February 26th, 2015
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
101 Wakefield St
Opening hours 10am – 5pm every day.
Article source: http://citygallery.org.nz/news/behind-scenes-pauline-autet
April 9th, 2014
Pictures They Want to Make – Recent Auckland Photography
by Chris Corson-Scott and Edward Hanfling, with a foreword by Ron Brownson.
Hardback, 176 pages, 270 x 295mm, with over 100 full colour reproductions. Published and distributed by PhotoForum Inc., Auckland,
June 2013. RRP NZ$59.95 ISBN 978-0-9597818-6-1
Showcasing a selection of new, unseen, and significant photographs from twelve artists with various connections to the Auckland region: Mark Adams, Edith Amituanai, Fiona Amundsen, Harvey Benge, Bruce Connew, Chris Corson-Scott, Ngahuia Harrison, Derek Henderson, Ian Macdonald, Haruhiko Sameshima, Geoffrey H. Short and Talia Smith.
Previous events associated with this publication and exhibition:
– Sun. June 23 at 2pm, Auckland Art Gallery Shop: “Meet the Authors”
– Sat. June 8 (from 3pm): Gallery talk by Ron Brownson with Edward Hanfling, followed by an informal “Meet the artists” session.
– Recent Auckland Photography exhibition 20 May – 12 June 2013, Northart Gallery, Auckland.
– Opening night photos, book preview, exhibition poster, blogs by Harvey Benge & D-Photo.
March 30th, 2014
You are warmly invited to attend the opening of Onslow College Sports Day 1967 – a series of photos taken on “two hand-me-down cameras and eight rolls of film”, and developed by the two then 15 year old schoolboy photographers using a wardrobe as a darkroom. The negatives survived, and Graham Wilton & Michael Bajko have scanned them and printed the images digitally. We hope you’ll agree they have captured a slice of history with a good dose of charm.
The exhibition runs until 28th April.
More info: http://www.photospacegallery.
There will also be a show of photographs selected from the gallery’s stockroom.
Graham, Michael and the Photospace crew look forward to seeing you at the opening on Friday 4th April, between 5pm and 7pm.
1st floor, 37 Courtenay Place, Wellington
T: 04 382 9502 M: 027 444 3899
Gallery hours: 10am to 4pm Mon-Fri, 11am to 4pm Sat
Closed Sundays and public holidays.
February 21st, 2014
15 – 28 Feb. 2014
CPIT Rakaia Centre
130 Madras St, Christchurch Central
Enchanted Gardens considers the relationship between nature and people, their gardens and parks. Curated by Warren Feeney, it is a fundraising exhibition for the Christchurch Garden City Trust, the organisers of the Festival of Flowers. Included in the lineup of art works on show, are six post earthquake images by Christchurch photographer Maurice Lye.
OUT OF PLACE – featuring works by Katharina Jaeger, Chris Pole, Tim J. Veling & Charlotte Watson
4 – 26 August 2012
Christchurch Art Gallery
Located offsite at 212 Madras Street, (above NG boutique & The National)
Opening hours: Monday to Friday 10am to 5pm, Saturday and Sunday 10am to 4pm.
Four artists with Christchurch connections consider what’s possible when the usual rules around our relationship with structure no longer apply, in the latest exhibition in Christchurch Art Gallery’s Rolling Maul series.
Incorporating a variety of media, including painting, photography, sculpture and installation, the works in the exhibition use the built environment as a starting point for the exploration of less concrete ideas.
Director Jenny Harper says that while the structures seen in the exhibition are noticeably uninhabited, they resound with presence.
‘These unpeopled spaces invite us to consider the histories they hold, the futures they store and the emptiness they leave behind. We have experienced dramatic and continuing changes in our relationships with structures across the city as a result of the earthquakes, so many will find this exhibition has additional meaning for them.’
Tim J. Veling’s post-quake photographs document a Christchurch that is transformed and in transition. Taken from a body of work titled Adaptation, his images present the re-imagined city that is emerging as the urban landscape finds a new equilibrium. Read the full article HERE
For more information visit christchurchartgallery.org.nz
Tim J. Veling website
November 25th, 2011
PhotoForum and Rim Books are sharing a book stall at the upcoming End of Year Fair. We hope you and your friends can make it along to this fun event. ST PAUL St Gallery (AUT) organisers have brought together a great mix of ‘many things creative’ so there’s sure to be something of interest for everyone…including performances, excellent coffee and of course our great selection of books! We look forward to meeting you there.
28 July – 12 September 2010 Opening Wednesday 28th July 5.30pm -7.30pm
19 Artists, 61 works 1973-2009 Laurence Aberhart, Janet Bayley, Alan Bekhuis, Peter Black, Rhondda Bosworth, Fiona Clark, Richard Collins, Margaret Dawson, Bruce Foster, Joseph Griffen, Paul Johns, Nikolai Kokx, Anne Noble, Fiona Pardington, Peter Peryer, Clive Stone, Olivia Taylor, John B. Turner & Ans Westra.
The connections between the family and photography have been evident since the invention of the medium.
