Legacy – Portraits of the Greats

Legacy – Portraits of the Greats by Jon Carapiet
AI photographs of contemporary and historical figures

This book comprises still images captured from AI reanimation of pictures of the living and dead.

It includes iconic contemporary portraits of today’s most rich and powerful people which were first exhibited as large-scale prints and now, as pop up on-line.

Also included are classical portraits of historical figures long dead.

These anti-AI photographs represent the eternal moment and serve as memento mori in a new age.

Whether you like it or not, the age of AI is here. 

In his latest exhibition Legacy, photographer Jon Carapiet uses AI technology to reanimate current well known and powerful figures, creating the sense of a time machine. 

“AI has often been used to bring back to life images of the deceased, but Legacy takes this concept to propel audiences to a hypothetical future; encouraging contemplation and meditation on the current state of the world, as if it were the past.” From Culture 101, RNZ, 12:45 pm on 26 November 2023.

Listen to the interview here


Publication date: March, 2024
Softcover | 203 x 277 x 4mm | 32 pages |
ISBN  978-0-473-70755-2

RRP $40 

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Stopped Short: Writings on Len Lye 1977-2017

Stopped Short: Writings on Len Lye 1977-2017
Wystan Curnow
Published by Bouncy Castle and Govett-Brewster Art Gallery|Len Lye Centre, with generous support from the Len Lye Foundation, Pollen Contemporary Art Foundation, and Grant Kerr.

For five decades, Wystan Curnow has been an advocate for—and authority on—the works of filmmaker and sculptor Len Lye. Alongside his friend and sometime collaborator Roger Horrocks, Curnow has championed the Aotearoa New Zealand–born artist’s work and driven its growing popular and critical recognition. Stopped Short gathers Curnow’s key writings on Lye. The first half centres on his discovery of Lye’s work in New York; the second explores its repatriation to Lye’s homeland where the establishment of the Len Lye Foundation and a dedicated Len Lye Centre in Ngāmotu New Plymouth has cemented Lye’s significance within Aotearoa New Zealand art history.  Each half is introduced by Curnow, reflecting back on his earlier writings. In addition to offering a wealth of insights into Lye’s work, Stopped Short is also a study in reception, meditating on Lye’s place in world art, his place in Aotearoa New Zealand art, and the shifting relationship between them.

Len Lye (1901–80) is known for his dazzling experimental films and kinetic sculptures—parallel expressions of his desire to create an art of motion. He also made paintings and photograms (cameraless photographs)—and wrote. Born in Ōtautahi Christchurch, Lye spent time in Australia and Sāmoa in the early 1920s, before working his passage to London in 1926. There he became part of the modern-art scene, exhibiting with the Seven and Five Society and in the 1936 Internationalist Surrealist Exhibition.

He made his first film, Tusalava, in 1929 and went on to make films for the GPO Film Unit and Crown Film Unit utilising a variety of experimental techniques, often painting directly on film. In 1944 Lye moved to New York to work for the newsreel The March of Time. In the 1950s he began making films by scratching directly into black-leader film stock, and, in the late 1950s and 1960s, he developed motorised kinetic works he coined tangible motion sculptures. Examples are held in US collections such as the Whitney Museum of Americal Art, New York; Art Institute of Chicago; Buffalo AKG Art Museum; and Berkeley Art Museum.

Shortly before his death in 1980, Lye and his supporters established the Len Lye Foundation, based at the Govett-Brewster Art Gallery, Ngāmotu New Plymouth, which continues to promote Lye’s work and to realise his kinetic sculptures. The new century has seen a growing international interest in Lye with solo shows at the Pompidou Centre, Paris, in 2000; Art Gallery of New South Wales, Sydney, in 2001; Australian Centre for the Moving Image, Melbourne, in 2009; Ikon Gallery, Birmingham, in 2010; The Drawing Centre, New York, in 2014; and Museum Tinguely, Basel, in 2019. The Govett-Brewster opened its dedicated Len Lye Centre in 2015.

