Pauline Autet- City Gallery Wellington


Pauline Autet is Curatorial Assistant and Researcher at City Gallery, working behind the scenes on many of our exhibitions.  Pauline assists our curators by tracking down works and researching the artists and stories behind them. We asked her a few questions about her role, and in particular about the upcoming exhibition History in the Taking: 40 Years of PhotoForum, opening Saturday 14 March.

Can you tell us a little about yourself and how you came to work at City Gallery?

I was born in Dijon, France, and moved to Kerikeri with my family ten years ago. After a few back and forth trips between New Zealand and Europe, I moved to Wellington to study Fine Arts at Massey where I also became interested in curatorial aspects of art exhibitions. I approached City Gallery about doing an internship and joined the team for six months. Following my internship, I went on a university exchange to Berkeley and then returned to Wellington where I resumed my intern role. After completing my degree, I began a new part-time position as Curatorial Assistant and Researcher at the Gallery. I have appreciated seeing how exhibitions are put together, being part of their development, with a very dedicated and knowledgable team, and learning from different curatorial processes.

You are involved in the curatorial process, can you tell us what your job entails?

For the past eighteen months, my main focus has been working on the Yvonne Todd exhibition. I assisted curator Robert Leonard on the realisation of the exhibition and publication, Creamy Psychology. I started off researching, compiling texts and articles about Yvonne’s practice, to form an archive that could be used to develop the publication. Working closely with the artist and her dealer gallery in Wellington, I also embarked on the search for works we wanted to exhibit and facilitated the loans from private and public collections. From there I worked on the exhibition layout with the registration team. We also liaised with designers and writers to get the publication ready for the opening in December 2014.

Can you describe one of the most memorable experiences from your time at City Gallery?

I really enjoyed working on The Obstinate Object with curator Aaron Lister. I think it was the first project I was involved with. It’s always inspiring to work directly with artists as there is no better way to get an insight into their work than watching their process and hearing how they make the decisions. I was involved during the installation period and really enjoyed assisting artist Sian Torrington to set up her immersive installation. It consisted of colourful fabric wrapped around the internal structures of the Gallery. Installation is always a memorable time, it’s when you start to see the exhibition take form. You never fully know what the result will be until the works are in the space and things are discussed and moved around a bit.

The opportunity to work on Creamy Psychology from start to finish was another highlight. It taught me a lot about the various steps to achieving such a large-scale exhibition and I was given the chance to be part of the conceptual process and take some initiatives, which I feel was a great experience.

History in the Taking: 40 Years of PhotoForum opens mid-March, what are you currently working on for this exhibition?

This exhibition was curated by Nina Seja and Geoffrey Short and shown at the Gus Fisher Gallery in Auckland in 2014 so there is less detective work involved. We have just completed unpacking all the works. Currently, I am working on laying out the exhibition, to fit the walls of the Deane and Hirschfeld Galleries, using computer plans.

What are you enjoying most about working on this exhibition?

I’m a practicing artist and photography is my primary medium, so I am particularly interested in photographic processes. I’ve enjoyed the chance to explore the history of PhotoForum and photography in New Zealand. The PhotoForum at 40 publication is a valuable resource for becoming more familiar with the work and stories of these artists who were such passionate advocates for their medium.

Pauline is one of the founders of Elbowroom, a Wellington pop-up project. She also works part-time at Te Papa and at 30upstairs in Courtenay Place, where her exhibition, Roofline Chase, is on until 28 February.

Olivia Lacey, Publicist

City Gallery Wellington
Civic Square
101 Wakefield St
Opening hours 10am – 5pm every day.

Article source:



James K. Lowe _McNamara Gallery 2015.


Return To The Soil

 March 6 – 27* 2015

Reception with James K. Lowe 5.30 pm Friday 6th March.
Click here  to see earlier work by this photographer

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


Survey Update: 15 February 2015

The PhotoForum website survey  is now closed and a huge thank-you to everyone who completed it. We got a great response rate, including 37% from the PhotoForum mailing list, plus a significant number from the wider arts community. This solid response and the many useful comments and suggestions mean that we can be confident of where to put our efforts in the website renewal.
A quick results headline shows that:

  • The majority who completed the survey were PhotoForum current or past members, but pleasingly there were also a good number of people from the wider arts community.
  • The large majority of you get news about PhotoForum from our newsletter, with the website and Facebook in second equal place. People get their news about photography generally from a huge array of mostly online sources, mixed with friends, groups and magazines.
  • In terms of suggested improvements for the site, calls for better design ranked high, better integration between the web and social media, better display of images and use/curation of portfolios. There were also many suggestions for improved content.
  • The top new features that people most wanted were:
  1. News about the latest photography exhibitions, events and opportunities
  2. Reviews and critical commentary of NZ photography books/shows/art fairs
  3. Interviews with significant NZ photographers
  4. Reviews of international photography books/shows/art fairs
  • Over 70 people offered to provide content for the new site
  • Over 85% of people want MoMento to remain as a paper-based magazine, but there was acknowledgement of the greater reach of an online resource. There are also many useful comments about MoMento for us to study
  • Nearly 90% of respondents thought the new PhotoForum site should be ‘A leading resource about New Zealand art photography.’
    There is much for us to analyse in the survey results and our volunteer committee will be working steadily on the project in the coming months and will give you more updates as progress is made.

