WAYNE BARRAR

WAYNE BARRAR Contact Topographies 14th August - 8th September, 2010

www.milfordgalleries.co.nz

Milford Galleries Dunedin 18 Dowling Street

(03) 477 7727

info@milfordhouse.co.nz

1. WAYNE BARRAR, Beach at Little Wanganui, Westland 2009 hand-coated platinum/palladium photograph, edition 2/10 frame (v x h x d): 525 x 425 x 28 mm, printed image (v x h): 240 x 190 mm

2. WAYNE BARRAR, Edge of Tutira (Rainbow Trout) 2008 cyanotype photograph on hand-coated paper, edition 2/10 frame (v x h x d): 527 x 425 x 28 mm, printed image (v x h): 240 x 190 mm

3. WAYNE BARRAR, Scree Mountains From Wetland Near Lake Coleridge, Canterbury 2008

hand-coated platinum/palladium photograph, edition 2/10 frame (v x h x d): 525 x 425 x 28 mm, printed image (v x h): 240 x 190 mm

4. WAYNE BARRAR, View from Eroded Cliff Face to Palliser Bay, Wairarapa 2006

hand-coated platinum/palladium photograph, edition 2/10 frame (v x h x d): 525 x 425 x 28 mm, printed image (v x h): 252 x 202 mm

5. WAYNE BARRAR, Point, Western Lake Wairarapa 2008 selenium toned gelatine silver pr

rint, edition 3/10, frame (v x h x d): 425 x 525 x 28 mm, printed image (v x h): 190 x 239 mm

6. WAYNE BARRAR, Trees at Lake Tutira 2008 cyanotype photograph on hand-coated paper, edition 2/10 frame (v x h x d): 525 x 425 x 28 mm, printed image (v x h): 240 x 190 mm

7. WAYNE BARRAR, Rail line at Whakaki Lagoon 2008

selenium toned gelatin silver print, edition 2/10 frame (v x h x d): 528 x 426 x 28 mm, image (v x h): 239 x 189 mm

8. WAYNE BARRAR, Abandoned house near Opoutama 2010 cyanotype photograph on hand-coated paper, edition 2/10 frame (v x h x d): 426 x 528 x 28 mm, image (v x h): 190 x 237 mm

9. WAYNE BARRAR, Pines / coastal erosion, Mahia 2010 cyanotype photograph on hand-co

oated paper, edition 2/10, frame (v x h x d): 427 x 528 x 28 mm, image (v x h): 203 x 253 mm

10. WAYNE BARRAR, Toward spit a selenium toned gelatin silver print, edition 2/10, frame (v

11. WAYNE BARRAR, From burn selenium toned gelatin silver print, edition 2/10, frame (v

and Cook's Cove, Tolaga Bay 2010 v x h x d): 434 x 619 x 28 mm, image (v x h): 162 x 415 mm

nt bush to point on Pukaki 2009 v x h x d): 435 x 618 x 28 mm, image (v x h): 161 x 414 mm

12. WAYNE BARRAR, Fence line to selenium toned gelatin silver print, edition 2/10, frame (v

13. WAYNE BARRAR, W selenium toned gelatin silver print, edition 2/10, frame (v

oward waterfall on Ruapehu 2009 v x h x d): 434 x 619 x 28 mm, image (v x h): 173 x 429 mm

Waitaki riverbed 2009 v x h x d): 436 x 618 x 28 mm, image (v x h): 174 x 427 mm

14. WAYNE BARRAR, Spillway rock array at Ohau Canal 2009 selenium toned gelatin sil

lver print, edition 2/10, frame (v x h x d): 427 x 528 x 28 mm, image (v x h): 202 x 253 mm

15. WAYNE BARRAR, Paddock selenium toned gelatin silver print, edition 2/10, frame (v

16. WAYNE BARRAR, Road cro selenium toned gelatin silver print, edition 2/10, frame (v

k lines from Ohau Canal 2009 v x h x d): 434 x 619 x 28 mm, image (v x h): 161 x 407 mm

ossing in Ruakituri Valley 2010 v x h x d): 435 x 618 x 28 mm, image (v x h): 160 x 415 mm

