CURRENT EXHIBITION

Further images can be viewed under artists

Any outreach / touring exhibitions are posted further down this page

ANN SHELTON

a ride in the darkness

March 5 - 27

Chemistry, White Island, Whakaari, former sulphur mine, New Zealand , 2008

Ballot, Bridge to Somewhere, Whangamomona Road, Aotuhia, East Taranaki, New Zealand, 2007

Settlement, Arawata, Jackson Bay, New Zealand, 2007

This exhibition includes a new stand-alone publication Wasteland by Ann Shelton & Stephen Turner

This free publication is also available at Parsons Bookshop [Auckland] & Unity Books [Wellington]

The controversy over ‘wastelands' in New Zealand's colonial history was borne out of divergent interpretations of second article of the Te Tiriti O Waitangi. Article two grants the chiefs and tribes of New Zealand full and unencumbered rights to their forests, land estates and fisheries.[1] Regardless of the clarity of this statement, debate raged in colonial New Zealand about the ownership of these lands. To many Pakeha at the time they were considered waste or wild lands, uncultivated and therefore of no value and part of the domain of the crown. After several years it was reluctantly ruled that these lands were Maori lands according to article two and must indeed be purchased from Maori. The crown, as per their right of pre-exemption had the first rights to purchase any of these lands that were for sale. Not without its own potential for manipulations, this pre exemption became the key to governmental control of land title.[2]

The photographs in this ongoing series take the notion of wastelands as a jumping off point to discuss European land occupation in early Aotearoa , New Zealand . Settlers and in other instances soldiers returning from The First World War were offered parcels of hinter-land for purchase, some of these were extremely isolated, unproductive and in some cases downright deadly. They held in their promise for a future the inherent possibility of failure. “a ride in the darkness” looks at the social context of this particular use of land and takes this contested ground as a jumping of point for a discussion of these narratives in context. Towns like Arawhata, Mangapurua and Martins Bay are extreme examples of this attempt to tame lands that are isolated and extremely difficult to access.

As with much of Shelton 's work these are wide and seemingly empty vistas of place. They use an empty image as a kind of index to a presence or narrative. Testimonial in part they point a viewer to a loaded nothingness which one attempts to fill. Shelton is interested in obscured or lost discourses, little-known histories, urban mythology and the many displaced narratives that circulate in relation to a given place. This recent series in particular mark out the tensions, anxieties, and violence palpable in the histories of these so-called ‘wastelands'.

Accompanied by a newspaper publication with texts by Auckland University critical writer and academic Steven Turner.

See Adams , P. (1977) Fatal Necessity: British Intervention in New Zealand 1830-47, Auckland University Press.

Ibid

PICTURING WASTELANDS

Stephen Turner

MORE than a concept, ‘waste land' is a set of behaviours. The content of the proposition that land might be ‘waste' determined the action of European settlers in new countries. It made the places they came to prone, ripe for their choosing, and available for their occupation. A waste land belonged to no one, and was strictly no place. The proposition did not so much reflect reality (it didn't) as pro-duce a new reality through the settler's enactment of its premise. Without a sense of waste land, and the ‘wastefulness' of Indigenous people, settlers could hardly occupy new countries in good conscience. The waste of un-used land stands opposed to a set of values - labour, cultivation, improvement – that explained why the settler's society was more advanced. The nature of the new country, however much its wildness and picturesque beauty was remarked and in t ime set apart, referenced the European imaginary of second settlers. Un-used land, once transformed by their labour, made them its natural occupants, and made its nature their own.Settler dominion established a new nature. The wholesale transformation of land made second setters, self-evidently, its ‘rightful' occupants. The poetic fiction that critic Lynda Hardy calls ‘natural occupancy' applies to the fact of dominion. Failed settlements high-light the made-nature of a country that settlers considered new. Such now empty sites show settlement to be merely prospective, a mere prospect: a picture of place drawn by settlers that was also the promise of a better life (gridded town plans that did not account for the geography of their location illustrate the mental landscape of settlement). For settlers of untenable lands the prospect proved illusory. The picture could not be filled in and the promised life made real. Such places starkly reveal the existential and economic speculation of settlement. Gold-miners make the prospect of a new country the very business of prospecting, but also raise the spec-tre of transience. Settlement can tolerate transience no better than Europeans tolerated the Chinese miners of central Otago. Settlement had to offer a return, a home here and not simply a return home. The remains of one-time settlements are testament to mis-placed confidence, wasted labour and desperately hard lives. If unused land could be converted and made productive, the cultivation of un-usable land created true waste land. Such places could never be claimed to be God's own. Pushed by settler numbers, pulled by the promise of settlement, people poured into such places and disappeared, as if down some drain of Empire.

