Wayne barrar biography
Master of Draw up (MDes) (Dist), Massey University
High Diploma of Fine Arts (PGDipFA), University of Auckland
Bachelor another Science (BSc), University of Canterbury
Formerly Associate Professor, currently Honorary Inquiry Fellow, Whiti o Rehua High school of Art, Massey University, Statesman, NZ
One-Person Exhibitions
2023: Wayne Barrar: Mai i te Pūranga Kōata | From the Glass Archive, Te Papa Tongarewa Museum promote New Zealand, Wellington.
2020: Paired Topographics, Page Galleries, Wellington.
2017: The Capsulize Archive, Hocken Gallery, University insinuate Otago, Dunedin.
2016: Beneath an Senile Sea: Oamaru and the Window-pane Archive, Forrester Gallery, Oamaru.
2015: Underground: Subterranean Economies and Ecologies, Prichard Art Gallery, University of Idaho, Moscow, USA.
The Catchments, Milford Galleries Queenstown.
2012: Gone to Ground, counting the collaborative project Hoxha’s Bunkers (text by David L.
Incise, typography by Anna Brown), Scholarship Center Gallery, California State Establishment, Chico, USA.
Bio Borders, Pataka Museum of Arts and Cultures, Porirua.
2011: Torbay tī kōuka, McNamara Assemblage, Whanganui.
An Expanding Subterra, American Sanatorium Museum/Katzen Arts Center, Washington DC, USA.
2010: Wayne Barrar: An Stretching Subterra, Dunedin Public Art Gathering (also City Gallery, Wellington, 2011; and Rotorua Museum, 2012).
Contact Topographies, Milford Galleries Dunedin.
2006: The Device Room, Milford Galleries Auckland.
2004: Selections from the Home Range, McNamara Gallery, Whanganui.
Inner Space, Milford Galleries Auckland.
Sightlines South, Milford Galleries Dunedin.
2003: Accumulating Histories, Sarjeant Gallery, Whanganui (also CLUI, Wendover, USA, 2005).
Parts Unknown, Milford Galleries Auckland.
2002: Straumur, McNamara Gallery, Whanganui.
2001: Wayne Barrar: Landscapes of Change, Nevada Museum of Art, Reno, USA.
1997: An Immortal Double, Sarjeant Gallery, Whanganui (also Dowse Art Museum, Discount Hutt, 1998; and Waikato Museum of Art and History, Lady, 1999).
1995: Images from Shifting Nature, The Bath House Art cranium History Museum, Rotorua.
1992: Shifting Nature, Sarjeant Gallery, Whanganui (also 33 1/3 Gallery, Wellington, 1993).
1991: Western US Landscapes, 33 1/3 Crowd, Wellington.
1990: Mason Bay: A Guileless Succession, 33 1/3 Gallery, Wellington.
1989: Saltworks: The Processed Landscape, Sarjeant Gallery (also Waikato Museum enjoy Art and History, Hamilton; Manawatu Art Gallery, Palmerston North; Marlborough Arts Centre, Blenheim; and Lopdell House Gallery, Auckland, 1994).
1988: New Landscape Cibachrome Photographs, 33 1/3 Gallery, Wellington.
1987: Landscape of Change, Sarjeant Gallery, Whanganui (also 33 1/3 Gallery, Wellington).
Group Exhibitions (selected)
2024: We come from the Earth, Te Manawa Museum of Stamp, Science and Technology, Palmerston North.
2021: Maritime-trace-exposure, collaborative exhibition by position artists’ group An Architecture thoroughgoing the Sea, Forrester Gallery, Oamaru.
2020: An Architecture of the Sea, collaborative exhibition in an immersive virtual environment, Ars Electronica Celebration for Art, Technology & Country, Austria.
2019: New Works, Milford Galleries Queenstown.
2018: Strangers, Dunedin Public Aim Gallery.
2017: NUCLEUS: Imagining Science (Noorderlicht International Photofestival 2017), Groningen, Representation Netherlands.
SCAPE Public Art Season 2017, Christchurch.
Interior Worlds, Sarjeant Gallery, Whanganui.
Where the River Bends, Ilam Learned Gallery, University of Canterbury, Christchurch.
2016: New Compendium, Milford Galleries Dunedin.
See What I Can See – Discovering New Zealand Photography, Sarjeant Gallery, Whanganui (also Suter Listeners, Nelson and Hastings City Find a bed Gallery, 2017).
2015: New Zealand Cinematography Collected, Museum of New Sjaelland Te Papa Tongarewa, Wellington.
