© Rangihīroa Panoho, 2020/2021. No part of this document (text or imagery) is free to be copied, plagiarised or shared for publication or for uses neither intended nor agreed on by the author without his express permission. Details for writing to the author are as follows: email@example.com The opinions expressed are those of Dr Panoho and not those of former employers or industry colleagues
Featured image: Julio Pantoja, E hongi ana a Rangihīroa Panoho ki Megaron Txucaramãe, he rangatira o ngā iwi e rua ko Mebengokre rāua ko te Kaiapó o Amahona, Encuentro, kei roto i te Conservatório de Música, Belo Horizonte, Brazil, 2005.
2020. Connew B. (photographer) / Panoho, R. (author) Ka kakati te namu, ka ora te kōrero: ‘the sandfly nips, the conversation lives’ and he mōteatea ‘the lament’ 11,000+ word essays for photographer Bruce Connew’s He Huinga Kupu ‘A Vocabulary‘, Vapour Momenta Press, 2021, with special emphasis on Northern War 1845-1846, artists publication in association with Te Uru: Waitakere Contemporary Gallery
2017.‘Clifford Hamilton Whiting – 1936-2017 – and Taiapa’s unfinished book…’, Art New Zealand, Issue 164, Summer 2017-2018: 26-29.
2016. Maori Art: after c.1900, Grove Art Online (in conjunction with Ngahuia Te Awekotuku – Before c.1900) accessed The online edition of the Dictionary of Art and part of the internet gateway to online art reference publications of Oxford University Press
2015. Māori Art: History, Architecture, Landscape and Theory, Batemans in association with Pihirau Productions Ltd, Auckland, 2015/2018, ISBN 9788-1-86953-867-5, pp.1-352. Photographs by Mark Adams and Haruhiko Sameshima.
2005. International collaborative work on Intangible Cultural Heritage manual: New York University, Departments of Anthropology, Film, Media & Religion Hemispheric Institute and ISSC (UNESCO) in Tepoztlán, Morelos, Belo Horizonte, Brazil (11-19 March) and culminating in meeting HQ UNESCO, Paris (8-9 July)
2004. ‘Smoke and Mirrors: Subterfuge and Reflection in Māori Art,’ Third Text, Routledge, Taylor and Francis Group, London, Vol. 18, Issue 3, ISSN 0952-8822 print/ISSN 1475-5297, pp.283-291.
2003. ‘Kei hea te ngakau Māori? Locating the Heart, Shona Rapira-Davies and Reading Māori Art’, He Pūkenga Kōrero, A Journal of Māori Studies, Massey University, Ngahuru (Autumn), Volume 7, # 2, 25-34, ISSN 1173-57.
2001. (submitted) ‘Maori Art in Continuum’, pp.1-604, PhD dissertation in the Philosophy of Art History, University of Auckland
2000. ‘Beneath the Eagle, Vision, Leadership and Māori Art’, Pre\Dictions: The Role of art at the end of the millennium ANZAA, Victoria University, December: ISBN 0 475 11076 5, pp. 65-70.
1998. ‘A Search for Authenticity: Towards a Definition and Strategies for Cultural Survival,’ He Pūkenga Kōrero, Kōanga (Spring), 2 (1) 1996 pp.20-25.
1998 Ethnicity in Hotere’s Art in HOTERE: Seminar Papers from ‘Into the Black’, held in conjunction with ‘Hotere Out the Black Window’ exhibition, Toi o Tāmaki, 22 August ISBN 0-86463-225-8, pp31-42
1997. ‘Te Wehenga o Rangi raua ko Papatuānuku: The Separation of Rangi and Papa, Ways of Reading Māori Art’ Object, No.3, Centre for Contemporary Craft, Sydney, pp.21; 38-41
1997. Review ‘Sidney Mead, Māori Art on the World Scene’, Archaeology in New Zealand, volume 40, number 3, September 1997, pp.220-222
1996. ‘Māori 2: After c.1900’ in The Dictionary of Art, London, MacMillan, pp.359-360
1995. ‘Te Harakeke: No Place for the Bellbird to Sing. Western Colonisation of Māori Art in Aotearoa,’ in Cultural Studies 9 (1), Routledge, London, pp.11-25 (published Taylor & Francis online 23 August 2006)
1994. Waka in uncharted waters, the work of Shona Rapira Davies in Te Aro park, Bowen Galleries, Wellington, pp. 9-13
1993 He Putahitanga ‘Voices’, Report on the template exhibition for the Musuem of New Zealand, Te Papa Tongarewa, December 1993. Peer Review: Jenny Cave, Alexa Johnston, Buddy Mikaere, David Murray, Panoho, Miria Simpson, pp. 1 -43, Appendix, pp. 44 – 120
