Bronwyn Holloway-Smith | |
|---|---|
 | |
| Born | Bronwyn Smith 1982 (age 41–42) [1] |
| Nationality | New Zealand |
| Alma mater | Massey University |
| Website | hollowaysmith |
Bronwyn Holloway-Smith is a New Zealand artist and author from Wellington. She holds a PhD in Fine Arts from Massey University, and is co-director of Public Art Heritage Aotearoa New Zealand.
Holloway-Smith graduated from Massey University with a Bachelor of Fine Arts (First Class Honours) in 2006.[ citation needed ] In 2014, she was awarded a scholarship to study for a PhD in Fine Art. [2] Holloway-Smith completed her PhD at the university's Toi Rauwhārangi College of Creative Arts (CoCA) in 2018. [3] [4]
She describes herself as interested in "internet culture, 3-dimensional printing, open source art, and space colonisation." [5] She edited the book WANTED: The search for the modernist murals of E. Mervyn Taylor, published in 2018. [6] [1]
The foundation sought to "... encourage, and promote New Zealand artists' views on issues that have the potential to influence their collective creativity." through advocacy and education. [2] It was launched, in December 2008, to oppose section 92 of the Copyright Act, due to come into force at the end of February 2009. [7] Holloway-Smith was a co-founder of Creative Freedom Foundation (CFF), [5] and served as their director and spokesperson. [2]
The Copyright Act 1994, s 92A read "Internet service provider must have policy for terminating accounts of repeat infringers". [8] CFF believed it would force Internet service providers to disconnect customers who had been accused, but not convicted, of illegally downloading copyrighted content. It was dubbed the guilt upon accusation law, and the foundation wanted it repealed. [7]
CFF called for the first New Zealand Internet Blackout to run 16–23 February 2009, [9] and organised online and paper petitions. On 19 February, Holloway-Smith led around 200 protestors at parliament. [10] She handed the petitions to Peter Dunne MP with over 10,000 virtual and 149 written signatures. [11] [12] Radio New Zealand interviewed Holloway-Smith at the protest, [13] the first of many appearances over the next ten years. [14]
Section 92A never came into force and was repealed by the Copyright (Infringing File Sharing) Amendment Act 2011. [8] CFF advocated for creative freedom on that act, other domestic law and international treaties. In July 2014, Holloway-Smith stepped down from CFF to start her PhD. Lacking a successor, the trustees put the foundation into hiatus. [2]
Massey University commissioned Holloway-Smith to produce an artwork for permanent display on their Wellington campus. The university's College of Creative Arts building on Buckle Street used to belong to the National Museum of New Zealand which moved out to become Te Papa. [15] [16] Holloway-Smith imagined museum pieces that might have been lost in the move. [15]
Ghosts in the Form of Gifts (2009) was a collection of ten replacement pieces produced with an open design RepRap 3D printer. [15] Three of the originals were from nature: a cicada in flight, a sperm whale tooth, [16] and a giant snail shell. The rest were man made and, with one exception, generic and of unknown origin. [15] They included a Māori matua (English: fish hook) and poi, a tapa cloth beater and an adze. [15] The exception was the Utah teapot a 3D model whose origin was well known. Holloway-Smith gifted the 3D printer instructions for the collection from her official website under the Creative Commons Attribution-ShareAlike license. [15]
In 2010, Ghosts in the Form of Gifts won the Open Source in the Arts category at the New Zealand Open Source Awards. [17] In 2012, the collection was shown at RAMP Gallery in Hamilton, [16] and reviewed by artist Peter Dornauf. [18] He wrote that everyday museum pieces had been transformed by 3D printing. The replacements "... present themselves as highly tactile yet prohibit touch because of their strange translucent ghostly nature." [16] The work also raised questions. Holloway-Smith asked "Is something a sculpture if you print it out from a machine?" [15] And Dornauf linked open sourcing the instructions to the issue of authorship. [16]
In 2011, Holloway-Smith produced a series of works exploring the possibility of settling Mars. As part of this project, she won a competition to erect a billboard on Ghuznee Street, Wellington, advertising "Pioneer City" on Mars. [19] The intention behind the work was to explore how the real estate industry has aimed its marketing at people's aspirations, and how residential developments are sometimes utopian:
"We have seen this with the boom in inner-city apartment living in the past decade. We saw it in the 19th century in the way the New Zealand Company sold a romanticised picture of New Zealand to prospective settlers before they'd visited the country. My project responds to this kind of marketing in the inner city and draws attention to its timelessness". [19]
A website was also produced. [20]
In 2012, the City Gallery Wellington ran The Obstinate Object: Contemporary New Zealand Sculpture exhibition 24 February–10 June. [21] Running alongside the exhibition was Whisper Down the Lane (2012) through which Holloway-Smith continued to raise awareness of copyright and produce art with 3D technologies.