Wystan Curnow is Aotearoa New Zealand’s most eminent contemporary art critic. His internationalist perspective was shaped by living in the United States in the 1960s, where he was exposed to modernist painting and conceptual art. In the 1970s he became the house critic for the burgeoning post-object art scene centred on Jim Allen’s Sculpture Department at the Elam School of Fine Arts at the University of Auckland, and began writing extensively on Colin McCahon, Billy Apple and Len Lye. Through his writing and curating, Curnow has raised the global profile of New Zealand artists and local awareness of and interest in expatriate artists, creating a more porous, complex idea of New Zealand art. In addition to being a regular contributor to journals and catalogues, he has written books on Immants Tillers (1998) and Stephen Bambury (2000), and has co-edited several books on Lye, including Figures of Motion (1984), Len Lye (2009), and The Long Dream of Waking (2018). A collection of his writings, The Critic’s Part, was published in 2014, and another of his writings on Billy Apple, Sold on Apple, in 2015. Curnow received the Prime Minister’s Award for Literary Achievement in non-fiction in 2018. He has been a trustee of the Len Lye Foundation since 2003. He lives in Tāmaki Makaurau Auckland.

Publication date: April, 2024
Flexicover | 180 x 235 x 18mm | 208 pages |
ISBN 979-0-473-67853-1

RRP $40  Available

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worm, root, wort… & bane

worm, root, wort… & bane
by Ann Shelton

Artist Ann Shelton’s latest book, worm, root, wort… & bane delves into the rich history of plant-centric belief systems and their suppression. Part artist scrapbook, part photo book, part quotography, and part exhibition catalogue, this publication explores the medicinal, magical, and spiritual uses of plant materials, once deeply intertwined with the lives of European forest, nomadic, and ancient peoples.

worm, root, wort… & bane re-assembles fragments of historical knowledge alongside the first 19 artworks from Shelton’s photographic series, i am an old phenomenon (2022-ongoing). The plant sculptures photographed are constructed by the artist, who has worked with plants since childhood and long been interested in the history of floral art and its expansive gendered resonances.

Overflowing with 300+ images and quotations, this book traces the loss of plant knowledge held wise women, witches, and wortcunners in post-feudal Europe, as Christianity spread and capitalism emerged. The book follows our changing relationships with plants, through the Victorian era to the present — offering cause to reflect on the consequences of the ongoing estrangement between humans and the natural world.

worm, root, wort… & bane features a multiplicity of voices, reflecting the assorted and sometimes conflicting beliefs that are held about plants, gender, and sexuality. Adopting an intersectional approach, the book quotes historical accounts, herbal advice, folk knowledge, and artist research, and draws from art, literature, film, and television.

The book also features new essays by photographic curator Susan Bright and Victoria Munro, Executive Director of Alice Austen House, as well as The Three Fates, a short story by New Zealand writer Pip Adam, written in response to Ann Shelton’s research.


Ann Shelton, Pākehā/Italian (b. 1967, Aotearoa New Zealand) received her MFA from the University of British Columbia, Vancouver, Canada. She lives in Te Whanganui-a-Tara Wellington, New Zealand and exhibits internationally. Her most recent museum survey, Dark Matter, curated by Zara Stanhope (Director, Govett-Brewster Art Gallery, Ngāmotu New Plymouth, Aotearoa New Zealand), was hosted by Auckland Art Gallery Toi o Tāmaki in 2016 and toured to Christchurch Art Gallery Te Puna o Waiwhetū in 2017. Shelton’s award-winning work has been extensively written about and reviewed in publications including Artforum, Hyperallergic, Journal of New Zealand & Pacific Studies, artnet news, The Art Newspaper, and the Evergreen Review. Her works are included in public and private collections throughout Aotearoa New Zealand and in the United States.

Shelton is Honorary Research Fellow in Photography at Whiti o Rehua, School of Art, Massey University, Te Kunenga ki Pūrehuroa.

Shelton works with Over and Under Fine Art in New York, and Two Rooms in Aotearoa.

Publication date: March, 2024
Flexicover | 132 x 210 x 25mm | 312 pages |
ISBN 979-8-9888148-0-1

RRP $48 
Out of stock till further notice – sorry!

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Always song in the water

Always song in the water: an ode to Moana Oceania
by Gregory O’Brien

Always song in the water is an imaginative exploration of Aotearoa’s oceanic environment. This is the new, expanded edition of the now out-of-print 2019 book of the same title. The new exhibition and its accompanying book celebrates—in images, words and sound—our connectedness with the wider Pacific region, its peoples, flora, fauna and the expansive waters which both inspire and define us.

