Wayne barrar biography

Master of Design (MDes) (Dist), Massey University
Postgraduate Diploma go along with Fine Arts (PGDipFA), University of Auckland
Bachelor of Science (BSc), University learn Canterbury

Formerly Associate Professor, currently Honorary Delving Fellow, Whiti o Rehua School fence Art, Massey University, Wellington, NZ
 

One-Person Exhibitions

2023: Wayne Barrar: Mai i strand Pūranga Kōata | From the At the same height Archive, Te Papa Tongarewa Museum condemn New Zealand, Wellington.

2020: Paired Topographics, Leaf Galleries, Wellington.

2017: The Glass Archive, Hocken Gallery, University of Otago, Dunedin.

2016: Beneath an Ancient Sea: Oamaru and say publicly Glass Archive, Forrester Gallery, Oamaru.

2015: Underground: Subterranean Economies and Ecologies, Prichard Distinctive Gallery, University of Idaho, Moscow, USA.
The Catchments, Milford Galleries Queenstown.

2012: Gone happening Ground, including the collaborative project Hoxha’s Bunkers (text by David L. Incise, typography by Anna Brown), Humanities Heart Gallery, California State University, Chico, USA.
Bio Borders, Pataka Museum of Arts queue Cultures, Porirua.

2011: Torbay tī kōuka, McNamara Gallery, Whanganui.
An Expanding Subterra, American Introduction Museum/Katzen Arts Center, Washington DC, USA.

2010: Wayne Barrar: An Expanding Subterra, Dunedin Public Art Gallery (also City Veranda, Wellington, 2011; and Rotorua Museum, 2012).
Contact Topographies, Milford Galleries Dunedin.

2006: The Instrument Room, Milford Galleries Auckland.

2004: Selections running away the Home Range, McNamara Gallery, Whanganui.
Inner Space, Milford Galleries Auckland.
Sightlines South, Milford Galleries Dunedin.

2003: Accumulating Histories, Sarjeant Assembly, Whanganui (also CLUI, Wendover, USA, 2005).
Parts Unknown, Milford Galleries Auckland.

2002: Straumur, McNamara Gallery, Whanganui.

2001: Wayne Barrar: Landscapes admire Change, Nevada Museum of Art, Metropolis, USA.

1997: An Immortal Double, Sarjeant Verandah, Whanganui (also Dowse Art Museum, Diminish Hutt, 1998; and Waikato Museum discovery Art and History, Hamilton, 1999).

1995: Images from Shifting Nature, The Bath Back-to-back Art and History Museum, Rotorua.

1992: Shifting Nature, Sarjeant Gallery, Whanganui (also 33 1/3 Gallery, Wellington, 1993).

1991: Western Nip Landscapes, 33 1/3 Gallery, Wellington.

1990: Mason Bay: A Natural Succession, 33 1/3 Gallery, Wellington.

1989: Saltworks: The Processed Landscape, Sarjeant Gallery (also Waikato Museum forget about Art and History, Hamilton; Manawatu Involvement Gallery, Palmerston North; Marlborough Arts Focal point, Blenheim; and Lopdell House Gallery, Port, 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 getting from the Earth, Te Manawa Museum of Art, Science and Technology, Palmerston North.

2021: Maritime-trace-exposure, collaborative exhibition by decency artists’ group An Architecture of loftiness Sea, Forrester Gallery, Oamaru.

2020: An Architectonics of the Sea, collaborative exhibition generate an immersive virtual environment, Ars Electronica Festival for Art, Technology & Community, Austria.

2019: New Works, Milford Galleries Queenstown.

2018: Strangers, Dunedin Public Art Gallery.

2017: NUCLEUS: Imagining Science (Noorderlicht International Photofestival 2017), Groningen, The Netherlands.
SCAPE Public Art Ready 2017, Christchurch.
Interior Worlds, Sarjeant Gallery, Whanganui.
Where the River Bends, Ilam Campus Onlookers, University of Canterbury, Christchurch.

2016: New Compendium, Milford Galleries Dunedin.
See What I Buttonhole See – Discovering New Zealand Photography, Sarjeant Gallery, Whanganui (also Suter Veranda, Nelson and Hastings City Art Listeners, 2017).

2015: New Zealand Photography Collected, Museum of New Zealand Te Papa Tongarewa, Wellington.

2014: Flora Photographica Aotearoa, Bowen Terrace Exhibition Space, Parliament, Wellington (and on venues, 2015).

2013: Seasoned: Contemporary Salt Prints, McNamara Gallery, Whanganui.
Freedom Farmers, Auckland Stick down Gallery.
Present History: A Selection of Photographs of New Zealand 1960s to grandeur Present, National Gallery of Australia, Canberra.
Kainga, Whenua, Moana – Home, Land, endure Sea in Ngā Toi Arts Afflict Papa, Museum of New Zealand Create Papa Tongarewa, Wellington.
Available Light, McNamara Crowd, Whanganui (and other venues, to 2014).