17. WAYNE BARRAR, Across D selenium toned gelatin silver print, edition 2/10, frame (v

18. WAYNE BARRAR, Rabbits, Mck cyanotype photograph on hand-coated paper, edition 2/10, fr

Deep Stream at Aviemore 2009 v x h x d): 436 x 618 x 28 mm, image (v x h): 170 x 429 mm

kenzie basin near Omarama 2009 frame (v x h x d): 435 x 618 x 28 mm, image (v x h): 173 x 429 mm

Barrar uses the fracturing lenses of NZ's history, the passages of time, the layered languages of environmental anthropology, the traditions of colonial art and the processes of early photography as integral elements of works which are assiduously examining how our land is now. His photographs immediately speak of history, place and New Zealand’s unique and idyllic landscapes however on closer engagement his works reveal a new and ever-changing environment.

These are works thick with meaning and (emotional and intellectual) references and yet while undoubtedly there is much to be gained by having understandings of these deeply important (and very informative) matters, Barrar simply and effectively educates the viewer- we immediately know much more than we realise. He captures us, taking our eyes on a journey back and forth, takes our heads between now and then. He takes us to consequences. In ‘Contact Topographies’ Wayne Barrar becomes topographer, mapping contemporary and uncharted landscapes, a natural environment forever altered by the human intervention.

The word ‘Contact’ has a double meaning - firstly it describes the physical manipulation of the land by humans and secondly the process of Barrar’s photographic print. As with standard 19th Century photography, a large negative is placed directly onto photographic paper to create the print. This process is becoming increasing scarce as are the materials used to produce these unique and varied images. Over time photographic processes have changed and developed, as has the land which is in a continual state of flux.

Locations throughout New Zealand are captured in time. South ‘From Burnt Bush to Point on Pukaki (2009)’ shows a picturesque lakeside view, yet the effect of the human hand on the landscape is revealed in the charred bush and deforested hills. Natural elements are divided, grouped and grid-like as paddocks, fences, and perfectly linear rows of plants make their mark on the rural landscape of the Waitaki and Ohau farmland.

In the North Island, a waterfall flows gracefully over a man-made road in ‘Road Crossing in Ruakituri Valley 2010’ yet a natural waterfall on Ruapehu has been fenced off, discouraging human interaction.

Wayne’s Barrar’s extensive and focused body of work, shows the New Zealand landscape as beautiful, ever-changing, and continually under the influence of its inhabitants, without the presence of a human form. His technical skill and ability to capture detail, mood and the environment establishes him one of New Zealand’s most significant contemporary photographers.

Wayne Barrar born in Christchurch 1957 gained a Bachelor of Science from The University of Canterbury in 1979, a Post Graduate Diploma of Fine Arts from Elam School of Fine Arts, University of Auckland in 1996 and a Masters in Design from Massey University in 2005. He currently works as the Associate Professor and Director of Photography, School of Fine Arts at Massey University, Wellington. He has been awarded a number of international and national art residencies and grants. Barrar’s first survey book ‘Shifting Nature” was published in 2001 by University of Otago Press and in 2010 a major publication by Dunedin Public Art Gallery ‘Wayne Barrar, An Expanding Subterra’ accompanied his significant touring exhibition of the same name. His works have been exhibited in a number of public galleries around New Zealand including the Museum of New Zealand, Te Papa Tongarewa, Wellington, the City Gallery, Wellington and the Sarjeant Art Gallery, Wanganui. He has exhibited internationally, around the USA, as well as in Hong Kong. Barrar’s works are held in public galleries, private and corporate collections in New Zealand and abroad.