Thank you all again for this fantastic response – we are really looking forward to building the new, updated and upgraded PhotoForum website.

Geoffrey H. Short
Director, PhotoForum Inc.

Our congratulations to Mark Berger (Wellington)
Survey prize draw winner of a year’s free membership of PhotoForum

Initial Survey communication: 27 January 2015:

PhotoForum’s website began in 1996 has been going in its current form for about seven years – it’s now time for a major upgrade.

We want to revitalise the PhotoForum website and make it a dynamic engaging site that photographers and the wider arts community visit regularly.

We’ve got some ideas for exciting new content and features, but we’d love your help to identify what would be most relevant to you as a photographer or an arts practitioner. We’re also looking for people to contribute interesting new content to the site.

Please help us by completing this brief online survey. [ ]

Everyone who completes the survey will have the opportunity to go into a draw to win a year’s free membership of PhotoForum (for an existing member this would apply to next year’s membership).

We value your response and will keep you updated on progress with the site upgrade. Please forward the survey to anyone else you think would be interested.

The deadline for responses is Thursday 5 February 2015.

Many thanks,

Geoffrey H. Short
Director, PhotoForum Inc.

Shelley Jacobson at The Keep

Shelley Jacobson
Surface Expressions

26 February – 14 March 2015

Opening and book launch: 6–8pm, 26 February

Artist Shelley Jacobson will be launching a new series of photographs and an accompanying book, both entitled Surface Expressions, at K’Road project space The Keep on Thursday 26 February.

Surface Expressions is a study of the Wairakei geothermal area in the central North Island. It draws attention to the region’s unique natural features and to the human forces that have formed its current state.

Victorian-era Wairakei was a world renowned and exotic geothermal tourist destination. In the mid-twentieth century it was radically transformed by its conversion to a site for generating electricity. Through this intervention, the underlying geothermal system was irrevocably altered: the spectacular Geyser Valley was extinguished; the steaming craters of Karapiti were revealed. More recently, a man-made geyser has come to accompany the power station in this disrupted landscape.

The photographs in Surface Expressions offer glimpses of the land forms of Wairakei today. The publication takes a wider view, incorporating found text dating from the late nineteenth century through to the present day. These newspaper clippings, advertising materials and Trip Advisor ratings speak in the vernacular of their respective times and frame social ideas and expectations of tourist attractions.

The Keep is the open studio and concept store of fashion designer Lela Jacobs. This setting allows customers to be involved with the design and construction process and offers them the opportunity to take home the finished product. The Keep works closely with the local artistic community and hosts a schedule of art, design and craft exhibitions.

Shelley Jacobson is an Auckland-based artist. She graduated with an MFA from Massey University Wellington in 2009 and a Diploma of Publishing from Whitireia New Zealand in 2012. In her work Shelley is interested primarily in cultural geography. She maintains a research-based practice focused on this area. Shelley is involved with PhotoForum New Zealand’s publishing programme, most recently guest editing a double issue of its members’ magazine.

Logo - The Keep

The Keep
504 Karangahape Road, Auckland
09 555 7098
Hours: Thursday, Friday 10am–6pm
& Saturday 11am–4pm or by appointment

Chris Corson-Scott photospace_invite


For artist info, please see:

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


Image: Madeleine Slavick, Woman at Yuen Chau Kok Housing Estate, Hong Kong, 1993.

Hong Kong Song – Madeleine Slavick

Aratoi Wairarapa Museum of Art and History
13 February 2015 – 10 May 2015

Opening reception: Feb 13, Friday, 5.30pm
with a bilingual English-Chinese performance
Artist Talk: March 21, Saturday, 11.00am – Main Gallery

In this exhibition, Madeleine Slavick presents the poetry, poverty and generosity of Hong Kong. The photographic images trace nearly 25 years of living in Hong Kong, and an accompanying book contains fifty stories and fifty images.