It is 11 years since the New Zealand Maritime Museum held the ground-breaking exhibition ‘Kermadec—Nine Artists in the South Pacific’, curated and co-ordinated by Gregory O’Brien, with Bronwen Golder of the Pew Environment Group. The new exhibition and this book Always song in the water returns to the themes, ongoing concerns and unresolved issues of the earlier project. In essence, the 2011 Kermadec voyage never ended. O’Brien and the other artists who voyaged to Rangitāhua Raoul Island on HMNZS Otago never really disembarked from the ship that took them north. They think of themselves as still out there, on the ocean, absorbing its energy, listening to its oceanic songs and confronting the environmental issues which have only increased in urgency over the ensuing decade.

Always song in the water— explores such topics as whale surveying, cultural connections across the Pacific, the need for ocean sanctuaries (such as the proposed Kermadec one) and the multi-layered history of Polynesian and European societies in Oceania. As well as including works and words by O’Brien and the other ‘Kermadec’ artists, this expanded edition features many new and commissioned works by leading artists including Chris Charteris, Shona Rapira Davies, Yuki Kihara, John Walsh and others. The book and the new exhibition celebrates Moana Oceania as a site of immense poetic and artistic potential. At the same time, it acknowledges that the region is facing issues of over-fishing, pollution and global warming. It returns to the originating theme of the need for ocean sanctuaries. ‘Always song in the water’ speaks of the need for better understanding, and a closer relationship with the ocean and everything it contains. It reminds us that the imagination and the arts have a crucial role to play in our evolving relationship with Moana Oceania.

Always song in the water – Art inspired by Moana Oceania, an exhibition at the New Zealand Maritime Museum Hui Te Ananui A Tangaroa, curated by Gregory O’Brien and Jaqui Knowles, is on from 24 August – 29 February 2024

Card-cover with flaps, section-sewn PUR glued | 296 pages  240mm x 175mm Portrait, numerous colour illustrations
ISBN 978-0-473-68102-9
Published by New Zealand Maritime Museum Hui Te Ananui a Tangaroa

RRP $40

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Dad, Pete, Opa. Tim Veling, XYZ books (Lisbon) edition.

Further views on link with the cover.

Dad, Pete, Opa.
Tim J. Veling
XYZ book (Lisbon) edition

“I have been admitted to hospital. Please don’t worry, but call me when you can. Lots of love, D,P,O.”

It was always how he signed off; shorthand for Dad, Pete, Opa. Tim J. Veling would soon learn his father had been diagnosed with terminal lung cancer with an estimated three months to live. The rug was suddenly pulled out from under his feet.

D,P,O is a record of those last, precious months. The photographs are testament to not only the grief that father and son worked through together, but more importantly the love and admiration they shared; an account of the inevitable slowing of one life set to a backdrop of a new life and relationships thriving. Intensely moving in its unflinching intimacy and honesty, D,P,O reminds us that while death comes to us all, we must live in the present and treasure deeply the company of people we hold dear. For within those that remain, love and life endure. Tim J. Veling, Dad, Pete, Opa.

Original project outline in website Place in Time: The Christchurch Documentary Project.

Review by Hamish Petersen in Contemporaryhum.com

Photographs: Tim J. Veling

Editing and Sequencing: Tim J. Veling

Design: Joana Durães

Prepress: Pedro Guimarães

Production: Tiago Casanova and Pedro Guimarães

Printing: Gráfica Maiadouro

2022

XYZ Books

144 pages

21,5 x 26 cm

Offset Print
First edition

ISBN: 978-989-53182-8-5

RRP $85 shipped from Aotearoa

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Clinic of Phantasms: Writings 1994-2002

Clinic of Phantasms: Writings 1994-2002
by Giovanni Intra
Edited by Robert Leonard
Foreword by Chris Kraus and Mark von Schlegell Introduction by Andrew Berardini


Giovanni Intra - Clinic of Phantasms: Writings 1994–2002“Everything you read about Los Angeles is true. The city adapts to its own mythology. It’s such a ludicrously discussed place that I always feel slightly idiotic in my attempts to produce a serious discourse about it. Raves in the desert, however, are superb. And ecstasy is a great drug. Also, if you hadn’t heard, music sounds better when you’re high. And the desert surrounding LA is wondrous.” — Giovanni Intra, LA Politics

Artist, gallerist, and writer Giovanni Intra’s inventive approach to art writing provides a guide to the New Zealand and Los Angeles art scenes of his era.