1992. Whatu Aho Rua: (a selection of traditional and contemporary Māori taonga), Sarjeant Gallery, Whanganui, pp.1-23, Tandanya National Aboriginal Arts Centre, Adelaide International Arts Festival (a revised catalogue and version of the show originally published and exhibited within Sarjeant Gallery 1989)
1991. American Anthropologist. Review for Marketing Aboriginal Art in the 1990’s by Jon Altman and Luke Taylor (eds.); and The Aboriginal Arts and Crafts Industry by Jon Altman
‘Another View of the Photographs of Laurence Aberhart’, Antic, December 1990\January 1991
1990. ‘Te Atea: 34 Drawings by Paratene Matchitt’, Hawkes Bay Cultural Trust, Napier, 1990, pp.1-5
1989. ‘Whanganui: The Environment, The Spiritual’, Mervyn Williams: Points of Departure, a selection of work from the 1988 Whanganui Artist in Residence, Sarjeant Gallery, Whanganui, pp.7-18
‘A Decade in the Dome: Ten Years of Installations at the Sarjeant Gallery’, Art New Zealand, Autumn, 1989, Issue 50: pp.64-67
‘Culture/Response: Two Views’, Sarjeant Gallery, Whanganui, pp.1-7 (earlier version)
‘Change versus tradition: a cultural dilemma in the Pacific?’ A.G.M.A.N.Z. (Art Galleries and Museum Association of New Zealand). Journal, Volume 20.4, pp. 33-34
1988. ‘Developments in Māori Art: Paratene Matchitt’ M.A. thesis in Art History, University of Auckland, 2. Vol.s, pp.1-328
1987/88. ‘The Principle of Change in Māori Art’, Art New Zealand, Summer, 1987, vol.45, pp.63-67
1986. ‘Haongia te Taonga’, Review of the Waikato Museum of Art and History exhibition of Contemporary Māori Art at Centre Gallery, Hamilton, Art New Zealand, Spring, Issue 40: 31- 33, 82
1985. ‘Ian McMillan’, Australian Perspecta, Gallery of New South Wales, Sydney, p.147
Presentations (a selection – including interviews)
2021 Launch of Bruce Connew’s book ‘A Vocabulary’, participation in panel discussion and presentation of the poem ‘I Will Need Words‘, Te Uru, Waitākere Contemporary Gallery, Titirangi
2020 Launch of exhibitions during Summer break at Te Uru, Waitākere Contemporary Gallery, Titirangi including Bruce Connew’s ‘A Vocabulary’ for which I offered a mihi whakatau and a presentation of the poem ‘ 10 Shades of Crimson‘
2016. ‘Writing Māori Art‘, introduced by Robert Leonard (Chief Curator, City Gallery) with panel discussion of book involving Megan Tamati-Quennell (Curator Māori and International Indigenous Art, Te Papa) and Dr Peter Brunt (Victoria University), City Gallery, Wellington, August 25.
2016. ‘Fred Graham / Rangihīroa Panoho in conversation, Maria de Jong’s book, Fred Graham, Te Tohunga Auaha, Auckland Writers Festival, NZI Room, Aotea Centre, Auckland, May 14.
2016. ‘IOU’ Māori Art, the book + the exhibition, TIVOLI, Oneroa, Waiheke Island, Auckland, Gallery discussion regarding Adams, Sameshima photographs and Panoho paintings, 16 April.
2015. ‘Some observations regarding the 1835 Declaration, the 1840 Treaty of Waitangi and our Ngāpuhi rangatira’, Ngāti Hau ki Tāmaki, Te Pokaitahi Ngāpuhi Nui Tonu wānanga, Te Kamaka mārae, Hato Petera, Northcote, 28 February.
2014. Consultancy presentation with Tourist Industry People – ‘Taonga and Contemporary Redefinition’, Auckland Museum, 23 November.
2013. ‘Freedom Farmers: New Zealand Artists Growing Ideas exhibition’, Art Collective, Auckland Art Gallery, 22 November.
2013. Consultancy presentation with CEO, Auckland Art Fair, 9 August.
2012. Māori Chinese Artists in Aotearoa, Māori/Chinese ‘Crossovers’, Māwhitiwhiti Series, Te Whare Wānanga, Auckland Public Library, 31 August.
2010. ‘River of Jade’, Māori/Chinese ‘Crossovers’, Māwhitiwhiti Series, Te Whare Wānanga, Auckland Public Library, 24 August.
2009. ‘The Business of Māori Art’, keynote speaker, Matariki Evening, Te Manukanuka o Hoturoa, Auckland Airport Mārae, 30 June.
2006. ‘Titirangi (hebe speciosa) a vehicle for exploring Ngāpuhi/Kai Tahu connections’, keynote speaker, Nth\Sth Artists Forum, Te Wheke, Rāpaki Marae, Whakaraupō, Banks Peninsula, 26 – 28 September.
