Born, Auckland, 1963
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EDUCATION
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EDUCATION
1981–4
BA (Art History), University of Auckland
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PRINCIPAL EMPLOYMENT
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PRINCIPAL EMPLOYMENT
2023–
Director, Institute of Modern Art, Brisbane
2021–2
Advisor, Webb’s
Editor, Art News New Zealand
2014–21
Chief Curator, City Gallery Wellington
2005–13
Director, Institute of Modern Art, Brisbane
2003–5
Curator, Contemporary Art, Auckland Art Gallery
2002
John David Stout Research Fellow, Victoria University of Wellington
1997–2001
Director, Artspace, Auckland
1995–6
Curator, Dunedin Public Art Gallery
1992–4
Curator, Govett-Brewster Art Gallery, New Plymouth
1989–92
Curator, Contemporary New Zealand Art, National Art Gallery
1987–8
Assistant Curator, National Art Gallery
1987
Assistant Education Officer, National Art Gallery
1986–7
Freelance curator, working for Govett-Brewster Art Gallery, QE2 Arts Council, National Art Gallery, and others
1985
Curatorial Intern, National Art Gallery, Wellington
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ALSO
2019–
2014–21
Chief Curator, City Gallery Wellington
2005–13
Director, Institute of Modern Art, Brisbane
2003–5
Curator, Contemporary Art, Auckland Art Gallery
2002
John David Stout Research Fellow, Victoria University of Wellington
1997–2001
Director, Artspace, Auckland
1995–6
Curator, Dunedin Public Art Gallery
1992–4
Curator, Govett-Brewster Art Gallery, New Plymouth
1989–92
Curator, Contemporary New Zealand Art, National Art Gallery
1987–8
Assistant Curator, National Art Gallery
1987
Assistant Education Officer, National Art Gallery
1986–7
Freelance curator, working for Govett-Brewster Art Gallery, QE2 Arts Council, National Art Gallery, and others
1985
Curatorial Intern, National Art Gallery, Wellington
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ALSO
2019–
Trustee, Art Monthly Australasia
2015
Curator, New Zealand pavilion, 2015 Venice Biennale
2015
Curator, New Zealand pavilion, 2015 Venice Biennale
2007–13
Managing Editor, Australian and New Zealand Journal of Art
2007–10
Research Entrepreneur, Elam School of Fine Arts, University of Auckland
2007
Judge, Prometheus Art Award
2006
Co-editor, Reading Room
2003
Co-curator, New Zealand pavilion, 2003 Venice Biennale
Managing Editor, Australian and New Zealand Journal of Art
2007–10
Research Entrepreneur, Elam School of Fine Arts, University of Auckland
2007
Judge, Prometheus Art Award
2006
Co-editor, Reading Room
2003
Co-curator, New Zealand pavilion, 2003 Venice Biennale
2002
Selection Panel, New Zealand pavilion, 2003 Venice Biennale
2002
Juror, 2002 Walters Prize, Auckland Art Gallery
2002
New Zealand Curator, 2002 Sao Paulo Bienal
2000
Selection Panel, New Zealand pavilion, 2001 Venice Biennale
1999
New Zealand Curator, 1999 Asia Pacific Triennial
1999
Guest Editor, Art Asia Pacific, no. 23, New Zealand issue 1998–
1999–2002
Art Editor, Pavement
1999
Trustee, Soundculture’99 Auckland
1997–8
Assessor, Creative New Zealand
1996
Fulbright Cultural Studies Grant
1994–9
Editorial Board, Art and Text
1993
QEII Arts Council Professional Development Grant
1992–6
Co-editor, Midwest
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Selection Panel, New Zealand pavilion, 2003 Venice Biennale
2002
Juror, 2002 Walters Prize, Auckland Art Gallery
2002
New Zealand Curator, 2002 Sao Paulo Bienal
2000
Selection Panel, New Zealand pavilion, 2001 Venice Biennale
1999
New Zealand Curator, 1999 Asia Pacific Triennial
1999
Guest Editor, Art Asia Pacific, no. 23, New Zealand issue 1998–
1999–2002
Art Editor, Pavement
1999
Trustee, Soundculture’99 Auckland
1997–8
Assessor, Creative New Zealand
1996
Fulbright Cultural Studies Grant
1994–9
Editorial Board, Art and Text
1993
QEII Arts Council Professional Development Grant
1992–6
Co-editor, Midwest
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EXHIBITIONS
2022
Divergent: New Photography Aotearoa, The Renshaws’, Brisbane.
Lucien Rizos: Everything, Adam Art Gallery, Wellington.
Tia Ranginui: Gonville Gothic, Te Uru, Titirangi.
It’s Personal: The Howard Greive and Gabrielle McKone Photography Collection, Webb’s, Wellington.
John Lethbridge: Divination: Performance Photographs 1978–82, Webb’s, Wellington.
2021
Brett Graham: Tai Moana Tai Tangata, City Gallery Wellington.
Tia Ranginui: Gonville Gothic, City Gallery Wellington.
Judy Millar: Action Movie, City Gallery Wellington.
2020
Zac Langdon-Pole: Containing Multitudes, City Gallery Wellington.
Simon Ingram: The Algorithmic Impulse, City Gallery Wellington.
Oracles, City Gallery Wellington.
Oracles, City Gallery Wellington.
2019
Gone Home, Centre of Contemporary Art, Christchurch; Aratoi, Masterton.
Encounter 1, City Gallery Wellington.
Unravelled, City Gallery Wellington.
Semiconductor: The Technological Sublime, City Gallery Wellington.
2018
Iconography of Revolt, City Gallery Wellington.
(with Aaron Lister and Moya Lawson) This Is New Zealand, City Gallery Wellington.
2017
(with Wystan Curnow) Colin McCahon: On Going Out with the Tide, City Gallery Wellington.
John Stezaker: Lost World, City Gallery Wellington, Govett-Brewster Art Gallery, Christchurch Art Gallery, Centre for Contemporary Photography.
2016
(with Simon Rees) Sister Corita’s Summer of Love, City Gallery Wellington.
Bullet Time, City Gallery Wellington.
(with Charlotte Day) Francis Upritchard: Jealous Saboteurs, Monash University Museum of Art, Melbourne, City Gallery Wellington, Christchurch Art Gallery, Dunedin Public Art Gallery.
2015
Julian Dashper & Friends, City Gallery Wellington.
(with Aaron Lister) Susan Te Kahurangi King and Shannon Te Ao: From the One I Call My Own, City Gallery Wellington.
Candice Breitz, City Gallery Wellington.
Unseen City: Gary Baigent, Rodney Charters, and Robert Ellis in Sixties Auckland, Te Uru, Titirangi, and City Gallery, Wellington.
Simon Denny: Secret Power, New Zealand pavilion, Venice Biennale.
(with Aaron Lister) Jono Rotman: Mongrel Mob Portraits, City Gallery Wellington.
2014
Yvonne Todd: Creamy Psychology, City Gallery Wellington.
Grant Stevens: What We Had Was Real, City Gallery Wellington.
McLeavey Sat Here, City Gallery Wellington.
Viviane Sassen: Lexicon, City Gallery Wellington.
McLeavey Sat Here, City Gallery Wellington.
Viviane Sassen: Lexicon, City Gallery Wellington.
Stuart Ringholt: Kraft, Monash University Museum of Art, Institute of Modern Art.
City Gallery projects include Ralph Hotere: Godwit/Kuaka; William Kentridge: The Refusal of Time.
2013
Craig Walsh: Embedded, Museum of Contemporary Art, Institute of Modern Art.
Bazinga!, Starkwhite, Auckland.
IMA projects include Gregory Crewdson: In a Lonely Place; Luke Fowler: All Divided Selves, Judy Millar: Be Do Be Do Be Do, Olaf Breuning: Home 3 , Chicks on Speed: Scream; Fresh Cut 2013: Part 1 Joseph Breikers, Caitlin Franzmann; Simon Starling: In Speculum; Thomas Hirschhorn: Touching Reality; Playtime Jenny Watson, Justene Williams, Otto Muehl, Peter Robinson, Thomas Semple, Steve Carr, Jake and Dinos Chapman; Fresh Cut 2013: Part 1 Anita Holtsclaw, Ruth McConchie.
2012
IMA projects include Rebecca Baumann; Mikala Dwyer: Drawing Down the Moon; Richard Phillips: Lindsay Lohan; Olaf Breuning; Daydream Believers John Spiteri, David Noonan, Jason Greig, Francis Upritchard; Daniel McKewen; Gabrielle di Vietri; Fresh Cut 2012; Douglas Gordon: Left Is Right and Right Is Wrong and Left Is Wrong and Right Is Right; Stuart Ringholt; Marco Fusinato: The Color of the Sky Has Melted; Steve Carr; Peter Cripps: Endless Space; Carolee Schneemann: Meat Joy; Julika Rudelius: Forever; Shane Cotton: The Hanging Sky; Angelica Mesiti: Rapture.
2011
IMA projects include Let the Healing Begin; Light Years 1970-1 Peter Kennedy; Floating in a Box Roman Signer; The Park Kohei Yoshiyuki; Yang Fudong; Damiano Bertoli; Rodney Glick; Future Perfect Peter Alwast; Three Realms Gonkar Gyatso; Montage Films Peter Roehr; Peter Madden; Justene Williams; Chernobyl Diana Thater; Le Vele di Scampia Tobias Zielony.
