ENTOURAGE: aka Physical Distance Theory, or How I Learned to Stop Worrying and Love Videogames
by Tim J. Veling
Limited edition (50) artist book by this prolific photographer from Otautahi Christchurch. Available from Rim Books in limited quantity.
Author of Red Bus Diary (2006), Veling began photographing his home city of Christchurch well before the 2010-11 quakes changed the CBD forever. Since then, for the full decade, he has amassed passionate and personal observations of the transformation and rebuild, publishing many photobooks and portfolios via www.placeintime.org, a project facilitating and promoting documentary work about Christchurch and a … Continue reading →
Hinemihi: Te Hokinga – The Return Hamish Coney and Dr Keri-Anne Wikitera with contributions by Jim Schuster, Lyonel Grant and photographs by Mark Adams
The journey of the carved house Hinemihi o Te Ao Tawhito (Hinemihi of the old world) is one defined by cataclysmic events and the unpredictability of elemental forces. Through eruptions, fires, wars and displacement she has endured. Today she is an honoured kuia, revered by her iwi in the United Kingdom and her original owners and creators, Tūhourangi, as well as the wider iwi of Te Arawa.
The Holding Allan McDonald. Text by Jeanette Budgett, Design by Fiona Lascelles.
The Holding is a sequence of photographs preoccupied with the pleasures of walking and reading, of experiencing the city as a book or a song. At a time when the activities of reading and listening are caught in the shift from analogue to digital these images record an aspect of our material culture in a time of transition.
Allan McDonald is an eminent photographer, who engages with his image archive of more than 50 years to curate narratives around social history and place. The Holding is the … Continue reading →
. . . . . and then there were none Harvey Benge Jon Carapiet Lloyd Jones Haru Sameshima Stu Sontier
A collaborative book by four New Zealand-based photographers and one writer, breaks out of conventional story-telling to play out their anxieties and doubts about the world they see.
Developed over the last two years with regular meetings indulgent in wine and homemade cheese as excuses for friendship and banter, . . . . . and then there were none grew from conversations and arguments about mortality, our technologically mired existence and the degradation of the environment. The project triggered its own version of flygskam for the collaborators, conflicted by the … Continue reading →
DESIGN GENERATION: How Peter Haythornthwaite shaped New Zealand’s design-led enterprise Michael Smythe With an introduction and interview by Michael Barrett
This book tells the story of one of New Zealand’s most influential industrial designers. Spanning five decades, Design Generation documents Haythornthwaite’s career through childhood influences, education in Auckland and Illinois, work experience in California and New York, and teaching and consultant practice back in New Zealand. It chronicles his many roles as a design leader: as innovator of design, employer in private practices and his notable contribution to the wider field of design. Vivid case studies of Haythornthwaite’s work illustrate the … Continue reading →
Carbon Empire works in the space between art and documentary photography.
It combines a short series of staged photographs of a ‘man in the street’ made in 1997 with images of closed petrol stations photographed between 2003 and 2017.
Carbon Empire is a juxtaposition of these two series of photographs and a single image, made by chance in 2002.
The closed petrol stations reflect the effects of petroleum law changes across New Zealand. In 1988, the petroleum sector became deregulated, with the large international wholesalers able to … Continue reading →
Benjamin Work with photographs by Brendan Kitto Interview with Benjamin Work by Giles Peterson
Published by Rim Books in association with Uxbridge Art & Culture.
Early Polynesian navigators gave names to the places they encountered as a reminder of the spiritual threshold between creation and reality. This was because they regarded the ideas of geographic and spiritual origin as mutually similar. Whenua Fonua ‘Enua explores the significance of name and place and the importance of these indicators that connect us to our past and highlight the characteristics of our present. Through new paintings and this companion publication in … Continue reading →
TOM HUTCHINS: SEEN IN CHINA 1956 Edited by John B. Turner. Chinese translation by Han Niu.
Published by Turner PhotoBooks, Auckland/Beijing in collaboration with PhotoForum Inc, Auckland, NZ, 2016 as Photoforum issue 86.
English and Chinese text
This bi-lingual book was produced to coincide with the debut exhibition of photographs made in China 60 years ago by the pioneering New Zealand photojournalist and photographic educator, Tom Hutchins (1921-2007), presented at the 2016 Pingyao International Photography Festival.
‘On the platform there are many people waiting to cross the other way, waiting for the train back to Hong Kong. . … Continue reading →
The photographs in STOMP, taken in Europe, India and Egypt since 2014, respond to the destruction of cultural identity and historical sites tracing back millennia, and today manifested by events from Bamiyan to Palmyra. STOMP explores themes of photographic portraiture and ‘the gaze’ in the context of destruction, questioning how we connect and identify with the other.
Since his first installation ‘Headlines’ in 1994 which featured images of a screaming Princess Diana and Prince Charles appropriated from the tabloid media, Jon Carapiet’s work has dealt with humanitarian and global themes as well as issues around … Continue reading →
BRAINWASH-INGTON DC: A 1982 PHOTOGRAPHIC ‘ON THE ROAD’ Stuart Page
It features photographs Page took on a 6 month journey around USA that he made soon after his graduation from Ilam School of Fine Arts, where Shustak taught. It was an ambitious undertaking, funded by the NZ government arts council, and a rare opportunity for him to take his learning from the school into practice on the streets of where the art came from. Page says, in his introduction to the original exhibition of the resulting photographs in 1984: