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NZ Rustic: The NZ Dream

Reviewed by John Daly-Peoples

New Zealand Rustic

By Kate Coughlan with Tessa Crisp & Yolanta Woldendorp

Bateman Books

RRP $59.99

Publication Date October 1

Reviewed by John Daly-Peoples

One of the dreams of many New Zealanders is of a return to nature, living in a house in sympathy with the environment, possibly living off the land, even living off grid.

For many that dream has become a reality and a new book “New Zealand Rustic” highlights that reality with a focus on six houses.

There are a few introductory sections on lighting, texture, colour, natura light and air and styling which help define the formal aspects of good design which are seen in the houses. The major part of the book is devoted to six significant houses from the North and South Islands. There is Manukaru in Queenstown, Ginkgo Point in Omaha, Rumble Bay in Marlborough, Waiau Homestead at Gisborne’s Wainui Beach, Raggedy Ridge House between Alexandra and Omakau, Te Au Homestead near Mahia and Manukard Gard at Glenorchy.

Raggedy Ridge House Image. Tessa Crisp

Each of the houses has a history. The Waiau Homestead at Gisborne’s Wainui Beach began life as a double bay villa on a farm on the East Coast before being moved to its current location, and the severe Raggedy Ridge House which is built among the rocky outcrops of schist seems to made of the local stone forced out of the ground, both an alien intrusion and an almost  organic design connected to the landscape.

Where The Raggedy Ridge House is built of concrete many others are constructed from natural materials. Ginkgo Point has no concrete and the interior use of unpainted timber and recycled material gives the interior spaces a simplicity and warmth which is enhanced by the clever use of light.

The earth house concept is centuries old but more recent ecological concerns have seen many built in the last fifty years. Such homes as Jimma Dillon’s self-built Rumble Bay house. offer excellent insulation, providing stable temperatures that keep them cool in summer and warm in winter. As the author notes of the house “This is a world without the 4×2 rule of conventional building”. It is a house where floors, walls and ceilings blend into a continuous flowing surface like a Hundertwasser creation. the whole building sheltering under 150 tonnes of earth.

Te Au Homestead Image. Brent Darby

Tessa Crisp’s photography captures the drama and isolation of the houses and the landscape they are set in. There are views of rock formations, the sea and mountain ranges, all of them emphasising the both the rugged beauty and the serenity which the New Zealand landscape can offer. She also manages to capture the sense of the intimacy of the interiors where objects give the houses their own individuality. In some cases there are art works which add interest such as Gingko Point House with works by Michael Smither and Tony Lane.

Yolanta Woldendorp has designed stylish book where photographs and text combine to provide an appreciation of the houses – their construction, details of surfaces, decoration and orientation to the surrounding environment.

The book allows the reader / viewer to vicariously enjoy what the owners have enjoyed in their designing, building and decorating of these homes.

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Louise Bourgeois exhibition coming to the Auckland Art Gallery

John Daly-Peoples

Louise Bourgeois, The Couple, 2003, Auckland Art Gallery Toi o Tāmaki, on loan from a private collection. Photo: Christopher Burke, © The Easton Foundation /Licensed by Copyright Agency, AU

Louise Bourgeois: In Private View 

Auckland Art Gallery

September 27 – March 15 2026

John Daly-Peoples

Auckland Art Gallery Toi o Tāmaki will present the first solo exhibition in Aotearoa New Zealand of Louise Bourgeois (1911–2010), one of the most intriguing and influential artists of the last century.

Opening 27 September, Louise Bourgeois: In Private View brings together a selection of works from an international private collection, exhibited publicly for the first time. The exhibition spans over six decades of Bourgeois’s career, from early paintings made in 1945 to a fabric work from the final year of her life

Auckland Art Gallery Senior Curator, Global Contemporary Art, Natasha Conland, says, “Bourgeois remains a defining figure in late twentieth-century art with the ripples of her influence still being felt today. She is known for her highly personal and idiosyncratic sculptural practice which has lent her a special place in the history of art.” “The works in the exhibition are from a private collection lived with over many years, reflecting a deep and personal appreciation of her practice.”

Widely celebrated for her psychologically charged and bold sculptural practice, Bourgeois explored themes of memory, family, the body and the subconscious, often drawing from personal experiences.