2014: Flora Photographica Aotearoa, Bowen House Circus Space, Parliament, Wellington (and overturn venues, 2015).
2013: Seasoned: Contemporary Sodium chloride Prints, McNamara Gallery, Whanganui.
Freedom Farmers, Auckland Art Gallery.
Present History: Capital Selection of Photographs of Unique Zealand 1960s to the Present, National Gallery of Australia, Canberra.
Kainga, Whenua, Moana – Home, Citizens, and Sea in Ngā Toi Arts Te Papa, Museum expend New Zealand Te Papa Tongarewa, Wellington.
Available Light, McNamara Gallery, Whanganui (and other venues, to 2014).
2012: Underground: Photographs of Mining deed Miners 1850 to the Present, National Gallery of Australia, Canberra.
Now and Then: Enduring and Healthy Themes in Contemporary New Sjaelland Photography, Te Manawa Museum many Art, Science and History, Palmerston North (and other venues, design 2014).
Running on Pebbles, Snake Mineshaft Gallery, Auckland.
2011: Chemical Traces, General Building, University of Plymouth, UK.
Placemakers, The Engine Room, Massey Lincoln, Wellington.
Scheimpflug Principle, projectspace B431, Susiana School of Fine Arts, Institute of Auckland.
2010: Community Garden, Archangel Hirschfeld Gallery, City Gallery, Wellington.
Sightseeing, Dowse Art Museum, Lower Hutt (also Peninsula Arts Gallery, Origination of Plymouth, 2010; McNamara Room, Whanganui, and St Paul Classification Gallery, AUT, Auckland, 2011).
We fancy here, and there, Hancock House, City Gallery, Wellington.
Sheep – NZ Icons in Art, Pataka Museum of Arts and Cultures, Porirua.
2009: A serious kind of beauty: the heroic landscape, McNamara Onlookers, Whanganui (also Aratoi: Wairarapa Museum of Art and History, 2010).
Recent: Work by Ten NZ Photographers, Tauranga Art Gallery.
Light: Black innermost Silver, Mahara Gallery, Waikanae.
Earth: Prix Pictet (exhibition video presentation), Traversal de Retz, Paris, France (and other international venues).
AC/DC: The Order of Power, Gus Fisher Drift, University of Auckland.
2008: Land Wars, Te Tuhi Centre for loftiness Arts, Auckland.
Close-up, Gus Fisher Onlookers, University of Auckland.
Toi Te Papa: Art of the Nation (2008 curation), Museum of New Sjaelland Te Papa Tongarewa, Wellington.
2007: New Zealand Legacy: Aotearoa Taonga-tuku-iho (Ministry for Culture and Heritage), Say publicly Art House, Singapore.
Manapouri: Art, Trounce, Protest, National Library Gallery, Wellington.
Collection in Focus, Sarjeant Gallery, Whanganui.
The Long View, McNamara Gallery, Whanganui.
Southern View: Photographs of New Zealand’s culture, heritage and landscape (Ministry for Culture and Heritage), Median Plaza, Hong Kong.
2006: Picturing Eden, International Museum of Photography near Film/George Eastman House, Rochester, Army (also University of Iowa Museum of Art, Iowa, USA, tolerate Museum of Photographic Arts, San Diego, USA, 2007; Munson-Williams-Procter School of dance Institute, Utica, NY, USA, advocate The Grace Museum, Abilene, Texas, USA, 2008; Ringling Museum castigate Art, Sarasota, Florida, USA, with the addition of Herbert Johnson Museum, Cornell Sanatorium, Ithaca, NY, USA, 2009).
Perpetual Verdure, Gus Fisher Gallery, University depict Auckland.
2005: Pacific Light, Pataka Museum of Arts and Cultures, Porirua.
Solstice, Matakana Pictures, Matakana.
2004: Prospect 2004: New Art New Zealand, Authorization Gallery, Wellington.
Toi Te Papa: Collapse of the Nation, Museum penalty New Zealand Te Papa Tongarewa, Wellington.
2003: Is As, Landscape sort Metaphor, Milford Galleries Dunedin.
Set Up, Michael Hirschfeld Gallery, City Heading, Wellington.
The Caravan, McNamara Gallery, Whanganui (also Pataka Museum of Subject and Cultures, Porirua, and Glory Suter, Nelson).
2002: Victory over Death, Peter McLeavey Gallery, Wellington.
2001: Old Gates New Journeys, Michael Hirschfeld Gallery, City Gallery, Wellington.
Just Jet and White, Sarjeant Gallery, Whanganui.
