EPISODE SIX: The Braided River. A confident New Zealand art re-enlists in the world - choosing and adapting influences from the whole world of art and making something of its own. Sculpture heralds the beginning of an urban art and art ...See moreEPISODE SIX: The Braided River. A confident New Zealand art re-enlists in the world - choosing and adapting influences from the whole world of art and making something of its own. Sculpture heralds the beginning of an urban art and art begins to break free from the empty stereotypes of "National Identity", "Bi-culturalism" and "Telling Our Stories". The whole of New Zealand culture begins to grow up and celebrates what it actually is rather than what it was told it should be. Maori and Pakeha art begin to cross influence and enrich each other. Senior artists like Colin McCahon and Pat Hanly stop fretting about place and identity and confront issues of the larger world. In the exhibition Bone, Stone and Shell, jewellers lead the way in rescuing the richness of Pacific art from the museum cases in which it has been imprisoned for a century and Te Maori does the same thing for Maori Art launching its great treasures on to the world stage at the Metropolitan Museum of Art in New York. A whole new generation of artists get on with making art untroubled by who or where they are, although the arts bureaucracy still has a long way to go and Te Papa becomes a monument to a failed idea. Finally in the work of Shane Cotton and Bill Hammond the two great streams in the culture come together with Pacific, Chinese and the art of other cultures in New Zealand to make the great braided river of contemporary New Zealand art.
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