Picturing the country does not necessarily lay claim to place. Dominion requires that the picture of place be given ideological content. Waste land makes settlement motivated. More than a wild or picturesque prospect, land that appears waste rationalises the settler occupation and use of it. Settler assertion of dominion is therefore a proposition: the place becomes one that settlers propose will be their own. ‘Waste' is the content of the proposition, without which dominion could not be asserted. Waste land makes settlement logical to settlers, giving every appearance of reason to the existential and economic thrust of Empire. However invasive and self-aggrandising, settlers were sincere in this view.

At once concept, imperative and fact, dominion is a total picture. As concept dominion makes man nature's master. As imperative it is dominion that man is duty-bound to exercise. And as fact the civil society of man follows upon the exercise of dominion. The proposition that land even existed as waste gave European settlers working instructions: waste land was to be occupied and improved. The injunction had biblical authority. God had commanded Adam and Eve ‘to replenish the earth and subdue it.' Large tracts of uncultivated land in other countries, where millions in Britain had none, told of the idleness and indolence of indigenous peoples. Settlers' view of waste land was nearly unanimous, says Stuart Banner in Possessing the Pacific (2007). 'Allowing the fertile land to lie uncultivated,' for settlers, ‘was worse than a waste; it was a sin' (p.89). It wasn't clear that M a ori in New Zealand even possessed what they didn't cultivate. Nor did holding land in common, as they appeared to do, suggest any incentive beyond collective subsistence to work it. The decent society to be founded by the industriousness of settlers would instil further Christian virtues of chastity and prudence, and lift M a ori out of ‘barbarism.'

If the Book of Genesis put the earth at man's disposal, and commanded his cultivation of it, John Locke's Second Treatise of Government (1689-70)made individual property the result of such labour, and prosperity and liberty its reward. The intermingling of labour and soil converted land into private property, located right in possessive individualism, made men of property the stake-holders of Government, and ensured that the protection of their property was the function of law. The law that issued from Government, and established property-holders as its spokesmen, firmed up the territory of European nation-states. A corresponding civil society was consolidated though the political representation of property-owners. This was the public sphere of free and fully human men. The logic and law of property infused the business of settling new countries, which could have no other basis.

The Colonial Office, the New Zealand Company, colonial administrators, missionaries and just-landed settlers could not but think of New Zealand in terms of waste land. Such spare capacity, assumed by the Crown, would secure the prosperity of the colony. This sparked a debate about waste land in the 1840s. Progressive ‘Whiggish' sentiments towards the lands of new countries united politicians, the ‘city' business community, the London press and prospective settlers. The proposition of waste land was put about by Dr. Thomas Arnold, headmaster of Rugby School and New Zealand Company supporter, and the Swiss Emerich de Vattel, an influential exponent of the developing law of nations. The question urged upon home government was whether M a ori had title to anything more than the land they actually occupied and used. The rest, un-used, was surely waste land available to an incumbent Crown. Acquired for a nominal sum - it was of little value uncultivated – its sale to settlers would fund further emigration. Unbound by law and lacking civility, M a ori society only stood to benefit from the emergence of European communities nearby. The idea of self-funding settlement naturally held great appeal to the Colonial Office.

But the concept of waste made no sense of M a ori land. As a resource for hunting and gathering widespread flax, timber, fern root, birds, eel and fish, and not just domestic agriculture, the distinction between used and un-used land could not be made to stick. Land was not held in common, making M a ori a people without property, but striated with multiple use-rights. Genealogy secured and related land to users and each other. As ancestral taonga, with no hill in the country un-named, dominion lay with the land. The survival of M a ori communities depended on the nurture and husbanding of its resources, and the spiritual principles that mediated relations among land and local people. Tikanga in every locale, considered M a ori law, ensured the flourishing and freedom of M a ori as tangata whenua. Waste, if anything, meant taking more than was needed from the land, or mistreating and thereby ‘wasting' the resource. In the 1840s the reality of M a ori ‘occupation and use' became clearer to Europeans and made conflict all the more likely. The pragmatic doctrine of pre-emption, as a result, came to dominate the legal business of land transfer.