A photograph has that sense of presence, that trace of the real, and photographs sometimes make appear what we never see in a real face, a genetic feature.
We all make portraits photographs of family members and this exhibition looks at work made by currently active ‘creative photographers’ who look to their first- & second- degree relatives. However, rather than being the mirrors of the soul of the subjects, these portraits may reflect more the personality of the photographer.
Link to further exhibition notes (scroll down page)
Kin:an exhibition developed by McNamara Gallery for The New Zealand Portrait Gallery/Te Pukenga Whakaata
April 18th, 2010
Image: Erin McNamera, Quay School Yr3 BFA
ALTERNATIVES 2010 NEW ZEALAND at Quay School of Arts, UCOL Whanganui
Send you entry for jurying now. 5-10 slides, images on a CD/DVD or small jpgs in an email plus a resume. Entry due June 1, 2010. Viewing Fee $10 (Ck in NZ or US funds to Quay School of Art). No entry fee to currently enrolled university students.
Work may be any photo process EXCEPT conventional B&W silver prints via conventional cameras or conventional colour prints. So possibilities INCLUDE: Pinholes, Holgas, Cyanotypes, Gum Bichromate, Platinum/Palladium, Pigment prints, Hand-tinted etc. Please no fractuals. Please no framed work.
Accepted entries will be notified and will need to ship work by 28 July, 2010. If actual work is sent you must include postage for return of entries or they will go into the Quay School Collection. Include care with Title, Medium, Price if for Sale on each piece. Include return ship label.
Information and email entries: firstname.lastname@example.org. Accepted Entries: Ship insured only for cost to replace (NZ Customs may seek additional charges if you insure beyond cost to replace so be realistic. Items over $200 should not be sent.) Include entry fee of $10 if not already paid and check sufficient to cover return ship. (Do not send US or other stamps as they will not work in NZ!) If you prefer you can send us jpegs and we will print for a $10 fee for A4(8×10) or $15 fee for A3(11×14) pigment print from your high quality Mac readable tiff or jpeg sent on CD or DVD.
Send to the following address: Rita Dibert, Alternatives 2010 Photography Department, Quay School of Arts Whanganui UCOL, 16 Rutland Street Whanganui New Zealand 4500
The exhibition of secondary school students’ photography, ‘Replenish the Stream’, which will be on an extended opening through July 2009, is available for touring. The exhibition was put together by year 13 students, Megan Holley, Zara Santamaria, Samah Seger, Robyn Oliver and Christine Finlay, from St Dominics College, Henderson, under the guidance of photograper Lynn Houghton. “The students,” he said, have really created images that tell the story [of Waitakere’s Twin Streams Project] from within. The photos show a very intimate picture of streams, planting days, clean-up and other project events.”
The exhibition consists of two parts: a set of conventionally-framed expressive works which tend to be lyrical representations of the streams, and a set of images set in two-sided vertical A4 stands that can be viewed from either side, documenting the people and events associated with this green initiative to clean up Waitakere’s streams. A handsome two sided A1 poster outlined the nature of this project. Schools, libraries, or other interested groups can contact Lynn Houghton regarding the availability of this invaluable collection, which both inspires and informs. The quality of the photographs is exceptional. Lynn can be contacted at email@example.com.
Almost hidden from view, just above and across the road from the Airedale Street Methodist Mission, where Gary (his surname is not given) tells us there are full meals offered to the homeless for only $1, there is a plastic folder of machine postcard prints, with typewritten notes, and a video, introducing Gary’s world view as a homeless 54-year old in Auckland central. When I asked where this show was, the ground floor attendant, about a decade older than Gary, told me that there was only a video upstairs, and the work “wasn’t very good”. Hmm! Foolishly, I was deflected to the Aotea Centre, where I saw last year’s Olympus Photo Day 2008 display instead of what I was led to believe, would be a display of Gary’s prints. So I returned to the Town Hall hot and sweaty to see what Gary had to say through his throwaway camera.
The attendant was more wrong than right. Gary had a lot to say and mostly he did so with words. Too many words, in too small a type face, to be read easily on a video monitor. A bit more editing would have helped tighten up Gary’s frequently wise, well-informed, and ironic commentary. I think he likes talking, and he certainly has something to say. His photographs are ok, but somebody should give him a digital camera, or the analogue equivalent, and fuller support to create a larger, more enduring body of work – if he wants to. He’s not a George Orwell with pen or camera, but he has the potential, as an insider, for as long as he has to stay so, to build on this invaluable, perceptive start. His crafty, self-deprecating observations are enough to want me to see more, and hear more from this man who was briefly thrust into the media highlight to speak for our homeless, and thus help to change our world view. That’s what art can do.
Gary’s shadow before the church diptych is him being a good boy, I suspect, but it is his advice on where to find the goldmine of cigarette butts that really hits home. Thanks Gary, more power to you. (Note to Exhibition organisers: Please take more care with presenting photographs of value so they can be properly seen.) Nevertheless, while Gary’s Magnum peers were publically flogged in the public arena of Auckland’s CBD, his work, although tucked out of sight, was privately accompanied by the NZ Symphony Orchestra. How good is that? — JBT