Te Tuhi Billboards –  Caryline Boreham
15 November 2014 – 15 February 2015

In an earlier body of work titled State Space, Boreham investigated interior spaces located within New Zealand institutions such as military bases, police stations and nuclear science facilities. Although these functional institutional spaces are depicted devoid of people, traces of their presence are revealed through the arrangement of barrier ropes, chairs, and acts of graffiti.

For the Te Tuhi billboards, Boreham expands upon State Space by introducing digital colour blocks into these utilitarian sites to conceal graffiti and marks that suggest human interaction. This act of concealing or censoring mirrors the authoritarian functionality inherent within these spaces.

Te Tuhi Gallery
13 Reeves Rd, Pakuranga, Auckland
Opening hours: Week Days 9.00am – 5.00pm, Weekends 10.00am – 4.00pm
www.tetuhi.org.nz

MAF - Auckland Airport 2014 © Caryline Boreham

Caryline Boreham: MAF – Auckland Airport 2014

Caryline Boreham: Archives New Zealand 2014

Do Jane Bown, William Eggleston and Diane Arbus not sing on a gallery wall?

Photography critic Sean O’Hagan hits back at Jonathan Jones’s damning claim that photographs cannot be considered fine art.

Samuel Beckett. Photograph by Jane Bown
Still intensity … Samuel Beckett. Photograph: Jane Bown.

‘In November, our art critic Jonathan Jones went to see the wildlife photographer of the year show at the National History Museum and the Taylor Wessing prize at the National Portrait Gallery – an open submission award known for its eccentric shortlist, usually featuring people with their pets. Quite why he chose to visit these two shows eludes me. Did he think they were art photography exhibitions? He castigated both, as I, a photography critic, would probably have done had I the energy to kick a few dead horses.

I did not respond back then for two reasons: the “photography is not art” debate is so old it’s hardly worth revisiting, and the idea of using a wildlife award show as a yardstick just seemed bizarre. But, alas, he has repeated his claims this week, discussing a rather boring photograph by Peter Lik, which sold for £4.1m, becoming the most expensive photograph in the world. To which my response is  … ‘

Read the full Sean O’Hagan article here

 

Source: The Guardian online, Thursday 11 December 2014

Photographer David Cook has just released a book of  his Christchurch images from the 1980s. An accompanying exhibition is due to open at Christchurch City Art Gallery (offsite at 209 Tuam St),  in late January 2015. See more details below.

 

Meet_Me_in_the_Square_David_Cook

Take a trip down Retro Avenue with this beautifully designed book of photographs of 1980s Christchurch.

After the earthquake of 22 February 2011, photographer David Cook returned to his former hometown and found the central city irreparably damaged. He was inspired to unearth his archive of 6000 photographs of the city he’d shot as a young man in his twenties, rebuilding through images the city as he remembered it.

Cathedral Square, Centennial Pool, Lancaster Park, schoolboys, punks, nuns – this is a moving, nostalgic journey through the city we’ll never see again.

View a selection of images from the publication and purchasing details here

Meet Me in the Square: Christchurch 1983-1987
Published by Christchurch Art Gallery
Designed by Jonty Valentine
ISBN: 978-1-877375-37-8
Pages: 180
Dimensions: 275mm x 210mm
Format: Hardcover $NZ49.95 and flexicover book $NZ39.95
Publlication date: December 2014 – Available now.

David Cook: Meet Me in the Square forthcoming exhibition

31 Jan 2015 – 24 May 2015
Curated by Ken Hall

Christchurch City Art Gallery offsite at 209 Tuam Street
open 10am – 5pm, Monday to Friday
10am – 4pm, Saturday and Sunday

David_Cook_Meet_Me_in_the_Square_Exhibition

As a young photography student, David Cook’s camera was his licence to explore 1980s Christchurch. Bell-ringers and boot boys, beery crowds, nuns, mums with prams – his photographs continue to resonate. More exhibition info here

 

 

CELEBRATING 10 YEARS OF RECOVERY IN ACEH
A photobook to commemorate Aceh’s earthquake & tsunami recovery 2004 – 2014

Aceh_Revives_cover_Noel_Trustrum

Author: Dr Noel Trustrum
Published by Saritaksu Editions, Bali

Book Specifications:
Size 28 x 24cm, 200 pages of contents
Approx. 130 full colour images
Hard-cover English launch August 2014
Hard-cover & Soft-cover Indonesian launch December 2014

A commemorative photo book

Celebrating the amazing spirit, resilience and achievements in Aceh, Indonesia since the devastating earthquake and tsunami of 2004 that decimated so many coastal communities, in print.

