Hirst card

Left the original card and right Hirst's painting using the same image

First Christmas card

The corrections

Hi there,

Based on the figures in most recent Annual Report, 1,334,712 visitors came through the door in the 2010-2011 year. We divided that by your government contribution of $23,574,000 and came up with the figure of $17.66 per visit. Is this right? It is at odds with the figure of $11.40 per visit stated on page 8.

Can you tell us:

1. how the $11.40 figure was constructed.

2. why the cost per visit doesn’t use the formula of total operating costs divided by number of visits to the building.

3. the percentage of visitors to Te Papa who come for reasons other than to specifically look at the collections or exhibitions, ie Film Festivals, weddings, conferences etc.

Cheers,

Jim and Mary

Kia ora Jim and Mary

Thanks for your email and for your interest in the annual report.

The $11.40 figure is an average over the period shown in the chart and relates to visitors to Cable St and to touring exhibitions, as this reflects Te Papa’s broader reach. We are focussed on increasing our national reach – which as the national museum we are funded by central government to do – so in this case, the logic of using total visitation works. What we were trying to show with those figures was the cost to the taxpayer of running Te Papa. As you’ll be aware, we do generate a significant amount of revenue ourselves.

You can see that more people have visited our touring exhibitions over the period, which we’re very pleased about. Unfortunately, we don’t have data on visitors to conferences, film festivals etc, but this is something we are looking at improving our data on. However, I understand that our approach is consistent with other museums and galleries.

All people who enter Te Papa during the hours it is open to the public are electronically counted. Data about where people go or what they visit is based on exit interviews, from a sample. These interviews seek insight into how engaged visitors are with the collection, their views on particular exhibitions, and possible improvements that could be made. Our visitor researchers ask about motivation, prior knowledge and also time spent in parts of the building.

Trick or treat?

