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By richard brennemann berkeley art museum pacific film archive director kevin consey will leave his post in january, the museum announced friday. that means he won't be in charge when the project he was hired to build--the new museum building on center street--is finally opened to the public. the sometimes controversial administrator took the helm at the university museum and film center on jan. 1, 2000. his official date for leaving the post will be jan. 2. in a prepared statement released by the museum, consey said, "i have been privileged to work with a talented and energetic staff of the highest professional caliber during my tenure. the significant and substantial accomplishments produced during this time were due to our collaborative efforts and their intelligence, skill, and perseverance. "the continuing demanding work and challenges of the new building project and capital campaign need increased energy over the next several years. eight years of service and significant accomplishments in the areas of institutional growth and preparatory fundraising, program development, architect selection, and conceptual design work for a new building mark a good time to step down and retire." peter selz, the museum's founding director, welcomed the news. "he was not very competent and somewhat arrogant, " said selz, who also acknowledged that consey was effective at raising funds, "which is also important." "i look forward to the chance of getting someone very talented to replace him, " he said. selz particularly faulted consey for his refusal to allow the museum to show the colombian artist fernando botero's paintings of the abuse of prisoners at abu ghraib prison--works selz said were the most important creations of the last few years. "the center for latin american studies had to show them in a special room at the library, " he said. "it was a very important show, and 15, 000 people came." consey's resignation comes less than a month after the uc berkeley chancellor robert birgeneau told the san francisco chronicle that botero wanted to give the university all 25 paintings and 22 drawings in the series, with the proviso that some be permanently displayed. whether or not the chancellor's decision to accept the gift had any bearing on consey's decision to leave remained unclear as the daily planet went to press monday evening. in addition to his campus duties, consey also serves as one of the university's ex officio representatives to the downtown area plan advisory committee. the new museum planned for the northwest corner of the intersection of center and oxford streets will be one of the centerpieces of the proposed pedestrian plaza continued on page fifteen and system of a down roulette. M ori collectively and wh nau, hap and iwi as distinct units. to promote closure would in my mind be the antithesis of what is proposed within kaupapa m ori theory. the term theory itself is multiple in the definitions associated with it and some exploration of that provides some understanding of the need to ensure against a closure of kaupapa m ori theory. much of the strength of kaupapa m ori theory comes in the ability of many m ori to `see' the relevance of such theoretical engagement, and to recognise much of what is said in their o wn practices. what is also important is the recognition that kaupapa m ori theory is not set in concrete, in fact it is very much a fluid and evolving theoretical framework.330 the complexities of what this means is evident in my ow struggle to find `a' word that does not in itself express a reductionist view. i have chosen to use the term `framework' in that it provides a notion of environment and setting as opposed to terms such as `model' or `paradigm', which for me, imply notions of patterns that are set in place. in a wider sense this is a part of a realisation that it is dominance that seeks to set cultures in concrete, to hold us in a construction that is static and unchanging and which is often relentless in its denial of gro wth and change. we can't afford for this to be the case. in developing, dra wing upon and refining kaupapa m ori theory we need to be a part of a process that is accessible and fluid, not something that is controlled by a fe static and unchanging. the evolving of kaupapa m ori theory is long-term and requires intense reflection. the process itself is as important, if not more so, as the outcome. it is through the process that we are able to engage more deeply with m ori knowledge, with te reo m ori me na tikanga, in ways that can reveal culturally based frameworks and structures which will provide a foundation of m ori indigenous analyses. in identifying the evolving nature of kaupapa m ori theory it is also important to acknowledge those who have been instrumental in its articulation. much is o wed to the foundational work done by linda tuhiwai smith and graham hingangaroa smith in providing key elements for exploration in terms of what kaupapa m ori theory might look like.
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