She is best known for her series of large spider sculptures, which have been installed in many major international cities.

Highlights include paintings and her first series of sculptures, the Personages, from the 1940s and early ‘50s; Lair sculptures from the early 1960s; and significant later works, such as textile-based sculptures and sculptural enclosures.

Louise Bourgeois. Spider VI

Spider VI (2002) is a wall-mounted example of her internationally acclaimed series of spider sculptures, which she began in the mid-1990s. Also featured is her extraordinary hanging sculpture, The Couple, and late outdoor piece, Eyes.

 A series of curator tours and talks, open lates, as well as family-friendly activities has been programmed with the exhibition. The Gallery Shop has also launched a new range of Bourgeois inspired products which includes socks, brooches, books and more.

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Pop to Present at Auckland Art Gallery

John Daly-Peoples

Andy Warhol. Triple Elvis

Pop to Present: American Art from the Virginia Museum of Fine Arts 

Auckland Art Gallery

November 8th 2025–March 15  2026

John Daly-Peoples

This year the Auckland Art Gallery  scored a great success with their “A century of Modern Art” exhibition sourced from the Toledo Museum of Art. Not only was it an extensive look at the art of the twentieth century but also included some significant works.

Later this year the  gallery will be looking to repeat the success of that exhibition with “Pop to Present” a major show highlighting the diverse artistic voices from the United States, spanning from1945 to the present day.

Opening in November, “Pop to Present:” will be showing American Art from the Virginia Museum of Fine Arts,  52 works reflecting eight decades of extraordinary artistic experimentation and cultural transformation in the United States. The exhibition includes abstract paintings, vibrant Pop canvases and hyper-detailed photorealist compositions along with Minimalist sculptures, richly textured pieces inspired by craft and domestic traditions, and contemporary figurative works that explore questions of identity, power and representation.

Showcasing 28 works by women and African American and Indigenous artists, the exhibition places well-known names in conversation with artists from diverse backgrounds to offer a broad and inclusive overview of recent American art. Artists featured in this comprehensive survey include Benny Andrews, Thornton Dial, Roslyn Drexler, Elaine de Kooning, Willem de Kooning, Helen Frankenthaler, Sam Gilliam, Philip Guston, Barkley L. Hendricks, Norman Lewis, Virgil Ortiz, Howardena Pindell, Jackson Pollock, Martin Puryear, Jaune Quick-to-See Smith, Mark Rothko, Kiki Smith, Clyfford Still and Andy Warhol.

“Experimenting with new materials while responding to the cultural and technological shifts of their time, the artists featured in Pop to Present challenged America’s social and artistic norms in ways that are still meaningful today,” says Kenneth Brummel, Curator, International Art, Auckland Art Gallery. “The exhibition also presents a large number of works by artists rarely seen in this part of the world”

Alma Thomas. Forsythia and Pussy Willows Begin Spring

Standouts in the exhibition include” Forsythia and Pussy Willows Begin Spring” a vibrant colour-field abstraction by Alma Thomas, an iconic Pop landscape by Roy Lichtenstein, and Andy Warhol’s Triple Elvis (1963).

Warhol’s “Triple Elvis” was based on the  singer-turned-gunslinger portrait of Elvis Presley on a publicity photograph for the 1960 western Flaming Star. This public persona was ideally suited to Warhol’s aim to focus on surface appearance rather than psychological interpretation. The overlapping multiple figures suggest individual film frames and cinematic motion, while the work’s metallic background evokes Hollywood’s silver screen.

Barkley Hendricks. Sisters (Susan and Toni)

Barkley Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern paintings of Black Americans living in urban areas in the 1960s and 1970s. “Sisters (Susan and Toni)” is a painting of two stylish women Hendricks met in Boston belongs to a series of works with dark backgrounds, against which the bright shirts and jewellery stands out.

This work and others in the exhibition are an indication of the strength of the museum’s holdings of art by black American artists of the American South.

The museum is among the largest art museum in North America for area of exhibition space and its comprehensive art collection includes ancient art, African art and American art, British sporting art, and Himalayan art. As part of their exhibit of decorative arts the museum has the largest public display of Faberge eggs outside of Russia, owning five. It is one of the first museums in the American South to be operated by state funds.

