OCEANIA
contentious nature of art collections in the present—
complement and stimulate our engagement with the
great range of works we were fortunate to be able to
bring together.
T. A. M.: As does the exhibition it accompanies, the
book presents Oceania by focusing on three main
themes that seem crucial in Cook’s time: voyaging,
place-making, and the encounters between people
and civilizations. Are those concepts still a valid way
to gain a better understanding of the more recent
history and artistic traditions of the Pacifi c Islands?
N. T.: During an opening symposium, Peter Brunt
remarked that “For us, the past is not so long ago.”
Place, travel, and cross-cultural encounter are still
crucial for life and art in the Pacifi c today, though
“encounter” now includes the challenges associated
with massive mining ventures and the environmental
threats we associate with globalization.
T. A. M.: This richly illustrated book shows great
artworks from the past in wood, fi ber, feathers,
etc. for the fi rst time in dialog with contemporary
creations in strikingly different media. What
emerged from this conjunction?
N. T.: Oceanic art has always been breathtakingly
innovative. Today’s artists are animated by
profound questions of ancestry, genealogy, place,
and movement that are related to those vital to
customary art. Moreover, they offer a range of
contemporary perspectives upon the histories
that brought a vast range of artifacts to European
collections and museums; They offer context.