Indigenous primitivists: the challenge of Māori modernism

References

• Anon. 1958. ‘Show by Maori Artists.’ Auckland Star, 29 May.
   Google Scholar
• Anthes, B. 2005. Native Moderns: American Indian Painting, 1940–1960. Durham, NC: Duke University Press.
   Google Scholar
• Armstrong, C. 2011. ‘All-time Favorites: Carol Armstrong on Cézanne.’ Artforum 49 (10): 88–90.
   Google Scholar
• A.S.F. 1967. ‘Modern Art and the Maori.’ New Zealand Listener (5 May): 6–7.
   Google Scholar
• Bell, L. 1989. ‘Walters and Maori Art: The Nature of the Relationship?’ In Gordon Walters: Order and Intuition, edited by J. Ross and L. Simmons, 12–24. Auckland: Walters Publications.
   Google Scholar
• Bieringa, L., ed. 2000. Tovey and the Tovey Generation. Porirua: Pataka.
   Google Scholar
• Burn, I. 1988. ‘The Re-appropriation of Influence.’ In From the Southern Cross: A View of World Art c.1940–1988, 7th Biennale of Sydney, edited by N. Waterlow, 41–48. Sydney: Biennale of Sydney & Australian Broadcasting Commission.
   Google Scholar
• Clayton, P. 1965. ‘Hopes to Paint like Muru.’ New Zealand Woman's Weekly (2 August): 24–5.
   Google Scholar
• Dadi, I. 2010. Modernism and the Art of Muslim South Asia. Chapel Hill: University of North Carolina Press.
   Google Scholar
• Dunn, M. 1983. Gordon Walters. Auckland: Auckland City Art Gallery.
   Google Scholar
• Ford, J.B. 1984. ‘Introduction.’ In Maori Artists of the South Pacific, edited by K. Mataira, 9. Raglan: New Zealand Maori Artists & Writers Soc. Inc.
   Google Scholar
• Foster, H., Krauss, R., Bois, Y., and B. Buchloh. 2005. Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson.
   Google Scholar
• Harrison, C. 1996. ‘Modernism.’ In Critical Terms for Art History, edited by R.S. Nelson and R. Schiff, 142–155. Chicago: University of Chicago Press.
   Google Scholar
• Harrison, C. 1997. Modernism. London: Tate Gallery.
   Google Scholar
• Heller, R. 1992. ‘Expressionism's Ancients.’ In Parallel Visions: Modern Artists and Outsider Art, edited by M. Tuchman, 78–91. Los Angeles: Los Angeles County Museum of Art.
   Google Scholar
• H.M. 1958. ‘Maori Goes In For Abstract Painting.’ Auckland Star, 10 June.
   Google Scholar
• H.M. 1962. ‘Best N.Z. Art Show Seen Yet.’ Auckland Star, 13 November.
   Google Scholar
• Hos, K. 1967. Para Matchitt: Exhibition of Paintings and Prints from Nov. 20 – Dec. 1, 1967. Auckland: New Vision Gallery.
   Google Scholar
• Mane-Wheoki, J. 2005. ‘He Kahui Whetu Hou: Contemporary Maori Artists – A New Constellation.’ In Art and Social Change: Contemporary Art in Asia and the Pacific, edited by C. Turner, 498–513. Canberra: Pandanus Books.
   Google Scholar
• Mason, N. 2001. ‘Purangiaho Toku Mata.’ In Purangiaho: Seeing Clearly, edited by N. Mason and N. Ellis. Auckland: Auckland Art Gallery.
   Google Scholar
• Mason, N., ed. 2008. Turuki Turuki! Paneke Paneke! When Māori Art Became Contemporary. Auckland: Auckland Art Gallery.
   Google Scholar
• McCarthy, C. 2007. Exhibiting Māori: A History of Colonial Cultures of Display. Wellington: Te Papa Press.
   Google Scholar
• McLean, I. 2011. ‘Aboriginal Art and the Artworld.’ In How Aborigines Invented the Idea of Contemporary Art, edited by I. McLean, 17–76. Brisbane: Institute of Modern Art.
   Google Scholar
• Newick, L. 1965. ‘Para Matchitt: Some Call Him a True Maori “Modern.”’ New Zealand Woman's Weekly (27 September): 16–17.
   Google Scholar
• Nin, B. and B. Pere. 1966. New Zealand Maori Culture and the Contemporary Scene 1966: An Exhibition of Painting and Sculpture Derived from Maori Culture. Christchurch: Canterbury Museum.
   Google Scholar
• Oguibe, O. 2004. The Culture Game. Minneapolis: University of Minnesota Press.
   Google Scholar
• P.M.F. 1963. ‘Maori Painter Holding an Exhibition.’ Unsourced newspaper clipping, n.p., (Selwyn Muru Artist Files, E.H. McCormack Research Library, Auckland Art Gallery Toi o Tamaki).
   Google Scholar
• Panoho, R. 1997. ‘The Separation of Rangi & Papa.’ Object 31: 38–41.
   Google Scholar
• Phillips, R.B. 1999. ‘Art History and the Native-made Object: New Discourses, Old Differences?’ In Native American Art in the Twentieth Century: Makers, Meanings, History, edited by J. Rushing III, 97–112. London: Routledge.
   Google Scholar
• Pound, F. 2009. The Invention of New Zealand: Art & National Identity 1930–1970. Auckland: Auckland University Press.
   Google Scholar
• Roberts, N., ed. 1985. Maori Rock Drawings: The Theo Schoon Interpretations. Christchurch: Robert McDougall Art Gallery.
   Google Scholar
• Sherman, D.J. 2011. French Primitivism and the Ends of Empire 1945–1975. Chicago: University of Chicago Press.
   Google Scholar
• Skinner, D. 1997. Hattaway, Schoon, Walters: Madness and Modernism. Auckland: Lopdell House Gallery.
   Google Scholar
• Skinner, D. 2008. The Carver and the Artist: Māori Art in the Twentieth Century. Auckland: Auckland University Press.
   Google Scholar
• Skinner, D. 2009. ‘Our Old Koroua Picasso: Maori Modernist Art in Aotearoa New Zealand.’ In Crossing Cultures: Conflict, Migration, Convergence, edited by J. Anderson, 760–764. Sydney: The Miegunyah Press.
   Google Scholar
• Skinner, D. 2010. The Passing World, The Passage of Life: John Hovell and the Art of Kowhaiwhai. Auckland: Rim Books.
   Google Scholar
• Smith, H., ed. 2001. Taiawhio: Continuity and Change. Wellington: Te Papa Press.
   Google Scholar
• Thomas, N. 1999. Possessions: Indigenous Art/Colonial Culture. London: Thames & Hudson.
   Google Scholar
• Vincent, R. 1964. ‘Selwyn Muru's Paintings Win Wide Acclaim.’ Te Ao Hou 46 (March): 25–7.
   Google Scholar
• Wainwright, L. 2006. ‘Francis Newton Souza and Aubrey Williams: Entwined Art Histories at the End of Empire.’ In Visual Culture and Decolonisation in Britain, edited by S. Faulkner and A. Ramamurthy, 101–126. Aldershot: Ashgate.
   Google Scholar
• Westra, A. 1965. ‘The Sculpture of Arnold Wilson.’ Te Ao Hou 52 (September): 32–3.
   Google Scholar
• Wilson, A.M. 1993. ‘Beginning to Bubble.’ Landfall 118 (1): 23–7.
   Google Scholar