2010
IMA projects include Feminism Never Happened Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, and Jemima Wyman; Peter Madden: Come Together; Ken Jacobs: Ontic Antics 2006–7; Scott Redford vs Michael Zavros Scott Redford, Michael Zavros; Shaun Gladwell: MADDESTMAXIMVS: Planet and Stars Sequence; Semiconductor; Ronnie Van Hout: Uncured; Brisbane Airport Fresh Cut 2010; Pieter Hugo: Nollywood; Brook Andrew: The Cell; Luke Roberts: AlphaStation/Alphaville; Ian Haig: Chronicles of the New Human Organism.
2009
IMA projects include The Same River Twice Part 2 Omer Fast, Emma Kay, Mike Kelley and Paul McCarthy; John Reynolds/Dorothy Napangardi; Lincoln Austin: Field of Vision; Cao Fei: Utopia; Peter Robinson: Polymer Monoliths; Taryn Simon: An American Index of the Hidden and Unfamiliar; Jemima Wyman: The Declaration of Resemblance and Fluid Insurgents; Tamar Guimaraes: A Man Called Love; Mirror Mirror: Then and Now.
2008
IMA projects include Visions from Her Bed Jacky Redgate; Eighty Portraits Simon Obarzanek; Dane Mitchell; Daniel Crooks and Jae Hoon Lee Daniel Crooks, Jae Hoon Lee; No Bad Days Grant Stevens; The Dating Show Mutlu Cerkez, Gabrielle de Vietri, Robin Hely, Darren Sylvester, David Rosetzky, Grant Stevens; Alejandro Jodorowsky; Why Do We Do the Things We Do Rose Nolan; Guy Sherwin; David Griggs; Mikala Dwyer; Jemima Wyman; The New Fresh Cut 2008 Eric Bridgeman, Laith MacGregor, Gabriella and Silvana Mangano, Ross Manning; The Humanity of Abstract Painting 1988– 2008 Diena Georgetti; Artur Zmijewski; The Same River Twice Part 1 Gerard Byrne, Jeremy Deller, Thomas Demand, Pierre Huyghe, Slave Pianos.
2007
IMA projects include Fresh Cut; Blood in its Various Forms Yvonne Todd; Beyond Guilt: The Trilogy Ruti Sela and Maayan Amir; Zidane: A 21st Century Portrait Douglas Gordon and Philippe Parreno; Bill Henson; Owls at Noon Prelude: The Hollow Men Chris Marker; The Field (Part 2) Gavin Hipkins; 1, 2, 3, 4, 5, 6, 7 Julian Dashper; James Angus; Early Performances on Video Mike Parr; Grey Water; Vox and Fluorescent Philip Brophy; Cambridge Road Pat Brassington; The Way Things Go Fischli/Weiss; Robert MacPherson; Cant Chant Vernon Ah Kee; Performances Jeremy Hynes.
2006
IMA projects include Matthew Barney Film Festival (Cremaster 1–5, Drawing Restraint 9) Matthew Barney; The Second of the Ordinary Practices Et Al.; Tooba Shirin Neshat; Everything Takes Time Eugene Carchesio; Home Olaf Breuning; Morphic Resonance Hany Armanious; Bricks Are Heavy Scott Redford.
2005
(with Janita Craw) Mixed-Up Childhood, New Gallery, Auckland Art Gallery.
(with Janita Craw) High Chair, St Paul St, Auckland.
Snake Oil: Chartwell Acquisitions 2002–5, New Gallery, Auckland Art Gallery.
AAG projects include Pe’a Mark Adams; Left Is Right Douglas Gordon; I Will, Should, Can, Must, May, Would Like to Express Myself Judy Millar.
2004
Everyday Minimal, New Gallery, Auckland Art Gallery.
AAG projects include Shane Cotton; The Centre of the Universe Hany Armanious; Fetus Reproductions Fetus Productions.
2003
2013
Craig Walsh: Embedded, Museum of Contemporary Art, Institute of Modern Art.
Bazinga!, Starkwhite, Auckland.
IMA projects include Gregory Crewdson: In a Lonely Place; Luke Fowler: All Divided Selves, Judy Millar: Be Do Be Do Be Do, Olaf Breuning: Home 3 , Chicks on Speed: Scream; Fresh Cut 2013: Part 1 Joseph Breikers, Caitlin Franzmann; Simon Starling: In Speculum; Thomas Hirschhorn: Touching Reality; Playtime Jenny Watson, Justene Williams, Otto Muehl, Peter Robinson, Thomas Semple, Steve Carr, Jake and Dinos Chapman; Fresh Cut 2013: Part 1 Anita Holtsclaw, Ruth McConchie.
2012
IMA projects include Rebecca Baumann; Mikala Dwyer: Drawing Down the Moon; Richard Phillips: Lindsay Lohan; Olaf Breuning; Daydream Believers John Spiteri, David Noonan, Jason Greig, Francis Upritchard; Daniel McKewen; Gabrielle di Vietri; Fresh Cut 2012; Douglas Gordon: Left Is Right and Right Is Wrong and Left Is Wrong and Right Is Right; Stuart Ringholt; Marco Fusinato: The Color of the Sky Has Melted; Steve Carr; Peter Cripps: Endless Space; Carolee Schneemann: Meat Joy; Julika Rudelius: Forever; Shane Cotton: The Hanging Sky; Angelica Mesiti: Rapture.
2011
IMA projects include Let the Healing Begin; Light Years 1970-1 Peter Kennedy; Floating in a Box Roman Signer; The Park Kohei Yoshiyuki; Yang Fudong; Damiano Bertoli; Rodney Glick; Future Perfect Peter Alwast; Three Realms Gonkar Gyatso; Montage Films Peter Roehr; Peter Madden; Justene Williams; Chernobyl Diana Thater; Le Vele di Scampia Tobias Zielony.
2010
IMA projects include Feminism Never Happened Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, and Jemima Wyman; Peter Madden: Come Together; Ken Jacobs: Ontic Antics 2006–7; Scott Redford vs Michael Zavros Scott Redford, Michael Zavros; Shaun Gladwell: MADDESTMAXIMVS: Planet and Stars Sequence; Semiconductor; Ronnie Van Hout: Uncured; Brisbane Airport Fresh Cut 2010; Pieter Hugo: Nollywood; Brook Andrew: The Cell; Luke Roberts: AlphaStation/Alphaville; Ian Haig: Chronicles of the New Human Organism.
2009
IMA projects include The Same River Twice Part 2 Omer Fast, Emma Kay, Mike Kelley and Paul McCarthy; John Reynolds/Dorothy Napangardi; Lincoln Austin: Field of Vision; Cao Fei: Utopia; Peter Robinson: Polymer Monoliths; Taryn Simon: An American Index of the Hidden and Unfamiliar; Jemima Wyman: The Declaration of Resemblance and Fluid Insurgents; Tamar Guimaraes: A Man Called Love; Mirror Mirror: Then and Now.
2008
IMA projects include Visions from Her Bed Jacky Redgate; Eighty Portraits Simon Obarzanek; Dane Mitchell; Daniel Crooks and Jae Hoon Lee Daniel Crooks, Jae Hoon Lee; No Bad Days Grant Stevens; The Dating Show Mutlu Cerkez, Gabrielle de Vietri, Robin Hely, Darren Sylvester, David Rosetzky, Grant Stevens; Alejandro Jodorowsky; Why Do We Do the Things We Do Rose Nolan; Guy Sherwin; David Griggs; Mikala Dwyer; Jemima Wyman; The New Fresh Cut 2008 Eric Bridgeman, Laith MacGregor, Gabriella and Silvana Mangano, Ross Manning; The Humanity of Abstract Painting 1988– 2008 Diena Georgetti; Artur Zmijewski; The Same River Twice Part 1 Gerard Byrne, Jeremy Deller, Thomas Demand, Pierre Huyghe, Slave Pianos.
2007
IMA projects include Fresh Cut; Blood in its Various Forms Yvonne Todd; Beyond Guilt: The Trilogy Ruti Sela and Maayan Amir; Zidane: A 21st Century Portrait Douglas Gordon and Philippe Parreno; Bill Henson; Owls at Noon Prelude: The Hollow Men Chris Marker; The Field (Part 2) Gavin Hipkins; 1, 2, 3, 4, 5, 6, 7 Julian Dashper; James Angus; Early Performances on Video Mike Parr; Grey Water; Vox and Fluorescent Philip Brophy; Cambridge Road Pat Brassington; The Way Things Go Fischli/Weiss; Robert MacPherson; Cant Chant Vernon Ah Kee; Performances Jeremy Hynes.
2006
IMA projects include Matthew Barney Film Festival (Cremaster 1–5, Drawing Restraint 9) Matthew Barney; The Second of the Ordinary Practices Et Al.; Tooba Shirin Neshat; Everything Takes Time Eugene Carchesio; Home Olaf Breuning; Morphic Resonance Hany Armanious; Bricks Are Heavy Scott Redford.
2005
(with Janita Craw) Mixed-Up Childhood, New Gallery, Auckland Art Gallery.
(with Janita Craw) High Chair, St Paul St, Auckland.