Under customary title, M a ori could claim the whole country, Treaty or no Treaty, so that land, waste or not, would have to be purchased. Resemblances between Indigenous occupation of land and feudal English tenure were hard to dismiss. The troublesome doctrine of customary tenure for land-hungry settlers was negotiated by the evolution of the Native Lands Act in the decade of the 1860s, and its creation of the Native Land Court . Customary title was converted through its means to Crown-registered freehold land. Inscribed in article two of the Treaty, pre-emption had made the Crown the only buyers of M a ori land. The underlying international doctrine, long established in British colonies and the United States, and immediately affirmed by statute and Supreme Court in New Zealand, meant that only the Crown could extinguish title. Pre-emption was imagined to protect aboriginal interests and to stabilise a potentially volatile land market. Conceivably, its basis was humanitarian. Equally, it cloaked a highly acquisitive scheme to extract land from M a ori at non-market value and profit from settler ballot. Its periodic restatement in New Zealand throughout the second half of the nineteenth century made the Crown itself the source of good title.

The forced individualising of title under successive Native Land Acts (1862, 1865, 1873) attacked tribal brokerage of land deals, unbundled iwi and hapu collectives as land-owning entities, and freed up land for settlement. The legally orchestrated process of alienation was unrelenting, and rapacious. M a ori could scarcely bear the costs of surveying, court-hearing and title-granting that might establish their title.

Coercive as Crown legalisation of land tenure in the later nineteenth century seems today, M a ori were supposed to benefit politically as much as economically. Holding freehold land proved a civic capacity for participation in government (to vote one had to own or rent land). The logic of private property rationalised the application of settler land law and justified the dominion of settler government. But pre-emption enriched settler government, leaving M a ori marginalised and in relative terms impoverished, as cheaply acquired land was crown-granted to settlers. By 1860 two thirds of a country of 66 million acres had passed into settler hands, South Island deeds of nearly 30 million acres making up the most part. By 1911, estimates Stuart Banner, the 22 million acres of the North Island left in M a ori hands was reduced to 7 million (a sixth of it had been confiscated). Where waste land enabled settlers to picture the new country, and their dominion in prospect, pre-emption provided the effective mechanism.

Waste land plays little role in the legality of land transfer, says Richard Boast in Buying the Land, Selling the Land (2008). His authoritative book takes into consideration willing M a ori sellers as well as resisters, notably the M a ori King movement. The 1850s saw M a ori balk at the robbery of pre-emption. But whatever today's attitudes, holding onto land could equally prove a curse. Unemployment, poor health and penury defied the settler claim that M a ori would benefit from surrounding European settlement, and forced many to seek buyers. Boast concludes that the transfer of land did not make any economic difference to the well-being of M a ori, whether M a ori were willing to sell or not: ‘M a ori might as well have given their North Island lands to the Government for nothing for all the economic difference it would have made (p.40).' The legal machinery of land transfer proved more effective than war in the systematic colonisation of the country. It is hard to see how it could have been otherwise. Boast would have us avoid an anachronistic interpolation of present-day attitudes.

But here-now and there-then attitudes are linked by the settler psychology of waste. It is fear of presentism - thinking past people's thoughts through our own - that makes historians wary of our condescension. Defaulting to rich descriptio n, the present becomes the past's only possible outcome, making for an historical account that overlooks bridges to nowhere. Failure can't figure, for it has no bearing on the future. The past as an ever-present set of possibilities is quashed by ‘what happened next.' The genealogy of waste land reconfigures settler history, and makes presupposition part of it. More than the fact of its occurrence, much less a natural occurrence, second settlement was presupposed. Waste inheres in the dominion of settlement, hard-wiring settler psychology. A society created out of the intensive combination of capital and labour - Edward Gibbon Wakefield's hypothesis - made the new country a proposition. It had to be imagined, or pictured, on a daily basis, most especially i n unnatural sites of occupancy, where settlement seemed most unlikely.

In areas of remote bush, settlers could only imagine settlement because there were no signs of it. Such would-be settlements needed more than private capital and the broad acreage of South Island pastureland. They needed public funding: roads, bridges and rail. The Public Works Act of 1870 allocated a vast sum for acquiring land (£200,000), spawned a new era of settlement, and generated a sense of the nation larger than the sum of its provinces. The country was dynamised by the dairying industry, and forever transformed by 100,000 new settlers in the same decade. In the dairying centre of Taranaki the family farm and school-centred community consumed the settler imaginary. Prosperity hinged on the combination of ownership and labour that the dairy farm seemed to epitomise. The Government's confidence was settlers' own, its credit an investment in their future, and the picture of place enlarged. Public works are per-formative, making the promise of settlement real, a fact on the ground. But settlement is also a confidence game. Where picture and waste land did not cohere, occupancy turned obdurate, conditions ever more trying. As confidence waned, settlers found themselves stranded by promise.