The body of work draws attention to Slavick’s multi-faceted practice as writer and photographer, artist and activist. It draws attention to the many natures of Hong Kong – the natural beauty and the pollution, the rural and the urban; a society with one of the largest income gaps in the ‘developed’ world where one out of seven people lives in poverty; a climate with great heat, rain, wind, flora, humidity, and decay; with mountainscape, skyscraperscape, seascape, and (re)claimed landscape; with everyday scenery such as bagged up carts and street signs, clusters of chairs left on the pavement for all to rest on, and high-rise bamboo scaffolding made by ‘si fu’ – which translates as ‘masters’.

Madeleine Slavick has published several books, including Fifty Stories Fifty Images (2012), Something Beautiful Might Happen (2010), China Voices (2010), My Favourite Thing (2005),delicate access (2004), and Round – Poems and Photographs of Asia (1997). Her photography has been exhibited in Africa, Asia, Europe, and North America. Madeleine has lived in North America for 25 years, in Hong Kong for another 25, and now lives in the Wairarapa.

Aratoi Wairarapa Museum of Art and History
Cnr Bruce and Dixon St
New Zealand

Open 7 days, 10.00am – 4.30pm.
Closed 25 December 2014 – 2 January 2015, Good Friday, Anzac Day 25 April (until 1:00pm).
Admission to the gallery by gold coin donation

Interview: Conor Clarke
by Michael Dooney of Galerie Pavlova (Berlin),  25 July 2014

Conor Clarke (b. 1982 Auckland, New Zealand) is a photographic artist who has been living and working in Berlin since 2009. She shares a studio with fellow New Zealand fashion designer Sherie Muijs, and NZ / South African artist Nicky Broekhuysen who she met whilst completing her BFA (2005) at Elam School of Fine Arts. Since 2004 she has exhibited her work in Australia, Germany, New Zealand and Turkey. Her most recent series In Pursuit of the Object, at a Proper Distance is part of the group show Typologien and continues her exploration of the picturesque and fascination with the German Industrial Landscape.

Conor Clarke - image01 by Michael Dooney

Michael Dooney: How did you come to start the project In Pursuit of the Object, at a Proper Distance? I imagine that a lot of work went into it, you travelled all over Germany.

Conor Clarke: it took me a while to come to this point. I began looking at the old industrial area in east berlin; rummelsburg. I lived there one summer and became interested in plotting views around the Rummelsburger Bucht, trying to create picturesque compositions from positions i considered most pleasing. it was kind of tricky, creating picturesque compositions with a camera is more difficult than a painting where one can easily add and erase objects, or shift them around. The composition is very important, following the rules, for example framing with trees in a shaded foreground, guiding ornamental figures, a leading subject resting asymmetrically in the distance and so on. The leading subject of my earlier works eventually became the subject of my current work.

MD: I’ve seen your previous picturesque series (Viewing Stations around Rummelsburger See) on your website. Would you say In Pursuit of the Object, at a Proper Distance is effectively the next chapter?

CC: Yes, this is like the next chapter which continued a few years later. For Viewing Stations around Rummelsburger Bucht, I made three final works which we (myself and a small group of NZ artists) showed in Istanbul, then later at the Grimm Museum in Berlin. Sometimes it was quite challenging and frustrating following the picturesque recipe, but in the end I was quite satisfied with the pictures. In each one the leading subject is the former Klingenberg Power Plant in the background and the towers. It was summer at the time they were shot so there is no steam in these pictures. I tried again later to photograph the towers in the winter, beginning at a distance, still trying to create picturesque compositions, but it became more and more frustrating. I experimented with this for around a year or so but in the end I just wasn’t satisfied. I then hired a telephoto lens and decided to focus on my leading subject closely. It was enough, a symbol of the industrial landscape, the environment was no longer necessary. Now isolated, I call it the post-industrial picturesque.

MD: Are there any other artists that you’re aware of explored that?

CC: Well there was Doré? I don’t really know much about him to be honest, but he was making picturesque views of England following the industrial revolution, cramped housing conditions, etc. one memorable image by him is his portrait of ‘The New Zealander’ painting the London Bridge in ruins, an imagined future of London.

MD: So keeping with the tradition of painting.

CC: They were etchings I think. Gustave Doré. Maybe he was French?

MD: So you started in Rummelsburg?

CC: I started in Rummelsburg. The reason I was attracted to the industrial landscape in the first place was of course because of photos I’ve seen before. The work of Bernd and Hilla Becher is an example of my early experiences with German photography and perhaps explains my romantic association with the German post-industrial landscape, it’s interesting what sticks. Not that I expected the German landscape to be covered in industrial structures, but I was attracted to it and in the beginning sought out this kind of landscape.

MD: Is there something similar in New Zealand, do you have heavy industry there?