Snake Oil: Chartwell Acquisitions 2002–5, New Gallery, Auckland Art Gallery.
AAG projects include Pe’a Mark Adams; Left Is Right Douglas Gordon; I Will, Should, Can, Must, May, Would Like to Express Myself Judy Millar.
2004
Everyday Minimal, New Gallery, Auckland Art Gallery.
AAG projects include Shane Cotton; The Centre of the Universe Hany Armanious; Fetus Reproductions Fetus Productions.
2003
Michael Stevenson: This Is the Trekka, New Zealand Pavilion, Venice Biennale.
Nine Lives, New Gallery, Auckland Art Gallery.
Pressing Flesh, New Gallery, Auckland Art Gallery.
AAG projects include Matthew Barney Cremaster II and III; Bill Culbert; The Lamp in My Studio.
2002
Gavin Hipkins: The Colony, Sao Paulo Bienal; Gus Fisher Gallery, Auckland.
2001
Artspace projects include Simultaneous Invalidations: Second Attempt Et Al.; Bright Paradise Paul Morrison, Ian McDonald, Tony De Lautour, Paul Seitsema; Alt.Music David Watson, Makagami Koichi, Tony Buck, Florian Hecker, Pansonic, Jon Rose; Harry Human Heights John Reynolds.
2000
Artspace projects include Tracey Moffatt; The Habitat Gavin Hipkins; Otomo Yoshihide; Daily Practice Mike Stevenson and Danius Kesminas; Space Invaders Terrence Handscomb; Passerby Yuk King Tan; Tiffany’s Kyoto Jim Speers; An Eye for an Eye Artur Zmijewski; Handikraft John Bock, Bjorn Dahlem, Rene Zeh; Karin Sander.
1999
(with Jim and Mary Barr) Who Do I Think I Am Artspace.
Artspace projects include John Armleder; Sylvie Fleury; SoundCulture’99; Cremaster V Matthew Barney; DJ Spooky; Fishtank Richard Billingham; Zhang Huan; Ten Guitars Michael Parekowhai; The Dirt under God’s Fingernails Gary Perkins; Code Andrew Barrie; Nostalgia for the Future.
1998
(with Wystan Curnow and Tina Barton) Action Replay: Post-Object Art, Artspace, Auckand Art Gallery, Govett-Brewster Art Gallery.
Artspace projects include Span Diana Thater, Mariko Mori, Jessica Bronson; One Love Peter Robinson; Kerrie Poliness and Stephen Bram; Dial H-I-S-T-O- R-Y Johan Grimonprez; Autonomous Action: New Chinese Performance on Video; Oval; Folklore: The New Zealanders.
1997
Artspace projects include Urban Museum Reality Service Terry Urbahn; Health Happiness and Housing Ava Seymour; Alt.waysofseeing Mike Stevenson; Self Portraits Billy Apple; Invisible Man Ronnie van Hout; Cottage Industry Ani O’Neill; The Tunnel Gavin Hipkins; Tony Conrad; Keiji Haino.
1996
Opening contemporary-art programme at the new Dunedin Public Art Gallery, including Alex Bag residency project.
1995
Hangover, Waikato Museum of Art and History; Govett-Brewster Art Gallery; Robert McDougall Art Gallery, Christchurch; Dunedin Public Art Gallery.
1994
Powerworks: From the Museum of Contemporary Art Collection, Museum of New Zealand, Wellington; Govett-Brewster Art Gallery; Waikato Museum of Art and History; Dunedin Public Art Gallery.
GBAG projects include Kiss the Baby Goodbye Michael Parekowhai.
1993
Collaborations, Govett-Brewster Art Gallery.
Len Lye: Free Radical, Waikato Museum of Art and History.
Comfort Zone, Govett-Brewster Art Gallery.
GBAG projects include Supraluxe Suite Derrick Cherrie.
1992
(with Bernice Murphy) Headlands: Thinking through New Zealand Art, Museum of Contemporary Art, Sydney; National Art Gallery.
Nine Lives, New Gallery, Auckland Art Gallery.
Pressing Flesh, New Gallery, Auckland Art Gallery.
AAG projects include Matthew Barney Cremaster II and III; Bill Culbert; The Lamp in My Studio.
2002
Gavin Hipkins: The Colony, Sao Paulo Bienal; Gus Fisher Gallery, Auckland.
2001
Artspace projects include Simultaneous Invalidations: Second Attempt Et Al.; Bright Paradise Paul Morrison, Ian McDonald, Tony De Lautour, Paul Seitsema; Alt.Music David Watson, Makagami Koichi, Tony Buck, Florian Hecker, Pansonic, Jon Rose; Harry Human Heights John Reynolds.
2000
Artspace projects include Tracey Moffatt; The Habitat Gavin Hipkins; Otomo Yoshihide; Daily Practice Mike Stevenson and Danius Kesminas; Space Invaders Terrence Handscomb; Passerby Yuk King Tan; Tiffany’s Kyoto Jim Speers; An Eye for an Eye Artur Zmijewski; Handikraft John Bock, Bjorn Dahlem, Rene Zeh; Karin Sander.
1999
(with Jim and Mary Barr) Who Do I Think I Am Artspace.
Artspace projects include John Armleder; Sylvie Fleury; SoundCulture’99; Cremaster V Matthew Barney; DJ Spooky; Fishtank Richard Billingham; Zhang Huan; Ten Guitars Michael Parekowhai; The Dirt under God’s Fingernails Gary Perkins; Code Andrew Barrie; Nostalgia for the Future.
1998
(with Wystan Curnow and Tina Barton) Action Replay: Post-Object Art, Artspace, Auckand Art Gallery, Govett-Brewster Art Gallery.
Artspace projects include Span Diana Thater, Mariko Mori, Jessica Bronson; One Love Peter Robinson; Kerrie Poliness and Stephen Bram; Dial H-I-S-T-O- R-Y Johan Grimonprez; Autonomous Action: New Chinese Performance on Video; Oval; Folklore: The New Zealanders.
1997
Artspace projects include Urban Museum Reality Service Terry Urbahn; Health Happiness and Housing Ava Seymour; Alt.waysofseeing Mike Stevenson; Self Portraits Billy Apple; Invisible Man Ronnie van Hout; Cottage Industry Ani O’Neill; The Tunnel Gavin Hipkins; Tony Conrad; Keiji Haino.
1996
Opening contemporary-art programme at the new Dunedin Public Art Gallery, including Alex Bag residency project.
1995
Hangover, Waikato Museum of Art and History; Govett-Brewster Art Gallery; Robert McDougall Art Gallery, Christchurch; Dunedin Public Art Gallery.
1994
Powerworks: From the Museum of Contemporary Art Collection, Museum of New Zealand, Wellington; Govett-Brewster Art Gallery; Waikato Museum of Art and History; Dunedin Public Art Gallery.
GBAG projects include Kiss the Baby Goodbye Michael Parekowhai.
1993
Collaborations, Govett-Brewster Art Gallery.
Len Lye: Free Radical, Waikato Museum of Art and History.
Comfort Zone, Govett-Brewster Art Gallery.
GBAG projects include Supraluxe Suite Derrick Cherrie.
1992
(with Bernice Murphy) Headlands: Thinking through New Zealand Art, Museum of Contemporary Art, Sydney; National Art Gallery.
After Dark, Govett-Brewster Art Gallery. (with Gregory Burke)
Shadow of Style: Eight New Artists, Wellington City Art Gallery; Govett-Brewster Art Gallery.
Michael Smither: To My Father the Printer, Govett-Brewster Art Gallery; Bathhouse, Rotorua.
1991
Stacey/Redgate, Robyn Stacey and Jacky Redgate, Shed 11/National Art Gallery; Artspace.
(with Roger Horrocks) Composing Motion: The Kinetic Sculpture and Experimental Films of Len Lye, National Art Gallery; Govett-Brewster Art Gallery.
UK Works: New Zealand Artists in Britain in the 1960s, Shed 11/National Art Gallery.
1990
Elements Explorations Oppositions, Shed 11/National Art Gallery.
1989
Disgust and Neglect: Introducing Derek Cowie, Artspace.
Nobodies: Adventures of the Generic Figure, Shed 11/National Art Gallery.
1988
(with Priscilla Pitts) Exhibits: The Museum Display and the Encyclopaedia Plate, National Art Gallery; Artspace.
1987
LimitedSedition, New Zealand contribution to ARX’87, Perth.
1986
Pakeha Mythology, Govett-Brewster Art Gallery.
Shadow of Style: Eight New Artists, Wellington City Art Gallery; Govett-Brewster Art Gallery.
Michael Smither: To My Father the Printer, Govett-Brewster Art Gallery; Bathhouse, Rotorua.
1991
Stacey/Redgate, Robyn Stacey and Jacky Redgate, Shed 11/National Art Gallery; Artspace.
(with Roger Horrocks) Composing Motion: The Kinetic Sculpture and Experimental Films of Len Lye, National Art Gallery; Govett-Brewster Art Gallery.
UK Works: New Zealand Artists in Britain in the 1960s, Shed 11/National Art Gallery.
1990
Elements Explorations Oppositions, Shed 11/National Art Gallery.
1989
Disgust and Neglect: Introducing Derek Cowie, Artspace.