“We are proud to share the overall breadth of the VMFA collection, and in particular the importance of the Sydney and Frances Lewis collection that anchors it”  says exhibition curators Sarah Powers and Alexis Assam the Regenia A. Perry Assistant Curator of Global and Contemporary Art at the Virginia Museum of Fine Arts.

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World Press Photo Contest: the best of photojournalism

Reviewed by John Daly-Peoples

Image Ye Aung Thu Documenting the conflict in Burma

World Press Photo Contest

Presented by Rotary Club of Auckland

131 Queen St Auckland

Until 24 August,

Reviewed by John Daly-Peoples


The World Press Photo Contest is one of the most important photographic exhibitions and has been held every year since 1955.

While the focus is on the major political, social development and changes around the world it also presents aspects of sports and culture along with the drama and humour of everyday life.

The 2025 exhibition has six worldwide regions – Africa, Asia, Europe, North & Central America, South America, and Southeast Asia & Oceania and four categories (Single, Story, Long Term Project and Open Format). The winning entries from the six regions in each category form this exhibition with four global winners chosen.

The exhibition highlights significant global events and issues through powerful photojournalism and documentary photography. This year’s exhibition, presents a diverse range of subjects, including the human cost of conflict, the impact of climate change (like the Amazon droughts), political events, and stories of human resilience and cultural identity.

The exhibition rarely shows New Zealand work  but this year the Belarusian, New Zealand based photographer Tatsiana Chypsanava is included with her award-winning group of photographs titled “Te Urewera The living ancestor of the Tuhoe people” which includes is an image of Tama Iti.

The top honour for 2025 was awarded to Samar Abu Elouf’s haunting image of nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli airstrike in Gaza City.

Image by Samar Abu Elouf

The exhibition includes a special display marking 70 years of World Press Photo, offering a look back at the evolution of photojournalism and its impact.

Donald Trump is the focus of a work by Jabin Botsford showing members of the US Secret Service helping Republican presidential nominee Donald Trump off stage moments after a bullet hit his ear during a campaign rally at the Butler Farm Show Grounds, Pennsylvania

Image by Jabin Botsford

Mosab Abushama’s image of a groom at his wedding in Omdurman, Sudan, where weddings are traditionally  announced with celebratory gunfire. He asked a friend to document his wedding on his cellphone in a city constantly targeted by airstrikes.

image by Mosab Abushama

Gaby Oráa photograph shows Venezuelan opposition leader María Corina Machado as she greets supporters during a campaign rally in 2024. She was barred from running and as a result, she endorsed the former ambassador as the opposition’s candidate and led his political campaign across the country.

Image Gaby Oráa

Brazil’s Gabriel Medina was captured by Jérôme Brouillet as he bursts out triumphantly from a large wave in the fifth heat of round three of men’s surfing, during the Olympic surfing at Teahupo’o, Tahiti, French Polynesia  in 2024.

Jérôme Brouillet

The exhibition is brought to Auckland by the Rotary Club of Auckland as a fundraiser for charity. This year the profits will go to Rotary youth programmes, interact and Rotaract, and PHAB an inclusive organisation dedicated to empowering individuals with disabilities.

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The Art of Banksy

Reviewed by John Daly-Peoples

Banksy, Girl with a balloon

The Art of Banksy

Hunua Rooms, Aotea Centre

Until  3 Aug.

Reviewed by John Daly-Peoples

The Art of Banksy, is a  major exhibition of the artist’s work which has now been seen by 1.5 million visitors in 18 cities around  the world.

The collection of 150 original and authenticated works features more than 150 pieces, including prints, canvases, unique works, and ephemera.

There are several versions of his well-known pieces such as the “Girl with a balloon” and “Flower Thrower,” also known as “Love is in the Air,”

As with many of his works Banky borrows from other sources, changing the original intention, subverting the original meaning as well as trawling the world for the symbols and highlights in other artworks.

So, there are references, adaptations and reworkings of Christian iconography, news photographs, Disney images along with the work of Andy Warhol, Keith Harring and even Degas.

Banksy, Ballerina with Action Man parts

It is the clever borrowing of images which appeals to adult audiences as well as well as children and his images which undermine capitalism will bring a smile to both to the conservative as well as the revolutionary.