Letters, pleas and petitions reveal the settler's plight: the lack of access, amenities, equipment and contact, floods, fouled water and the mud created by their own clearings. In failed settlements the picture of place is despoiled. In untenable sites waste land be-comes human waste. Dominion is no fact of the matter. It is more obviously a proposition, ‘waste' working as concept, imperative and would-be fact. The proposition drove settlers to labour, however inhibiting the physical reality of the place they tried to make home, or like home. As a proposition, or proposed place, settlement requires waste for its support if a new country is going to be made real. Without waste, and the labour to reduce it, no new country can emerge that is distinct from the older one already there. Waste lands make graphic the imaginary of settlement. The remnants of failed settlements show the picturing work of settlers more clearly than the established heritage architecture of provincial towns. Historical ‘sites' rather than ‘sights', there is little to see. Such places highlight the importance for settlers of the prospect, steadily dimmed by steep valleys, dense bush, fast-flowing and un-fordable waters. Settler do-minion is a fact of settlement, but waste is its condition. Considered in terms of its legal and economic basis, the dominion of settlement is a part-picture. Failed and futureless settlements offer settler historiography a different vantage point.

The fait accompli of settlement may be resituated in an anterior psychological landscape, which inheres in our own. Waste lands link the existential and the economic dimensions of settlement, adding a less visible dimension of labour. This is the work of imagining home in unlikely, unfamiliar surroundings - the work of the prospective, prospecting settler mind. The scoping activity of second settlers (more literally surveying) constitutes an imaginary pre-emption that provides no existential account. The possible loss as against the potential profit of settlement is equally in prospect. After a decade or more of the most severe labour in the most trying conditions, having unproductively subsisted, would-be settler families emerged from the bush, landless and penniless. They hardly contributed to the young nation, apart from the colourful story told today of their struggle, nor had their investment gained any return for themselves.

Settlement was never already decided, inevitable and inexorable. Settlers had to decide to stay, to believe in the future prospect of place, and to persevere. Untenable settlements made this all the more difficult, and the work of settler's imagining all the more obvious. Settlement was made harder by those sojourners who weren't going to stay, leaving behind one-time towns that weren't going to last. Central Otago gold-diggers with experience of earlier California and Australian fields might feel no compulsion to stay put. Settlement in fleeting goldfield-towns is reversed, doubling back, like Chinese workers returning home to Guangzhou province, unbound to the country-to-come. The redundancy of failed or passing settlement, the waste of place, exposes the fantasy of dominion (something the Chinese did not and could not share). Nor is dominion something that settlers have given up. Such places provide an aperture through which history that does not lead to ‘us' may be seen, history that stops short, and appears to disappear. In such settings the time and labour of settlement is abbreviated.

touring exhibition to

a serious kind of beauty the heroic landscape

Wayne Barrar

Frank J. Denton

Simon Devitt

Peter Evans

Derek Henderson

Arthur J. Iles

John Johns

Muir & Moodie

William Partington

Peter Peryer

Haruhiko Sameshima

Ann Shelton

Henry Winkelmann

FEBRUARY 12- MARCH 28

This exhibition is reviewed in the Autumn edition of Art New Zealand [issue 133]

DEREK HENDERSON

[b 1963 ]

Huntly Power Station, Huntly, 2007/2009/1/4

510 x 655 mm

C-type photograph enlarged from 10 x 8” negative

MUIR & MOODIE

[George Moodie c.1865 – 1947]

Head of Lake Wakatipu from Pigeon Island

130 x 190 mm

albumen contact print

ARTHUR ILES

[1870 – 1943]

Eruption at Rotomahana Lake 1901

135 x 190 mm

albumen contact print

WAYNE BARRAR

[b 1957]

Gorge on Moawhango / tunnel structures 1994/1996/3/3

248 x 373 mm

gold toned gelatin silver print

PETER PERYER

[b 1941]

McRaes Flat Gold Mine, 2007/2008/3/15

600 x 800 mm

digital photograph, printed as C-type [Lambda] on Kodak Lustre paper

ARTHUR ILES

[1870 – 1943]

Wairoa Falls

190 x 130 mm

albumen contact print

HENRY WINKELMANN

[1861 – 1931]

Wairua Falls, Whangarei, 1906

305 x 390mm

gelatin silver print; negative [#1356] is in Auckland Museum Collection

WILLIAM PARDINGTON

[1855 – 1940]

‘Rapids & men'

140 x 190 mm

albumen contact print

MUIR & MOODIE

[George Moodie c.1865 – 1947]

Parakino, Wanganui River

130 x 190 mm

albumen contact print

JOHN JOHNS

[1924 – 1999]

Large Rimu, Stony Creek, Reefton , 1950s

265 x 210 mm

gelatin silver print, printed by the photographer.