The photographer, Dr Noel Trustrum had the opportunity to work alongside the many people and organisations that contributed to the relief, recovery and rehabilitation efforts in Aceh directly after the tsunami, and has since returned to further document the recovery.

The bravery of the local people, many of whom lost their entire families and belongings, left such a strong impression with Noel that he published a small book “SCARS: Life after the Aceh Tsunami”, featuring a time-sequence of photographs depicting landscapes, people and the journey from desolation to recovery during a nine month period following the Tsunami. Noel and his team have researched a number of powerful untold stories and interviewed key people involved in the recovery process for this photo book highlighting the resilience of the people and lessons learnt.

Dr Kuntoro Mangkusubroto, founder of Indonesia’s BRR Institute (for Rehabilitation and Reconstruction), endorses this publication.

A compilation of images and inspirational stories
Working closely with Saritaksu Editions, a publisher based in Bali we have created a book that gives a voice to the photos and enables the Acehnese people, survivors and those involved in the recovery to tell their own story.

Aceh revives label

Book price NZ$80 (free postage in New Zealand)

Buy in New Zealand via PAYPAL or Direct Bank Payment (view full details here )

Visit the dedicated website: www.AcehRevives.com


Further articles on Noel Trustrum and his project are featured in:
15 Nov. 2014  New Zealand Weekend Herald (click on below pic) and The Jakarta Post here

acehNZHerald1200

 

Leon Rose Live Train Fight like Thai cover image

All stops are out for Auckland professional photographer Leon Rose who decided crowd funding was the way to go to get his first book of personal work published. He has until 7 January to raise the $NZ25,000 to cover the costs for his book, Live, Train, Fight Like Thai, documenting aspects of the Thai Kickboxing sport in New Zealand. It is a photo essay that grew and has occupied him for 10 years, half of his professional life. Muay Thai kickboxing is not well known in sports crazy New Zealand and that fact has been a major motivation for making him extend his essay. But it was not until he heard a motivational speech by Geoff Blackwell, the publisher of the popular M.I.L.K. – (Moments of Inspiration, Laughter and Kinship) photo books, that Rose decided it was time for him to approach PledgeMe.com to get sufficient funds to publish with PQ Blackwell Publishing.

At the end of November 2014 he had around one fifth of the funds pledged for his short-run book, which starting at $85 a copy for the basic version, heats up to $400 for his “Epic Edition”.  He is offering a signed print of the purchaser’s choice for the higher priced versions outlined on his PledgeMe page. Pledges are only deducted from supporter’s bankcards if the goal is reached by 7 January 2015, otherwise the project will not go ahead, or at least, not by this method.

Leon rose 20040212-ASBStadium0014

“Muay Thai is a most skilful art and is as beautiful as it is brutal”, Leon writes. “I learnt that to win in this sport involves the most incredible amount of dedication and training…. The dedication of these fighters who start their fight careers at very early ages, some as early as eight years old, is truly astonishing and is something I have a huge amount of respect for.”

Leon Rose’s commitment has resulted in a significant photo essay, which seems reminiscent of Geoff Winningham’s great book, Friday Night at the Coliseum, on the Texas wrestling scene. Rose, however, did not have the benefit of knowing Winningham’s work, and at this point, I was surprised to learn that he hasn’t done a rough layout of his ideal book, but will be working with  Blackwell publishing to make the selection.

Asked what he would do if for any reason crowd funding didn’t work for him, he wasn’t sure. But he has stepped into the photobook ring now, and one way or another, I suspect, his book will be completed. In the process the world will get to know more about the nascent Thai kickboxing scene in far away New Zealand than could ever be imagined.

Leon’s introduction and the nature of the PledgeMe crowdfunding process as a potential model for others to follow can be seen at  https://www.pledgeme.co.nz/projects/2808-live-train-fight-like-thai-book-project .

For photographers this is also reminder that if they care enough, they have the skills, and therefore the potential, to fulfil personal essays with lasting  historical value, outside of their commercial work, as Leon has done. And it is also a reminder that it has never been easier to buy a good book – and if you splash out, to start your own photo collection in the process.

John B Turner, Beijing

The topic of Internationalism with regards to  NZ photography, comes up for comment every so often.  Below are notes compiled by Paul McNamara (McNamara Gallery Photography, Whanganui), as part of his 2011 presention at Art Lounge, Auckland Art Gallery highlighting aspects of Internationalism – the off-shore exhibition and collection of NZ photography. Our thanks to Paul for allowing us to share this information.