Holloway-Smith picked one sculpture a week from the exhibition. [22] She discussed copyright issues with the artist then got permission to create a 3D model of the sculpture and 3D print the model as a miniature. The miniatures were sufficiently transformed from the originals that Holloway-Smith saw them as her works. She named them After ... the original artist and work in acknowledgement. [23] The miniatures were shown in the gallery's reading room and sold online. [22] Again, the 3D printer instructions were gifted under a Creative Commons license, this time Attribution-NonCommercial-ShareAlike (BY-NC-SA). [23]
Whisper Down the Lane was reviewed by art critic Mark Amery. [18] He wrote that it was "... one smart project, charged in its complexity by contemporary issues of copyright, reproduction and future changes to the art market." [22] It also won the Open Source in the Arts category at the New Zealand Open Source Awards 2012. [24]
Public Art Heritage Aotearoa New Zealand (PAHANZ) "... is a research initiative to find, document and protect [the nations's] 20th century public art heritage.", according to their website. [25] At Massey University's Toi Rauwhārangi College of Creative Arts, Holloway-Smith and Sue Elliott's research into the murals of E. Mervyn Taylor developed into an informal register of public art. [26] [27] By the late 2010s, PAHANZ planned to make the register accessible through their website. [28] In the early 2020s, the initiative received $300,000 from the Ministry for Culture and Heritage's innovation fund to put the register on the web and establish a forum for those working with public art to share resources and best practice. [29] [30] The national register of 20th century public art was launched on the PAHANZ website in July 2023. [26]
As of June 2024, [update] the register on the web lists 388 works. Each work has a current status for the viewing public: accessible, hidden or lost (whereabouts unknown or destroyed). The public is invited to submit further works for registration and further information about selected works whose details are incomplete. [31]
The National Library of New Zealand is charged with the obligation to "enrich the cultural and economic life of New Zealand and its interchanges with other nations". Under the Act, the library's duties include collecting, preserving and protecting New Zealand's documentary heritage, supporting other libraries in New Zealand, and collaborating with peer institutions abroad. The library headquarters is on the corner of Aitken and Molesworth Streets in Wellington, close to the New Zealand Parliament Buildings and the Court of Appeal.
Chris Booth is a New Zealand sculptor and practitioner of large-scale land art.
New Zealand art consists of the visual and plastic arts originating from New Zealand and comes from different traditions: indigenous Māori art and that brought here including from early European mostly British settlers.
The Dominion Museum building on Mount Cook in Buckle Street Wellington completed in 1936 and superseded by Te Papa in 1998 was part of a war memorial complex including a Carillon and National War Memorial.
Sarah Jane Parton is a new media artist based in Wellington, New Zealand.
The Copyright Amendment Act 2008 was an act passed by the New Zealand Parliament amending the Copyright Act 1994. It received Royal Assent on 11 April 2008.
The copyright law of New Zealand is covered by the Copyright Act 1994 and subsequent amendments. It is administered by Business Law Policy Unit of the Ministry of Business, Innovation and Employment (MBIE). In June 2017, a review of the existing legislation was announced.
The New Zealand Internet Blackout was an online protest organised by the Creative Freedom Foundation NZ (CFFNZ) against changes to copyright law in New Zealand. It constituted two separate blackouts: one in 2009 to protest Section 92A of the Copyright Amendment Act 2008; and another in 2011 to protest the Copyright Amendment Act 2011, although the CFFNZ did not take part in this one.
Ernest Mervyn Taylor (1906–1964) was a notable New Zealand engraver, commercial artist and publisher. He was born in Auckland, New Zealand in 1906 but primarily lived and worked in Wellington, New Zealand until his sudden death at the age of 58.
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Tina Makereti is a New Zealand novelist, essayist, and short story writer, editor and creative writing teacher. Her work has been widely published and she has been the recipient of writing residencies in New Zealand and overseas. Her book Once Upon a Time in Aotearoa won the inaugural fiction prize at the Ngā Kupu Ora Māori Book Awards in 2011, and Where the Rēkohu Bone Sings won the Ngā Kupu Ora Aotearoa Māori Book Award for Fiction in 2014. She lives on the Kāpiti Coast, New Zealand.
Kerry Ann Lee is a visual artist, designer, and scholar in design at Massey University College of Creative Arts, in Wellington, New Zealand.
Ingrid Horrocks is a creative writing teacher, poet, travel writer, editor and essayist. She lives in Wellington, New Zealand.
Brit Bunkley is a New Zealand/U.S. artist whose art practice includes sculpture, installation, public art and video, since the 1990s with an emphasis on 3D digital media. Awards include the National Endowment for the Arts, the CAPS grant, and the Rome Prize Fellowship. His work expresses a keen interest in history, politics and the environment.
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