Massey Documents by Type
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Item The production and consumption of history : a discourse on heritage and nostalgia in the 1990s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Geography at Massey University(Massey University, 1998) Brown, Annette MargaretThe dialectic of history as an ideology and history as a commodity can underpin a discourse on the production and consumption of history as heritage and nostalgia in the 1990s. History as an ideology is erased from the dominant space of representation, by history as a commodiy; therefore, history as an ideology needs to be discussed separately from history as a commodity even though they are not independent categories; this is because they are mutually constitutive of each other. The processes and structures that underwrite this dialectic, Capitalism and Modernity, produce different outcomes in different places and at different times; outcomes such as the cabinets of curiosity during early modernity, modernist and postmodernist museums, heritage sites such as country houses, a shopping mall and a disneyfied theme park arranged around a historic locale and the gentrification of some parts of the inner City of London. These objects of history are produced, reproduced and consumed by social actors in different places and at different times. The production and consumption of history as an object does not explain why these particular outcomes exist in the places and the times that they do. These outcomes need to be explained, and can be explained, by using a dialectical methodology. Such an explanation would look at the underlying processes and structures of Capitalism and modernity.Item Constructing identity : collecting Oceanic art/artefacts in New Zealand : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University(Massey University, 2002) Evans, RoseThis study is concerned with the collection of historic and contemporary Oceanic art forms by private collectors in New Zealand. Exploration into a recent increase in both market promotion and private collectors incorporating Oceanic art forms into their contemporary fine art collections is analysed in this research. The study sits within a body of international research into motivations behind collector behaviour and the relationship between art and artefact, yet also exists within the specific local context of New Zealand as a post colonial settler society. The objective of the study is to use qualitative methodology to interview a small sample of five case study collectors. These collectors can be positioned in an art/artefact continuum. One dealer, identified by three of the case study collectors, was interviewed to examine the complex relationship between dealer and private collectors of Oceanic art. Two aspects are explored; the recent growth of Oceanic art forms in private contemporary New Zealand fine art collections and the increasing market promotion of cultural artefacts as fine art works. The study concludes that there has been an increasing interest by collectors of contemporary New Zealand fine art to incorporate Oceanic historic and contemporary art forms into their fine art collections. The study also identified the emergence of a new type of dealer who operates in an urban context to promote both historic and contemporary Oceanic art forms within a fine art gallery environment. The dealer articulates a 'narrative of identity' symptomatic of settler primitivism since colonial settlement in New Zealand. She uses Oceanic art within the context of a fine art collection not only to facilitate the collectors' examination of individual identity but also to negotiate a sense of place within a dynamic post-colonial multicultural environment.