Nobodies: Adventures of the Generic Figure, Shed 11/National Art Gallery.
1988
(with Priscilla Pitts) Exhibits: The Museum Display and the Encyclopaedia Plate, National Art Gallery; Artspace.
1987
LimitedSedition, New Zealand contribution to ARX’87, Perth.
1986
Pakeha Mythology, Govett-Brewster Art Gallery.
.
BIBLIOGRAPHY
BIBLIOGRAPHY
Forthcoming
‘The Devil’s in the Detail’, Michael Zavros: The Favourite, Queensland Art Gallery.
2022
‘Kathy Barry: Within You Without You’, Here.
‘The Light that Burns Twice as Brightly’, Giovanni Intra: Clinic of Phantasms Writings 1994–2002, Bouncy Castle, Auckland, and Semiotext(e), Los Angeles.
‘Lucien Rizos: Processing Power’, Art News New Zealand, Spring 2022.
‘Brett Graham: Ark of Forbearance’, Art News New Zealand, Spring 2022.
‘Brett Graham: Art of Forbearance’, Here, no. 14, Spring 2002, 49–52.
‘Venice for Beginners’, Art News New Zealand, Winter 2022.
Simon Ingram, Art News New Zealand, Winter 2022.
‘Twilight Zone’, The Bank of New Zealand Art Collection, Webb’s, 105–12.
‘Julian Dashper: Are You Talking to Me?’, Webb’s.
(Interview of John Lethbridge and Jane Campion) ‘John and Jane’, Art News New Zealand, Autumn 2022.
(Interview of Geoffrey Heath and Yvonne Todd) ‘Mould in the Lens’, Art News New Zealand, Autumn 2022.
‘Bill Hammond: Goods and Services’, Goods and Services, Webb’s.
‘John Currin: Part of the Problem’, Vault, no. 38.
‘Zac Langdon-Pole: Hurry Slowly’, Here, no. 12, Autumn 2022, 41–4.
‘John Lethbridge: Escape the Flames’, John Lethbridge: Divination: Performance Photographs 1978–82, Webb’s.
2021
Contribution to ‘Lonely Planet’, Art News New Zealand, Spring–Summer 2021.
‘Robin White: The Tide Turns’, Art News New Zealand, Spring–Summer 2021, 84–91.
‘Telly Vision’, Here, no. 10, Summer 2021–2, 56–60.
‘Brett Graham: Written on the Wind’, Artist Profile, no. 57, 2021, 77–83.
(interview of Judy Millar) Judy Millar: Action Movie, City Gallery Wellington.
(interview of Florian Habicht), ‘Everything Is Kapai’, Art News New Zealand, Winter 2021, 94–9.
‘Andrew Beck: Photography Backwards’, Here, no. 8, Spring 2021, 61–2.
‘Tia Ranginui: Gonville Gothic’, Art News New Zealand, Autumn 2021, 66–9.
Contribution to ‘In Memory of Bill Hammond 1947–2021’, Art News New Zealand, Autumn 2021, 103–5.
‘Yona Lee: Fix and Fit’, Here, no. 6, Autumn 2021, 39–43.
‘Michael Zavros: Zeus/Zavros’, HOTA Collects, HOTA, Gold Coast, 270.
‘Wellness versus Art’, Art Monthly Australasia, no. 327, Autumn 2021, 75–9.
‘Susan King: Address Unknown’, Vault, no. 33, 35–9.
2020
Zac Langdon-Pole: Containing Multitudes, City Gallery Wellington.
‘Isabella Loudon: Concrete Mixer’, Here, no. 3, October 2020.
‘No Place (Like Home)’, (with Aaron Lister, interview of Gavin Hipkins) ‘It Feels Like Yesterday’, Gavin Hipkins: The Homely II, Bouncy Castle, Auckland.
‘Zac Langdon Pole: Rabbit Hole’, Vault, no. 31, 77–81.
‘Explaining Peter Peryer to a Dead Hare’, Vault, no. 30, 52–7
‘Stuart Ringholt: Committing Time’, Vault, no. 29, 68–73.
2019
‘Emil McAvoy: Basement Biopsies’, Landfall, no. 238, 64.
‘Sincere Disconnect’, Brent Harris: Towards the Swamp, Christchurch Art Gallery, 39–42.
‘Colin McCahon: Numerals’, McCahon 100, https://mccahonhouse.org.nz/100/robert-leonard/ [reprinted in McCahon 100, McCahon House, Auckland, 2020, 90.].
(interviewed by ArtZone) ‘City Chief’, ArtZone, no. 80.
(interviewed by ArtZone) ‘City Chief’, ArtZone, no. 80.
(interview of John Stezaker) ‘A Ship’s Steering Wheel and a Hangman’s Noose’, Eyeline, no. 91, 34–41.
2018
‘Ian Scott: Enzed Dead Zone’, New Zealand Art at Te Papa, Te Papa Press, Wellington.
‘Jono Rotman: Our Enduring Image of Strength’, Art Monthly Australasia, no. 310, September, 44–51.
‘Jono Rotman: Our Enduring Image of Strength’, Art Monthly Australasia, no. 310, September, 44–51.
(with Anna Marie White), ‘George Hubbard: The Hand that Rocked the Cradle’, Reading Room, no. 8, 31–53.
‘Patrick Pound: The Collector’s Shadow’, Art News, Spring, 60–3.
(with Aaron Lister and Moya Lawson et al.) This Is New Zealand, City Gallery Wellington.
‘The People vs. Kelley Walker’, Eyeline, no. 88, 58–65.
2017
2017
‘The Revenant’, Gavin Hipkins: The Domain, Victoria University Press, Wellington, 22–31.
‘Twice Removed’, John Stezaker: Lost World, Ridinghouse, London, 9–16.
‘The Empire of Light’, Art News, no. 299, June–July.
(with Wystan Curnow) Colin McCahon: On Going Out with the Tide, City Gallery Wellington.
2016
‘Rambin’ Man’, Laith McGregor: S-O-M-E-O-N-E, Perimeter Editions, Melbourne, 129–35.
2016
‘Rambin’ Man’, Laith McGregor: S-O-M-E-O-N-E, Perimeter Editions, Melbourne, 129–35.
(interview of Gavin Hipkins) ‘Gavin Hipkins: Wives Are Scarce’, www.circuit.org.nz/blog/gavin-hipkins-wives-are-scarce.
‘Adrift in Otherness’, Francis Upritchard: Jealous Saboteurs, Monash University Museum of Art and City Gallery Wellington, 132–42.
‘Sister Act’, Sister Corita’s Summer of Love, City Gallery Wellington, np.
(interview of Jim Barr, Gary Langsford, Kendrah Morgan, Marie Shannon, and Evan Webb) ‘When Artists Die’, Art News, Winter, 90–4.
‘Everything and Its Opposite’, Cindy Sherman, Queensland Art Gallery, 38–46.
Bullet Time, City Gallery Wellington.
‘What Ever Happened to Baby Jacky?, Jacky Redgate: Mirrors, Power Publications, Sydney, 75–85.
2015
Julian Dashper & Friends, City Gallery Wellington.
‘City Mission’, Unseen City: Gary Baigent, Rodney Charters, and Robert Ellis in Sixties Auckland, City Gallery Wellington, and Te Uru, Auckland, np.
(interviewed by Virginia Were, with Heather Galbraith) ‘Feel the Love in Venice’, Art News, Spring, 92–5.
‘Too Much Information’, Simon Denny: Secret Power, Mousse Publishing, Berlin, 15–20.
‘Steve Carr: Annabel’, Eyeline, no. 82, 36–9.
2014
‘Cult Appeal’, Yvonne Todd: Creamy Psychology, Victoria University Press, Wellington, 53–63.
(interviewed by Kate Brettkelly-Chalmers) ‘Ocula Conversation: Robert Leonard’, http://ocula.com/magazine/conversations/robert-leonard/.
(interview of Mikala Dwyer), Mikala Dwyer: Drawing Down the Moon, Institute of Modern Art, 57–61.
‘The Artist Will Be Naked’, Stuart Ringholt: Kraft, Monash University Museum of Art and Institute of Modern Art, 23–30.
Ed., with Christina Barton, The Critic’s Part: Wystan Curnow Art Writings, Victoria University Press, Wellington; Adam Art Gallery; and Institute of Modern Art. Includes ‘Curnow’s Leverage’, 1–11.
‘Viviane Sassen: Detail in the Shadows’, Photofile, no. 95, 38–47.
(interview of Michael Zavros) ‘What Now?: Michael Zavros’, Art Collector, no. 68, April–June, 68.
(interviewed by Virginia Were) ‘Promiscuous Collaborator’, Art News, Winter, 66–8.
‘Please Explain’, Simon Starling: In Speculum, Monash University of Modern Art, Institute of Modern Art, and City Gallery Wellington, 23–51.
(interview of Michael Zavros) ‘What Now?: Michael Zavros’, Art Collector, no. 68, April–June, 68.
(interviewed by Virginia Were) ‘Promiscuous Collaborator’, Art News, Winter, 66–8.
‘Please Explain’, Simon Starling: In Speculum, Monash University of Modern Art, Institute of Modern Art, and City Gallery Wellington, 23–51.
