Ann Shelton will be speaking on Sunday at Massey as part of the Images and Fake News Panel Discussion.
Ann Shelton, born in Timaru, is an internationally recognised artist. Shelton’s large‑scale, hyper-real photographic works operate at the nexus of conceptual and documentary modes, investigating the social, political and historical contexts that inform readings of the landscape and its contents. Shelton is recognised as one of New Zealands leading photographic artists and is the paramount winner of two major New Zealand Contemorary Art awards (The 2010 COCA Anthony Harper Contemporary Art Award and the 2006 Trust Waikato Contemporary Art Award.
Shelton’s career review exhibition Dark Matter was shown at Auckland Art Gallery Toi o Tāmaki in 2017 and her work has been exhibited extensively internationally over the last 25 years, including showings in every major New Zealand institution.
Shelton is Associate Professor Photography at Whiti o Rehua School of Art, Massey University in Wellington, where she lectures in Fine Art and Photography, and is also Chairperson of Enjoy Public Art Gallery, Wellington’s longest running artist-run space. Shelton is represented by Bartley and Company Art and McNamara Gallery.
Athol McCredie began his involvement with curatorial work when in 1978 he co-curated an exhibition on the early-twentieth century amateur photographer Leslie Adkin. The success of this independent exhibition led to two and a half years employment at the National Art Gallery as Photography Curator and Graphic Designer.
Following ten years as a Freelance Researcher, Curator, Collection Manager and Photographer he became Art Curator (and subsequently acting director) at the Manawatu Art Gallery (now Te Manawa) in 1993. He joined Te Papa as an Art and Visual Culture Curator in 2001 and became Curator of Photography there in 2006.
His publications include Witness to change (co-authored with Janet Bayly, PhotoForum, 1985), Fields of golden daffodils (National Library of New Zealand, 1991), Brian Brake: Lens on the world (Te Papa Press, 2010), New Zealand photography collected (Te Papa Press, 2015) and editor of Ten x Ten: Art at Te Papa (Te Papa Press, 2017). At Te Papa he has curated Striking poses: New Zealand portrait photography (2003), Brian Brake: Lens on the world (2010), New Zealand photography collected (2016) and took a lead role on the development of Toi Te Papa: Art of the nation (2006). He has an MA in museum studies.
Caroline McQuarrie will be running Portfolio Reviews on Saturday with Michael Hall and on Sunday with Virginia Woods-Jack at Massey.
Caroline McQuarrie is Lecturer in Photography at Whiti o Rehua School of Art, College of Creative Arts, Massey University, Wellington, New Zealand. She is an interdisciplinary artist whose primary interest is the concept of home, whether it is located in a domestic space, a community or the land we identify with.
She works with photography, video and craft practices to explore meaning carried in photographic and craft based objects and domestic, suburban or community sites. Her work also explores how the photographic representation of a site with a particular history can reflect on the present.
She is currently working on various projects exploring how small stories in out of the way places can reflect on what happens in the wider world.
Geoffrey Batchen will be speaking on Sunday at Massey as part of the Images and Fake News Panel Discussion.
Professor Geoffrey Batchen teaches Art History at Victoria University of Wellington in New Zealand, specializing in the history of photography.
He is the author of many academic photographic books including; Burning with Desire: The Conception of Photography (1997); Each Wild Idea: Writing, Photography, History (2001); Forget Me Not: Photography and Remembrance (2004); William Henry Fox Talbot (2008); What of Shoes: Van Gogh and Art History (2009); Suspending Time: Life, Photography, Death (2010); Emanations: The Art of the Cameraless Photograph (2016). He also edited Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida (2009) and co-edited Picturing Atrocity: Photography in Crisis (2012).
Batchen has curated exhibitions shown in Australia, the USA, Germany, the Netherlands, Iceland, Japan, the UK, and New Zealand. In April 2016 his exhibition, Emanations: The Art of the Cameraless Photograph, opened at the Govett-Brewster Art Gallery in New Plymouth, New Zealand. In October 2017 an exhibition curated under the direction of Batchen, titled Apparitions: The Photograph and its Image, opened at the Adam Art Gallery at Victoria University of Wellington. Runes: Photography and Decipherment, is currently on at the Centre for Creative Photography in Melbourne.
James Gilberd will be running Portfolio Reviews on Saturday with Virginia Woods-Jack and on Sunday with Michael Hall at Flux.
James Gilberd is a professional photographer and the proprietor of Photospace Gallery, established in 1998 and one of only two art galleries in New Zealand specialising in photography.
A graduate of Wellington Polytechnic and Victoria University, Gilberd remains committed to offering opportunities to new photographers to exhibit their work and establish their careers, as well as representing a number of more mature artists with well-established reputations.