Before his early death in 2002, Giovanni Intra enjoyed a rollercoaster ride through the art world. He was an artist and gallerist — cofounding two legendary galleries, the artist-run space Teststrip in Auckland and China Art Objects Galleries in Los Angeles — as well as a writer. Clinic of Phantasms provides a guide to the New Zealand and Los Angeles art scenes of the day, including texts on key artists from New Zealand (John Hurrell, Fiona Pardington, Denise Kum, Ava Seymour, Ann Shelton, Gavin Hipkins, Daniel Malone, and Slave Pianos) and Los Angeles (Charles Ray, Mike Kelley, Paul McCarthy, Dave Muller, Evan Holloway, John McCracken, and Julia Scher). What makes Intra’s work of enduring significance is his inventive approach to art writing, which was informed by his interest in punk, surrealism, and Daniel Paul Schreber, the famous case study in paranoia and hallucination. This volume features writing on Intra from Chris Kraus and Mark von Schlegell, Andrew Berardini, Roberta Smith, Tessa Laird, Will Bradley, Joel Mesler, and Robert Leonard.

Clinic of Phantasms is an invaluable compendium of writings, and having an opportunity to read them is a gift. The mad intelligence of Intra, and the love he generated in others, shine through. The volume is a gesture of respect by a group of people joining forces to gather the texts, contribute the introductions and bring the project to life in a beautiful way.
Jennifer Bornstein in Contemporary Hum

He emerged the radically elegant punk, whip-crack smart and charming as hell… The hilarious honesty and sharp intelligence of Giovanni was to me a breeze, a knife, a wonder.
Andrew Berardini in Metro, Everything You Read About Giovanni Intra is True

Cover: photograph by Monty Adams Allannah wears Studded Suit by Giovanni Intra, 1994. Styled by Kirsty Cameron and Rachel Churchward.

Cover: photograph by Monty Adams
Allannah wears Studded Suit by Giovanni Intra, 1994.
Styled by Kirsty Cameron and Rachel Churchward.

Card-cover with flaps, section-sewn PUR glued | 240 pages  235mm x 182mm Portrait, B&W illustrations
ISBN 978-1-63590-165-8
Published by Bouncy Castle and Semiotext(e).

RRP $35

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Return to Monte Cassino

Return to Monte Cassino: The 2nd NZEF War Veterans Remember Italy
Maree Frewen-Wilks, with an introduction by Peter Arnett and an essay by Matthew Wright

This book was conceived and produced by a Southland photojournalist Maree Frewyn-Wilks when she accompanied the New Zealand veterans attending the official functions in Italy in 2004 during the 60th Anniversary of the Battle of Monte Cassino. Her photographic essay features as a diary of the travel, visits to cemeteries, social and official events.

What makes this book a unique contribution to New Zealand war histories is the inclusion of veterans’ personal accounts, together with their thoughts and poems about Cassino and accompanied by portraits and profiles. These are complemented by previously unpublished photographs of Monte Cassino and surrounds, from their albums 1943–1945.

 

“These wonderful images depict the soldiers’ life with civilians, during battle and barren scenery spotlighting bomb craters, ammunition identifying tons of rubble. The images provide proof that life away from home was in fact – War.”

Maree Frewyn-Wilks

 

Weaved through the New Zealand veterans’ stories from 1944 and 2004 are:

 

Matthew Wright, one of New Zealand’s most published historians, has written a chapter on the battle of Monte Cassino, which provides a wider context of the New Zealand involvement, the battle and the bravery of all soldiers including the Germans and our own 28th Maori Battalion.

 

A German Paratrooper Bob Frettlohr has written his memories of the Battle of Monte Cassino and his thoughts about Cassino now. Hans Fredrick Meyer tells how the next generations see the Commemorations of the 60th Anniversary of the Battle of Monte Cassino.