2006. The WORLD lecture series, ‘Māori and Polynesian Art’ (five presentations), Port-Vila, Savusavu Bay, Yasara i Rawa, Nuku ‘Alofa, 7-9, 14-15 November.
2005. ‘Redefining the Mārae in Aotearoa’, inside RUATEPUPUKE II, invitation by Regenstein Curator of Pacific Ethnology to attend workshop regarding reconceptualisation of marae space as a local and global place of encounter, Field Museum, Chicago, 27-29 June.
2004. ‘Letting the Trojan Horse in: the Courting of Postmodernism’, 31e Congrès du Comité international d’histoire de l’art, International Congress of Art Historians, Invading Territories, Faculte des etudes superieures, Universite de Montreal, Quebec, Canada, 26 August.
2004. ‘Survey Presentation on Māori & indigenous art commonalities to Elders, Musqueam Band meeting in association with Michael Ames and Museum of Anthropology, University of British Columbia, Vancouver, 25 February.
2004. ‘Māori art in Continuum’, Museum of Anthropology, University of British Colombia, Vancouver, 23 February.
2004. ‘Mārae’ the Māori meetingplace as classroom’, Cross Cultural Diversity in the Classroom panel, College Art Association, Seattle, 19 February.
2003. ‘Post modern readings in the work of Cotton’, Shane Cotton panel, City Gallery, Wellington, 19 October.
2003. ‘Reading the provocative act in Māori Art,’ Cultural Provocation: Art, Activism and Social Change, a mārae based hui and conference, Manukau Polytechnic, Auckland, 30 August.
2003. Transcribed RNZ Interview with Linda Clarke, Nine to Noon, concerning PhD thesis, Auckland/Wellington, ‘Dr Rangihiroa Panoho – First Maori Art History Ph.D graduate‘, 17 June.
2003. ‘New Readings in Māori Art,’ Pacific Arts Association, University of Canterbury, Christchurch, 24 June.
Exhibitions (a selection)
2021 [Ātāroa, ”long shadow’ Northern Wars’ project (painting/curating), Mahara Gallery, Waikānae]
2020. Toi Maungārongo, hapū exhibition, Maungārongo mārae, Porotī
2016. IOU, the book MAORI ART + the exhibition, Tivoli Art Gallery, Oneroa, Waiheke Island
1989/1992. PANOHO, R. Whatu Aho Rua, Sarjeant Gallery, Dowse Art Museum, Lower Hutt, 1992: Tandanya Aboriginal Cultural Institute, Adelaide, Canberra School of Art Gallery, Ivan Dougherty Gallery, UNSW, Sydney, Whanganui Regional Museum.
1991. PANOHO, R. Te Moemoea nō Iotefa, Sarjeant Gallery, Whanganui (300 works), 15th December 1990 – 3rd March 1991, City Gallery, Wellington, 14th July-1st September, 1991 (150 works), Auckland Art Gallery, 13th September -20th October, 1991 (140 works).
1989. Culture/Response: two views, works from the permanent collection featuring Maori and Polynesian subjects and motifs, Sarjeant Gallery, Whanganui, November 14th, 1988 – February 6th, 1989 (75 works), pp.1-10
1988. Landscape into Garden, Sarjeant Gallery, Whanganui, (co-curator with landscape architect Fred Fredrikse, November 2nd – (42 works, catalogue, pp.1-5) December 4th, 1988
2016. ‘Maori Art’ winner Australia New Zealand Art Historical Association award for Māori/Pacific writer, ANU, Canberra
‘Maori Art’ winner Ngā Kupu Ora Aotearoa Māori Book Award, Auckland Museum + Massey University
Creative NZ Toi Tipu, Toi rea –Emerging Māori Artist grant, to create a series of artworks and write a catalogue for an exhibition at the Tivoli Gallery, Oneroa, Waiheke Island, IOU Maori Art: the exhibition + the book, March – April
2005. Visiting fellow, ‘Maori Art in Continuum’, Bridging Cosmologies, Pew Centre for Media, Religion & Film & Department of Anthropology, New York University, 21 January
2005. Collaborative Work with Field Museum Regenstein curator of Oceanic collections John Terrell and international colleagues assessing the role of the Māori meetinghouse Ruatepūpuke within the Field Museum, Chicago
2004. Getty Travel Award, CIHA (International Congress of Art Historians), Montreal, 26 August
2003. National Māori Academic Excellence Awards, Waikato University
Previous New Zealand Positions
1996 – 2008. Lectureship in Māori Art, University of Auckland.
1995. Freelance curator working collaboratively on Hawaiki: Last Homeland with Auckland Museum (Rodney Wilson and Priscilla Thompson) and Museum of Contemporary Art, Sydney (Bernice Murphy and Leon Paroissien)
1991 – 1994. Lectureship in Cultural History and Social Paradigms, School of Design, Wellington.
1988-1991. Curator Māori, Sarjeant Gallery, Whanganui.