CC: We have industry, just not in the same way or on the same scale. We don’t have the mining industry like you do in Western Australia or west Germany, but we have the occasional steel mill way in the distance, or we have beautiful hydro dams. So it’s not completely foreign for me, but when you think of New Zealand you think of nature, mountains and beaches, of birds, lush green and Lord of the Rings, am I right? You know this from pictures. It’s not that Germany doesn’t also have these things, but the image is very different. We are always in pursuit of otherness.

Continue reading the full interview HERE

Galerie Pavlova was established in 2013 by Michael Dooney as a platform for Australian and New Zealand contemporary photography in Europe.

Galerie Pavlova
Linienstraße 116
10115 Berlin



Food For Thought _NZ Aids Foundation. Implicated and Immune exhibition, Michael Lett Gallery, Auckland.


Implicated and Immune
28 January – 28 February 2015
Preview Wednesday 28 January 6-8pm


Michael Lett is pleased to present Implicated and Immune, an exhibition that focuses on artistic responses to HIV/AIDS, both historical and contemporary, as well as offering broader meditations on desire, loss and the body. Implicated and Immune marks three decades of HIV in New Zealand and seeks to re-engage a wider public with the ongoing epidemic.

The exhibition partially reprises the first Auckland exhibition to explicitly respond to the epidemic. Implicated and Immune: Artists’ Responses to AIDS took place in late 1992 at the Fisher Gallery (now Te Tuhi) in Pakuranga, Auckland. This landmark exhibition featured work by artists including Jack Body, Fiona Clark, L. Budd, Richard Killeen and Fiona Pardington.

The new exhibition revisits these artists as well as drawing in other New Zealand practitioners including Billy Apple, Simon Denny, Russ Flatt, Jacqueline Fraser, Giovanni Intra, Imogen Taylor and Douglas Wright.

Prevention materials from the New Zealand AIDS Foundation, an organisation that for 30 years has been at the forefront of New Zealand’s community-based response to the epidemic, will also be included.

Two public conversations will be held in the gallery during the exhibition. On Saturday 31 January at 1pm, artists Ruth Watson and Trevor Fry will discuss the work of important gay artist Grant Lingard, whose final major work Swan Song will be included in the exhibition. On Saturday 14 February at 1pm, Auckland Art Gallery curator Ron Brownson and artist Fiona Clark will discuss Clark’s seminal work Living with AIDS.


Michael Lett
312 Karangahape Road
Cnr K Rd & East St
PO Box 68287 Newton
Auckland 1145
New Zealand
P 64 9 309 7848

Tuesday–Friday 11am–5pm
Saturday 11am–3pm
Visit Michael Lett  Implicated and Immune Facebook event page for a comprehensive list of  participating artists

Related links:
ArtForum Critics’ pick
‘Artists in aid mission’ article by Kim Knight, online at
Auckland Pride Festival



Greta Anderson Day for Night Stills - The Members


Day for night stills for ‘The Members’ a film about a benign cult located west of a city in NZ

February 6–27* 2015

Reception with Greta Anderson 5.30 pm Friday 6th February

Click here to see earlier work by this photographer

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

The Cars of Christchurch, New Zealand

A Photographic record by Stephen Trinder

On June 19 2012 Stephen Trinder took a photo of an orange 1978 Datsun B210 in Christchurch, New Zealand.

Without knowing it at the time, this was to be the first of more than 1,000 Christchurch cars he would find and photograph, a pursuit that turned into a near obsession and continues to this day.

Encouraged by local and overseas car spotters as well as more fine art orientated photographers his collection has gained many comments and earned him the majority of the 1.5 million views on his account.

Responses to the images have ranged from bewilderment at the number of older cars still on the road here, to respect for the owners who restore, maintain and customise models that can only be seen in museums elsewhere. New Zealanders have mentioned makes and models they grew up with and specific cars they have seen themselves.

Viewers have also noted the changing face of the city itself, enquiring about the earthquakes and their effects, often seen in the backgrounds to various vehicles.

As the number of images grew an early ambition was the publication of a book documenting the cars. This has since been replaced by the realisation that the growing number of online views is potentially far higher than a physical book of the same images could generate.

The photographs do however lend themselves to being exhibited en masse. A makeshift wall display continues to elicit a universally enthusiastic reaction, providing a picture postcard catalogue of a city seemingly populated solely by cars. Visitor’s reactions here, ranging from visiting members of the police force to rebuild workers, echo the online comments as well as including decisions on favourites, oldest, ugliest and most expensive vehicle.

Several times Stephen Trinder has vowed to stop but everytime something exciting has literally turned the corner. Many more cars (and utes, trucks, buses, caravans, etc.) are out there and you can see them as they’re found simply by following the photographer at:

Editors note:
You can also see a portfolio of images by Stephen Trinder on the PhotoForum members gallery HERE