HARUHIKO SAMESHIMA

[b 1958]

Waipoua, Te Matua Ngahere track, (kauri forest board walk) 1994 / 2005/1

410 x 320mm

gold toned gelatin silver print, from 4 x 5” negative, open edition, sequentially-numbered

JOHN JOHNS

[1924 – 1999]

Tane Mahuta

265 x 190 mm

gelatin silver print, printed by the photographer.

HARUHIKO SAMESHIMA

[b 1958]

Dean Forest , Southland (totara forest board walk) 1995 / 2005/1

410 x 320mm

gold toned gelatin silver print, from 4 x 5” negative, open edition, sequentially-numbered

ANN SHELTON

[b 1967]

Landschaft , The Bridge to Nowhere , Mangapurua Valley , Wanganui, 2007/2007/5/7

diptych; each half: 740 x 930 mm

8 X 10” negative printed as C-type

PETER EVANS

[b 1985 ]

Homer Tunnel, Milford Sound , 2008/2009/1/5

400 x 600mm

Epson 11880, K3 Ultrachrome Inkjet, on Hannemuhle 310 gsm Bright White Photo Rag Fine Art Paper

Catchment at Falls Dam, Naseby , 2008/2009/1/5

Te Apiti Wind Farm #3, Palmerston North , 2008/2009/1/5

Lake Ohau , MacKenzie Country, 2008/2009/1/5

Ohau C Hydroelectric Power Station #1, MacKenzie Country, 2008/2009/1/5

Lake Rotoiti , Nelson , 2008/2009/1/5

WAYNE BARRAR

[b 1957]

Beneath Bowen Falls to Mitre Peak , Fiordland 2000/2007/19/20

160 x 220 mm

selenium toned gelatin silver print

WAYNE BARRAR

[b 1957]

Point, Western Lake Wairarapa 2008/2008/ 2/10
190 x 240 mm

selenium toned gelatin silver print.

SIMON DEVITT

[b 1973 ]

Waning crescent 2007/2009/1/3

560 x 840 mm

digital photograph printed as Lightjet on Ilford Galerie Gold Fibre Silk 310 gsm

JOHN JOHNS

[1924 – 1999]

Newly built Murchison Hut, 1953

160 x 205 mm

gelatin silver print, printed by the photographer

ARTHUR ILES

[1870 – 1943]

Waimangu Geyser Computed height 900 feet, 1904

130 x 190 mm

albumen contact print

ARTHUR ILES

[1870 – 1943]

‘Untitled', c. 1904

130 x 190 mm

albumen contact print

POSTCARDS

FRANK J. DENTON

[1870 – 1963]

Manawatu George, NZ

On the Wanganui River NZ

The Waterfall Cave Scene ( 5 miles above Pipiriki)

On the Wanganui River

W. PARTINGTON

[1855 – 1940]

On the Wanganui River

The photographs in this exhibition act by portraying a ‘scene' in terms that are familiar and that emphasize its accessibility and at the same time, its grandeur.

Human aspirations, endeavour and industry existing in harmony with, and in awe of, nature; leaving a small human imprint.

An equilibrium is suggested, between the formality of the man-made and the immensity of the land – the appearance of the land is left undisturbed.

Figures often function as indices of a relationship between explorer and the object of exploration – often dwarfed by immense vistas – the relation between human beings and the vast landscape. [1]

These photographs explore the conceptual aspects of landscape and its impact on contemporary thought.

They are depictions of place, where ‘place' becomes a cultural construct, incorporating the factors of time and the narratives contained within the landscape, places where events accumulate. They have a presence beyond the mere representation of nature in the raw; the unknown, often alienating character of land.

A serious kind of beauty [2] is our third exhibition specifically examining the landscape genre, and follows on from:

Nicholas Twist and Burton Bros / Muir & Moodie Photographs of Southern New Zealand - two views,

and

Laurence Aberhart, Mark Adams, and Wayne Barrar the long view [polyptych landscape panoramas].

