Lucien Rizos_from Traffic Lights 1981
Lucien Rizos from Traffic Lights, 1981



You are warmly invited to attend the opening of


Sunday 21 June 3-5pm

On exhibition until 25/07/15
Anna Miles Gallery
10/30 Upper Queen St, Auckland, 1010

Lucien Rizos was born in Wellington in 1953 and studied graphic design at Wellington Polytechnic in the early 1970s. Since 1974 he has been a violinist in the New Zealand Symphony Orchestra. At the beginnings of his musical career, the orchestra regularly toured regional centres nationwide. In 1979, while on tour, Rizos set out to photographically document New Zealand. Thirty years later,  A man walks out of a bar… : New Zealand photographs, 1979-1982, a book that borrows its format from Robert Frank’s 1958, The Americans, was published (Rim Books, 2011).

By 1984, Rizos had rejected what he now describes as his ‘Doco Style’ phase (1976-1983), in favour of more conceptually inclined photographic methods. This exhibition presents Rizos’ new work, Unposed Portraits (2014), telephoto-assisted extreme close-ups of people in vehicles, alongside Traffic Lights (1981), photographs of pedestrians, shot quite literally from the hip, at intersections in Wellington and Auckland.


Rizos from Unposed Portraits 2014
Lucien Rizos from Unposed Portraits, 2014


Contact Sheet from Traffic Lights 1981

Contact sheet from Traffic Lights, 1981

Some Australian Photographs - McNamara Gallery

Some Australian Photographs

12 June – July – 28 August* 2015
Reception 5.30pm Friday 12 June

The fifteen photographs in this exhibition have been selected on particular aesthetic, as distinct from curatorial, concerns. It is anticipated that they will reveal some distinctive aspects of recent Australian practice.

McNAMARA GALLERY Photography Ltd
190 Wicksteed St. WHANGANUI 4500
Tuesday / Wednesday – Saturday 11 – 3 [often open to 6] or by appointment
* Please check website INFORMATION page for occasional closed days due to travel commitments
06 348 7320 / 027 249 8059

Matakana Images 2015 is on showing as part of this year’s Auckland Festival of Photography. Exhibiting artists are: Ian Macdonald, Richard Collins, Di Halstead, Richard Smallfield, Lieve Van den Bosch, Murray Savidan, Maria Krajcirovic, Andrew Martin, Karen Williamson, Sue Hill, Davina Monds, and Barbara Cope.

Matakana Images 2015
29 May – 21 June 2015
Opens Friday 29 May, 5pm

Art Matakana (mezzanine level)
Matakana Country Park, 1151 Leigh Rd, RD5 Matakana
Gallery hours Wed – Sun (10am  to 3.30pm)

Matakana Images 2015


John Fields _Gus Fisher Gallery  

Our congratulations to Auckland photographic artist Cathy Carter on selection as a finalist in the Head On international portrait competition, as part of this year’s Head On Photography Festival  (1/5/15- 31/5/15).  Now in its 12th year, the Head On Portrait Prize is one of Australia’s most critically acclaimed and internationally renowned photographic portrait competitions, representing a vibrant and diverse cross-section of new and traditional photographic practices.

As one of 40 finalists (and the sole kiwi finalist), Carter’s work is on show along with the other  finalists, including the three winners, at the Museum of Sydney until 8 June 2015.

Prize winners: Molly Carlisle Harris (winner), Glyn Patrick (2nd place), and Samanth Everton (3rd place).


Idyia #2 from the Oceanid series, Cathy Carter

Idyia #2 

Inspiration for this portrait comes from the Greek Oceanids. These were mythological goddesses responsible for protecting the body of water they inhabited, and the creatures that lived there. With the ecological crisis facing the worlds oceans and waterways, I was interested through the constructed nature of photography to imagine a contemporary representation of these mythical ecologists. The name ‘Idyia’ is derived from the Greek word to see or know. And it relates to the idea that we all see and know to some extent the destructive effects of prevailing consumerist attitudes to the environment and in particular our bodies of water. Idyia gazes back at us challenging us to defy her existence and to take action with her.

