Congratulations on your appointment as Minister of the Arts, Culture and Heritage. You’ll be heading a complex network of governance connecting practitioners, audiences, institutions and adjacent industries, with a unique set of needs and capabilities, as well as balancing several portfolios yourself. What do you see as the main function and responsibility of the Minister in this context? Are you ‘chief cheerleader’, as Maggie Barrie once famously described the role?

There is no single function, but many. I am responsible for fifteen government funded organisations, twenty pieces of legislation, championing the contribution of the arts and creative sector to our lives and communities and to how we make a living.

What are the areas in which you believe your predecessors fell short in serving the arts and how will you be picking up the slack?

I won’t look back, but, as in any portfolio, we have challenges to ensure we get the best results from limited government funds.

Australia launched a National Arts Policy last year. It is effectively a five year plan that clearly outlines the principles and measures that will inform initiatives and investments, as well as core financial and legislative commitments. If you were to draft such a plan for Aotearoa tomorrow, what would be the five pillars of your arts strategy?

Any vision needs to be broad and loose because a core element of the arts is that people should be free and not be bound by a strategy devised in Wellington. But I’m happy to have a discussion, pillars might be:

1. 1. 1. Aspirational goals
      2. The need for Government to invest wisely  
      3. To ensure regulation enables the sector
      4. Consistency in how we deliver sustainable careers

Will you be involved in reshaping Creative New Zealand following Stephen Wainwright’s departure, and what do you think a workable contestable grant system could look like for artists?  

Stephen Wainwright has been Chief Executive for 17 years, and shepherded the organisation through COVID-19 and other challenges. I wish Stephen all the very best. As Minister, I do not appoint Chief Executives. The Chief Executive appointment process is led by the Arts Council, which I appoint. I will be considering those appointments carefully. 

Funding and grants decisions are made by Creative New Zealand, independently from government.

Do you expect New Zealand to return to Venice in 2026? 

The Arts Council has confirmed its commitment to participating in the Venice Biennale in 2026, 2028 and 2030.

What is your assessment of Cultural Gifting Programmes, like the one used in Australia to incentivise the donation of significant artworks to public collections through tax deductions? Would something similar be viable and fruitful for Aotearoa, and how would you implement this? 

I recognise that a cultural gifting programme could provide an effective way of enhancing public cultural institutions’ ability to acquire significant items or collections, keeping them in public ownership and allowing public access. I have asked my officials to provide me with further advice on this matter.

How else are you looking to encourage private investment in the sector? Art Banks, Private Art Foundations?

I am interested in hearing from those in the sector about ideas to encourage greater private investment.

Bringing money in is only one side of the coin. Among the most pressing concerns shared by many in the industry are the findings of the Profile of Creative Professionals report released in May 2023 by CNZ and NZ On Air, ratifying what many know from experience, that creative professionals earn considerably less than other wage earners in Aotearoa. How do you plan to address this disparity, issues of fair pay and work security? 

As Minister, I will be focusing attention on making sure that government regulations support creatives and small businesses and don’t get in the way. I am also focusing my agencies’ attention on the pipeline for artists and creatives through the education system, and business development support.

The 100 Day Plan and the response to it established that te Tiriti and bicultural relations would continue to be key spheres for debate and conflict throughout the coalition’s term. As the Minister for Arts, Culture and Heritage, and also for Treaty of Waitangi negotiations, what role can the arts play in educating New Zealanders about our history and navigating this debate?

The arts play an important role in providing space for critical issues in society to be explored.  Creatives can also help communities to consider the complexity of our history, which is always disputed, and think about what that might mean for our future.  We want to see open debate in a free society.

What’s your take on the recent protest of Te Papa’s Treaty exhibition?

I have made clear my view as Minister that vandalism of any part of the museum’s collection is not acceptable, as well as my expectation that the exhibition will be renewed.

I think it’s important all New Zealanders have a clear and balanced understanding of the Treaty of Waitangi/Te Tiriti. Both language versions are enshrined in legislation and part of our history. People hold strong passionate views around what they believe is right, but that never excuses vandalism.