 

The New Zealand burials in Cassino Commonwealth Cemetery are documented, with the list of the Soldier’s rank, army number, family, age, date of death and from what town in New Zealand he came. The members of the Southland contingent found fellow Southland soldiers who became casualties during the Battle of Cassino. The ode was recited, a poppy was placed and a Spirit of Southland Flag was placed on the headstone. Some of the graves visited are at the rear of the book.

 

The photographs in this book were compiled as Monte Cassino Exhibition, and Maree was the guest artist for the 70th Anniversary of the Battle of Monte Cassino in 2014. The exhibition was displayed at the Cassino Military Museum and was donated to the people of Cassino. Record of these events appears towards the rear of the book.

 

Hard-cover, section-sewn | 336 pages  300mm x 265mm landscape B&W reproduction
ISBN 978-0-473-36878-4
Self published: 2017

RRP $70  (NB. Over 2 kg and shipped from Invercargill)

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Kōwhai and the Giants

KŌWHAI AND THE GIANTS

Kate Parker
Mary Eagan Publishing

Kowhai first appeared from the golden glow of a beautiful flower… and her voice was the rain and the sea and the cry of a bird.’ Follow Kowhai as she discovers a tiny seed’s hope to build a great forest.

Debut children’s author Kate Parker is a visual artist and theatre maker who is inspired to support positive environmental change on our planet. Here she creatively shares her vision of reforesting Aotearoa, one seedling at a time.

Kowhai and the Giants is a bitter/sweet story about the decimation of Aotearoa’s mighty forests following human habitation. But it is also a story of hope. While Kowhai may be small and alone, her actions will bring about change and soon, she will be joined by others.

“When you go to nature and you take care, you will be reimbursed with energy. I always felt the presence of beings in the forests where I grew up. Kowhai represents these beings in some way, committed to the preservation of the natural world. We are all a part of this. We can all be kaitiaki, it is in fact our responsibility (to be caretakers for our natural surroundings) and when we take this on in any way we can, positive change happens. Even in a city you can support environmental projects. If we can support Aotearoa’s native plant diversity to flourish, then we are supporting so many native birds, insects and fish. This diversity feeds the land and cleanses its waters. It sustains us.” — Kate Parker

Kowhai and the Giants asks the reader to listen with all their senses to their natural surroundings and to discover Kowhai’s call for themselves. A wise and beautifully told fable, its compelling narrative will kindle a desire to spend time in nature, search for seeds and to grow native plants and trees – a hopeful picture of the future for children aged four to ten and their caregivers.

In the resources section at the back of Kowhai and the Giants, Parker encourages children to plant native seeds. She includes a link to Forest & Bird’s Kiwi Conservation Club – Hakuturi Toa website www.kcc.org.nz for inspiring tips.

Kowhai and the Giants is “Like the shadows of memory on a landscape, caught between lightness and darkness, the past and future, a beautifully cast tale of hope and resilience,” says acclaimed artist Shaun Tan.

The unique and intriguing artwork for Kowhai and the Giants was created from hand-cut paper, placed in a plywood box and lit from behind. It was first exhibited in 2016, at the Arataki Visitor Centre, following Parker’s Auckland Council artist’s residency at Anawhata. There was an exhibition of the light boxes in the window of Auckland store Smith and Caughey from 17 to 21 March, as part of the Auckland Arts Festival – Aroha 2021.

ISBN 978-0-4735289-0-4
36pp 270 x 190 mm
Mary Egan Publishing

RRP $30

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Shining Land: Looking for Robin Hyde

Shining Land: Looking for Robin Hyde

Paula Morris and Haru Sameshima
Published by Massey University Press

Shining Land: Looking for Robin Hyde brings together award-winning novelist Paula Morris and seasoned photographer Haru Sameshima. It is the second in the kōrero series of picture books edited by Lloyd Jones, written and made for grown-ups, and designed to showcase leading New Zealand writers and artists working together in a collaborative and dynamic way.

In Shining Land Morris and Sameshima focus on the New Zealand journalist, poet, fiction writer and war correspondent Robin Hyde, exploring three locations important to her difficult life and ground-breaking work. This beautifully considered small book richly rewards the reader and stretches the notion of what the book can do.

