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A public lecture and following workshop, convened by Prof. Kate Fullagar. In March 2023 the longstanding battle for ownership of Joshua Reynolds’ Portrait of Mai (1775) was resolved. After more than two decades of struggle to retain the work in public British hands for its “historical significance”, it was bought by a consortium of art foundations, including the National Portrait Gallery and the Getty Trust. It will now spend equal time in London and Los Angeles, securing reasonable access to the work, though marring original efforts to keep it solely in Britain. The purchase price of £50 million was by far the highest price paid for a British work of art, the result of ever-rising hype around the work since its sale in 2001 to a private buyer for £10.3 million.On 17 October Peter Brunt (Samoan heritage), Associate Professor of Art History at Victoria University Wellington, will deliver a public lecture on 17 October on "British art, Pacific subjects, Contemporary values."
On 18 October he will join a workshop of nine other speakers giving short papers on similar themes. The workshop will centre the topic that has been largely ignored in the twenty-year debate about the value of Reynolds’ Mai, which is the role of Mai himself, and of the Pacific zone, in British history. It will explore how and why Mai’s Tahitian archipelagic homelands have been neglected in modern discussions, and what a focus on them now suggests about British culture, Pacific agency, and the course of empire.
A preliminary schedule is as follows:
18 October 2024, 9.30am-3.30pm, Short talks and reflections, Roland Wilson Building, ANU
9.30am-10.00: Introduction, Chair: Kate Fullagar
Zoomed remarks from Getty Director of Collections, Richard Rand
10.00-11.00: Session one: Perspectives from the Pacific, Chair: Kate Fullagar
‘Tupaia, Mai and Ahutoru , the legacy of our tupuna’, Miriama Bono
Encountering Mai in the gallery: replicating the fit’, Pauline Reynolds
11.00-11.30 – morning tea
11.30-12.45pm – Session two: Reynolds’ Mai Portrait and Imperial Visual Culture, Chair: Robert Wellington
‘Reynolds’ Portrait of Mai: The model gentleman and identity politics’, Jos Hackforth-Jones
‘‘‘How much more Nature can do without art, than art with all her refinement, unassisted by Nature’: ‘Mai and Pacifica images in late 18th-century England,’ Peter McNeil
‘Refiguring difference in Joshua Reynolds’ Portrait of Mai and Daniel Boyd’s Untitled (RMUFWM)’, Carl Vail
12.45pm-1.30pm – lunch
1.30pm-2.45pm: Session three: The Pacific and British Enlightenment, Chair: Peter Brunt
‘The Materiality of the Encounter: Pacific Play and Resistance at Home’, Monica Anke Hahn
‘Picturing Pacific Peoples: Race, Instructions, and the Colonial Enlightenment, 1785-1800’, Bruce Buchan
‘Sarah Stone Painting at the Holophusicon: displaying the Pacific in Enlightenment Britain’, Lara Nicholls
2.45pm-3.30pm. Final Reflections, Chair: Robert Wellington
Peter Brunt & Kate Fullagar
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Event Venue & Nearby Stays
Room 2.02, Sir Roland Wilson Building 120 McCoy Cct, Acton 2600, Sir Roland Wilson Building, McCoy Cct, Acton ACT 2601, Australia,Canberra, Australian Capital Territory
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