On a Thursday before Easter in 1992, photographer Mark Adams put his large format camera up on a tripod in the wettest place in New Zealand. In three parts, he re-created the well-known panoramic view of Milford Sound looking northwest from Freshwater Basin. But something is missing from the resultant images. The centrepiece of this glacier-carved fiord (and its quintessential geological feature) is obscured by mist. Gone is the distinctive marker which elevates this landscape above the picturesque to iconic status as a World Heritage Site. The sublime Mitre Peak has become a haunting absence.
In 1986, Merimeri Penfold, Senior Lecturer in Māori, had just published the groundbreaking Penguin book Women and the Arts in New Zealand with Elizabeth Eastmond in the Art History department. Reproducing works by forty women, of whom six were Māori, this influential book took an unashamedly feminist approach, redressing the absence of women (and Māori) artists from previous histories of New Zealand art. The authors’ statement on the imprint page stated the political intent of the project explicitly: “We should also like to acknowledge the crucial importance of the women’s movement for the basic conception of this book and for many of the perspectives adopted.”