 

The Exhibition & Collection of NZ Photography Nationally & Internationally

Auckland Festival of Photography
Art Lounge Sessions
Sunday 5 June 2011 • 1pm

NZ PHOTOGRAPHERS EXHIBITING INTERNATIONALLY
&
COLLECTIONS HOLDING THEIR WORK

 

Looking at the experiences of 19 artists, 8 of whom have off-shore dealer representation and 14 have work in off-shore public collections in: Australia, New Caledonia, Taiwan, Macau, USA, UK, Holland, France & Spain

The selection ‘mechanisms’ involved in these exhibitions are no doubt many and varied, but one anticipates the work is subjected to robust critical debate; that it participates in the international discourse.
It appears that artists who work in tertiary institutions [artist as academic/teacher] are particularly well placed to exhibit internationally as their institutions liaise with off-shore curators and galleries    [- including university galleries].

This factor may give some bias with regard to the type of work shown internationally [e.g. research –/project-based work]. As apposed to social documentary, street photography, architectural, staged etc.
However non-teaching artists Aberhart [1], Adams [5], Cauchi [1], Peryer [1] have also exhibited at university galleries.
I suspect most of these off-shore exhibitions are curated from outside NZ.

Australian photography Centres have exhibited: Aberhart, Adams, Crowley, Henderson, Noble [2], Robertson, Shelton and Tocher.

As you will appreciate from the detail below, off-shore galleries acquire NZ work.
However, one suspects the reverse applies infrequently, namely the acquisition of international work by NZ public collections, apart from the Chartwell Trust. [A private trust collecting a diverse range of contemporary New Zealand and Australian art – Tracey Moffatt, Patricia Piccinini, Bill Henson]

Read more here: Paul McNamara LECTURE – Internationalism AFP 2011 (pdf)

 


 

McNamara Gallery Photography  opened 25th January 2002, and exhibits New Zealand, selected Pacific Rim & International, photographically-based art. They are dedicated to exhibiting and promoting lens-based media, and exploring the range of practice, both materially and conceptually.

Visit their Exhibitions page where all exhibitions, including  out-reach exhibitions [29 so far] in blue ink can be found.  Denoted in the listing [via*]  are various genres, and also aspects of materiality [photograph type].

McNAMARA GALLERY Photography Ltd
190 Wicksteed St. WHANGANUI 4500
NEW ZEALAND

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 mcnamaraphotogal@xtra.co.nz
www.mcnamara.co.nz

 

Summer-Salon-TrishClarkGallery-Dec2014

www.trishclark.co.nz

 

Chris-Corson-Scott-TrishClarkGallery-Dec2014

www.trishclark.co.nz

 

Yvonne Todd Opening-Flyer[1]

For more details on the exhibition – 
http://www.citygallery.org.nz/exhibitions/yvonne-todd-creamy-psychology

 

Source:
City Gallery Wellington www.citygallery.org.nz

 

ANZAC_Photographs by Laurence Aberhart_frontcvr

01 December 2014

The Roll of Honour

 

Nina Seja
ANZAC: Photographs by Laurence Aberhart, with an introduction by Jock Phillips (Victoria University Press, 2014), 108 pp., $60

What are the implications of cultural remembrance? As theorist Marita Sturken points out in her book Tangled Memories, the ‘process of cultural memory is bound up in complex political stakes and meanings.’ The output of publications devoted to one cataclysmic conflict in cultural memory increased substantially this year as we entered into a period of centennial commemoration for the Great War of 1914–18.
      As a nation New Zealand suffered tremendous losses on the frontline, and the impact of war was felt almost equally strongly back at home, psychologically, economically, physically. One hundred years offers distance to reflect on the War’s legacy, but also an opportunity to see what types of official narratives have emerged, persisted, been revised. And beyond these historic or bureaucratic interpretations, how might artists reframe a culture remembering? Esteemed photographer Laurence Aberhart’s body of work entitled ANZAC offers one artist’s nuanced view of the event called ‘World War One’ that is at once personal and universal in its quiet critique of war and in its depiction of how memorials construct, or are invested with, the sanctity of the past.

      ANZAC is both a touring exhibition and a publication supported by the Dunedin Public Art Gallery and Victoria University Press. The printed version consists of seventy exquisite photographs of ANZAC memorials from Aberhart’s wanderings through New Zealand and Australia between 1980 and 2013. While war memorials are diverse – obelisks, cupolas, windows – here it is the digger that Aberhart privileges. While these soldier figures represent only 8 per cent of all memorials, they offer the most human depiction of the cost of war.

Read the full review at http://www.landfallreview.com/2014/12/the-roll-of-honour.html

 

Source: www.landfallreview.com