Lisa Reihana Biography, Age, Height, Husband, Net Worth, Family

Age, Biography and Wiki

Lisa Reihana was born on 1964 in Aotearoa. Discover Lisa Reihana's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 59 years old?

We recommend you to check the complete list of Famous People born on . She is a member of famous with the age 59 years old group.

Lisa Reihana Height, Weight & Measurements

At 59 years old, Lisa Reihana height not available right now. We will update Lisa Reihana's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

Lisa Reihana Net Worth

Her net worth has been growing significantly in 2022-2023. So, how much is Lisa Reihana worth at the age of 59 years old? Lisa Reihana’s income source is mostly from being a successful . She is from New Zealand. We have estimated Lisa Reihana's net worth , money, salary, income, and assets.

Lisa Reihana Social Network

Timeline

In the 2018 New Year Honours, Reihana was appointed a Member of the New Zealand Order of Merit for services to art.

A version of the work will be shown at the 12th Festival of Pacific Arts in Guam in 2016. The work will also be shown at the National Gallery of Victoria from June to September 2016.

Reihana's major multi-channel video work In Pursuit of Venus [Infected] (2015) went on display at the Auckland Art Gallery in May 2015. Six years in the making, the work is based on a large 19th-century scenic wallpaper, Les Sauvages de la Mer Pacifique, created by French firm Joseph Dufour et Cie which depicts a romanticised view of the landscapes and people of the Pacific. Using the landscape forms of the wallpaper as a backdrop, Reihana added live action scenes recorded in front of green screens, showing interactions between Europeans and Polynesians. Reihana worked with theatre director Rachel House, actors and students from the Pacific Institute of Performing Arts to create this 32-minute film installation. Reihana's script re-examines the first encounters between Polynesians and Europeans with scenes that depict the intricacies of cultural identity and colonisation. Instead of Dufour's romanticized depictions of Europeans interacting with native people, Reihana shows the realities of these interactions, including scenes of violence and exchanges of goods for sexual favors.

In October 2015, it was announced that Reihana will represent New Zealand at the 2017 Venice Biennale. Reihana will show an updated version of In Pursuit of Venus [Infected] and a new suite of photographic works.

In 2015 Reihana was recognised with the Te Tohu Toi Kē award from Creative New Zealand for 'making a positive difference to ngā toi Māori'.

In 2014 Reihana received an Arts Laureate Award from the Arts Foundation of New Zealand. In March 2016 Reihana was named as a nominee in the biennial Walters Prize for her work in Pursuit of Venus [infected]

An earlier version of the work, Pursuit of Venus, was a finalist in the Singapore Art Museum's Signature Art Prize in 2014.

In 2008 Reihana completed a major commission for the Museum of New Zealand Te Papa Tongarewa. Installed along Te Ara a Hine (one of the two entrances to the marae in the museum) the work, Mai i te aroha, ko te aroha ('From love, comes love'), was made up of seven components, including video, digital photography and textile design. In the same year Reihana was one of three New Zealand artists selected for the Liverpool Biennale.

In 2006, Reihana was one of fifteen New Zealand artists, most of Māori and Pacific Island descent, who were invited to take part in the Pasifika Styles exhibition by making site-specific works throughout the Museum of Archaeology and Anthropology, University of Cambridge that responded to objects in the museum's collection. For her work He Tautoko (2006) Reihana responded to the museum's Oceania collection, making an iwi connection by selecting a Ngāpuhi tekoteko (carved gable figure) to work with.

The exhibition was the most-visited solo exhibition by a New Zealand artist at the Auckland Art Gallery since 1997, with 49,000 visitors.

In 1991, Reihana was included in Pleasures and Dangers: Artists of the '90s, a publication and documentary of the same name produced by the Moet & Chandon New Zealand Art Foundation showcasing "the work of eight exciting younger artists, most just now making their mark nationally and overseas".

Reihana began attending Elam School of Fine Arts at Auckland University in 1983, graduating in 1987 with a Bachelor of Fine Arts. She graduated with a Masters in Design from Unitec Institute of Technology Department of Design and Contemporary Arts in 2014.

Lisa Marie Reihana MNZM (born 1964) is a New Zealand artist of Maori (Ngāpuhi, Ngati Hine, Ngāi Tu) descent who grew up in Blockhouse Bay, Auckland, New Zealand.

Using footage of collection items filmed on an earlier visit to the museum, Reihana made a video of 'multi-layered images and animated tukutuku patterns' that she played on a screen mounted behind the teketeko. Next to the cabinet holding the tekoteko three handsets made audio recordings available for visitors to listen to: the tracks included a recording of songs sung by the Manukau Institute of Technology's Māori choir, the sound of carver Lyonel Grant chiselling a pattern similar to that found on the tekoteko, and recordings of voices reading information about the tekoteko's provenance. A pair of 1960s headphones were positioned on the tekoteko's head. Underneath the cabinet holding the tekoteko Reihana placed another work, fluffy fings, as a playful counterpoint, a collection of 'furry and feathery horn works with titles such as thingymybobs and plush tusks.' Reihana wrote of this display 'The colourful nature of this work appeals to adults and children alike. So that parents could spend more time with he tautoko, fluffy fings was placed at a child's eye level.'