Other ‘categories' within the genre include: New Topographics, the sublime, and wilderness photography.

[1] Landscape and Power

W.J.T. Mitchell [ed.]

Chapter six Territorial Photography , Joel Snyder

University of Chicago Press, 1994

[2] Photography and Australia – [Exposures] 2007

Helen Ennis

Reaktion Books

PREVIOUS EXHIBITIONS

JANUARY - FEBRUARY 2002
Peter Black Moving Pictures

MARCH
Nicholas Twist and Burton Bros / Muir & Moodie Photographs of Southern New Zealand-two views

APRIL
Paul Johns A Perfect Childhood

MAY
Peter Peryer Significant Early Photographs

JUNE
Gordon H. Burt & Fiona Clark In the Pursuit of Beauty and Perfection

JULY
Laurence Aberhart The Interior

AUGUST
Gordon H. Brown Hotel North America series
Robin Neate Photographs

SEPTEMBER
Rhondda Bosworth 44 Photographs 1974 - 1999

OCTOBER
Wayne Wilson Popular Dance Culture 2001 - 2002

NOVEMBER
Wayne Barrar STRAUMUR: Photographs from Southern Iceland

DECEMBER
John Johns A Life's Work: a selection of photographs 1950 - 1996

JANUARY 2003
THE CARAVAN group show 28 artists
...toured to: Pataka [Porirua], The Suter [Nelson] 2003 & Lake Taupo Museum & Art Gallery [Taupo] 2004

FEBRUARY
Jono Rotman Chambers Project
Laurence Aberhart Interior

MARCH
Ben Cauchi New Ambrotypes & Building the Empire

APRIL
Fiona Pardington Whakakitenga / Revelation

MAY
Hamish Tocher Scenes from the Life of Christ

JUNE
Peter Peryer www.peryer.co.nz

JULY
Ava Seymour New Work & Heartlands

AUGUST
Neil Hamon [UK] living history
David van Royen [Australia] himself

SEPTEMBER
Ross T. Smith Stations of the Cross & selected photographs 1998 - 2000

OCTOBER
John Daley Big Smoke

NOVEMBER
Laurence Aberhart Mission Heliographique Extracts: 1999 - 2003

DECEMBER
TRACING POLAROID SX-70 Janet Bayly, Gary Blackman, Rhondda Bosworth, Dinah Bradley, Greg Burke, Belinda Fowler,
Paul Gilbert, Paul Hartigan, Paul Johns, Nikolai Kokx, Belinda Lodge, Len Wesney, Jane Zusters.

JANUARY 2004
Tracing Polaroid continued

FEBRUARY
Fiona Amundsen Wooden

MARCH
Bruce Connew Muttonbirds - part of a story

LINK SPAN FESTIVAL EXHIBITION, during NZ International Festival of the Artis, Taranaki Wharf, Wellington

Peter Peryer & Andrew Ross

APRIL
Wayne Barrar Selections from the Home Range

MAY
Hayden Fritchley Lattice of Coincidence

JUNE
Ann Shelton Vacant Possession

JULY
Len Wesney 34 Photographs 1967-1975

AUGUST
Len Wesney continued

SEPTEMBER
Wayne Wilson Three Kings & Downtown

OCTOBER
Natalie Robertson One Hundred Years True EVERY Word

NOVEMBER
Grant Beran Everyone Says Hi

DECEMBER 04 - JANUARY 2005
FICTION Max Coolahan, Darren Glass, Lloyd Godman, Gavin Hipkins,
John Johns, Alan Knowles, Ian Macdonald, Tanja Nola

FEBRUARY
Peter Peryer Big

MARCH
Hamish Tocher Reminiscences & El Aspostolado

APRIL
Peter Black Public

MAY
Anne Noble White Lantern Antarctic photographs 2002 - 2005

PHOTO-LONDON 2005

Laurence Aberhart, Mark Adams, Ben Cauchi, Derek Henderson, Paul Johns,

Fiona Pardington, Neil Pardington, Peter Peryer, Ava Seymour

JUNE
Ben Cauchi In a smoke filled room

JULY
Derek Henderson The Terrible Boredom Of Paradise

AUGUST
Joyce Campbell Cellars and Towers

VERBATIM...revelation to oblivion Lopdell House Gallery [Auckland] August -October 2005

National Library Gallery [Wellington] April - July 2006

Laurence Aberhart, Peter Black, Gary Blackman, Rhondda Bosworth, Ben Cauchi Bruce Connew, John Daley,