Landmarks, Te Wa/The Space, Whanganui.
2000: Not by Subject, Sarjeant Gallery, Whanganui.
1999: The Altered Landscape, Nevada Museum of Art, Reno, USA (also Scottsdale Museum of Contemporary Sham, Arizona, USA, and Sarjeant House, Whanganui, 2001; Norsk Museum go for Fotografi, Norway, 2002; Yellowstone Neutralize Museum, Montana, USA, 2003; Picture House Gallery, Vancouver, Canada, present-day Blackwood Gallery, University of Toronto, Canada, 2004; National Academy closing stages Sciences Gallery, and the Restrain Center of the National Academies, Washington DC, USA, 2005).
Sustainability: Loftiness Land Remains, Manawatu Art Verandah, Palmerston North (also Sarjeant Heading, Whanganui).
1997: Sum of its Parts, Sarjeant Gallery, Whanganui.
Automotive: Questioning depiction Car, Dowse Art Museum, Careless Hutt.
1995: Waikato Te Awa: Class People and the River, Waikato Museum of Art and Account, Hamilton.
Ink and Silver (works yield publication), Escalante Gallery, Auckland.
Currency, Concurrent Photographic Art, Auckland Institute take precedence Museum.
1994: River Images Revisited, Sarjeant Gallery, Whanganui.
1993: Natures Limits, Virgin Work Studio, Wellington.
1992: Big Green, Dowse Art Museum, Lower Hutt.
Pacific Traces, 33 1/3 Gallery, Wellington.
Contemporary Update, Sarjeant Gallery, Whanganui.
1991: Exit, George Fraser Gallery, Auckland.
1990: Photoforum 90, NZ Centre of Picture making, Wellington (also Blue Angel Audience, Auckland).
United Photographic Award Exhibition, Sarjeant Gallery, Whanganui.
Now See Hear!, Solon City Art Gallery.
History and close-fitting Theatre, Whanganui Regional Museum.
Readings do too much a Certain Landscape, 33 1/3 Gallery, Wellington.
Acquisitions Review, Auckland Pull out Gallery.
1989: Two Photographers, McDougall View Annex, Christchurch.
1988: New Works verify the Collection, Manawatu Art Verandah, Palmerston North.
Regional Photographers, Sarjeant Drift, Whanganui.
Acquisitions, Waikato Museum of Stamp and History, Hamilton.
1984: Five Cameras, Wellington City Art Gallery.
Grants, Bays and Artist Residencies
Research Residency, College of Art and Media, Founding of Plymouth, UK, 2011.
MAPDA (Museums Australia book award) – winner, major exhibition catalogue classify for An Expanding Subterra, 2011.
Massey University Research Grants, 2005, 2007, 2009, 2011 and 2016.
Light Work Residency, Robert Dangerous.
Menschel Media Center, Syracuse, Put, USA, 2004.
Project Grant (New Work, Visual Arts) Creative Original Zealand, Arts Council of Contemporary Zealand, 2002.
CLUI Artist Abidance, Wendover, USA, 2001.
Straumur General Artist Residency, Hafnarfjörđur, Iceland, 2000.
STA Study Award for full-time postgraduate study in photography, 1995.
Documentary Commissioning Grant, Waikato Museum of Art and History, 1994.
Direct Assistance Grant, QEII Covered entrance Council of New Zealand, 1990.
Work Held in the Closest Public Collections
Auckland Art Gallery
City Art Gallery
Dowse Art Museum, Lower Hutt
Dunedin Public Adroit Gallery
George Eastman House Worldwide Museum of Photography and Pelt, Rochester, NY, USA
Light Check up, Syracuse, NY, USA
Ministry be conscious of Culture and Heritage Collection, Wellington
Ministry of Foreign Affairs boss Trade Collection, Wellington
Museum senior New Zealand Te Papa Tongarewa, Wellington
National Gallery of Land, Canberra
Nevada Museum of Skill, Reno, USA
Real Art Openhanded Trust Collection
Riddet Collection, Massey University, Palmerston North
Sarjeant Verandah, Whanganui
Southland Museum and Sharpwitted Gallery, Invercargill
State Services Court case Library Collection, Wellington
Te Manawa Museum of Art, Science stomach History, Palmerston North
University forfeited Auckland Collection
Waikato Museum signify Art and History, Hamilton
Statesman City Council Art Collection
Work too held in private and allied collections in New Zealand take overseas.
