ourselves. Christchurch, N.Z.: Canterbury History Foundation, 2004.
  • Toi Te Papa Art Of The Nation: 1940- Today. [Wellington, N.Z.: Museum of New Zealand Te Papa Tongarewa, c2004?].
  • "He Kahui Whetu Hou: contemporary Māori artists: a new constellation." Art and Social Change: Contemporary Art in Asia and the Pacific. Ed. Caroline Turner. Canberra, Austral.: Pandanus Books, 2005. 498-513.
  • "He Wahine Toa: Robyn Kahukiwa, Artist." The Art of Robyn Kahukiwa. Auckland, N.Z.: Reed, 2005. 24-37.
  • ‘"Wakas on the Grand Canal!" Contemporary New Zealand Māori Artists in Venice.’ Aniwaniwa Brett Graham and Rachael Rakena Aoteatoa New Zealand. Ed. Alice Hutchinson. 52nd International Art Exhibition La Biennale Di Venezia, n.p.: np., 2007. 7-11.
  • Introduction. Taiāwhio II: 18 New Conversations with Contemporary Māori Artists. Ed. Huhana Smith. Wellington, N.Z.: Te Papa Press, 2007. ix-xi.
  • "Te Tai Tokerau and the contemporary Māori art movement." Te Puna Māori Art from Te Tai Tokerau Northland. Eds. Deidre Brown and Ngarino Ellis. Auckland, N.Z.: Reed, 2007. 103-121.
  • "Donald Cleedon Peebles (1922-2010)." Art New Zealand (Win 2010): 28-29.

    • Other

  • "Ki Te Ao Marama." Techno Māori. Māori Art In The Digital Age. CD-ROM. Wellington: Porirua, N.Z.: City Gallery; Pataka Museum, 2001.

  • Papers/Presentations

  • "Whare Whakairo of Aotearoa-New Zealand, for Heritage of Asia and Oceania Colombo. [In press]. No details.
  • "Ian Athfield, Peter Jamieson Beaven, John Scott, Roger Walker, Sir Miles Warren, for Dizionario di architettura contemporanea. Turin.
  • "Across the Cultural Divide: Contemporary Māori Art Criticism in a Pakeha World." [In press]. No details.
  • "Relics of a Ritualist [Reverend Bryan King]" Unpublished paper.
  • "Speechly & Crisp: High Victorian Architects in Colonial Christchurch." Bulletin of New Zealand Art History. No further details.
  • "The First Māori Graduate." No further details.
  • For Ngata Centenary Publication.
  • "Cultural Invasion and First Nation Responses: The New Zealand Māori Experience." The David Saunders Memorial Keynote Address. Ann. Conf. of the Society of Architectural Historians of Australia and New Zealand. Melbourne, Austra. 1990.
  • A key paper in questioning the time frames and conceptual frameworks of art history in New Zealand and Australia.
  • "Ecclesiology and the Reconstruction of Ritual: The Anglican Revival of Church ornaments and Ceremonial, c.1837(?) - c.1868." Ann. Conf. of the Australian Victorian Studies Association, Brisbane, Austral. 1991.
  • Paper given at the Annual Conference of the Australasian Victorian Studies Association, Brisbane, 1991.
  • "Nga Whare Karakia o Te Hahi Mihinare: Māori Anglican Churches up to 1868." History Conference. Christchurch, N.Z. 1991.
  • "Preserving Living Cultural Practices." ICOMOS Conf. Sydney, Austral., 1992.
  • "Incarnation and Culture." ‘And Became Fully Human’ Theological Conf. Christchurch, N.Z. Feb. 1993.
  • "Huts and Baches, or Whares?" Society of Architectural Historians Conf. Perth, Austral. 1993.
  • "The Oxford Architectural Society and Its influences." Australasian Victorian Studies Association Conf., Hobart, Austral. 1994.

  • Reviews

  • "Lost Christchurch, by John Wilson." Archifacts: Bulletin of the Archives and Records Association of New Zealand 3 (1985): 23.
  • "Ferrier Show a courageous venture by Aigantighe." Timaru Herald 21 Feb. 1987: 4.
  • Rev. of Buildings of Dunedin: An Illustrated Guide to New Zealand's Victorian City, by Hardwicke Knight and Neil Wales. Bulletin of New Zealand Art History 10 (1989): 77-78.
  • "McCahon exhibition." Press 26 Oct. 1989. No further details.
  • "Books: forging a new partnership." Rev. of Mana Tiriti: The Art Of Protest And Partnership, produced by Haeata. Art New Zealand 60 (1991): 103.
  • "Forging a New Partnership: Mana Tiriti: the Art of Protest and Partnership." Art New Zealand 60 (1991): 103.
  • "The Māori through Colonial Eyes." Art New Zealand 66 (1993): 93-94.
  • "W. A. Sutton: Painter." Art New Zealand 72 (1994): 99-101.
  • "Robyn Kahukiwa." Art & AsiaPacific 16 (1997): 95-96.
  • "Review and notes." Rev. of Māori Art and Culture, ed. D. C. Starzecka. Pacific Arts 15/16 (1997): 128-129.
  • Rev. of Rangiatea: Ko Ahau Te Huarahi Te Pono Me Te Ora, by Te Ahukaramu Charles Royal & Matiu Baker, in Bulletin of New Zealand Art History 20 (1999): 7-8.
  • Rev. of Race Colour and Identity in Australia and New Zealand, ed. John Docker and Gerhard Fischer. Australian and New Zealand Journal of Art 2.1 (2001): 193-7.

    Other

  • Dunbar, Anna. "Higher Profile for Māori Art; Mark of Culture." Press 30 Jan. 2002. 31-32.
  • "Exploring The Nation's Artistic Heritage." Tu mai: offering an indigenous New Zealand perspective 59 (Nov 2004): 30-31.
  • McLean, Robyn. "Art For Our Sake." Dominion Post 8 Oct. 2004. B7.
  • Shiels, Rosa. "The Right Signs." Press 11 Feb. 2004. C1-2.