Love love, by Julien Berthier

Te Papa art purchases 2010-2011

ART Paintings – New Zealand
Maoris on a Riverbank by Frank Wright, oil painting, 305 x 495 mm (h x w, sight), not dated, gift of Marlene and Renée Colclough in memory of Irene Colclough
Ngā Toenga (daughter of Barrier Island Chief) by George F. Angas, watercolour on paper, 840 x 615 mm (h x w), 1844, purchase
Souvenir of the Boer War by M. Airey, oil on canvas, 820 x 1090 mm (h x w), c1902, purchase
Te Pehi Kupe, Warrior of the Ngati Toa Tribe by Sam Stuart, oil on canvas, 370 x 290 mm (h x w), 1906, purchase
Edith by Toss Woollaston, oil on cardboard, 480 x 430 mm (h x w, support), 1948, purchase
Les deux amies (The two friends) by Louise Henderson, oil on canvas, 740 x 560 mm (h x w), 1953, purchase
Untitled (kowhaiwhai painting) by Theo Schoon, tempera on cardboard, 1155 x 850 mm (h x l), c1957, purchase
Painting red by Milan Mrkusich, oil on canvas, 762 x 762 mm (h x w),1968, purchase
Pocket full of rainbows by Seraphine Pick, oil on canvas, 2000 x 1650 mm (h x w, support), 2010, purchase
Paintings – International
Poedua (Poetua), daughter of Oreo, chief of Ulaietea, one of the Society Isles by John Webber, oil on canvas, 1445 x 925 mm (support h x w), 1785, purchase
A moko takahe by J.G. Keulemans, oil on canvas, 863 x 1118 mm (h x w), 1902, purchase
Works on Paper – New Zealand
Works on paper (5) by Toss Woollaston, various measurements, 1938–85, purchase
Sublunary wardrobe (3 works from), by Joanna Paul, chalk pastel on paper, 370 mm (support diameter), 2002, gift of the Friends of Te Papa
Aquarium (with sunglasses) and Aquarium (with bottles) by Nick Austin, acrylic paint on newspaper, 575 x 785 mm (h x w, each), 2009 and 2011, purchase
Works on Paper – International
An allegory of visual perception by Jan Saenredam, engraving, 241 x 181 mm (h x w), 1616, purchase
Banks Florilegium Parts XX to Part XXVII (complete set of New Zealand plants, 184 engraved plates) by Sydney Parkinson/Alecto Historical Editions Limited, measurements not available, 1769- 70/1980-89, purchased with the assistance of the Friends of Te Papa
Fête à Ferrières no.2 by Anthony Gross, etching, 198 x 298 mm (image h x w), 1954, purchase
Sculptures and Decorative Forms
Necklace by Colin McCahon, woven threads and cut tin painted in enamel colours, measurements not available, 1949-53, purchase
Untitled by Gordon McAuslan, wood sculpture, 345 mm (height), c1950, purchase
Ceramic works (8) by Len Castle, various measurements and dates, purchase
Tribute to Hone Tuwhare by Jim Allen, installation, 2000 x 2000 x 2000 mm (h x w x d, overall), 1969/2010, purchase
Small Worlds by Jim Allen, installation, 2000 x 2000 x 4000 mm (h x w x d, overall), 1969/2010, purchase
Modern arrangements by L Budd (et al.), installation, various measurements, 1990, purchased from the Molly Morpeth Canaday Fund
Rings (5) by Karl Fritsch, gold, silver, granite, iron, diamond and brass, various measurements and dates, purchase
Steinhaufenring by Karl Fritsch, silver and coloured glass ring, 80 x 55 x 55 mm (h x w x d), 2006, purchase
My name in lights by Daniel Malone, neon light installation, 1140 x 2950 x 50 mm, 2006, purchase
Six silver bullets (one missing) II by Peter McKay, sterling silver brooch, 2007, purchase
New Twists (5 works from) by Pauline Rhodes, aluminium, wool and silk sculpture (1) and photographs (4), various measurements, 2008, purchase
Pendant, by Lisa Walker, measurements not available, 2009, purchase
Necklace and What Karl didn't take with him by Lisa Walker, mixed media necklaces, measurement not available and 400 mm (l), 2009-10, purchase
Handy Andy with red by Bill Culbert, light sculpture/assemblage, 310 x 600 x 90 mm (h x w x d), 2010, purchase
Photographs – New Zealand
Whole-plate negatives (11) depicting prominent nineteenth century chiefs, by various photographer, black and white gelatin negatives and gelatin glass negatives, various measurements and dates, gift of Roger Andrews
Bowen Fall - Milford Sound by Burton Brothers, albumen print, 213 x 287 mm (h x w), 1889; purchase
Māori-themed postcards (6) by various photographers and printers, gelatin silver photographs/postcards, various measurements, c1900, purchase
Black and white stereoscopic photographs and two leather bound photograph albums, various measurements and various dates, purchase
Lake Mapourika and Buddha image, National Museum Bangkok, Thailand by Brian Brake, gelatin silver print and type C print, 350 x 455 mm and 455 x 350 mm (h x w), 1951 and 1970, purchase
Black & white photographs (25) by Terry O’Connor, gelatin silver prints, various measurements and dates, purchase
Brian Brake film items and prints, various materials, measurements and dates, gift of Wai Man Raymond Lau
Cosmo flying disc I-IV by Darren Glass, toned gelatin silver print on printing-out paper, 252 x 203 mm (h x w, each), 1999-2009, purchase
Hangi rock, no 1-3 by Ross T. Smith, pinhole gelatin silver photographs, 122 x 97 mm (h x w, each), 2005, purchase
Ruby's room, portfolio of 30 inkjet colour photographs by Anne Noble, various measurements, 2010, purchase
Contemporary Māori
Digital Marae by Lisa Reihana, type C prints (6), 2000 mm x 1200 m (h x w, approximate, each), 2007, purchaseDigital Marae by Lisa Reihana, digital videos (2), 2001 and 2008, gift of the artist
Groundswell by Lisa Reihana, eight monitor video installation, 2005, purchase
Te Pūtahitanga ō Rehua by Reuben Paterson, animated video, 2005, gift of the artist
Shark, Angel, Bird, Ladder, by John Pule, oil paint, enamel, ink & polyurethane on canvas, 2000 x 4000 mm (h x w), 2008, purchase
Five works from the Waka Huia exhibition by Areta Wilkinson, jewellery made with sterling sliver, gold, wood and muka (flax fibre), various measurements, 2008, purchase
Ruatepupuke and Hei Tiki Tipuna Wahine, by Stacy Gordine, hei tiki, measurements not available, 2009, purchase
Whakapapa Get Down on Your Knees (2), by Reuben Paterson, glitter and synthetic polymer paint on canvas, 4000 x 4000 mm (h x w), 2009, purchase
Back Bone by Shane Cotton, oil on canvas, 1400 x 1400 mm (h x w), 2010, purchase
Contemporary Art – International
Nauru, Notes from a Cretaceous World by Nicholas Mangan, mixed media installation including digital video, coral coffee table, collage and a modified cartoon, various measurements, 2009-10
Pacific Sediment part of Nauru, Notes from a Cretaceous World by Nicholas Mangan, found material in custom-built vitrine, 900 x 1380 x 740 mm (h x w x d), 2009-10, gift of the artist
Other
The Field (Part II) by Gavin Hipkins, digital video, 2003-04, gift of the artist