2013
‘The Treachery of Images’, Shane Cotton: The Hanging Sky, Christchurch Art Gallery, with Institute of Modern Art, 130–7.
Bazinga!, Institute of Modern Art and Starkwhite.
(interviewed by Hannah Mathews) ‘Robert Leonard: On Curating’, ABC [online], http://www.abc.net.au/arts/stories/s3760911.htm.
‘The Treachery of Images’, Shane Cotton: The Hanging Sky, Christchurch Art Gallery, with Institute of Modern Art, 130–7.
Bazinga!, Institute of Modern Art and Starkwhite.
(interviewed by Hannah Mathews) ‘Robert Leonard: On Curating’, ABC [online], http://www.abc.net.au/arts/stories/s3760911.htm.
‘Critic’s Choice: Geek Moment’, Art Collector, no. 66, November–December, 156–61.
‘Elephant in the Room’, Craig Walsh, Museum of Contemporary Art and Institute of Modern Art, 42–9.
2012
‘Don Driver 1930–2011’, Art News, Autumn, 20.
Fresh Cut 2012, Institute of Modern Art.
‘Rereading Julian Dashper’s The Big Bang Theory’, Reading Room, no. 5, 98– 117.
‘Opening a Post-Colonial Pandora’s Box’, Art News, Summer, 100–4.
Nostalgia for Intimacy, Adam Art Gallery.
2011
‘Unnerved: The New Zealand Project’, Eyeline, no. 73, 59–62.
(interview of Peter Madden) ‘Orgasm and Trauma’, Peter Madden, Institute of Modern Art.
(interview of Judy Millar) Personal Structures, Global Art Affairs, Bonn, 72.
‘Brophy’s Whole’, Philip Brophy: Hyper Material for Our Very Brain, Institute of Modern Art, 4–6.
‘Michael Zavros: Charm Offensive’, Art and Australia 49, no. 1, 100–9. [reprinted in Michael Zavros: Bad Dad, Starkwhite, 2014, 2–7.]
2010
(interview of Gina Fairley, Jacqueline Millner, David Teh, and Lee Weng Choy) ‘Nice Show’, Eyeline, no. 71, 61–7.
‘Taryn Simon’s Known Unknowns’, Christchurch Art Gallery Bulletin, no. 161, Summer, 29–30.
Brisbane Airport Fresh Cut 2010, Institute of Modern Art.
Feminism Never Happened, Institute of Modern Art.
‘It’s Complicated’, Scott Redford Introduces Reinhardt Dammn, Queensland Art Gallery, 17–25.
‘Peter Robinson: Gravitas Lite’, Art and Australia 28, no. 2, Summer, 310–7.
‘Elephant in the Room’, Craig Walsh, Museum of Contemporary Art and Institute of Modern Art, 42–9.
2012
‘Don Driver 1930–2011’, Art News, Autumn, 20.
Fresh Cut 2012, Institute of Modern Art.
‘Rereading Julian Dashper’s The Big Bang Theory’, Reading Room, no. 5, 98– 117.
‘Opening a Post-Colonial Pandora’s Box’, Art News, Summer, 100–4.
Nostalgia for Intimacy, Adam Art Gallery.
2011
‘Unnerved: The New Zealand Project’, Eyeline, no. 73, 59–62.
(interview of Peter Madden) ‘Orgasm and Trauma’, Peter Madden, Institute of Modern Art.
(interview of Judy Millar) Personal Structures, Global Art Affairs, Bonn, 72.
‘Brophy’s Whole’, Philip Brophy: Hyper Material for Our Very Brain, Institute of Modern Art, 4–6.
‘Michael Zavros: Charm Offensive’, Art and Australia 49, no. 1, 100–9. [reprinted in Michael Zavros: Bad Dad, Starkwhite, 2014, 2–7.]
2010
(interview of Gina Fairley, Jacqueline Millner, David Teh, and Lee Weng Choy) ‘Nice Show’, Eyeline, no. 71, 61–7.
‘Taryn Simon’s Known Unknowns’, Christchurch Art Gallery Bulletin, no. 161, Summer, 29–30.
Brisbane Airport Fresh Cut 2010, Institute of Modern Art.
Feminism Never Happened, Institute of Modern Art.
‘It’s Complicated’, Scott Redford Introduces Reinhardt Dammn, Queensland Art Gallery, 17–25.
‘Peter Robinson: Gravitas Lite’, Art and Australia 28, no. 2, Summer, 310–7.
2009
(with others) ‘Roundtable: The State 0f Art and Discourse in New Zealand’, Reading Room, no. 3, 7–29.
‘Your Call’, Vernon Ah Kee: Born in this Skin, Institute of Modern Art, 5–13.
(with Rex Butler) ‘Editorial’, ‘Michael Stevenson’, ‘Mladen Bizumic’, ‘Hamish Keith: The Big Picture’, Australian and New Zealand Journal of Art, 9, no. 1/2, 10–3, 65, 161, 251–5.
(interview of Lincoln Austin) Lincoln Austin: Field of Vision, Institute of Modern Art. Brisbane Airport Fresh Cut 2009, Institute of Modern Art.
(with Angela Goddard) ‘Tomorrow Will Be the Same but not as This Is’, The Same River Twice, Institute of Modern Art.
(interview of Jemima Wyman) Jemima Wyman: The Declaration of Resemblance and Fluid Insurgents, Institute of Modern Art.
‘Julian Dashper 1960–2009’, (interview of Hou Hanru and Suhanya Raffel) ‘Biennale Makers: Hou Hanru and Suhanya Raffel in conversation with Robert Leonard’, Art and Australia 47, no. 2, Summer, 224, 280–3.
Contribution to ‘Vox Pop’, Christchurch Art Gallery Bulletin, no. 159, Summer, 13.
(with others) ‘Roundtable: The State 0f Art and Discourse in New Zealand’, Reading Room, no. 3, 7–29.
‘Your Call’, Vernon Ah Kee: Born in this Skin, Institute of Modern Art, 5–13.
(with Rex Butler) ‘Editorial’, ‘Michael Stevenson’, ‘Mladen Bizumic’, ‘Hamish Keith: The Big Picture’, Australian and New Zealand Journal of Art, 9, no. 1/2, 10–3, 65, 161, 251–5.
(interview of Lincoln Austin) Lincoln Austin: Field of Vision, Institute of Modern Art. Brisbane Airport Fresh Cut 2009, Institute of Modern Art.
(with Angela Goddard) ‘Tomorrow Will Be the Same but not as This Is’, The Same River Twice, Institute of Modern Art.
(interview of Jemima Wyman) Jemima Wyman: The Declaration of Resemblance and Fluid Insurgents, Institute of Modern Art.
‘Julian Dashper 1960–2009’, (interview of Hou Hanru and Suhanya Raffel) ‘Biennale Makers: Hou Hanru and Suhanya Raffel in conversation with Robert Leonard’, Art and Australia 47, no. 2, Summer, 224, 280–3.
Contribution to ‘Vox Pop’, Christchurch Art Gallery Bulletin, no. 159, Summer, 13.
2008
‘Archives Become Him: The Giovanni Intra Archive’, Reading Room, no. 2, 171–85.
‘Rainforest Surfer’, Art and Australia 45, no. 4, Winter, 640–5.
‘Diena Georgetti’s Parallel Existence’, Diena Georgetti: The Humanity of Abstract Painting 1988–2008, Monash University Museum of Art and Institute of Modern Art, 55–7.
The Dating Show, Institute of Modern Art.
‘Hello Darkness: New Zealand Gothic’, Art and Australia 46, no.1, Spring, 88–95 [reprinted in Current: Contemporary Art from Australia and New Zealand, Art and Australia, Sydney, 20–5].
‘Archives Become Him: The Giovanni Intra Archive’, Reading Room, no. 2, 171–85.
‘Rainforest Surfer’, Art and Australia 45, no. 4, Winter, 640–5.
‘Diena Georgetti’s Parallel Existence’, Diena Georgetti: The Humanity of Abstract Painting 1988–2008, Monash University Museum of Art and Institute of Modern Art, 55–7.
The Dating Show, Institute of Modern Art.
‘Hello Darkness: New Zealand Gothic’, Art and Australia 46, no.1, Spring, 88–95 [reprinted in Current: Contemporary Art from Australia and New Zealand, Art and Australia, Sydney, 20–5].
2007
‘Introduction’, Reading Room, no. 1, Auckland Art Gallery, 6–7.
Fresh Cut 2007, Institute of Modern Art.
(interview of Yvonne Todd) ‘Why Beige?’, Dead Starlets Assoc. by Yvonne Todd, Institute of Modern Art, 59–61.
‘Et Al.’, Prospect, City Gallery, Wellington, np.
‘Et Al.’, Prospect, City Gallery, Wellington, np.
‘Julian Dashper’s Mural for a Contemporary House 4’ (contribution to ‘Ten Great New Zealand Paintings’), Listener, 7 April, 45.
(interviewed by Beatrice Page) Grey Water, Institute of Modern Art, np.
(interview of Katharina Grosse) ‘Mist and Mud’, Katharina Grosse: Picture Park, Queensland Art Gallery, 37–41.
‘Catalogue of Errors’, Hany Armanious: Morphic Resonance, Institute of Modern Art, 20–30.
