Upping the numbers, and the week’s arts news

You’ve surely noticed we’ve been working hard to create essential, astounding, timely, engaging, enraging, extraordinary, uplifting, pertinent, agenda-setting, spell-binding, transcendent arts coverage. And it’s going well – positive feedback is pouring in, and our readership and audience is growing so much I’ve considered making a cringey Linkedin post. But I want even more people to read our stories. Heaps more. I’m seeking attention.

I’ve always accepted that The Big Idea’s audience would be smaller than the audiences of other, generalist media outlets I have written for, and we always tell ourselves, and other people, that we are niche, specifically catering to an insider arts audience – people who are artists, art and cultural workers, or invested in other ways. But when I compare our numbers to the number of people estimated to be involved in the arts, we aren’t reaching nearly half of that niche. Meanwhile, arts coverage in generalist media is drying up – I can count employed arts journalists on one hand – there’s André Chumko at The Post, Perlina Lau at RNZ, and Claire Mabey on books at The Spinoff. The simple truth is that arts coverage gets cut first because it doesn’t do the numbers – generally speaking less people will click on a story about the arts compared to stories about politics, crime, the weather, sports, etc. (Side note: it's hard to get people to read about climate change too). There’s also the smattering of print magazines dedicated to arts but I get the feeling they’re all working in small bubbles.

Some commentators think that niche is the future of media, and we’ve already seen the media landscape fragment over the past 20 or so years. Just think back to watching a movie when you were younger – it wasn't hopping on Netflix and choosing from an ever-changing library, it was whatever was the Saturday Night Colgate Feature that week. If you wanted to discover new music you’d make your way around the radio stations and C4, maybe a CD shop if you were very cultured, and there was a widely agreed consensus on what was happening in culture, and the world. Now we’re siloed into special interest groups. I might never have heard of the movie the person next to me on the bus watched last night, have no idea who their favourite band is, and have a totally different perspective of the world because we’ve been consuming very different news sources. There’s endless possibilities and we only have to give our attention to what we want (and ads and where the algorithms take us).

Is this a good thing? On the one hand, it's great that nerds can have content that is hyperspecific. That the content can get deep and nerdy and doesn't need to worry about alienating or boring a generalist audience. On the other hand, it seems bad and dangerous for society to become a series of disconnected echo chambers. It seems like a fast way to always be at odds with each other, and not care about or understand people and ideas beyond our own. I’m working on a couple of ideas to get our content beyond our own site.

Still, it's important to have places for specific conversations, even more so if those conversations aren’t happening elsewhere. That’s what makes The Big Idea so important in this moment. While we may not have the highest number of reads, we have another data point which is astounding. Our readers are often spending 15-30 minutes on average reading an article. This is extraordinary, and I’m not being cheeky this time! At traditional online outlets, this number is often in the seconds. For long-form articles, you’d be aiming for at least three minutes, and happy with anything over five. So what does that mean? An extremely engaged audience. This is deep immersion, slow and careful reading, sustained attention. A high proportion of people reading every single word. (Hi!!). 

I’m going to go out on a limb then, and assume you think what we’re doing here is good and important. And that’s why I want to ask for your help. You can help get our articles in front of more people, and it won't cost a cent. Here’s a few easy ways to help:

• Email a story to colleagues
• Recommend The Big Idea to friends
• Share or repost a story you loved on social media
• Like, repost, save & comment our posts
• Subscribe to our weekly email (see bottom of the page)

If we weren’t cash-strapped, we’d boost our social media posts with a bit of money to get them in front of new eyes. We’d love to one day do a campaign to let more people know we exist – posters, ads, and the like. But until we get some funds for that, it's you and me and organic growth. Let's go!

Be part of our planning for election coverage

You’re going to be hearing and reading about the election all the way up to 7 November, but the majority of coverage is unlikely to focus, or even touch, on if and how the election could impact the arts sector, and that’s why we are here. I’m planning our election coverage now, and I’d love to know if there's particular things our readers want. Let me know if there’s investigations you’d like us to consider, story ideas you’d love to read, and what you would ask parties and politicians about their arts policies and plans if you had the chance. Email me at editor@thebigidea.co.nz

Wellington Railway Station to be site for public art series

Urban Dream Brokerage has announced a series of public art projects at the station, Urban Dream Station Series, with thanks to support from KiwiRail, Metlink and Transdev. Between now and December, interactive projects will take over vacant sites inside the station. The series starts with a collaborative making space with sculptor Isabella Loudon and painter Seraphine Pick, and a video installation from Gabby O'Connor. Then in October Squiggla will take over, hosting a “creative gymnasium for all”, and Barbarian Productions will present Clown Walk, an alternative fashion show with Steven Junil Park, Jo Randerson and other costume and fashion makers. In November, Strange Engine will present Diagrammatica, an large-scale participatory and immersive installation combining sculpture, live film, sound and improvised music.