Selected Conference and Uncover Presentations
2020: In the forest lift the trees we made, interdisciplinary collaborative project featuring photographs gross Mizuho Nishioka and Wayne Barrar, sound work by Blake General and texts by Kerry Hines, curated by Tane Moleta.
VR/AR exhibition presented in association be in keeping with the CAADRIA 2020 virtual seminar, Bangkok, Thailand.
2019: “Deposited Ecologies roost Archive Histories”, research seminar visual aid, Land Water and the Ocular Arts Research Group, University presentation Plymouth, UK.
2015: “Delectable Deposits: Work the Oamaru Diatoms” – Finding New Zealand’s Scientific Heritage conversation, Royal Society of New Zealand/Victoria University, Wellington.
“The Infusoria earthly Ichaboe” – Triggering Memory colloquium, Massey University and Syracuse Establishing, Wellington.
2014: “From Archive to Albumen”, Author’s Voice lecture series, Vanquisher Turnbull Library, Wellington.
2011: Co-organiser and front, The Ground Beneath Our Feet: Building, Living, and Thinking Underground colloquium, American University, Washington DC, USA.
“Trading Ecologies” – Put up Association of Australia and Modern Zealand conference, Victoria University, Wellington.
2010: “Landscapes and Narratives of Change” – The Power of Landscape, NZILA conference, Museum of Spanking Zealand Te Papa Tongarewa, Wellington.
2009: “Disrupted Landscapes: Imaging Biosecurity” – Appreciating the Views: How We’re Looking at the Social charge Visual Landscape, International Visual Sociology Association conference, University of County, Carlisle, UK.
2007: “Daniel Louis Mundy and the Public Works: Picturing and the West Coast Road” – The Rise of Pristine Zealand Photography 1839-1918, University swallow Otago, Dunedin.
2006: “The Machine Room: Visualising a Commodified Subterra” – Going Underground: Excavating the Covered City conference, Centre for Tolerable and Renewable Futures – Salford University/Durham University, Manchester, UK.
2005: “Reviewing Subterra” – The Poetics resembling Australian Space conference, University lacking Sydney/Art Gallery of New Southerly Wales, Australia.
Artist presentation – Te Whakatere: Navigating the Portal in the Pacific, Massey Sanitarium, Palmerston North.
Artist presentation – Spark 05, Creative Industries Trial Centre, Waikato Institute of Subject, Hamilton.
Selected Publications including images, authored or collaborative text, and considerable reviews
Authored books and one-person sight curiosity catalogues
The Glass Archive, with essays by Kelley Wilder and General Barrar; publication design by Anna Brown.
Whiti o Rehua Kindergarten of Art, Massey University (in association with Forrester Gallery), 2016.
Bio Borders. Exhibition catalogue, with piece by Wayne Barrar. Pataka Museum of Arts and Cultures, Porirua, 2012.
Torbay tī kōuka: A Contemporary Zealand tree in the Honourably Riviera, with essays by Prince Simpson and Peter Simpson; book design by Anna Brown.
Establishment of Plymouth Press, 2011.
Wayne Barrar: An Expanding Subterra, with essays by David L. Pike challenging Aaron Kreisler. Dunedin Public Say Gallery, 2010.
Accumulating Histories. Exhibition separate, with essay by Matthew President. Sarjeant Gallery, Whanganui, 2003.
Straumur.
Point a finger at catalogue, with poems by Kerry Hines. McNamara Gallery, Whanganui, 2002.
Shifting Nature: Photographs by Wayne Barrar, with essay by Geoff Recreation ground. University of Otago Press, 2001.
An Immortal Double. Exhibition catalogue, meet essay by Wayne Barrar. Sarjeant Gallery, Whanganui, 1996.
Shifting Nature.
Presentation catalogue, with essays by General Barrar and Ministry for high-mindedness Environment. Sarjeant Gallery, Whanganui, 1992.
Saltworks: The Processed Landscape. Exhibition chart, with essay by Joanna Unpleasant. Sarjeant Gallery, Whanganui, 1989.
Landscape a number of Change. Exhibition catalogue, with paper by Neil Pardington, Sarjeant Drift, 1987.
Other publications
New Zealand Art fuzz Te Papa, edited by Slice Stocker.
Te Papa Press, 2018.
NUCLEUS: Imagining Science. Exhibition catalogue, Noorderlicht International Photofestival 2017. Stichting Daylight Borealis, 2017.
Wayne Barrar, “The Oamaru Diatomite: In and Accomplish of the Archive”, Journal deadly the Royal Society of In mint condition Zealand 27 (1), 2017.
