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Overview
Tuhinga 32: 81-119
ABSTRACT: Two weeks after the opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa) in February 1998, the British Council touring exhibition Pictura Britannica opened there in turn. It caused instant, deep and long-lasting controversy, largely due to two exhibits, Tania Kovats’s Virgin in a Condom (1992) and Sam Taylor-Wood’s Wrecked (1996). This article examines the controversy, particularly in regard to the former work, drawing extensively on the hundreds of letters sent to Te Papa from members of the public and subsequently lodged in the museum’s corporate records. The extensive press coverage is also examined; although critical of Te Papa’s handling of the exhibition, it generally opposed the removal of the two offending artworks. Two articles on the issue, by Jenny Harper and Justin Paton, receive close attention. The recollections of two pivotal Te Papa staff members at the time, Sue Superville and Ian Wedde, complement the account. Letters and phone calls from the public were overwhelmingly critical, often hostile. They convey a sense of insult and betrayal on the part of religious believers, many of whom had recently been excited by, and supportive of, Te Papa when it opened. Although numerous objections came from Catholics, other Christian denominations and religions were also widely represented. Correspondents supporting the museum often came from the art world, and several were practising Christians. They stressed the importance of freedom of expression and freedom from censorship, and admired the museum leadership for not capitulating to its critics. The response of Te Papa Chief Executive Cheryll Sotheran is analysed, particularly in her letter to Cardinal Tom Williams, an early and prominent complainant. Te Papa’s role as a forum for debate is discussed and its effectiveness here is questioned. The article concludes by observing that while Te Papa held out against its critics by exhibiting Pictura Britannica intact until its scheduled ending, the museum thereafter followed a more risk-averse policy. This is reflected in the fact that no significant exhibition of international contemporary art has been held there since.
KEYWORDS: Museum of New Zealand Te Papa Tongarewa, art controversies, contemporary art, Pictura Britannica, Virgin in a Condom, Tania Kovats, Virgin Mary, Catholic Church, contraception, blasphemy, Wrecked, Sam Taylor-Wood, Cheryll Sotheran, Ian Wedde, Tom Williams.