EXHIBITION PRICELIST 1

Beach at Little Wanganui, Westland 2009

2,650

2

Edge of Tutira (Rainbow Trout) 2008

1,650

3

Scree Mountains From Wetland Near Lake Coleridge, Canterbury 2008

2,650

4

View from Eroded Cliff Face to Palliser Bay, Wairarapa 2006

2,650

5

Point, Western Lake Wairarapa 2008

1,650

6

Trees at Lake Tutira 2008

1,650

7

Rail line at Whakaki Lagoon 2008

1,650

8

Abandoned house near Opoutama 2010

1,650

9

Pines / coastal erosion, Mahia 2010

1,650

10

Toward spit and Cook's Cove, Tolaga Bay 2010

1,650

11

From burnt bush to point on Pukaki 2009

1,650

12

Fence line toward waterfall on Ruapehu 2009

1,650

13

Waitaki riverbed 2009

1,650

14

Spillway rock array at Ohau Canal 2009

1,650

15

Paddock lines from Ohau Canal 2009

1,650

16

Road crossing in Ruakituri Valley 2010

1,650

17

Across Deep Stream at Aviemore 2009

1,650

18

Rabbits, Mckenzie basin near Omarama 2009

1,650

All prices are NZD and include GST; Prices are current at the time of the exhibition

WAYNE BARRAR b. 1957, lives Wellington

Point - Western Lake Wairarapa (2008)

Wayne Barrar: "Most of my work is centered on the impact on land of the consequences of shifting cultural practices. Occasionally I will venture into the laboratory, as a place of change, in order to investigate human intervention at a ‘micro’ level. At other times I may revisit historical imagery or sites as a reference point…. In order to deal with the complexities and ironies inherent in the relationship between people and the environment, my work has evolved into a number of series – some finite, others ongoing. They may vary in approach and process, but in all of them the central consideration is this inter-relationship between culture and nature in an increasingly complex society."(1) Wayne Barrar’s territorial explorations into New Zealand’s landscape, which has in recent times extended into Southern Iceland and the Great Salt Basin, Utah, convey human adaptation of the landscape with a surprising approach. Barrar’s photographs powerfully argue the connection between nature and culture and the ongoing relationship between them. "The country in his pictures has been entirely cleared of human beings, but humans are without doubt the reason that the country appears as it does. These are places we have ‘settled’, but in Barrar’s images they are capable of unsettling us."(2) "Though the views are not what many of us would consider picturesque, Barrar manages to instill an order and calm to the scene, imparting them an uneasy beauty. He comfortably moves from grand expanse to the intimacy of a petri dish…. Barrar’s work is beautifully considered, his method is classical and technically superb."(3) In 2002 and 2003 “Barrar documented ‘Opal City’ Coober Pedy in the South Australian outback.. This remarkable series maps human life as it goes underground and in the process strives for varying degrees of domestic normalcy and social adaptation in a brutal desert environment.” (4) Wayne Barrar born in Christchurch 1957, gained a Bachelor of Science from The University of Canterbury in 1979, a Post Graduate Diploma of Fine Arts from Elam, University of Auckland in 1996 and a Masters in Design from Massey University in 2005. He currently works as the Associate Professor and Director of Photography, School of Fine Arts at Massey University, Wellington. He has been awarded a number of international and national art residencies and grants. His works have been exhibited in public galleries around New Zealand including the Museum of New Zealand, Te Papa Tongarewa, Wellington, the City Gallery, Wellington and the Sarjeant Art Gallery, Wanganui. He has exhibited internationally, around the USA, as well as in Hong Kong.

Barrar’s works are held in public galleries, private and corporate collections in New Zealand and abroad.

Barrar’s first survey book ‘Shifting Nature’ was published in 2001 by University of Otago Press and the second book An Expanding Subterra, Wayne Barrar’ with essays by David L Pike and Aaron Kreisler was published

by Dunedin Public Art Gallery and Massey University in 2010. .

(1) Artist Statement, 2003.

(2) Geoff Park, essay in ‘Shifting Nature: Photographs by Wayne Barrar’, University of Otago Press, 2001.

(3) Ian Robertson, ‘Changing the Focus’, Evening Post, 19 December 2001.

