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.
1
See Adams , P. (1977) Fatal Necessity: British Intervention in New Zealand 1830-47, Auckland University Press.
2
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