Massey Documents by Type
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Item The art of living, retro-gradient jives : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand(Massey University, 2018) Tapsell-Kururangi, JamesIs there an art to living? To make meaning of the sober experience, the shortcomings of my present life. These works, albeit tell of the grief, love, longing, loss, dreams, of living. I try to resist the retrogressive forces of our contemporary cultural, social and political maelstrom. Explored through a series of performative and durational lived works; 1442 Hinemoa St 2017, my childhood home is now an Airbnb, an observation of the domestic home and the surround neoliberal forces in Aōtearoa. Poroporo Road 2017, a journey taken with my uncle to find my grandfather's tin of buried marbles, ontologically observing the Māori ritual of tikanga. An Intercity Bus Ride 2017, a queer passage of grief. FUN-RAZAR 2017, a convivial fundraiser with a latent nomadism, negotiating dematerialising art practice. Two afternoons spent in Mexico City 2017, participation in the tourism economy of Mexico City. Suncake, 2018 a ritualised sharing of cultural ecosystems. A Love Song 2018, a musical cathartic embodiment of grief. Tropical Lab 2018, a study of my mother’s oral histories and geopolitics of international socially engaged residencies. Nans home, an epistemological study of living. I document my humbling experience of what it has been like to frame life as art.Item Eye and camera, voice and text : the interaction of photographic images and literary texts in ethnographic and social documentary studies and the work of Glenn Busch : a thesis presented in partial fulfilment of the degree of Master of Arts, Department of Social Anthropology, Massey University(Massey University, 1998) McDonald, LawrenceEye and Camera: Voice and Text is a general enquiry into ethnography, photography and the composite or hybrid forms of ethnographic photography and social documentary photography. It consists of three theoretical discussion chapters and one extended case study of a major practitioner's work. Chapter one discusses ethnography as a literary genre. Chapter two, the more important attempts at providing a theory of what kind of medium photography is and how it produces meaning. Chapter three begins by considering what a specifically ethnographic and social documentary photography is and does before concluding with a survey of several major projects which have made considerable use of photography for the purpose of ethnographic and social documentary understanding. The concerns of the first three chapters are then brought to bear in a fourth and final chapter devoted to the New Zealand social documentary photographer Glenn Busch. Busch's work (and that of two of his former pupils) has been chosen because of its clear social focus and because he uses combined visual and verbal means of presentation.Item Camera antipode : Ans Westra : photography as a form of ethnographic & historical writing : a dissertation presented in partial fulfilment of the degree of Doctor of Philosophy, Social Anthropology Programme, School of People, Environment & Planning, Massey University, Manawatu(Massey University, 2012) McDonald, LawrenceCamera Antipode: Ans Westra: Photography as a Form of Historical and Ethnographic Writing is a study of the career of the New Zealand social documentary photographer Ans Westra. It covers the period from her arrival in New Zealand from the Netherlands in 1957 right up until her most recent projects. The emphasis throughout is on Westra as a cross-cultural photographer whose work is best understood within various historical contexts and as a form of ethnographic and historical representation in its own right. The dissertation has two parts. Part One, Isagogics, consists of three chapters that deal with a range of general issues that have shaped Westra’s work and contribute to an understanding of its character. All three serve to situate Westra within multifarious conceptual frameworks and institutional contexts and establish the historical, cultural and intellectual field from which her creative project has emerged. The seven chapters of Part Two, Exegesis, provide detailed readings of Westra’s photographic books, taking in both her large-scale projects aimed at a general readership and her Bulletins and photographic essays for use in schools. Part Two proceeds chronologically and is divided into the decades of the 1960s, the 1970s, and the 1980s and on up to the present. A set of appendices follows Part Two. The first is a transcript of an interview with Ans Westra, the second a biographical chronology of her life and career, the third a list of her one-person and group exhibitions, and the fourth a set of photographs that are discussed in the text. Following the consolidated notes and references section is a bibliography in two parts: the first part is a complete list of Westra’s published works, which constitutes the primary sources of the dissertation, followed by a fraction of the secondary sources – books, articles, and reviews of Westra’s publications and exhibitions; the second part of the bibliography contains all non-Westra references cited.Item Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand(Massey University, 2010) Ivory, Andrew JohnThe role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.Item Documentary photography and the fantasy of the real : a thesis presented in partial fulfilment of the requirements for the Master of Fine Arts at Massey University, Wellington, New Zealand(Massey University, 2008) Lake, JohnThis thesis explores the epistemological shift in my photographic practice from an ethnographic position to that of surrealist documentary. In charting this shift I have consider the use of documentary photography by the historical Surrealist movement ,and, the synthesis of surrealism and ethnography found in the English group Mass- Observation. The photograph’s oscillation between indexical record and mystical emanation forms a key position in understanding these two groups belief in the found images ability to describe a repressed reality located in the mass unconscious. Drawing on the Lacanian model of the Real used by Slavoj Zizek as a tool of cultural critique I suggest a new framework for a surrealist documentary practice. In bringing the methodology of the early Surrealists into a contemporary context I consider the position of suburbia as a new terrain vague in relationship to the fantasy of the Real.