The exhibition spans his output from the 1990’s to the present-day showing examples of his satirical and subversive output  often appearing in public places around the world.

His iconic artwork depicting a masked figure or rioter, about to throw a bunch of flowers is taken for a newspaper image of a rioter throwing a projectile. This substitution is an obvious message advocating for love and peace over conflict and war.

Banksy, Trolley Hunters

There are other works like “Trolley Hunters” that satirize consumerism by depicting cavemen hunting shopping trolleys instead of wild animals. As well as being a clever juxtaposition of elements it is also a commentary on how modern society has become overly reliant on mass-produced goods and detached from nature.

Banksy, Souvenirs

Some of his work has more immediacy such as the several works related to his Walledoff Hotel in Bethlehem including some hand painted souvenirs. There are also images of his “Dismaland”, his take on Disney World ,creating a dystopian “bemusement park” located at the Tropicana in Weston-Super-Mare in 2015.

The exhibition also helps expand our understanding of the artist with numerous quotes by the artist about his history and approach to his work along with commentary by some of his collaboratives.

While here are many of his famous work there are also some of his original pencil sketches for the finished works

The works in the exhibition show that Banksy can be viewed  from various perspectives – a cartoonist, a comic, a satirist, an agent provocateur or an  advertising guru,

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End of Summer Time: Unexpected Ode to Auckland

Andrew Grainger as Dickie Hart Image Andi Crown

END OF SUMMER TIME 

By Roger Hall

Auckland Theatre Company

Director – Alison Quigan

Set/Costume – John Parker

Lighting – Phillip Dexter

Sound – Sean Lynch

With Andrew Grainger as Dickie Hart

ASB Waterfront Theatre, Auckland

Until 5 July

Reviewer Malcolm Calder

Andrew Grainger as Dickie Hart     Photo Andi Crown

Gidday Dickie,

Great to see you last night.  I think we last met when you’d just moved up to Wellington and I was still milking in the ‘naki after our African adventure.  Then you moved again.  Up north.  

After Glenda pretty neatly convinced you both to take that Takapuna joint with a sea view, you never stopped grumbling and grouching about the place.  For years.  Y’know – its humidity, traffic, its prices, its pretentious people and so on.  Not to mention its upsy-downsy football team of course.  As for natural disasters, lockdowns, etc … I won’t go on.

But, bluddy hell mate, since then it’s almost like you’ve had what that Ayckbourne mate of yours would call a car-thar-sis.  Family disruptions aside, it seems that you’ve stopped moaning and fallen in love with the place.  Auckland!  Never thought I’d see the day. 

Blow me down, you seem to have become an advocate for just about everything and everyone.  From Auckland’s buses to its ferries, from its oddball characters to its libraries.  To lots of its bits too – from Riverhead to Moolfud even if the grandkids are your excuse to explore lots of Maccas and KFCs. 

Quite honestly, mate, it seems like you’ve discovered some sort of extra-special non-energetic energy in your post-Covid life.   Part of me thinks you have somehow grown an extra leg.  Or at least grown up.  And good on ‘yer. 

Never even dreamed I’d see such a contented, reflective and accepting Dickie.  I can see you now sitting on that playwright feller’s beach gazing contentedly at Rangitoto.

Nice looking apartment too and that ever-helpful sheila deserved the flowers as well.

Probably a few lessons in there for me.  Perhaps, after 50 years – yes FIFTY years – it’s time for me to stop getting irate about suss hotel food, Mendela, Pienaar and 747s.

Yes it was pretty definitely good to see you again.  Might even visit sometime.

Cheers mate

Jock

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Roger Hall’s “End of Summer Time”: sparkling dialogue and consummate acting

Reviewed by John Daly-Peoples

Andrew Grainger as Dickie Hart Image Andi Crown

End of Summer Time by Sir Roger Hall

Auckland Theatre Company

ASB Waterfront Theatre

Until July 5

Reviewed by John Daly-Peoples

What are we going to do without Roger Hall? Is this really the end of a theatrical era? Will regional theatre companies  collapse?

These are some of the questions which theatre lovers, theatre companies and Creative New Zealand will be addressing over the next few years.

With the retirement  of Roger Hall from playwriting New Zealand theatre scene will be dealt something of a body blow.

