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 control pricing at both refinery and pump. The small independent … 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 →
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 →
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:
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 →
“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 →
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 →
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 →