(4)Gavin Hipkins, ‘Dugout: Wayne Barrar’s Subterra’, Art New Zealand 116, Spring 2005

Wayne Barrar 2010 CV

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Milford

Galleries Dunedin

www.milfordgalleries.co.nz

WAYNE BARRAR b. 1957, lives Wellington EDUCATION 2005 1996 1979

Master of Design, Massey University Postgraduate Diploma of Fine Arts, Elam School of Fine Arts, University of Auckland Bachelor of Science, University of Canterbury

SELECTED SOLO EXHIBITIONS 2010 2006 2004

2003

2002 2001 1999 1998 1997 1995 1993 1991 1990 1989

1988 1987

Contact Topographies, Milford Galleries Dunedin An Expanding Subterra, Dunedin Public Art Gallery, Dunedin The Machine Room, Milford Galleries Auckland, Auckland Inner Space, Milford Galleries Auckland, Auckland Sightlines South, Milford Galleries Dunedin, Dunedin Selections from the Home Range, McNamara Gallery, Wanganui Accumulating Histories, Sarjeant Gallery, Wanganui CLUI at Wendover, USA (2005) Parts Unknown, Milford Galleries Auckland, Auckland Straumur McNamara Gallery, Wanganui Wayne Barrar: Landscapes of Change, Nevada Museum of Art, Reno, USA An Immortal Double, Waikato Museum of Art and History, Hamilton An Immortal Double, Sarjeant Gallery, Dowse Art Museum, Lower Hutt An Immortal Double, Sarjeant Gallery, Wanganui, Images from Shifting Nature, The Bath House Art and History Museum, Rotorua Shifting Nature, 33 1/3 Gallery, Wellington Shifting Nature, Sarjeant Gallery, Wanganui Western US Landscapes, 33 1/3 Gallery, Wellington Mason Bay: A Natural Succession, 33 1/3 Gallery, Wellington Saltworks: The Processed Landscape, Sarjeant Gallery; Waikato Museum of Art and History; Manawatu Art Gallery, Palmerston North; Marlborough Arts Centre, Blenheim; Lopdell House Gallery, Auckland (1994) New Landscape Cibachrome Photographs, 33 1/3 Gallery, Wellington Landscape of Change, Sarjeant Gallery, Wanganui; 33 1/3 Gallery, Wellington

SELECTED GROUP EXHIBITIONS 2010 2009

2008

2007

Community Garden, Michael Hirschfeld Gallery, City Gallery, Wellington A serious kind of beauty: the heroic landscape, McNamara Gallery, Wanganui Recent: Work by Ten NZ Photographers, Tauranga Art Gallery Light: Black and Silver, Mahara Gallery, Waikanae Earth: Prix Pictet (exhibition video presentation), Passage de Retz, Paris (plus other international venues) AC/DC: The Art of Power, Gus Fisher Gallery, University of Auckland, Auckland Picturing Eden, Ringling Museum of Art, Sarasota, Florida, USA Picturing Eden, Herbert Johnson Museum, Cornell University, Ithaca, NY, USA Land Wars, Te Tuhi Centre for the Arts, Auckland Close-up, Gus Fisher Gallery, University of Auckland, Auckland Picturing Eden, Munson-Williams-Procter Arts Institute, Utica, NY, USA Picturing Eden, The Grace Museum, Abilene, Texas, USA Toi Te Papa: Art of the Nation (2008 curation), Museum of New Zealand, Te Papa Tongarewa, Wellington Picturing Eden, University of Iowa Museum of Art, Museum of Photographic Arts, San Diego, USA New Zealand Legacy: Aotearoa Taonga-tuku-iho (Min. of Culture and Heritage), The Art House, Singapore Manapouri: Art, Power, Protest, National Library Gallery, Wellington Collection in Focus, Sarjeant Gallery, Wanganui The Long View, McNamara Gallery, Wanganui Southern View: He tirohanga mai te Tonga Photographs of New Zealand’s culture, heritage and landscape, NZ Embassy, Hong Kong

