NOTES
- http://www.telecomprospect2004.org.nz/opinions/curator.asp
- ibid.
- Patricia Yaeger, “Towards a Feminine Sublime”, Gender and Theory: Dialogues on Feminist Criticism, ed. Linda Kauffman (London: Basil Blackwell, 1989). See also Barbara Freeman, The Feminine Sublime: Gender and Excess in Women's Fiction, (Berkeley: U of California P, 1995).
- See Tina Barton, “Out of the Deep” and Kathy Barry, “On Thin Ice”, in Gallery Six: The Ice Rink and the Lilac Ship (Hamilton: Waikato Museum of Art & History, 2003) n.p..
- For example, the ‘Artists to Antarctica’ programme, established in 1996 by the NZ Government, sees a variety of artists in residence for several weeks at a time there.
- The quarantine station was Quail Island, in Lyttelton Harbour, the site of Maddie Leach's 2001 installation Pariah Tables.
- Francis Spufford, I May Be Some Time: Ice and the English Imagination (London: Faber & Faber, 1996) 4–15.
- This is amateur skating and different in kind from professional figure skating. See Judith Mayne's essay “Fear of Falling”, in The Feminism and Visual Culture Reader (London; NY: Routledge, 2003) 364–368 for an analysis of the latter.
- Allen Curnow, Collected Poems 1933–1973 (Wellington: A.H. & A.W. Reed, 1974).
- Glenn Colquhoun, The Art of Walking Upright (Wellington: Steele Roberts, 1999).
- Wahine is a Maori word meaning woman.
- Maddie Leach, “Reckon on Everything, Expect Everything: Disaster, Fortune and Wahine”, Log Illustrated 11 (2000) 17.
- Television began screening in Wellington in 1961.