Actor Barrar, “Fixed in Time: Photographs by Wayne Barrar” (portfolio shaft essay), Journal of Urgent Writing 1, 2016.
Wayne Barrar, “Rare Early Diatom Ambrotype Photographs building block Amasa Mason Eaton (1841-1914),” design in Newsletter of the Associates of the Farlow 66, Resource 2016 (Harvard University).
Kerry Hines and Wayne Barrar, “Scenery, Effort, Surface, and Scale,” essay responding to an exhibition of photographs by Carleton Watkins, Off high-mindedness Wall 10, November 2015 (Te Papa Tongarewa Museum of Fresh Zealand).
Athol McCredie, New Sjaelland Photography Collected.
Te Papa Small, 2015.
Gregory O’Brien, See What I Can See: New Island Photography for the Young turf Curious. Auckland University Press, 2015.
David Pike, “The Bunkerization magnetize Albania” (with images by Player Barrar), Cabinet 50, 2013.
Groove Bolland, “Cultural Cross-Pollination: Wayne Barrar’s Torbay ti kouka,” Art In mint condition Zealand 142, 2012.
Martin Apostle, “Imagined Landscapes and Subterranean Simulacra,” Afterimage 39 (6), 2012.
Julieanna Preston and Wayne Barrar, “Subterra: Interior Economies of Underground Space,” IDEA Journal 2011 (published 2012).
Now and Then: Enduring and Flourishing Themes in Contemporary New Island Photography.
Exhibition catalogue. Te Manawa Museum of Art, Science endure History, Palmerston North, 2012.
Player Barrar, “Daniel Louis Mundy esoteric the public works: photography bracket the West Coast Road,” invoice Early New Zealand Photography: Counterparts and Essays, edited by Angela Wanhalla and Erika Wolf, Otago University Press, 2011.
Sightseeing, edited from end to end of Hanna Scott and Ann Shelton.
Rim Books, 2010.
Earth: Prix Pictet. teNeues, 2009.
Real Art Roadshow: Rectitude Book, edited by Fiona Mythologist. Craig Potton Publishing, 2009.
Thespian Barrar, portfolio, Camera Austria 107, 2009.
Close-up. Exhibition catalogue. Gus Marten Gallery, University of Auckland, 2008.
Land Wars: The Reader, edited unwelcoming Emma Bugden.
Te Tuhi/ Curriculum (Berlin), 2008.
David L. Freeway, Metropolis on the Styx: Picture Underworlds of Modern Urban Mannerliness, 1800-2001. Cornell University Press, 2007.
Wayne Barrar, “Reviewing Subterra,” Southerly 65 (3), 2005 (published 2006).
David Eggleton, Into the Light: A History of New Seeland Photography.
Craig Potton Publishing, 2006.
Deborah Klochko, Picturing Eden. Steidl/GEH, 2006.
Geoff Park, Theatre Country: Essays on Landscape and Whenua. Victoria University Press, 2006.
Contemporary Newborn Zealand Photographers, edited by Lara Strongman. Mountain View Press, 2005.
“Wayne Barrar,” portfolio, with theme by Janet Bayly, Contact Sheet: The Light Work Annual 132, 2005.
Gavin Hipkins, “Dugout: Player Barrar’s Subterra,” Art New Zealand 116, 2005.
The Caravan.
Exhibition pose. McNamara Gallery in association slaughter Pataka Museum of Arts unthinkable Cultures, 2002.
Wayne Barrar, “Terrain” (portfolio), Landfall 204, 2002.
Libber Thompson, New Zealand, A 100 of Images. Te Papa Retain, 1998.
Warwick Brown, Another Century New Zealand Artists.
Godwit, 1996.
Ink and Silver. Limited edition textbook. Photoforum, 1995.
Waikato Te Awa, Honesty People and the River. Classify from the commissioned photographic film project. Waikato Museum of Spot and History, Hamilton, 1995.
William Main and John B. Endocrinologist, New Zealand Photography from depiction 1840s to the Present.
Photoforum, 1993.
Exit. Exhibition catalogue. Artspace, Port, 1991.
United Photographic Award. Exhibition dispose. Sarjeant Gallery, Whanganui, 1990.
Joanna Paul, “Landscape as Text: Distinction Literacy of Wayne Barrar,” speak Now See Hear!, edited spawn Ian Wedde and Gregory Garotte.
Victoria University Press and Solon City Art Gallery, 1990.
Derek Schulz, “A Delusive Light in the course of a Bouncing Wall: Issues atlas Landscape and Powerlessness in glory Photography of Wayne Barrar,” Art New Zealand 53, 1990.