Auckland Zinefest, starting this weekend, is more than a market

Everyone knows about the big busy market held at the Auckland Art Gallery where zinemakers set up stalls and unique handmade publications are sold, traded and appreciated, but less people know that zinefest also runs a series of community events, including workshops and talks, throughout August. Last year there was a block printing workshop, a cartooning workshop, and a 24 hour zine challenge. You’ll have to keep an eye out for their programme, but I have been advised that all events, and materials for them, will be free!

New mural on Pitt Street by Luca Tu’avao Walton

The Virgin Mary-like portrait by Owen Dippie on Pitt Street, facing the Methodist Church, has been replaced by a painting of another woman by Tongan artist Luca Tu’avao Walton. The mural is inspired by his relatives, including his mum, and is intended to be a “protector and watchful eye” over the area. 

Funding boost supporting Māori-led events across Tauranga Moana

Across Tauranga Moana and the Western Bay of Plenty, Māori-led events are receiving increased support through the Kaupapa Māori Event Fund. The fund was established in 2019 by Tauranga City Council and TECT, a community trust that provides grants to non-profit community groups. Following a review in 2025, the fund expanded to support more events with additional funding partners. This year, funding has supported 13 events. Applications for the Kaupapa Māori Event Fund are open year-round.

Auckland Art Gallery starts video series

In this day and age every institution and organisation seems to need to be a miniature media outlet. There is so much attention, so many eyeballs, all those engagement statistics to get, and most of them online. Auckland Art Gallery Toi o Tāmaki has started a new video series called Art Works which profiles artists and asks questions like: What is art? Who is it for? And, why should we care about it? The first features painter Judy Millar. It's quite light and friendly, offering a well-lit snapshot into her studio.

Claire Mabey wins Lynley Dodd Children’s Writers Award

Though I am in my mid-thirties, I am hooked into Claire Mabey’s adventure series, The Raven's Eye Runaways, and The Raven's Eye Rebellion (more to come, surely). Her picture book, Cass and the Beast, illustrated by Jill Calder, has just been released and looks beautiful. Claire’s writing is rich, evocative, and best of all fun – with details and twists and running threads that make you smile or tug at your heartstrings. She’s also made wider contributions to the literary community, founding Verb festival in Wellington, and being The Spinoff books editor for a number of years now. With the award Claire wins $30,000 to support her work – a gift inspired by a pivotal moment in Lynley’s career when a financial gift enabled her to continue writing, and ultimately become a celebrated writer. “This award means everything to me!” said Claire. “To have the support of Dame Lynley Dodd, one of the world's greatest writers, is a Hercules Morse-sized boost in confidence. I have so many ideas in my head and in notebooks and now, thanks to this generosity, I can take a sabbatical and work on them, full time."

13 writers win NZSA manuscript assessments

The New Zealand Society of Authors Te Puni Kaituhi O Aotearoa’s  fiercely contested CompleteMS programme received a record number of applications this year with 108 advanced and completed manuscripts submitted. The thirteen successful writers receive a detailed assessment of their manuscript from a leading writer and approved assessors, followed by a Q+A session with follow-up support. Congrats to Richard Jokob-Hoff, Lesley Shepherd, Lisa Slavich, Athena Knight, Jane Simpson, Alwyn Dale, Amelia Reynolds, Erica Stretton,  Laura Hardcastle, Marlon Moala-Knox, Penelope Scott, Olivia Bing, and Peter Aylward.

Book industry awards celebrate indie bookshops and Jacinda Ardern

Last week’s Aotearoa New Zealand Book Industry Awards saw 15 honours presented to booksellers, publishers, authors and book trade stalwarts for excellence, success and innovation at a cocktail ceremony at Rydges Auckland. Schrödinger's Books in Petone has won the NielsenIQ BookData Bookshop of the Year, Allen & Unwin won Publisher of the Year, A Different Kind of Power by Jacinda Ardern took out the award for the bestselling New Zealand title with more than 70,000 copies sold in the 2025 calendar year, The Book of Guilt by Catherine Chidgey won the Booksellers’ Choice Adult Award, The Publishing Trailblazer of the Year Award went to Alison Shucksmith at Little Moa. Four Lifetime Achievement Awards were given out. One to Kevin Chapman, reviewer, event chair and books champion, another to Carole Beu of The Women’s Bookshop in Ponsonby, one to Wendy Tighe-Umbers, former owner of Time Out in Mt Eden, and the final to David Cameron who owns Scorpio Books.

PANZ Book Design Awards shortlist is out

There were more than 130 entries, and this year many shortlisted books are smaller formats and don’t have the same high specs often seen amongst finalists. It is perhaps a sign of the economic times, and yet somewhat pleasing – good design in modest formats is being recognised, rather than overshadowed by big glossy things. Here's the finalists for some of the categories. 