But those questions and their answers are for next week, next year. In the meantime, we have another Roger Hall play, probably his last  production with “End of Summer Time.”

With his latest play Hall gives a nod to one of the important milestones in New Zealand theatre history, Bruce Mason “End of the Golden Weather”. Even the publicity material features images of Rangitoto and Takapuna Beach which was the site of Masons play.

The play charts the problems of older people thrust into a new social  environment as well as discovering the joys and drawbacks of living in a new town.

We have met Dickie Hart before in two of Halls plays “C’mon Black” and “You Gotta be Joking”. Hart has moved to the big smoke from Wellington, moving into an apartment on the North Shore.

Dickie (Andrew Grainger) is confronted by a lot of problems in his transition to Auckland and apartment living and Hall has exploited all these situations. Dickie has to manage his wife Glenda’s new interests in the library and yoga  and he has to deal with issues around the body corporate and the South African block manager.

He also has to manage more personal issues such as getting a health check from the doctor for his driving license, particularly the cognitive test as well as trying to fill in the census form and its questions on gender. identity

There is a scary account of the Dickie’s-first time visit to inner Auckland, navigating the motorway system, the bridge and the netherworld of the Aotea Centre carpark.

Dickie has moved to Auckland partly to spend time with his grandkids – a task that is which is not all that simple but he manages educational outings to Auckland volcanic cones brilliantly by combining these trips with visits to Auckland’s great dining establishments – MacDonalds, KFC and Subway.

The play is essentially in two halves– pre and post Covid , the second half being a bit more reflective.

Hall has developed a clever approach to his characters and their comments on life politics and relationship, a style  somewhere between the misogynistic and woke, it’s a tenuous area but Hall negotiates it skilfully and Andrew Grainger pulls it off with a breezy, nonchalant style.

Hall is able to assemble his string of one-liners into a coherent, monologue which acts as political and social commentary of issues of the present day as well as providing a compelling portrait of a typical New Zealand character.

The play is a brilliant and sustained piece of comedy throughout, But at one point play turns  into tragedy with a few lines and some convincing acting which demonstrates Halls consummate writing, Quigan’s directorial skill and Grainger’s intelligent acting.

Much of Dickie’s identity is linked to rugby and throughout the play there are mentions of the Rugby world Cup as well as images of Rugby games on the TV which dominated the apartment. The local library also gets a favourable mention as Dickie manages to find a copy of Brian Turners book on  Colin Meads

Grainger  takes on Roger Halls monologue with an energetic enthusiasm, the conservative cow cocky only just managing to adjust to a new life as he prowls  the pared back apartment-cum-prison set designed by John Parker.

As with all Hall’s work this is an engaging play with sparkling dialogue and consummate acting.

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Ruth Cleland’s exploration of the enigmatic quality of concrete

Reviewed by John Daly-Peoples

Ruth Cleland Concrete 3

Ruth Cleland, Concrete

Sumer Fine Art

Until July 22

Reviewed by John Daly-Peoples

In her latest exhibition ”Concrete” Ruth Cleland continues her interest in the accurate depiction of her environment along with the use of the grid.

Gridding is a technique that has been used by many artists throughout history using horizontal and vertical lines over drawings or photographs for enlargement and transfer purposes.

Cleland uses a grid to transfer images of concrete floors onto board using either graphite pencil or acrylic. These images such as “Concrete Floor 3” ($12,8000) show the polished concrete surface with imbedded scoria along with signs of previous uses and marks.

The works are akin to the work of the Boyle Family who randomly chose sites or parts of the body which they then recreated, the completed work offering new interpretations of the environment or body.

These images of concrete floors could be of the floor of the gallery with its various  sections of ground and polished concrete laid over the years. They are in fact of a supermarket floor that the artist has previously used as subject matter. One image, “Concrete Path” ($12,800) has a more personal connection being the concrete path outside the artist’s home.

These images of concrete are meticulous in their accuracy but the artist shows her skill in the depiction of both ambient light sources as well as overhead lights.

Ruth Cleland, Concrete Floor 1
Ruth Cleland Gris (Concrete Floor 1)

In some cases there is a companion piece to the photorealistic image as with “Concrete Floor 1” and “Grid / Concrete Floor 1” ($12,800 pair). The lines drawn on the grid have been used here to indicate the striations seen in the drawing as well as light intensity. This recording adds to the enigmatic nature of the work suggesting there is an underlying plan or logic inherent in the image itself which the artist has revealed.