‘Pop Haiku’, Scott Redford: Blood Disco, Art Gallery of New South Wales, np.
2006
‘Curator/Surfer’, Flying Arts Gazette, no. 90, 36–8.
‘Bill Henson’, Gallery News, March–June, np.
‘Cue Pasifika: Made in New Zealand’, Artlines, 1/2006, Queensland Art Gallery, 16–23.
‘Elegantly Wasted’, Urbis, no. 32, 68.
‘Et Al.’s Neo-Brutalist Playground’, Et Al.: The Second of the Ordinary Practices, Institute of Modern Art, np.
‘Gordon Walters: Form Becomes Sign’, Art and Australia 44, no. 2, 256–61.
‘Gift Horse’, Asia Pacific Triennial, Queensland Art Gallery, 222–5. [reprinted in Unnerved: The New Zealand Project, Queensland Art Gallery, 2010, 149–51].
2005
(with Janita Craw) ‘Inventing Childhood’, Mixed-Up Childhood, Auckland Art Gallery.
(with Janita Craw) ‘Mixed-Up Childhood’, ‘New Acquisitions: Michael Parekowhai Kapahaka Pakaka’, Gallery News, March–June, np.
‘Ian Scott: Jump Over Girl’, Victoria’s Art: A University Collection, Victoria University of Wellington, 50.
‘History Curator’, Stella Brennan 0–10, Ondine Publishing, Auckland, 3–9.
Snake Oil: Chartwell Acquisitions 2002–5, Auckland Art Gallery.
‘Billy Apple Cleans Up’, ‘Print Friendly’, ‘Snake Oil: Chartwell Acquisitions 2002–5’, ‘Mark Adams: Pe’a’, ‘Douglas Gordon: Left Is Right …’, ‘Judy Millar: I Will, Should, Can, Must, May, Would Like To Express Myself’ Gallery News July–October, np.
(interviewed by Philip Matthews) ‘At the End of New Zealand Art’, New Zealand Listener, 1 October, 36–8.
(interview of Judy Millar) Judy Millar: I Will, Should, Can, Must, May, Would Like to Express Myself’, Auckland Art Gallery.
‘Jim Speers: Outdoor Cinema’, Gallery News, November 2005–February 2006, np.
(with Janita Craw) ‘We Are the World, We Are the Children …’, AES+F: King of the Forest, Juan Ruiz Galeria, Maricaibo, 24–5 [reprinted in AES AES+F, State Russian Museum, St Petersburg, 2006, 184–5].
‘Yvonne Todd’, Contemporary New Zealand Photographers, Mountain View Publishing, Auckland, 32–3.
2005
(with Janita Craw) ‘Inventing Childhood’, Mixed-Up Childhood, Auckland Art Gallery.
(with Janita Craw) ‘Mixed-Up Childhood’, ‘New Acquisitions: Michael Parekowhai Kapahaka Pakaka’, Gallery News, March–June, np.
‘Ian Scott: Jump Over Girl’, Victoria’s Art: A University Collection, Victoria University of Wellington, 50.
‘History Curator’, Stella Brennan 0–10, Ondine Publishing, Auckland, 3–9.
Snake Oil: Chartwell Acquisitions 2002–5, Auckland Art Gallery.
‘Billy Apple Cleans Up’, ‘Print Friendly’, ‘Snake Oil: Chartwell Acquisitions 2002–5’, ‘Mark Adams: Pe’a’, ‘Douglas Gordon: Left Is Right …’, ‘Judy Millar: I Will, Should, Can, Must, May, Would Like To Express Myself’ Gallery News July–October, np.
(interviewed by Philip Matthews) ‘At the End of New Zealand Art’, New Zealand Listener, 1 October, 36–8.
(interview of Judy Millar) Judy Millar: I Will, Should, Can, Must, May, Would Like to Express Myself’, Auckland Art Gallery.
‘Jim Speers: Outdoor Cinema’, Gallery News, November 2005–February 2006, np.
(with Janita Craw) ‘We Are the World, We Are the Children …’, AES+F: King of the Forest, Juan Ruiz Galeria, Maricaibo, 24–5 [reprinted in AES AES+F, State Russian Museum, St Petersburg, 2006, 184–5].
‘Yvonne Todd’, Contemporary New Zealand Photographers, Mountain View Publishing, Auckland, 32–3.
2004
‘Ava Seymour: “We Told You We Had Living Breathing Monstrosities”’, Public/Private, Auckland Art Gallery, 143.
‘Max Gimblett: The Brush of All Things’, ‘Shane Cotton Survey 1993–2003’, ‘Everyday Minimal’, ‘Peter Robinson: The End of the Twentieth Century’, Gallery News, March–June, 16, 17–8, 19, 20.
‘Ava Seymour: “We Told You We Had Living Breathing Monstrosities”’, Public/Private, Auckland Art Gallery, 143.
‘Max Gimblett: The Brush of All Things’, ‘Shane Cotton Survey 1993–2003’, ‘Everyday Minimal’, ‘Peter Robinson: The End of the Twentieth Century’, Gallery News, March–June, 16, 17–8, 19, 20.
‘Cultural Surrealist’, Shane Cotton, Auckland Art Gallery, 2–16.
‘Len Lye: All Souls Carnival’, ‘Recent Acquisitions (Judy Millar: Things Get Worse; Mike Parr: Portrait of M and F)’, Gallery News, July–October, 6, 14.
‘Mixed-Up Childhood’, ‘Fetus Reproductions’, ‘New Acquisitions (Et Al. Simultaneous Invalidations, Second Attempt; Ian Scott Track)’, Gallery News, November 2004–February 2005, np.
The Walters Prize 2004, Auckland Art Gallery.
2003
Michael Stevenson: This is the Trekka, Creative New Zealand, Wellington.
Terry Urbahn, Anna Bibby Gallery, Auckland.
Nine Lives, Auckland Art Gallery.
‘Cars in Venice’, Art News, Spring, 48–9.
‘Nine Lives: The Chartwell Exhibition 2003’, ‘Recent Acquisition: Patricia Piccinini’s Kick Flip Ollie’, ‘Bill Culbert’, ‘Recent Acquisition: Michael Stevenson: Call Me Immendorff’, Gallery News (Auckland Art Gallery), June–September, 15–7, 18, 19, 20.
‘Nine Lives: The Chartwell Exhibition 2003’, ‘Matthew Barney: Cremaster II and III’, ‘Colin McCahon: The Lamp in My Studio’, ‘Pressing Flesh: Skin, Touch, Intimacy’, Gallery News, October 2003–February 2004, 15, 16, 17, 18.
2002
‘Trickle Up’, Artforum Series, Adam Art Gallery.
‘Gavin Hipkins’, Paises (Countries): 25th Sao Paulo Biennale, 194.
(interview of John Reynolds) ‘A City Street. A Sign. Dusk.’, SMWHR, Govett-Brewster Art Gallery and Artspace.
‘Len Lye: All Souls Carnival’, ‘Recent Acquisitions (Judy Millar: Things Get Worse; Mike Parr: Portrait of M and F)’, Gallery News, July–October, 6, 14.
‘Mixed-Up Childhood’, ‘Fetus Reproductions’, ‘New Acquisitions (Et Al. Simultaneous Invalidations, Second Attempt; Ian Scott Track)’, Gallery News, November 2004–February 2005, np.
The Walters Prize 2004, Auckland Art Gallery.
2003
Michael Stevenson: This is the Trekka, Creative New Zealand, Wellington.
Terry Urbahn, Anna Bibby Gallery, Auckland.
Nine Lives, Auckland Art Gallery.
‘Cars in Venice’, Art News, Spring, 48–9.
‘Nine Lives: The Chartwell Exhibition 2003’, ‘Recent Acquisition: Patricia Piccinini’s Kick Flip Ollie’, ‘Bill Culbert’, ‘Recent Acquisition: Michael Stevenson: Call Me Immendorff’, Gallery News (Auckland Art Gallery), June–September, 15–7, 18, 19, 20.
‘Nine Lives: The Chartwell Exhibition 2003’, ‘Matthew Barney: Cremaster II and III’, ‘Colin McCahon: The Lamp in My Studio’, ‘Pressing Flesh: Skin, Touch, Intimacy’, Gallery News, October 2003–February 2004, 15, 16, 17, 18.
2002
‘Trickle Up’, Artforum Series, Adam Art Gallery.
‘Gavin Hipkins’, Paises (Countries): 25th Sao Paulo Biennale, 194.
(interview of John Reynolds) ‘A City Street. A Sign. Dusk.’, SMWHR, Govett-Brewster Art Gallery and Artspace.
(interview of Jim Speers) Everything Is in Two Minds’, Jim Speers: Communicating at an Unknown Rate, Waikato Museum of Art and History and Artspace.
Gavin Hipkins: The Colony, Gus Fisher Gallery.
2001
(with Anna Miles) Flesh and Fruity: New Artists 2001, Artspace.
‘Lovers Leap on Full Moon’, John Armleder, Artspace and Jensen Gallery, Auckland.
‘This is New Zealand’, Artpix 3 [CDRom magazine].
2000
(with Wystan Curnow; interview of Jim Allen) ‘Contact’, Art New Zealand, no. 95, 48–55, 99.
(with Jim and Mary Barr) Who Do I Think I Am, Artspace.