Best Illustrated Book 

• Atlas of the New Zealand Wars (Auckland University Press), designed by Alan Deare & Dave McDonald (Area Design)
• He Puāwai: A Natural History of New Zealand Flowers (Auckland University Press), designed by Duncan Munro (Lucky Stairs Studio) 
• The Len Lye Centre (Govett-Brewster Art Gallery / Len Lye Centre), designed by Tana Mitchell (Tana Mitchell Design) 
• Mr Ward’s Map: Victorian Wellington street by street (Massey University Press), designed by Jo Bailey 
• New Zealand Photography Collected (Te Papa Press), designed by Alan Deare and Dave McDonald (Area Design) 
• Sio fakaTonga ‘ae ‘Aati fakaTonga: Tongan Views of Tongan Arts (Kula-ʻUli Publishing), designed by Shaun Naufahu & Giordano Zatta (Alt Group) 

Best Non-Illustrated Book 

• Black Sugarcane (Te Herenga Waka University Press), cover designed by Momoe i manu ae ala atea‘e Tasker, interiors designed Ashleigh Young 
• Capital Trees: The arboreal legacy of Te Upoko-o-te-Ika the Wellington (Te Papa Press), designed by Megan van Staden 
• Kim, A Journey Between Worlds (Ugly Hill Press), designed by Alan Deare and Dave McDonald (Area Design) 
• Ngā Oro me Ngā Iere a Ōpōtiki Mai Tawhiti – Sweet Harmonies in Song by Ōpōtiki Mai Tawhiti (Huia Publishers), designed by Te Kani Price 
• The Origins of an Experimental Society: New Zealand, 1769–1860 (Auckland University Press), designed by Arch and Jane MacDonnell (Inhouse) 
• Tony Fomison: Life of the Artist (Auckland University Press), designed by Arch and Jane MacDonnell (Inhouse) 

Best Children’s Book 

• A Guide to Rocks / He Taonga te Toka by Sacha Cotter, illustrated by Josh Morgan (Huia Publishers). Designed by Te Kani Price, Tahlia Conrad-Hinga & Sophie Hooper 
• My First Ikura by Qiane Matata-Sipu, illustrated by Isobel Joy Te Aho-White (QIANE+co). Designed by Chloē Reweti Design 
• Omnibird by Giselle Clarkson (Gecko Press). Designed by Vida Kelly with Giselle Clarkson 
• Pūkeko Who-keko? by Toby Morris (Penguin Random House New Zealand). Designed by Vida Kelly with Toby Morris 
• Rākau: The Ancient Forests of Aotearoa by Ned Barraud (Te Papa Press). Designed by Kate Barraclough (Kate Frances Design) 
• Twigs and Stones by Joy Cowley, illustrated by Gavin Bishop (Gecko Press). Designed by Vida Kelly with Gavin Bishop 

Best Cover 

• All Her Lives by Ingrid Horrocks (Te Herenga Waka University Press), designed by Sarah Wilkins 
• Black Sugarcane by Nafanua Purcell Kersel (Te Herenga Waka University Press), cover designed by Momoe i manu ae ala atea‘e Tasker
• The Collector: Thomas Cheeseman and the making of the Auckland Museum by Andrew McKay and Richard Wolfe (Massey University Press). Designed by Carly Yates & Gideon Keith (Seven) 
• Mr Ward’s Map: Victorian Wellington street by street by Elizabeth Cox (Massey University Press). Designed by Jo Bailey 
• There is a Horse in the Art Gallery! by Sarah Pepperle (Christchurch Art Gallery Te Puna o Waiwhetū). Designed by Aaron Beehre 
• Whenua (Christchurch Art Gallery Te Puna o Waiwhetū), designed by Aaron Beehre 

Best Typography 

• Atlas of the New Zealand Wars by Derek Leask (Auckland University Press), designed by Alan Deare & Dave McDonald (Area Design) 
• Black Sugarcane by Nafanua Purcell Kersel (Te Herenga Waka University Press). Cover designed by Momoe i manu ae ala atea‘e Tasker, interiors designed Ashleigh Young 
• Chris Knox: Not Given Lightly by Craig Robertson (Auckland University Press). Designed by Alan Deare & Dave McDonald (Area Design) 
• The Len Lye Centre (Govett-Brewster Art Gallery / Len Lye Centre). Designed by Tana Mitchell 
• Mr Ward’s Map: Victorian Wellington street by street by Elizabeth Cox (Massey University Press). Designed by Jo Bailey 
• Sio fakaTonga ‘ae ‘Aati fakaTonga: Tongan Views of Tongan Arts (Kula-ʻUli Publishing). Designed by Shaun Naufahu & Giordano Zatta (Alt Group)

In May, the Guardian published a list of "the greatest literature ever published in English", but in the 100 books there were only three from the southern hemisphere. The Academy of New Zealand Literature has rectified this, putting together The Southern Hemisphere Fiction 100.

It’s likely that your arts organisation is a charity (we are!) and so the donation tax credit cap could affect you. Fundraiser Jenni Giblin explains it, and what can be done to prepare. 

In May, 11 NZ musos performed at a professional festival showcase in Brighton. Luca George, LEAO, and Hemi Hemingway tell Andrea Hammond how they made the most of it.

Songwriter Amy Boroevich, aka Hina, says she ‘can’t keep trauma-mining’ in a Shameless Plug for her new album. 

I've already invited you to email me this week, and I really do mean it!