Difference between revisions of "Kitsch"
(→Maori Rock Art) |
(→Maori Rock Art) |
||
Line 16: | Line 16: | ||
O'Regan discusses this use in the context of cultural property<ref>O'Regan, G. 2008 The shifting place of Ngai Tahu rock art. in Sue O'Connor, Geoffrey Clark, Foss Leach (Eds), Islands of inquiry : colonisation, seafaring and the archaeology of maritime landscapes. Terra Australis 29 Accessed at http://epress.anu.edu.au/terra_australis/ta29/pdf/ch26.pdf</ref>. | O'Regan discusses this use in the context of cultural property<ref>O'Regan, G. 2008 The shifting place of Ngai Tahu rock art. in Sue O'Connor, Geoffrey Clark, Foss Leach (Eds), Islands of inquiry : colonisation, seafaring and the archaeology of maritime landscapes. Terra Australis 29 Accessed at http://epress.anu.edu.au/terra_australis/ta29/pdf/ch26.pdf</ref>. | ||
− | Most of the glyphs used here were first recorded by [[Schoon Theo|Theo Schoon]]. He had a low opinion of New Zealanders art appreciation at the time. He said: "Maybe someday, the bourgeoisie will have lampshades, with drawings derived from these rock drawings, or as a welcome break from the pokerwork kiwi"<ref> Skinner, D. 2018, Theo Schoon. Massey University Press:102.</ref>. His expectations were met. | + | Most of the glyphs used here were first recorded by [[Schoon Theo|Theo Schoon]]. He had a low opinion of New Zealanders' art appreciation at the time. He said: "Maybe someday, the bourgeoisie will have lampshades, with drawings derived from these rock drawings, or as a welcome break from the pokerwork kiwi"<ref> Skinner, D. 2018, Theo Schoon. Massey University Press:102.</ref>. His expectations were met. |
[[Image:Rock1.JPG |framed|left|A scarf with many images from rock art.]] | [[Image:Rock1.JPG |framed|left|A scarf with many images from rock art.]] |
Revision as of 20:18, 28 January 2019
Contents
Archaeological Kitsch
Archaeological items of iconic status can become the subject of modern copies and re-use of the imagery. New Zealand items are not immune.
Maori Rock Art
Rock drawings seem to have been particularly prone to this - borrowings appearing on fabrics, glassware, ceramics, postage stamps and even matchboxes. O'Regan discusses this use in the context of cultural property[1]. Most of the glyphs used here were first recorded by Theo Schoon. He had a low opinion of New Zealanders' art appreciation at the time. He said: "Maybe someday, the bourgeoisie will have lampshades, with drawings derived from these rock drawings, or as a welcome break from the pokerwork kiwi"[2]. His expectations were met. |
Scarves | |||
Glasses | |||
Enamelled Dishes | |||
Stamps | |||
Fabric / Carpet | |||
Ceramics | |||
Matchboxes | |||
; | |||
Furniture | |||
Wall Decorations Enamelled | |||
Wall Decorations Copper | |||
Wall Decorations Wood | |||
Clothing | |||
Jewellery | |||
Maori Other
Colonial
Barry Curtis Park in South Auckland has volcanic rock walls, reconstructed from a nearby farm site. The unfortunate result is what happens when landscape architecture captures archaeological reconstruction.
|
Not Quite Archaeological
References
- ↑ O'Regan, G. 2008 The shifting place of Ngai Tahu rock art. in Sue O'Connor, Geoffrey Clark, Foss Leach (Eds), Islands of inquiry : colonisation, seafaring and the archaeology of maritime landscapes. Terra Australis 29 Accessed at http://epress.anu.edu.au/terra_australis/ta29/pdf/ch26.pdf
- ↑ Skinner, D. 2018, Theo Schoon. Massey University Press:102.