‘Patriotism’, Michael Parekowhai: Ten Guitars, Artspace.
‘Ava Seymour: I’m So Green’, Contemporary Visual Arts, no. 29, 70.
(interview of Stephen Bambury) ‘Interview’, Bambury Works, City Gallery Wellington, 33–7.
‘Gavin Hipkins’, Guarene Arte 2000, Fondazione Sandretto Re Reubadengo Per L’Arte, Turin, 32–3.
‘Hi Fi or Boom Box’, Visit, no. 3, Govett-Brewster Art Gallery, 8.
‘Michael Stevenson and Stephen Brower’, Art and Text, no. 71, 85.
1999
(interviewed by The Pander) ‘Rewind to Fast Forward’, The Pander, no. 6–7 .
‘Gavin Hipkins: The Guide’, Art and Text, no. 65, 40–2.
‘Patrick Pound’, ‘Stephen Bambury’, Home and Away: Contemporary Australian and New Zealand Art for the Chartwell Collection Auckland Art Gallery with David Bateman, Auckland, 68, 72.
‘Editorial’, ‘The End of Improvement: In Defence of Ava Seymour’, Art Asia Pacific, no. 23, 5, 55–9.
(with Wystan Curnow, interview of Adrian Hall) ‘Bricks in Aspic’, Art New Zealand, no. 90, 34–9.
Gavin Hipkins: The Colony, Gus Fisher Gallery.
2001
(with Anna Miles) Flesh and Fruity: New Artists 2001, Artspace.
‘Lovers Leap on Full Moon’, John Armleder, Artspace and Jensen Gallery, Auckland.
‘This is New Zealand’, Artpix 3 [CDRom magazine].
2000
(with Wystan Curnow; interview of Jim Allen) ‘Contact’, Art New Zealand, no. 95, 48–55, 99.
(with Jim and Mary Barr) Who Do I Think I Am, Artspace.
‘Patriotism’, Michael Parekowhai: Ten Guitars, Artspace.
‘Ava Seymour: I’m So Green’, Contemporary Visual Arts, no. 29, 70.
(interview of Stephen Bambury) ‘Interview’, Bambury Works, City Gallery Wellington, 33–7.
‘Gavin Hipkins’, Guarene Arte 2000, Fondazione Sandretto Re Reubadengo Per L’Arte, Turin, 32–3.
‘Hi Fi or Boom Box’, Visit, no. 3, Govett-Brewster Art Gallery, 8.
‘Michael Stevenson and Stephen Brower’, Art and Text, no. 71, 85.
1999
(interviewed by The Pander) ‘Rewind to Fast Forward’, The Pander, no. 6–7 .
‘Gavin Hipkins: The Guide’, Art and Text, no. 65, 40–2.
‘Patrick Pound’, ‘Stephen Bambury’, Home and Away: Contemporary Australian and New Zealand Art for the Chartwell Collection Auckland Art Gallery with David Bateman, Auckland, 68, 72.
‘Editorial’, ‘The End of Improvement: In Defence of Ava Seymour’, Art Asia Pacific, no. 23, 5, 55–9.
(with Wystan Curnow, interview of Adrian Hall) ‘Bricks in Aspic’, Art New Zealand, no. 90, 34–9.
‘William Kentridge’, Art and Text, no. 66, 85–6.
‘Michael Parekowhai: Ten Guitars’ Beyond the Future: Fourth Asia Pacific Triennial, Queensland Art Gallery, 100.
Contributions to ‘Commentary’, Looking Up: Rachael Whiteread’s Water Tower, Public Art Fund, New York, and Scalo, Zurich, Berlin, New York, 167, 169, 170, 174, 177.
1998
‘Gavin Hipkins’, Art and Text, no. 60, 87–8.
‘Papa’s Bag’, Artforum, January, 42.
Contributions to ‘Commentary’, Looking Up: Rachael Whiteread’s Water Tower, Public Art Fund, New York, and Scalo, Zurich, Berlin, New York, 167, 169, 170, 174, 177.
1998
‘Gavin Hipkins’, Art and Text, no. 60, 87–8.
‘Papa’s Bag’, Artforum, January, 42.
(interview of Rudi Fuchs) ‘Some Sun, Some Mist, Some Shadow’, Art New Zealand, no. 88, 68–73.
‘Gavin Hipkins’, ‘Ani O’Neill’, ‘Peter Robinson’, ‘Jim Speers’, Every Day: 11th Biennale of Sydney, 112, 186, 170, 202.
‘Shane Cotton’, Art and Text, no. 63, 86–7.
‘Colin McCahon’, Toi Toi Toi, Museum Fredericanium, Kassel, and Auckland Art Gallery, 26–33.
(with Kelly Carmichael) Come: New Artists, Artspace.
1997
‘Secret Handshake’, Monica, no. 5, 16–7.
‘Self-Portrait as a Serious Artiste’, Dick Frizzell: Portrait of a Serious Artiste, City Gallery Wellington; and Dunedin Public Art Gallery, np.
‘Ronnie van Hout: Overimpressed’, Art and Text, no. 57, 32–4.
‘Gavin Hipkins’, ‘Ani O’Neill’, ‘Peter Robinson’, ‘Jim Speers’, Every Day: 11th Biennale of Sydney, 112, 186, 170, 202.
‘Shane Cotton’, Art and Text, no. 63, 86–7.
‘Colin McCahon’, Toi Toi Toi, Museum Fredericanium, Kassel, and Auckland Art Gallery, 26–33.
(with Kelly Carmichael) Come: New Artists, Artspace.
1997
‘Secret Handshake’, Monica, no. 5, 16–7.
‘Self-Portrait as a Serious Artiste’, Dick Frizzell: Portrait of a Serious Artiste, City Gallery Wellington; and Dunedin Public Art Gallery, np.
‘Ronnie van Hout: Overimpressed’, Art and Text, no. 57, 32–4.
(with Caroline Vercoe) ‘Doing It for Themselves’, Art Asia Pacific, no. 14, 42– 5.
‘Peter Robinson’, Inklusion/Exclusion, Steirischer Herbst, Graz, 321–3.
‘Peter Robinson’s Strategic Plan’, Art Asia Pacific, no. 16, 70–5 [reprinted in Seppelt Contemporary Art Award Museum of Contemporary Art, 1997, np; and, translated into German, Kunst-Welten Im Dialog Von Gauguin Zur Globalen Gegenwart, Museum Ludwig, Cologne, 472].
‘John Nixon’, Frieze, no. 36, 89–90.
1996
‘For Armchair Tourists’, The World Over, Stedelijk Museum, Amsterdam and City Gallery Wellington, 43–7.
(with David Watson as Midwest, interview of John Zorn) ‘Delirious Borders’, (as Midwest, interview of David Watson) ‘There Should be Clowns’, Midwest, no. 9, 43–7, 35–7.
‘Peter Robinson’, Inklusion/Exclusion, Steirischer Herbst, Graz, 321–3.
‘Peter Robinson’s Strategic Plan’, Art Asia Pacific, no. 16, 70–5 [reprinted in Seppelt Contemporary Art Award Museum of Contemporary Art, 1997, np; and, translated into German, Kunst-Welten Im Dialog Von Gauguin Zur Globalen Gegenwart, Museum Ludwig, Cologne, 472].
‘John Nixon’, Frieze, no. 36, 89–90.
1996
‘For Armchair Tourists’, The World Over, Stedelijk Museum, Amsterdam and City Gallery Wellington, 43–7.
(with David Watson as Midwest, interview of John Zorn) ‘Delirious Borders’, (as Midwest, interview of David Watson) ‘There Should be Clowns’, Midwest, no. 9, 43–7, 35–7.
‘Peter Peryer’, Art and Text, no. 55, 97.
‘Cover Version’, Aggressive Export Project, ASA Gallery, Auckland, np.
‘Where the Bee Sucks, There Suck I’, Midwest, no. 10, 48–53.
1995
‘3.125% Pure: Peter Robinson Plays the Numbers Game’, Art and Text, no. 50, 18–20.
(with Gwynneth Porter and Lara Strongman) ‘Michael Parekowhai’ Localities of Desire, Museum of Contemporary Art, 62–3.
(interviews of Judy Darragh, Lisa Reihana, George Hubbard, Megan Tamati Quenell, and John Perry) ‘Maoriana’, Midwest, no. 7, 22–8.
‘Double Entendre’, Midwest, no. 7, 32.
‘Cover Version’, Aggressive Export Project, ASA Gallery, Auckland, np.
‘Where the Bee Sucks, There Suck I’, Midwest, no. 10, 48–53.
1995
‘3.125% Pure: Peter Robinson Plays the Numbers Game’, Art and Text, no. 50, 18–20.
(with Gwynneth Porter and Lara Strongman) ‘Michael Parekowhai’ Localities of Desire, Museum of Contemporary Art, 62–3.
(interviews of Judy Darragh, Lisa Reihana, George Hubbard, Megan Tamati Quenell, and John Perry) ‘Maoriana’, Midwest, no. 7, 22–8.
‘Double Entendre’, Midwest, no. 7, 32.
‘Valley of DB’, (interview of Terry Urbahn) ‘Urban Spaceman’, Hangover, Govett-Brewster Art Gallery, Dunedin Public Art Gallery, and Waikato Museum of Art and History, 7–9, 47–8.
