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Roger Blackley (1953–2019)

Roger Blackley (1953–2019) Australian and New Zealand Journal of Art, 2020, vol. 20, no. 1, 151–153 https://doi.org/10.1080/14434318.2020.1792045 Geoffrey Batchen*, on behalf of Christina Barton, Peter Brunt, David Maski ll, Matt Plummer, Raymond Spiteri, Pippa Wisheart, and the many others who worked with Blackley at Victoria University of Wellington ‘Do we choose our fields of research or do they choose us?’ The question is the first sentence in the Preface to Roger Blackley’s most important book, 2018’s Galleries of Maoriland. He follows it with a memory of being taken to the Dominion Museum as a schoolboy and marvelling at the artefacts in the Maori Hall. He would spend his career as a curator and art historian forging an historical conver- sation between this world and his own, in the process transforming the shape of New Zealand’s art history. Born and raised in small towns in New Zealand, Blackley was introduced to art by an inspiring teacher at Tararua College in Pahiatua. Attracted to a life of the mind, he eventually found himself studying towards an Arts degree at the University of Auckland. However, as he ruefully later remembered, when he was a student in the Art History department, no classes were offered about http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian and New Zealand Journal of Art Taylor & Francis

Roger Blackley (1953–2019)

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Roger Blackley (1953–2019)

Abstract

Australian and New Zealand Journal of Art, 2020, vol. 20, no. 1, 151–153 https://doi.org/10.1080/14434318.2020.1792045 Geoffrey Batchen*, on behalf of Christina Barton, Peter Brunt, David Maski ll, Matt Plummer, Raymond Spiteri, Pippa Wisheart, and the many others who worked with Blackley at Victoria University of Wellington ‘Do we choose our fields of research or do they choose us?’ The question is the first sentence in the Preface to Roger Blackley’s most important...
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Publisher
Taylor & Francis
Copyright
© 2020 The Art Association of Australia and New Zealand, Inc
ISSN
2203-1871
eISSN
1443-4318
DOI
10.1080/14434318.2020.1792045
Publisher site
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Abstract

Australian and New Zealand Journal of Art, 2020, vol. 20, no. 1, 151–153 https://doi.org/10.1080/14434318.2020.1792045 Geoffrey Batchen*, on behalf of Christina Barton, Peter Brunt, David Maski ll, Matt Plummer, Raymond Spiteri, Pippa Wisheart, and the many others who worked with Blackley at Victoria University of Wellington ‘Do we choose our fields of research or do they choose us?’ The question is the first sentence in the Preface to Roger Blackley’s most important book, 2018’s Galleries of Maoriland. He follows it with a memory of being taken to the Dominion Museum as a schoolboy and marvelling at the artefacts in the Maori Hall. He would spend his career as a curator and art historian forging an historical conver- sation between this world and his own, in the process transforming the shape of New Zealand’s art history. Born and raised in small towns in New Zealand, Blackley was introduced to art by an inspiring teacher at Tararua College in Pahiatua. Attracted to a life of the mind, he eventually found himself studying towards an Arts degree at the University of Auckland. However, as he ruefully later remembered, when he was a student in the Art History department, no classes were offered about

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Australian and New Zealand Journal of Art – Taylor & Francis

Published: Jan 2, 2020

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