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Rarely seen American and European art at the Auckland Art Gallery

Reviewed by John Daly-Peoples

Auguste Renoir, Road at Wargemont, 1879, Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

A Century of Modern Art

Auckland Art Gallery  

June 7 – September 28

John Daly-Peoples

A Century of Modern Art which has just opened at the Auckland Art Gallery is one of the most significant exhibitions mounted by the gallery in the last few years. It is on loan from the Toledo Museum of Art, Ohio, and provides  a survey of the major artists who transformed modern art  from the mid nineteenth century to the mid twentieth century.

The exhibition features 57 works by 53 artists, including Paul Cezanne, Edgar Degas, Helen Frankenthaler, Édouard Manet, William Merritt Chase, Amedeo Modigliani, Berthe Morisot, Claude Monet, Pablo Picasso, Camille Pissarro, Robert Rauschenberg, Pierre-Auguste Renoir, Vincent van Gogh, James McNeill Whistler, among others.

The Toledo Art Museum was established and funded by Edward Drummond Libby and still has a substantial Endowment Trust in his name . The endowment has some $330 million and a budget of more than $20 million a year,. Many of the works in the exhibition were gifted by Libby or acquired through the Libbey Endowment.

Georges Braque, Still Life with Fish, 1941, Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Some of the Impressionist / Post Impressionist works by artists such as Renoir, van Gogh, Morisot and Gauguin are major works whle some of them are of unfamiliar subjects such as Renoir’s ”Road at Wargemont”

Several of the works are excellent examples of their work such as van Gogh’s “Wheat Fields with Reaper, Auvers” and Monet’s Water Lilies of 1922, one of the many images of the flower he created in his later years.

The show also features some unfamiliar names of American artists such as Luther Emerson van Gorder whose “Flower Market, Paris” (late 19ht century) could be mistaken for a Pissarro.

Flower Market, PLuther Emerson, Van Gorder, Flower Market, Paris, late 19th century- early 20th century. Toledo Museum of Art, Gift of the artist

The small Whistler work ”Crepuscule in Opal, Trouville” of 1865 is an interesting inclusion in the show, the landscape with its slash of colour is an almost abstract work

Among the more contemporary work is Helen Frankenthaler “Blue Jay” painted at a transition time between paintings of organic forms and colour field paintings. There is also a Morris Louis whose work has not been seen in Auckland since his large exhibition at the gallery in 1971

Helen Frankenthaler, Blue Jay, 1963, Toledo Museum of Art, Gift of The Woodward Foundation

There are also works by artists who we rarely see but whose work shows high level of sophistication such as Piet Mondrian’s Composition with Red, Blue, Yellow, Black, and Gray”, László Moholy-Nagy’s ”Am2”, and Max Beckmann’s “The Trapeze”.

Max Beckmann, German, 1884-1950; The Trapeze; 1923; oil on canvas;H: 77 3/8 in. (196.5 cm); W: 33 1/8 in. (84 cm);Toledo Museum of Art; 1983.20;

There are a few important American artists  as Stanton Macdonald-Wright who was one of the early American abstract artists and his  “Synchromy, Blue-Green”, of  1916 is  an example of the abstraction which developed in America in the early twentieth century.

Other American artists in the show include Gertrude Glass Green  who was an important constructivist artist and Grace Hartigan who was a  member of the New York School in the 1950’s and 60’s.

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Mark Adams: Photographs across time and cultures

Reviewed by John Daly-Peoples

Mark Adams A survey — He kohinga whakaahua

Mark Adams and Sarah Farrar

Massey University Press

80.00

Mark Adams: A Survey | He Kohinga Whakaahua

Auckland Art Gallery

Until August 17

Reviewed by John Daly-Peoples

The current exhibition “Mark Adams: A Survey | He Kohinga Whakaahua” is the artists first comprehensive exhibition of his work and features more than 65 works spanning his 50-years as a photographer. documenting the land, the people and its history. These photographs are of places across the Pacific, the United Kingdom and Europe.