With darkrooms and a photographic studio available for hire, and a long-running programme of workshops and courses, Photospace Gallery has for more than a decade functioned as a de facto photography centre for the Wellington region.
Johanna Mechen works with still and moving images exploring the relationship between art, photography and science, in particular how community participation can play a role in site based investigations.
Her recent work has focused on this engagement in order to tell ecological, historical and culture stories - while extending the photographic mediums ability to communicate and be experienced, both through and beyond it’s many processes.
She completed a Masters of Fine Art program at Massey University Wellington in 2014 and her practice has included exhibiting, curating, writing and teaching photography.
Mary Macpherson will be speaking on Friday at Massey as part of the Telling Stories Panel Discussion
Mary Macpherson is a Wellington photographer and poet with a long career of exhibiting and publishing. Mary is a photobook collector and a founding member of the PhotobookNZ strategy committee.
Her books include Old New World (2012), Medical Daydreams (2016) and Bent (2014), a series about the impact of human activity on New Zealand’s tree landscape.
Macpherson has exhibited widely and her work is held in many New Zealand public collections. Her upcoming 2018 exhibition The Long View - Auckland Photographs 2014 - 2017 at the Pah Homestead.
Matt Dagger is General Manager of Kaibosh Food Rescue. Kaibosh is based in Wellington and is New Zealand’s first food rescue organisation.
Kaibosh links the food industry with community groups that support people in need ensuring that quality surplus food reaches those who are struggling rather than being needlessly discarded. This benefits both our community and our environment.
With a background in Community Development, Dagger thinks there can be nothing crazier in this world than quality surplus food being thrown away when people don’t have enough to eat.
Dagger sees Kaibosh’s food rescue service as an important contribution to community groups that are working hard help those less fortunate.
Michael will also be running Portfolio Reviews on Saturday at Massey with Caroline McQuarrie and on Sunday at Flux with James Gilberd.
Michael Hall is a Sydney based Photographer born in New Zealand. Hall is Photival's Keynote speaker and will be hosting workshops and portfolio review sessions. With more then 20 years experience Hall has created a considerable reputation for his work which has been widely exhibited across the globe including in Auckland, Copenhagen, London, Melbourne and New York.
Recognition for his work include winning Canon New Zealand's ‘Architectural Photographer of the Year' in 2004, Federation of European Photographers ‘Photographer of the Year' and in 2009 a Hasselblad Masters finalist. In 2014 and 2015 Hall was awarded a Creative Fellowship with the Australian Climate Institute.
Hall's work focuses on exploring human impact upon the environment. He is currently undertaking an extensive project to document the causes and effects of climate change to improve ecological awareness. This work has received endorsements from former UN secretary general Ban Ki- moon, Prof. Tim Flannery & Emeritus Prof. Dexter Dunphy.
Prior to this, Hall shot a truck load of commercial work which kept him busy for near on two decades. "Good training ground, lot's of fun and a wonderful career at the time, however, eventually my focus shifted to more important matters".
“ Hall’s victim is our planet as we know it now … and he gives it a voice. His pictures speak to me and reveal not only our greed, carelessness, and wastefulness, but also our hopefulness in an ability to perhaps see that things vulnerable are the most fragile and treasured things to behold. In a way, it’s a shame that his eye is so developed and his talent is such that everything he captures comes out in an evocative and hauntingly beautiful way. But that’s the paradoxical nature of his art … that he loves the world so much and cares so much for its future, that he can’t help but capture its beauty and majesty in a way that doesn’t show how degraded we have become as shamelessly wasteful people.”
YOO-JONG KIM, Walter Randel Gallery, New York
(Curator of Exhibitions).
Nicky Hager will be speaking on Sunday at Massey as part of the Images and Fake News Panel Discussion.
Nicky Hager, born in Levin, works as an author and investigative journalist. He has written seven books about New Zealand politics, intelligence, public relations and military subjects.
His most recent books were called "Dirty Politics, how attack politics is poisoning New Zealand's political environment" (2014) and "Hit and Run, The New Zealand SAS in Afghanistan and the meaning of honour” (2017). Following the formation of the new Labour-New Zealand First-Greens coalition government, Prime Minister Jacinda Ardern and Defence Minister Ron Mark announced in early November that they would hold an inquiry into the War Crime allegations raised by Hit & Run.
Hagar lives in Wellington and is the only New Zealand member of the International Consortium of Investigative Journalists.
Nina Tonga is an art historian and Curator Pacific Art at the Museum of New Zealand Te Papa Tongarewa Te Papa. She is from the villages of Vaini and Kolofo’ou in Tonga and was born and raised in New Zealand. She holds a Master of Arts specialising in contemporary Pacific art and is a doctoral candidate in Art History at the University of Auckland. Her current research focuses on contemporary Pacific art in New Zealand and the Pacific with a particular interest in internet art from 2000 to present.
