Exhibition news, stories, reviews, events and insights.
A personal narrative in time(s) of emergency: Part One
- Tim J. Veling
The following text comprises part one of a two-part feature.
Originally drafted in response to the Curating Under Pressure conference held at the University of Canterbury in 2015, the first draft found its way – quite randomly and without opportunity for me edit and elaborate on certain vague statements – into an e-book publication. At the time, rather than ask to have the draft removed from circulation, I thought it best to keep it online. I felt it better to be part of the main conversation, in whatever form, than to self-isolate on its fringes. (Excuse the pun…)
Christ Church Cathedral Reinstatement
A message from isolation
Mitchell Bright: Cultivated
PiT in Amsterdam
- Tim J. Veling
It’s a busy time for Place in Time. I am currently making my way to Amsterdam. There, as well at attending the Unseen Photo Festival, I will meet up with the World Press Photo Foundation and do a presentation to staff to promote our archive and activities, as well as try and devise new ways to support and help engaged, long form documentary and photo-journalistic projects in New Zealand and the Asia-Pacific region.
To Watch the Water: Bodies of water captured and constructed.
- Harriet Litten
- Bojana Rimbovska
Throughout history humans have held a desire to explore, interpret and record our environments. From its early iterations, photography has been considered a naturalistic and accurate method of representation; the perfect medium to satiate our humanistic desire to document the landscape. Exalted as a method able to provide truth of representation, photography has grown as a ‘documentary’ style of artistic representation.
To Watch the Water
- Ella Hickford
- Megan Hopkins
Interview: Glenn Busch By Tim Veling
Glenn Busch was initially drawn to photography through its biographical and documentary possibilities. In 1973, he had his first exhibition and founded Auckland’s first contemporary photography gallery. Busch’s photographs, like those of his sometime collaborator Bruce Connew, are firmly entrenched in the social realist tradition of Dorothea Lange and Walker Evans.