Wayne Barrar 2010 CV P a g e |2

Milford

Galleries Dunedin

www.milfordgalleries.co.nz

2006

2005

2004

2003

2001

2001

2000 1999

1997

1994 1992 1991

1991 1990

1988

1984 1989

1988 1987

Picturing Eden, International Museum of Photography and Film/ George Eastman House, Rochester, USA Perpetual Verdure, Gus Fisher Gallery, University of Auckland, Auckland The Altered Landscape, National Academy of Sciences Gallery and the Keck Center of the National Academies, Washington DC, USA Pacific Light, Pataka Museum, Porirua Solstice, Matakana Pictures, Matakana Prospect 2004: New Art New Zealand, City Gallery Wellington Toi Te Papa: Art of the Nation, Museum of New Zealand, Te Papa Tongarewa, Wellington The Altered Landscape, Presentation House Gallery, Vancouver, Canada The Altered Landscape, Blackwood Gallery, University of Toronto, Canada Is As, Landscape as Metaphor, Milford Galleries Dunedin The Altered Landscape, Yellowstone Art Museum, Montana, USA Set Up, Michael Hirschfeld Gallery, City Gallery Wellington The Caravan, Pataka Museum of Arts and Culture, Porirua The Altered Landscape, Norsk Museum for Fotografi, Norway Victory over Death, Peter McLeavey Gallery, Wellington Chosen, Milford Galleries Auckland, Auckland The Caravan, McNamara Gallery, Wanganui Old Gates New Journeys, Michael Hirschfeld Gallery, City Gallery Wellington Just Black and White, Sarjeant Gallery, Wanganui Landmarks, TeWa/ The Space, Wanganui The Altered Landscape, Scottsdale Museum of Contemporary Art, Arizona USA; Sarjeant Gallery, Wanganui Not by Subject, Sarjeant Gallery, Wanganui The Altered Landscape, Nevada Museum of Art, Reno USA Sustainability: The Land Remains, Manawatu Art Gallery, Palmerston North; Sarjeant Gallery, Wanganui Sum of its Parts, Sarjeant Gallery, Wanganui Automotive: Questioning the Car, Dowse Art Museum, Lower Hutt Waikato Te Awa: The People and the River, Waikato Museum of Art and History Hamilton Ink and Silver (works from publication), Escalante Gallery, Auckland Currency, Contemporary Photographic Art, Auckland Institute and Museum River Images Revisited, Sarjeant Gallery, Wanganui Natures Limits, New Work Studio, Wellington Big Green, Dowse Art Museum, Lower Hutt Pacific Traces, 33 1/3 Gallery, Wellington Contemporary Update, Sarjeant Gallery, Wanganui Exit, George Fraser Gallery, Auckland Twenty Photographers, Newton Gallery, Auckland Photoforum 90, NZ Centre of Photography, Wellington, Blue Angel Gallery, Auckland United Photographic Award Exhibition, Sarjeant Gallery, Wanganui Now See Hear!, Wellington City Art Gallery History and its Theatre, Wanganui Regional Museum Readings from a Certain Landscape, 33 1/3 Gallery, Wellington Acquisitions Review, Auckland City Art Gallery New Works for the Collection, Manawatu Art Gallery Two Photographers, McDougall Art Annex, Christchurch Regional Photographers, Sarjeant Gallery, Wanganui Acquisitions, Waikato Museum of Art and History Five Cameras, Wellington City Art Gallery Saltworks: The Processed Landscape, Sarjeant Gallery; Waikato Museum of Art and History; Manawatu Art Gallery, Palmerston North; Marlborough Arts Centre, Blenheim; Lopdell House Gallery, Auckland (1994) New Landscape Cibachrome Photographs, 33 1/3 Gallery, Wellington Landscape of Change, Sarjeant Gallery, Wanganui; 33 1/3 Gallery, Wellington

Wayne Barrar 2010 CV P a g e |3

Milford

Galleries Dunedin

www.milfordgalleries.co.nz

AWARDS, GRANTS & RESIDENCIES 2009 2005, 07, 09 2007 2004 2002 2001 2000 1995 1994 1990

Nominated for Prix Pictet (and included in associated publication), UK Massey University Research Grants (MURF) COCA Mid Career Researcher Award Light Work Residency, Robert B.Menschel Media Center, Syracuse (NY), USA Project Grant (New Work, Visual Arts) Creative New Zealand, Arts Council of New Zealand CLUI Artist Residency to USA Straumur International Artist Residency to Iceland STA Study Award for full time postgraduate study in photography Documentary Commissioning Grant Waikato Museum of Art and History Direct Assistance Grant QE 11 Arts Council of New Zealand