Water and more specifically the ocean has been a source of inspiration to Photographer and Installation artist Cathy Carter. There is a kinesthetic curiosity the artist explores as she floats in the ocean or dives down to capture these fluid moments. Through the use of intimate perspective she seeks to embody seeing as an experience rather than solely as observation. In suspending the body in a place of isolation and destabilization the work offers a sensuous psychologically compelling encounter to challenge perceptions and frams of reference.

Carter graduated with a Bachelor of Visual Arts in 2010, a Postgraduate Diploma in 2011 and a Master of Art and Design (Hons) in 2013.

Finalist Headon 2015 international Portrait Competition.
Finalist 23rd Annual Wallace Art Awards 2014
Nominated for the Glaister Ennor Graduate Art Awards 2013
Nominated for the Glaister Ennor Graduate Art Awards 2012
Awarded the AUT Visual Arts Photography Prize 2010

Carter has exhibited in successful solo and group shows in Auckland, Wellington & Sydney and is represented by Antoinette Godkin Gallery.

Anne Noble No Vertical Song

Two Rooms
16 Putiki St, Newton, Auckland
Gallery hours: Tue to Fri 11am – 6pm, Sat 11am – 3pm
Phone 64 (9) 360 5900



The exhibition What We Saw at Photospace Gallery is Sally Griffin’s first photography show. The images are from the artist’s personal collection of black and white photos. It features well-known, and not so well-known, artists and political figures such as Phil Clairmont, Tony Fomison, Merata Mita, Tim Shadbolt and many more.

Sally will give a a floor talk of stories about the photos on Saturday 16 May at 2pm. Admission is free.

Exhibition/artist info:

Photospace Gallery
James Gilberd
1st floor, 37 Courtenay Place, Wellington 6011, New Zealand
T: 04 382 9502 M: 027 444 3899
Gallery hours: from 10am Mon-Fri, 11am Saturday

Listed below are details and links to recent New Zealand photography publications previously listed on the PhotoForum homepage:

Wellington Streets by Julian Ward
Bent by Mary Macpherson
some things you should have told me by Harvey Benge
Our Future Nga Tau ki Muri by Ans Westra
Steamer by Alan Knowles
Aceh Revives + Scars: Life after the Tsunami by Noel Trustrum
the grass is awfully green - Limited edition book by Peter Black
Catch My Eye
 by Gabrielle McKone
Thinking it through by Tony Watkins, photographs by Haruhiko Sameshima
Old New World by Mary Macpherson

EYE magazine’s Une petite mémoire – Thursday 2 April 2015:

Two remarkable artists died within weeks of each other late last year. Bruce Connew pays tribute to fellow photographers René Burri and Lewis Baltz.


Lewis Baltz,_Site of Technology_Anechoic Chamber_France Telecom Laboratories_Lannion_France_1989-1991
Image: Lewis Baltz, Sites of Technology, Anechoic Chamber, France Télécom Laboratories, Lannion, France, 1989–91.

A packet arrived from photographer Lewis Baltz in Paris posted two weeks before he died on 22 November 2014, writes Bruce Connew.

Inside was a catalogue for ‘Lewis Baltz’, the precisely hung 2013 exhibition of his groundbreaking ‘central achievements’ at the Albertina, Vienna. It was inscribed to me and my wife Catherine, and signed ‘L’, in a sort of Zorro way. It had reached New Zealand about two-and-a-half weeks after his death.

Lewis Baltz by John Gossage
Image: Lewis Baltz by John Gossage.

At this ridiculous distance, around the other side of the world, times, dates and sequences of events are critical when processing the death of a dear friend. On 11 November 2014, eleven days before Lewis died, he sent me a magazine picture by email of a fine grey mare with President Reagan astride – a riposte, I assumed, to Body of Work (my procreating horses series).

On our unhurried walks about Venice and more often Paris, we seldom discussed photography or art in any direct sense, more writing, politics and the state of an unpleasant world. Once, I spoke of W. G. Sebald’s The Rings of Saturn. He was impressed by the work, and within a week had read everything of Sebald’s in print. It was seldom you could bring something new to Lewis, because he’d read and thought deeply in his time about a swathe of territory. His assessments about art in a three-minuteTate Shots, and his thoughts cast wider in Lewis Baltz Texts, his collected writings published by Steidl, manifest the capacity and intellect of a man whose work is at the top of the canon.

Continue reading HERE.