‘Like the best picture books, Shining Land is short and physically beautiful; the narrative and the images are inseparable and entirely complementary; it’s a book to read in a single sitting, and return to. And, like the best picture books, it opens up vistas well beyond its relatively modest scale.’ — Sarah Shieff, Academy of New Zealand Literature

“As I try to write about Shining Land my words keep breaking its incandescent magic (shining), its accumulating moods. The photographs are uncanny, eerie, both empty and full, empty of human presence because Robin is missing and missed. The storm chasers outside the frame. I keep imagining Robin entering the scene. I like that. When I look at the shot of Rangitoto ki te Tonga D’Urville Island and Te Aumiti French Pass from French Pass Road with gloomy skies and greys I become grey state. I like this so much. How can I speak? This is where pregnant Robin posed as a married woman, before moving to Picton and then back to Wellington with her secret baby and and her secret heartache. I am on the pass looking down at the grey isolation. I will never know Robin, I will never be in Robin’s shoes, but I feel. And that is what Paula and Haru do. They feel Robin in the depths of their looking and their making. It is contagious.”–– Paula Green, NZ Poetry Shelf

ISBN: 9780995131828
Massey University Press
12/11/2020 96pp 257 x 200 mm Hard cover

RRP $40

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Eric Lee-Johnson: Artist with a Camera

Eric Lee-Johnson: Artist with a Camera

John B Turner

Monograph of the Artist’s camera work provides an overview of his career with special attention to his photographs from the 1930s, 40s and 50s. Tritone prints were made directly from the originals held at Te Papa.

Eric Albert Lee-Johnson (1908–1993) was a prominent New Zealand artist and photographer. Lee-Johnson was born in Suva, Fiji and moved to New Zealand in 1912 with his parents. As a child he showed an unusual gift for drawing and he entered Auckland’s Elam School of Art where he remained from 1923-1926. At 18 he joined newspaper publishers Wilson & Horton’s printing department and within a year was in charge of the studio and working a lithograph artist and illustrator. In 1930 he sailed for London, England. He spent eight years in London, from the age of 21 working as designer and typographer with the large advertising agency S.H. Benson. He studied lithography at Camberwell School of Art and Crafts and attended Charles Porter life classes at the Central School of Art and Design in London. His work from 1931-36 was influenced by contemporary German typography, graphics and poster design in Europe In 1938 he accepted a contract from Illott’s Advertising Agency in Wellington and returned to New Zealand. He immediately rejoined the art scene and, in 1939, he was elected a member of the New Zealand Academy of Fine Arts serving a term on the Committee of Management, National Art Gallery. His health broke down and after more than two years in Pukeora sanatorium he left the commercial world and with his wife and son went to live the simple life at Piha and become a full-time painter. Lee-Johnson lived in various parts of New Zealand from 1942 to 1960 including Coromandel and the Hokianga, and his non-figurative abstract paintings date from this time. In the 1950s a series of his North New Zealand paintings and topographical drawings recording the architecture of some surviving early wooden buildings, set off a whole romantic movement in New Zealand art. In 1956 he became the first New Zealand painter of his generation to have a monograph published on his work. Public awareness of his painting was further increased in 1956 and 1957, when a short documentary film about his work was seen in public theatres throughout the country. Changes in the landscape, pacific images and the inclusion of found objects such as shells and stones were themes running through his work throughout the 1960s and 1970s. Lee-Johnson is represented in all major collections throughout the country, including the national art collection at the Museum of New Zealand Te Papa Tongarewa, all public galleries and the Hocken Library and Alexander Turnbull Library. A retrospective exhibition of his paintings and drawings toured New Zealand in 1981-82. In addition to his painting Eric Lee-Johnson was also a freelance photographer who documented the daily life of New Zealanders from the early 1950s through to the 1970s. His photographs were as widely known as his paintings – including images of Opo the Dolphin, and scenes of New Zealand life. Lee-Johnson had intended his photography to form a picture library the use of which would finance his art. The collection of tens of thousands of negatives and the copyright was purchased by the Museum of New Zealand Te Papa Tongarewa in 1997 – four years after his death.

PhotoForum 64/65: Eric Lee-Johnson – Artist with a Camera. John B. Turner

Published by PhotoForum, 1999

ISBN 0959781854

295 x 235mm, 111 pages, tri-tone illustrations, softcover.

$59.95

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