COLLECTIONS Auckland City Art Gallery George Eastman House International Museum of Photography and Film, USA Dowse Art Museum, Lower Hutt Light Work, Syracuse USA Te Manawa/ Manawatu Art Gallery, Palmerston North Museum of New Zealand, Te Papa Tongarewa, Wellington Ministry of Foreign Affairs and Trade Collection, Wellington Ministry for Culture and Heritage Collection, Wellington Nevada Museum of Art, Reno USA Riddet Collection, Massey University, Palmerston North Christchurch Art Gallery Sarjeant Gallery, Wanganui Southland Museum and Art Gallery, Invercargill State Services Commission Library Collection, Wellington University of Auckland Collection Real Art Charitable Trust Collection Waikato Museum of Art and History, Hamilton Wellington City Council Art Collection Work also held in private and corporate collections in New Zealand and overseas.

SELECTED BIBLIOGRAPHY 2010

2009

2008 2007 2006

2005

2003 2002

2001 1998

An Expanding Subterra, Wayne Barrar (monograph book), with essays by David L Pike and Kreisler, A. Dunedin Public Art Gallery 2010 Scott , Hanna & Ann Shelton (eds). Sightseeing, Rim Books Camera Austria 107 (journal portfolio), Graz, Austria Earth: Prix Pictet (book), teNeues, London 2009 Campbell, Fiona (ed).Real Art Roadshow: The Book, Craig Potton Publishing 2009 Bugden , Emma (ed) Land Wars: The Reader, Te Tuhi/ PROGRAM, Berlin Close-up (exhibition catalogue) Gus Fisher Gallery, University of Auckland, Auckland Pike, David L, Metropolis on the Styx: The Underworlds of Modern Urban Culture, 1800-2001, Cornell University Press Eggleton, David, Into the Light: A History of New Zealand Photography, Craig Potton Publishing Reviewing Subterra, (conference paper) Southerly, Vol .65 Number 3. Sydney Klochko, Deborah, Picturing Eden, Steidl/ GEH, Gottingen/ New York Park, Geoff, Theatre Country: Essays on Landscape and Whenua, Victoria University Press Strongman, Lara (ed) Contemporary New Zealand Photographers Mountain View Press Hipkins, Gavin, Dugout: Wayne Barrar’s Subterra, Art New Zealand, 116 Bayly , Janet Contact Sheet 132, (Portfolio with essay) Light Work, Syracuse. NY Coolidge , Matthewn Accumulating Histories, (exhibition catalogue), Sarjeant Gallery Terrain, Landfall, 204, University of Otago Press Straumur (poems by Kerry Hines) McNamara Gallery The Caravan(exhibition catalogue), McNamara Gallery in association with Pataka Park, Geoff, Shifting Nature: Photographs by Wayne Barrar , University of Otago Press Thompson, Paul, New Zealand, A Century of Images, Te Papa Press

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Milford

Galleries Dunedin

www.milfordgalleries.co.nz

1996 1992

1993 1992 1991 1990

1987

Brown, Warwick, Another 100 New Zealand Artists, Godwit Barrar, Wayne, An Immortal Double (exhibition catalogue), Sarjeant Gallery Waikato Te Awa, The People and the River, (catalogue from the commissioned photographic documentary project), Waikato Museum of Art and History Ink and Silver Photoforum (limited edition book) Turner , Jon B & Main W , History of New Zealand Photography from the 1840’s to the present, Photoforum Barrar, W and Ministry for the Environment Shifting Nature (exhibition catalogue) Exit (exhibition catalogue) Artspace, Auckland Paul, Joana, Landscape as Text: the Literacy of Wayne Barrar, Now See Hear!, Victoria University Press and Wellington City Gallery Schulz, Derek, A Delusive Light through a Bouncing Wall: Issues of Landscape and Powerlessness in the Photography of Wayne Barrar, Art New Zealand, No. 53 United Photographic Award (exhibition catalogue) Paul, Joanna, Saltworks: The Processed Landscape(exhibition catalogue), Sarjeant Gallery Pardington, Neil, Landscape of Change, (exhibition catalogue) Sarjeant Gallery

Wayne Barrar 2010 CV P a g e |5

Milford

Galleries Dunedin

www.milfordgalleries.co.nz