1994
(interview of Michael Stevenson) ‘Smokers Please’, Midwest, no. 4, 33–9.
‘Peter Tyndall’, Powerworks: From the MCA Collection, Govett-Brewster Art Gallery, Dunedin Public Art Gallery and Waikato Museum of Art and History, 42.
‘Dashper as Photographer’, Julian Dashper Photography 1980–1994, Manawatu Art Gallery, Palmerston North, 27–33.
‘Perverse Homages’, Planet, no. 13, 78–9.
(with Lara Strongman) Michael Parekowhai: Kiss the Baby Goodbye, Govett- Brewster Art Gallery and Waikato Museum of Art and History.
1994
(interview of Michael Stevenson) ‘Smokers Please’, Midwest, no. 4, 33–9.
‘Peter Tyndall’, Powerworks: From the MCA Collection, Govett-Brewster Art Gallery, Dunedin Public Art Gallery and Waikato Museum of Art and History, 42.
‘Dashper as Photographer’, Julian Dashper Photography 1980–1994, Manawatu Art Gallery, Palmerston North, 27–33.
‘Perverse Homages’, Planet, no. 13, 78–9.
(with Lara Strongman) Michael Parekowhai: Kiss the Baby Goodbye, Govett- Brewster Art Gallery and Waikato Museum of Art and History.
(interview of Stuart McKenzie and Neil Pardington) ‘The Collection Plate in the Electronic Church’, Planet, no. 14, np.
1993
(interview of Michael Smither) ‘To My Father the Printer’, Midwest, no. 2, 35–9.
(with John McCormack) ‘Beyond the Pale: Dick Frizzell’s Indigenuity’, Art Asia Pacific, no. 2, 36–41.
1993
(interview of Michael Smither) ‘To My Father the Printer’, Midwest, no. 2, 35–9.
(with John McCormack) ‘Beyond the Pale: Dick Frizzell’s Indigenuity’, Art Asia Pacific, no. 2, 36–41.
1992
‘James Ross: Damned Fine Paintings’, Distance Looks Our Way: Ten Artists from New Zealand, 87–92.
‘James Ross: Damned Fine Paintings’, Distance Looks Our Way: Ten Artists from New Zealand, 87–92.
‘Mod Cons’, (with Mary Barr et al; interview of Cliff Whiting) ‘Te Po, Te Whaiao, Te Ao Marama: From out of the Darkness, The World of Being, into the World of Light’, (with Dianne and Peter Beatson) ‘Making a Scene’ (chronology), Headlands: Thinking through New Zealand Art Museum of Contemporary Art and National Art Gallery, 161–72, 112–21, 203–13.
(with Greg Burke) ‘Style Shifts’, Shadow of Style, Govett-Brewster Art Gallery and Wellington City Art Gallery, 2–3.
‘Sleeve Notes: Julian Dashper’s Greatest Hits’, Midwest, no. 1, 21–5.
(interview of Derrick Cherrie) ‘Two Interviews’, Derrick Cherrie, Gow Langsford Gallery, Auckland, 14–9.
1991
(with Greg Burke) ‘Style Shifts’, Shadow of Style, Govett-Brewster Art Gallery and Wellington City Art Gallery, 2–3.
‘Sleeve Notes: Julian Dashper’s Greatest Hits’, Midwest, no. 1, 21–5.
(interview of Derrick Cherrie) ‘Two Interviews’, Derrick Cherrie, Gow Langsford Gallery, Auckland, 14–9.
1991
‘Mixed Emotions: Merylyn Tweedie’s Recent Installations’, Pleasures and Dangers: Artists of the 90s, Longman Paul, Auckland; with Moet et Chandon (NZ) Art Foundation, Auckland, 164–9.
Stacey/Redgate, National Art Gallery.
‘Against Purity: Three Word Sculptures by Michael Parekowhai’, Art New Zealand, no. 59, 52–4.
(with Conal McCarthy) Composing Motion: The Kinetic Sculptures of Len Lye, National Art Gallery.
(with Stuart McKenzie) ‘Something from Nothingness Comes: Recent Photographs by Marie Shannon’, Art New Zealand, no. 61, 54.
1990
(with Stuart McKenzie) ‘Surf: Recent Work by Julian Dashper’, Sport, no. 4, 107–11.
‘Old Fashion’, ‘Aberhart’s Other Spaces’, Nature Morte: 105 Photographs by Laurence Aberhart, National Art Gallery, 9, 18.
(with Jim and Mary Barr) ‘Who Is Neil Dawson and What on Earth Is He Doing?’, Tension, no. 21, 12–3.
1989
(with Stuart McKenzie) ‘It Figures’, ‘First Impressions’, Constructed Intimacies, Moet et Chandon (NZ) Art Foundation, Auckland, np.
(with Stuart McKenzie) ‘The Systematic Derangement of the Body’, Art New Zealand, no. 51, 58–61, 104.
(with Stuart McKenzie) ‘Pathetic Projections: Wilfulness in the Wilderness’, Antic, no. 5, 37–48.
‘The Cuddle and the Claw’, Cindy Sherman, National Art Gallery, np.
(with Stuart McKenzie) Decan: A Work in Ten Parts by Julia Morison, Tuscan Press, Christchurch
‘Presenting the Neglect’, Disgust and Neglect: Introducing Derek Cowie, Artspace, np.
Nobodies: Adventures of the Generic Figure, National Art Gallery.
1988
(with Priscilla Pitts) Exhibits: The Museum Display and the Encyclopedia Plate, National Art Gallery and Artspace.
‘Human Development: Gregory Burke’s Viewing’, Illusions, no. 8, 24–6.
‘Merylyn Tweedie’s Dora’s Bathroom: Six Recipes for Success’, National Art Gallery Newsletter, 4/1988, 6–7.
‘The Geography Lesson’, (with Neil Pardington) ‘No Good Going to Bed with Cold Feet’, Photofile, Spring, 7, 11–7.
(with Merylyn Tweedie and Priscilla Pitts; interview of Barbara Kruger) ‘You Must Be Barbara Kruger’, Antic, no. 4, 52–64.
‘Screwing Up the Eyes: City Group’s Flight Crowds’, Illusions, no. 9, 34–6.
1987
LimitedSedition, Queen Elizabeth II Arts Council.
‘Stewart Main’s Captive State’, Illusions, no. 6, 29–31.
1986
‘The Adventure that Never Was’, Antic, no. 2, 111–9.
Pakeha Mythology, Govett-Brewster Art Gallery.
‘Against Purity: Three Word Sculptures by Michael Parekowhai’, Art New Zealand, no. 59, 52–4.
(with Conal McCarthy) Composing Motion: The Kinetic Sculptures of Len Lye, National Art Gallery.
(with Stuart McKenzie) ‘Something from Nothingness Comes: Recent Photographs by Marie Shannon’, Art New Zealand, no. 61, 54.
1990
(with Stuart McKenzie) ‘Surf: Recent Work by Julian Dashper’, Sport, no. 4, 107–11.
‘Old Fashion’, ‘Aberhart’s Other Spaces’, Nature Morte: 105 Photographs by Laurence Aberhart, National Art Gallery, 9, 18.
(with Jim and Mary Barr) ‘Who Is Neil Dawson and What on Earth Is He Doing?’, Tension, no. 21, 12–3.
1989
(with Stuart McKenzie) ‘It Figures’, ‘First Impressions’, Constructed Intimacies, Moet et Chandon (NZ) Art Foundation, Auckland, np.
(with Stuart McKenzie) ‘The Systematic Derangement of the Body’, Art New Zealand, no. 51, 58–61, 104.
(with Stuart McKenzie) ‘Pathetic Projections: Wilfulness in the Wilderness’, Antic, no. 5, 37–48.
‘The Cuddle and the Claw’, Cindy Sherman, National Art Gallery, np.
(with Stuart McKenzie) Decan: A Work in Ten Parts by Julia Morison, Tuscan Press, Christchurch
‘Presenting the Neglect’, Disgust and Neglect: Introducing Derek Cowie, Artspace, np.
Nobodies: Adventures of the Generic Figure, National Art Gallery.
1988
(with Priscilla Pitts) Exhibits: The Museum Display and the Encyclopedia Plate, National Art Gallery and Artspace.
‘Human Development: Gregory Burke’s Viewing’, Illusions, no. 8, 24–6.
‘Merylyn Tweedie’s Dora’s Bathroom: Six Recipes for Success’, National Art Gallery Newsletter, 4/1988, 6–7.
‘The Geography Lesson’, (with Neil Pardington) ‘No Good Going to Bed with Cold Feet’, Photofile, Spring, 7, 11–7.
(with Merylyn Tweedie and Priscilla Pitts; interview of Barbara Kruger) ‘You Must Be Barbara Kruger’, Antic, no. 4, 52–64.
‘Screwing Up the Eyes: City Group’s Flight Crowds’, Illusions, no. 9, 34–6.
1987
LimitedSedition, Queen Elizabeth II Arts Council.
‘Stewart Main’s Captive State’, Illusions, no. 6, 29–31.
1986
‘The Adventure that Never Was’, Antic, no. 2, 111–9.
Pakeha Mythology, Govett-Brewster Art Gallery.