The Depot responds

Thank you for taking up discussion on Over the Net regarding our recent newsletter (no press release was issued) outlining the lack of CNZ support for the Cultural Icons project. There are some good points raised in your blog post, please accept this (rather lengthy) response to it:

We are aware of the lack of diversity in the project – both in discipline and culture - this has arisen for a number of reasons: We have not selected or prioritised but have undertaken the interviews according to recommendation and subject/interviewer availability. Because we envisaged the series as ongoing (we were inspired by Radio Pacifica which began in 1946 and has something like 50,000 interviews in its archives) we intended to include everyone who should be included.

We agree with your observation that the Cultural Icons so far included in the programme show a noticeable lack of Maori/Pacific Island cultural contributors represented. Our funding application highlighted this in the project aims we hoped to achieve with support from CNZ:

“These outcomes will assist us in our overall project aims to:

Develop the diversity of Cultural Icons interviews and programmes available online by including high quality arts practitioners from throughout New Zealand’s cultural and ethnic communities. This will help to raise awareness of culturally diverse art in an easily accessible, enriching and unique platform www.culturalicons.co.nz. This new series of interviews/programmes will specifically highlight New Zealand’s visual artists.”

Initial funding for the project was from the Auckland Regional Services Trust (ARST), hence the Auckland focus. It was used to establish the website, format, initial interviews (predominantly of writers in residence at the Michael King Writers Centre). Now, with a multi-media platform worthy of such a project, industry support and a growing and appreciative audience we require further support to develop it further, to including cultural contributors from outside of Auckland, from many disciplines and from diverse cultures.

The other consideration we needed to make in the application was the structure of applying for support through Creative New Zealand. There is no category for ‘multidisciplinary’ projects and no avenue for applying for support for the project as a whole entity (other than Investment Funding in which an organisation is required to have a history with CNZ – The Depot has been unsuccessful gaining CNZ support for any project for 15 years!) We were recommended by CNZ to apply for 20 x Visual Arts interviews only. Then, in the next round, we could have applied for 20 x Literature interviews and so on.

As you identify, the project and its development have been affected/directed by available sources of funding. We are continually looking for funding and will apply to any source where the project fits the criteria. For example, we recently received some funding from Auckland Council’s Arts North team to interview 5 ‘icons’ in the north of Auckland and have asked locals to nominate ‘icons’ in their community. www.culturaliconsnorth.co.nz Another application seeks support for Maori Cultural Icons from the same districts – here we work with marae and local communities calling for their nominations of Cultural Icons. And yet another for a Cultural Icons Sculpture Series.

We also have a number of women on whom we are waiting to commit themselves to an interview. We have found that women are often more reluctant than men to be interviewed and are also, for some reason, less available; for example, Maureen Lander has been on our list for some months, as has Alison East. Jo Drayton is booked to talk about Frances Hodgkins in February. (A new segment of the series involves significant artists who have died and we have a panel to be organised for Colin Mccahon, and Janet Frame’s niece to be interviewed when she is next in Auckland)

Our goal is to secure funding that enables us to carry out as many interviews as our community recording studio will accommodate and as our time to edit and download will allow. We feel perhaps that seeking sponsorship could be the best avenue for this and for ensuring that the great and rich diversity of cultures and disciplines, and gender balance, are represented.

The Depot has for fifteen years has honoured and sought to actively represent its philosophy, an aspect of which is inclusiveness, from which the Cultural Icons series originated.