BARRY BRICKELL READER: SELECTED ‘WRERTINGS’, MEDITATIONS, OUTBURSTS, DECREES AND DIVERSIONS

Edited by Gregory O’Brien
Photographs by Haruhiko Sameshima
Afterword by David Craig

Published by Steele Roberts Aotearoa in association with Rim Books.

Rim Books is absolutely ecstatic to be associated with publishing this book of ‘wrertings’ by the maverick New Zealand artist Barry Brickell.

Known for his decades of pottery making and mountain railway in Coromandel, he has dedicated his life to ceaseless art-making of all kinds. Less known but perhaps more revealing of his inner workings, are his passions for writing and reading, … Continue reading

STOMP
Jon Carapiet

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:

“The most exciting and relative communication seemed … Continue reading

AMERICAN LANDSCAPE: SHUSTAK USA 1960–1971

This publication showcases photographs made by Larence Shustak before he left USA in 1973 to establish the photography department at the School of Fine Arts in Christchurch, New Zealand.

Shustak was part of an early ferment on the East Coast of the emerging awareness of photography as an independent tool of art, self-expression and social engagement, existing outside of the mainstream picture magazines and commercial studios. American Landscape samples Shustak’s early experiments, commissions and personal projects that reflect an evolving sense of a time in transition, seen through the artist’s … Continue reading

BETWEEN THE SILENCE AND THE FLAME
Allan McDonald

“The Silent Generation is defined by people born between 1925 and 1945, who had come to maturity as I was growing up. Raised under the dictum of being seen but not heard, and affected by war and economic depression, they have been described as focused on financial security and more politically compliant than other generations. Putting aside the problematics of generational stereotyping, by the time I reached the age of 18 the silence was not so loud and multiple voices of diversity and dissent were becoming more audible. These photographs, … Continue reading

A SPOONFUL OF SUGAR
Ann Shelton

Photographs, texture, historical documents and a fictional short story weave a book about a house, in the suburb of Wilton in Wellington, New Zealand.

“I moved in to this house amid stories about its commissioner, a trail-blazing woman and the one responsible for bringing the woodwind instrument, the recorder, to New Zealand. The narrative of her and her architect’s lives struck me as still critical and relevant today as we pull down the metaphorical garage door on refugee access to New Zealand and as we uncover and foreground the unnoticed roles … Continue reading

SELECTIVE EXPOSURE
Limited edition exhibition catalogue

Reflecting back on the last quarter century, so much has changed. Technologies emerged that fundamentally altered the way we do things, the methods by which we gather and disseminate information, and how we communicate. This last quarter century is notable for the technological restructuring of photography by digital processes that now dominate the industry (Photoshop 1.0 was launched 19 February 1990). Less perceptible, but perhaps more important, are shifts in values attached to things and ideas, like art, education, institutions, their ideologies.

This exhibition samples images from recent projects by photographers who … Continue reading

Te Atatu Me: photographs of an urban New Zealand village
John B. Turner. Historical essay by Grant Cole.

PhotoForum Inc, Auckland and Turner PhotoBooks, Auckland/Beijing, 2015.
Produced with the support of Creative New Zealand.

Now available through Rim Books: info@rimbooks.com

Te Atatu Me: photographs of an urban New Zealand village is a personal portrait of West Auckland’s Te Atatu Peninsula by John B. Turner, the noted New Zealand photographer, teacher and editor of PhotoForum.

Recorded over a seven year period from 2005 to 2011, Turner’s documentary photographs celebrate the character and pulse of … Continue reading

F4: in the interval

F4: IN THE INTERVAL

Susan Jowsey
Marcus Williams
Jesse Williams
Mercy Williams

In 2006, after fifteen years of collaborative art practice, Susan Jowsey and Marcus Williams decided to invite their two children, Jesse and Mercy to join their art project, creating the art collective, F4. The body of work selected for this publication, forms part of that seven-year journey; the making of this work became part of their family life. As the project progressed, the family and its dynamics became the conceptual source for the work…

F4 sample page 9

Whilst the name F4 might refers to the family of four, the name is also the term used to describe the size of a lens aperture when it is relatively open, a mechanical way of seeing which allows plenty of light, but only a shallow area of focus, surrounded by a vista that is less well-defined…

For F4, this alludes to a human tendency in perceiving the isolated moment or detail very clearly, but failing to comprehend the singularity within a continuum of significance. Photographs themselves compound this, by locking a moment in time, in a way that no other phenomena can achieve, at least not with such veracity and vivacity. Photography destabilises the natural order of things, allowing us to hold the present in our hand as a print, even as the present eludes us…

F4 sample page 11

The images in this book are not chronological; instead, they are grouped into relationships, positioning the body of work as a whole and in retrospect. This approach to sequencing the images is commensurate with the influence of lives entwined.

RIM BOOKS
November 2014

96p, 260 x 195mm


Softcover


ISBN 978-0-473-30096-8

RRP NZ $25 incl.GST

Limited edition hardcover

ISBN 978-0-473-29968-2
RRP NZ $70 incl.GST

For all orders and requests info@rimbooks.com

PHOTOFORUM AT 40
Counterculture, Clusters, and Debate in New Zealand

Nina Seja

Rim Books is pleased to announce the release of PhotoForum at 40: Counterculture, Clusters, and Debate in New Zealand by Nina Seja. In this richly illustrated publication, art historian Nina Seja gives an illuminating account of the communities, relationships, and events that have shaped PhotoForum’s first forty years, and charts the development of photographic art in New Zealand during this time.

PhotoForum Inc. is a not-for-profit Society dedicated to the promotion of photography as a means of communication and expression. Acting as an intellectual and … Continue reading