Hayden Fritchley, Derek Henderson, Anne Noble, Fiona Pardington, Neil Pardington, Peter Peryer, Natalie Robertson,

Ann Shelton, Hamish Tocher, Ans Westra, Wayne Wilson

&
catalogue essay by Peter Simpson

SEPTEMBER
Max Oettli Bringing It All Back Home

OCTOBER
Haru Sameshima Twin Peaks Selected photographs from eco-Tourism 1988 - 2004

NOVEMBER
Fiona Pardington Without you

DECEMBER 05 - JANUARY 2006

Laurence Aberhart domestic architecture [with catalogue raisonne] & Nine Masonic Lodges in Canterbury

FEBRUARY
Rhondda Bosworth Exhibit A

MARCH
Paul Johns

APRIL
Mark Adams Photographs 1979 - 2002

MAY

Neil Pardington Interiors

JUNE
Victoria Webb Full-length and Front-on

JULY

Ben Cauchi last days

AUGUST

Richard Collins Photographs 1962 - 1997

SEPTEMBER
Fiona Amundsen Garden Place

OCTOBER
Lisa Crowley West

NOVEMBER
Hamish Tocher Unknown Renaissance Portraits

DECEMBER 06 - JANUARY 2007
Peter Peryer Summertime

FEBRUARY
Ann Shelton 26 photographs of a house

MARCH

Elaine Campaner [Australia] Paradise if you can stand it

APRIL
the long view [landscape panoramas]

Laurence Aberhart
Mark Adams

Wayne Barrar

NEW ZEALAND LEGACY Aotearoa Taonga-tuku-iho Commissioned by N.Z. Ministry for Culture & Heritage
April - May Singapore

May Hong Kong

Laurence Aberhart, Mark Adams, Wayne Barrar, Peter Black, Fiona Clark, Ian Macdonald,
Fiona Pardington, Peter Peryer, Ans Westra & Wayne Wilson-Wong

&
catalogue essay by Peter Simpson: Legacy: Fifteen Photographs from New Zealand

MAY
the long view [continued]

Laurence Aberhart

Mark Adams

Wayne Barrar

AUCKLAND ART FAIR 2007

Mark Adams, Peter Black, Gary Blackman, Rhondda Bosworth, Murray Cammick, Ben Cauchi, Fiona Clark, Richard Collins,
Bruce Connew, John Daley, John Fields, Frank Hofmann, John Johns, Anne Noble, Max Oettli, Fiona Pardington, Neil Pardington, Peter Peryer, Hamish Tocher, Len Wesney & Ans Westra

JUNE

Fiona Pardington the heart derelict

MOVING STILL Gus Fisher Gallery, The University of Auckland, June - July

Janet Bayly, Minerva Betts , Peter Black, Gary Blackman, Rhondda Bosworth, Elaine Campaner*, Joyce Campbell, Ben Cauchi, George Chance, Bruce Connew, Daniel Crooks* , Jennifer French , Hayden Fritchley , Darren Glass, Murray Hedwig, Gavin Hipkins, Nikolai Kokx, Len Lye, Anne Noble, Max Oettli, Trent Parke*, Patrick Reynolds, Lucien Rizos, Natalie Robertson, John Savage,
Ann Shelton & Jane Zusters [* Australia]
&
catalogue essay by Dr Jan Bryant

JULY
Mark Adams Spa Hotel

AUGUST
Ans Westra on reflection

SEPTEMBER
Anne Ferran [Australia] & Anne Noble our fathers

OCTOBER
Richard Barraud Being for the Benefit of Mr Kite: Photographs 1965 - 1975

NOVEMBER

Derek Henderson I go down to the river to pray

DECEMBER - JANUARY 2008
TOOLS OF SURVIVAL: contemporary photographers using 19C processes
Alan Bekhuis, Joyce Campbell, Ben Cauchi, Dan Estabrook [USA] & Aaron Seeto [Australia]

A region observed: Hawke's Bay photographs by Laurence Aberhart Hawke's Bay Museum & Art Gallery December 07- March 08

FEBRUARY
Neil Pardington the vault

MARCH

Wayne Wilson Wong Tamaki Pà

Joyce Campbell - LA Botanical Hawke's Bay Museum & Art Gallery March - October

APRIL

Perter Peryer Voices and Echoes - an on-line exhibition

MAY

Laurence Aberhart AN EXHIBITION OF NEW PHOTOGRAPHS BY LAURENCE ABERHART DISPLAYING A RANGE OF NOT PREVIOUSLY SEEN,

OR RARELY SEEN IMAGES IN BOTH PRE AND POST CONTEMPORARY STYLES

CLOSE-UP: contemporary contact prints Gus Fisher Gallery, The University of Auckland, May - July