Nina has been involved in a number of writing and curatorial projects with Pacific artists from New Zealand and the wider Pacific. In 2012 she was an associate curator for the exhibition Home AKL, the first major group exhibition of contemporary Pacific art developed by Auckland Art Gallery Toi o Tāmaki. Other curatorial projects include Koloa et Al at Fresh Gallery Otara, Tonga ‘i Onopooni: Tonga Contemporary at Pataka Museum and most recently Tivaevae: Out of the Glory Box at Te Papa. She is currently curator for the Honolulu Biennial 2019.
Peter Ireland will be speaking on Sunday at Massey as part of the Images and Fake News Panel Discussion.
Born in 1947, Peter Ireland’s interest in photography began while studying history at Canterbury University in the late 1960s and during the 1970s this expanded into a focus on contemporary photography, firstly in Auckland with Snaps Gallery and later in Wellington with the PhotoForum Gallery.
During the 1980s he had a professional association with both the then National Art Gallery in Wellington and the then Robert McDougall Art Gallery in Christchurch. For almost 30 years he curated photographic exhibitions for public galleries all over NZ, and since the late 1970s has had published numerous pieces on the medium.
He has never messed with the medium himself, but engages with it materially in collecting (for 25 years now) examples of hand-coloured photography illustrating the range of the practice.
Peter James Quinn is regarded as one of New Zealand’s preeminent social documentary photographers and his work has been shown in museums around New Zealand and various parts of the world over an almost 30 year-long career.
Quinn is an alumni of the Massey University School of Design’s Professional Photography course. Quinn was commissioned to photograph the book titled “Staunch - Inside New Zealand’s Gangs” reputedly one of the most stolen books from New Zealand libraries. A set of those images now forms a part of the permanent collection at Te Papa Tongarewa - The Museum of New Zealand and the Police & Justice Museum in Sydney, Australia.
Following this, Peter began working as a contract photographer and writer for New Zealand Geographic magazine and to date has completed more than 40 large-scale feature assignments for this publication, culminating in a 20–year retrospective book titled “New Zealanders in Focus – the Documentary Photography of Peter James Quinn” published by New Zealand Geographic and included in the NZ Listener’s 100 best books of 2010. He was also awarded New Zealand Geographic Photographer of the Year in 2014.
In 2013, PenguinRandomHouse released the 240 page hardcover book “Tuhoe - Portrait of a Nation” concept designed by Quinn and illustrated with his photographs, which celebrated the iwi’s historic raupatu treaty settlement.
Robbie Nicol will be speaking on Thursday at Massey as part of the National Issues Panel Discussion.
Robbie Nicol is the political satirist ‘White Man Behind A Desk’ and winner of the 2015 NZ Web Fest’s Best Web Show. With hundreds of thousands of views on both Facebook and YouTube, Robbie has worked with collaborators such as Robyn Malcolm, John Campbell, and Finnius Teppett to create informative comedy videos and live performances.
In 2017 Nicol won the New Zealand International Comedy Festival’s Best Newcomer from Wellington and it produced six sell-outs while it ran at Bat Theatre during the festival.
Nicol has been called the ‘kiwi John Oliver’ by the Sunday Star Times, and he hopes that John Oliver isn’t offended.
Sean Phelan has been working at Massey University Wellington since August 2003 and has a PhD in Communications from Dublin City University.
He teaches and researches in the field of critical communication and media studies. He is the co-editor of Discourse Theory and Critical Media Politics (2011, Palgrave Macmillan) and Scooped: The Politics and Power of Journalism in Aotearoa New Zealand (2012, AUT media).
His book, Neoliberalism, Media and the Political, was published by Palgrave Macmillan in November 2014.
Virginia Wood-Jacks will be running Portfolio Reviews on Saturday at flux with James Gilberd on Sunday at Massey with Caroline McQuarrie.
Virginia Wood-Jacks current works are a document to acknowledging all the stages of the life. Her work is all created in camera or within a traditional film based process and is reflective of how Virginia sees and responds to her subjects, leading the viewer to stop and take some time with the piece. “Mindfulness is key to my practice; I am an observer. In my observations I become very attuned to my surroundings, the light, the wind, the sounds and of course, everything I see.” Wood Jacks' work is a response to this process.
Raised in England Virginia received her BA Hons in Photography from The University of Creative Arts at Rochester Kent. She was awarded Masters in Fine Art with distinction from Massey University Wellington.
“Any work of art makes one very simple demand on anyone who genuinely wants to get in touch with it. And that is to stop. You’ve got to stop what you’re doing, what you’re thinking, and what you’re expecting and just be there…for however long it takes” – W. S Merwin.
This quote sums up both how she approaches her practice and her desire for the end result. The works start with a question or a point of interest that she investigates and responds to photographically.