Much of his practice documenting sites of significance across the country, include places where Captain James Cook and his crew came ashore on their visits in 1769 and the 1770s, as well as locations where Te Tiriti o Waitangi was signed in 1840.

Over the decades, Adams has sustained a deep and ongoing engagement with subjects of interest. He has photographed whakairo Māori (Māori carving) both here and overseas and the work of, Samoan master tattoo artists, Māori–Pākehā interactions in Rotorua, carved meeting houses, locations of significance for Ngāi Tahu in Te Waipounamu and  the place of museums and photography in the area of cross-cultural exchange.


It includes photographs taken across the Pacific, the United Kingdom and Europe that explore the migration of artistic and cultural practices across the globe, and examine the role of museums, and photography itself, in the ongoing area of cross-cultural exchange.

The various sections of the book show Adams’ range of work from his early works, his focus on Rotorua, tatau, Treaty Signing Sites, Museums, Cooks Sites Māori meeting house in overseas locations, Te Waipounamu and his more recent interest in Photograms.

Several of his multi-image work are fascinating in their scope and production but the book does not do them credit, even when spread across several pages. With these works the exhibition at the Auckland Art Gallery make an impression in some cases filling an entire wall of the gallery. “0 degrees” is such  a work, a  panoramic 360-degree set of images taken at Greenwich Park which includes the Royal Observatory, the home of Greenwich Mean Time and Prime Meridian.

Other works on a grand scale  include  his “Nine Fathoms Passage”, the photographers view replicating William Hodges view of Dusky Sound, and his panorama of the  meeting house, Hinemihi in the grounds of Clandon Park in Surrey, England as well as the magnificent meeting house Rauru in the Museum am Rothenbaum in Hamburg.

Mark Adams, 13.11.2000. Hinemihi. Clandon Park. Surrey. England. Ngā tohunga whakairo: Wero Tāroi, Tene Waitere, 2000, colour inkjet prints, Auckland Art Gallery Toi o Tāmaki, gift of the Patrons of the Auckland Art Gallery, 2014.

Author of the book Sarah Farrar says “You could say that, in many respects, Mark has been ahead of his time as a Pākehā and Palagi artist. But what does that really mean — to be ‘early’ or ‘ahead of one’s time’? It’s all relative and I’m sure many people would view a respectful approach to tangata whenua and tangata o le moana as seriously overdue.”

Adams’ photographs are of exceptional quality and intriguing in their distinctive approach to subject matter. The viewer is challenged to interpret , question and reflect on them. One commentator, Damian Skinner has noted that Adams photographs “offer no resolution, only problems. They patiently track the material traces of various forces that coalesce in specific sites”.

Mark Adams, 19.05.1989. Te Ana o Hineraki. Moa Bone Point Cave. Redcliffs. Ōtautahi Christchurch. Te Waipounamu South Island, 1989, gold-toned silver bromide fibre-based prints, Auckland Art Gallery Toi o Tāmaki, gift of the Patrons of the Auckland Art Gallery, 2014.

Generally, with photographs of important sites the photographer is essentially saying – “I was here – this is how it looks”. However, with many of Mark Adams photographs of historical sites, the land seems of little interest, often devoid of figures. With these the photographer seems to be saying “this is how it looked”. The photographs require the viewer to transport themselves back to that place but in another time.

Sarrah Farrar notes “His photographs of museums and art galleries remind me of the artifice and stagecraft that we are actively involved in as curators and museum professionals. Every decision we make communicates something to audiences. We construct meaning through the selection of objects (even those that are absent), their placement and their interpretation. Mark’s photographs remind me of the power dynamics and knowledge systems that are inscribed in museum, library and art gallery experiences — even embedded into the design of the buildings themselves. A great example of this is Mark’s panorama of the science-fiction-like modernist design of Berlin’s Staatsbibliothek, which feels so at odds with the fact that it’s the home of the journals of Georg Forster, the naturalist who travelled with James Cook on his second voyage.”

Mark Adams, 1988. Hori Korei. George Grey monument. Albert Park. Tāmaki Makaurau Auckland, 1988, silver bromide print, courtesy of the artist.

The book is a stylish, superbly-designed production with over 200 images, mainly black and white. It features  an excellent text by Sarah Farrar as well as a forward by Ngahuia te Awekotuku and afterword by Nichlos Thomas