Ramp Gallery, Waikato Institute of Technology, Hamilton, August

Laurence Aberhart, Mark Adams, Wayne Barrar, Joyce Campbell, Ben Cauchi, Darren Glass, Fiona Pardingto, Andrew Ross, Haruhiko Sameshima

&
catalogue introduction by Athol McCredie, curator of Photography Museum of NZ Te Papa Tongarewa

JUNE

Hamish Tocher Illuminated Books

JULY
Ann Shelton hall of mirrors

AUGUST

Marian Drew [Australia] Australiana

Richard Orjis Landslide

SEPTEMBER

Peter Black Outskirts

OCTOBER

John Johns Nature as an object for rational study – a thoroughly modernist approach

Selected photographs 1950s - 1993

NOVEMBER

Fiona Amundsen Miracle on the Han River

Frank Breuer [Germany] Poles

DECEMBER - JANUARY 2009

Fiona Pardington Journey of the Sensualist:selected photographs 1987 - 2008

FEBRUARY

Geoffrey Heath North Shore FX

MARCH
Ben Cauchi Epilogue [tintypes]

APRIL gallery closed

MAY
AUCKLAND ART FAIR 2009
Laurence Aberhart, Rhondda Bosworth, Ben Cauchi, Marian Drew [Australia], Dan Estabrook [USA],Anne Ferran [Australia]
Anne Noble, Fiona Pardington & Ann Shelton

RECENT: work by ten NZ photographers Tauranga Art Gallery, May - July
Laurence Aberhart, Fiona Amundsen, Wayne Barrar, Joyce Campbell, Ben Cauchi, Derek Henderson, Paul Johns, Richard Orjis, Fiona Pardington & Hamish Tocher

JUNE

Janet Bayly & Nikolai Kokx Dwelling

Te Arawa Matariki Festival exhibition: Ans Westra on relection Rotorua Museum of Art & History June - July

JULY

Laurence Aberhart Heavy metal [platinum prints]

AUGUST

Terry O'Connor Selected photographs 1976–1980s

SEPTEMBER

Paul Johns

OCTOBER

Murray Lloyd Scenes in Maoriland

NOVEMBER

Mark Adams Te Wairoa ~ Clandon Park (Tene Waitere's travels)

DECEMBER - JANUARY 2010

A serious kind of beauty: the heroic landscape

Wayne Barrar [b 1957], Frank J. Denton [1870 – 1963], Simon Devitt [b 1973], Peter Evans [b 1985 ]

Derek Henderson [b 1963 ], Arthur Iles [1870 – 1943], John Johns [1924 – 1999]

Muir & Moodie [George Moodie c.1865 – 1947], William Partington [1855 – 1940], Peter Peryer [b 1941]

Haruhiko Sameshima [b 1958], Ann Shelton [b 1967] & Henry Winkelmann [1861 – 1931]

FEBRUARY

Simon Devitt I see you there

A serious kind of beauty: the heroic landscape ARATOI Wairarapa Museum of Art & History February - March

MARCH

Ann Shelton a ride in the darkness

Terry O'Connor Te Manawa o Tuhoe Whakatane Museum & Gallery March - May

APRIL gallery closed

MAY

Hamish Tocher Time's New Roman

JUNE

Joyce Campbell

JULY

James Lowe

KIN The New Zealand Portrait Gallery / Te Pukenga Whakaata, Wellington July – October

AUGUST

Peter Evans

SEPTEMBER

David van Royen [Australia] Not Moving

OCTOBER

Peter Peryer

NOVEMBER

Anne Noble

DECEMBER - JANUARY 2011

FEBRUARY

Richard Orjis

MARCH

Ben Cauchi

APRIL gallery closed

MAY

Alan Bekhuis

AUCKLAND ART FAIR 2011

JUNE

Haru Sameshima

JULY

Sightseeing NZ & German postcards BLOGSPOT

Sightseeing with Mark Adams, Fiona Amundsen, Karin Apollonia Müller, Wayne Barrar, Frank Breuer,

John Di Stefano, Jeremy Diggle, Elger Esser, Doris Frohnapfel, Eva Leitolf, Anne Noble, Haruhiko Sameshima,

Sarah Schönfeld, Grit Schwedtfeger & Ann Shelton

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER - JANUARY 2012