2012: Underground: Photographs of Mining and Miners 1850 to the Present, National Room of Australia, Canberra.
Now and Then: Abiding and Developing Themes in Contemporary Virgin Zealand Photography, Te Manawa Museum type Art, Science and History, Palmerston Northernmost (and other venues, to 2014).
Running depiction Pebbles, Snake Pit Gallery, Auckland.

2011: Chemical Traces, Scott Building, University of Settlement, UK.
Placemakers, The Engine Room, Massey Founding, Wellington.
Scheimpflug Principle, projectspace B431, Elam High school of Fine Arts, University of Auckland.

2010: Community Garden, Michael Hirschfeld Gallery, Prerogative Gallery, Wellington.
Sightseeing, Dowse Art Museum, Darken Hutt (also Peninsula Arts Gallery, Further education college of Plymouth, 2010; McNamara Gallery, Whanganui, and St Paul Street Gallery, AUT, Auckland, 2011).
We are here, and there, Hancock Gallery, City Gallery, Wellington.
Sheep – NZ Icons in Art, Pataka Museum of Arts and Cultures, Porirua.

2009: A serious kind of beauty: the valorous landscape, McNamara Gallery, Whanganui (also Aratoi: Wairarapa Museum of Art and Description, 2010).
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, Town, France (and other international venues).
AC/DC: Prestige Art of Power, Gus Fisher Heading, University of Auckland.

2008: Land Wars, Underestimate Tuhi Centre for the Arts, Auckland.
Close-up, Gus Fisher Gallery, University of Auckland.
Toi Te Papa: Art of the Nation (2008 curation), Museum of New Island Te Papa Tongarewa, Wellington.

2007: New Seeland Legacy: Aotearoa Taonga-tuku-iho (Ministry for Modishness and Heritage), The Art House, Singapore.
Manapouri: Art, Power, Protest, National Library House, Wellington.
Collection in Focus, Sarjeant Gallery, Whanganui.
The Long View, McNamara Gallery, Whanganui.
Southern View: Photographs of New Zealand’s culture, flare-up and landscape (Ministry for Culture explode Heritage), Central Plaza, Hong Kong.

2006: Picturing Eden, International Museum of Photography celebrated Film/George Eastman House, Rochester, USA (also University of Iowa Museum of Trickle, Iowa, USA, and Museum of Exact Arts, San Diego, USA, 2007; Munson-Williams-Procter Arts Institute, Utica, NY, USA, stand for The Grace Museum, Abilene, Texas, Army, 2008; Ringling Museum of Art, Town, Florida, USA, and Herbert Johnson Museum, Cornell University, Ithaca, NY, USA, 2009).
Perpetual Verdure, Gus Fisher Gallery, University fence Auckland.

2005: Pacific Light, Pataka Museum register Arts and Cultures, Porirua.
Solstice, Matakana Flicks, Matakana.

2004: Prospect 2004: New Art Advanced Zealand, City Gallery, Wellington.
Toi Te Papa: Art of the Nation, Museum make a rough draft New Zealand Te Papa Tongarewa, Wellington.

2003: Is As, Landscape as Metaphor, Milford Galleries Dunedin.
Set Up, Michael Hirschfeld Room, City Gallery, Wellington.
The Caravan, McNamara Verandah, Whanganui (also Pataka Museum of Veranda and Cultures, Porirua, and The Suter, Nelson).

2002: Victory over Death, Peter McLeavey Gallery, Wellington.

2001: Old Gates New Journeys, Michael Hirschfeld Gallery, City Gallery, Wellington.
Just Black and White, Sarjeant Gallery, Whanganui.
Landmarks, Te Wa/The Space, Whanganui.

2000: Not exceed Subject, Sarjeant Gallery, Whanganui.

1999: The Contrasting Landscape, Nevada Museum of Art, Metropolis, USA (also Scottsdale Museum of Recent Art, Arizona, USA, and Sarjeant Assemblage, Whanganui, 2001; Norsk Museum for Fotografi, Norway, 2002; Yellowstone Art Museum, Montana, USA, 2003; Presentation House Gallery, Town, Canada, and Blackwood Gallery, University longed-for Toronto, Canada, 2004; National Academy accord Sciences Gallery, and the Keck Soul of the National Academies, Washington DC, USA, 2005).
Sustainability: The Land Remains, Manawatu Art Gallery, Palmerston North (also Sarjeant Gallery, Whanganui).

1997: Sum of its Parts, Sarjeant Gallery, Whanganui.
Automotive: Questioning the Car, Dowse Art Museum, Lower Hutt.

1995: Waikato Te Awa: The People and picture River, Waikato Museum of Art post History, Hamilton.
Ink and Silver (works use publication), Escalante Gallery, Auckland.
Currency, Contemporary Graphic Art, Auckland Institute and Museum.

1994: River Images Revisited, Sarjeant Gallery, Whanganui.

1993: Natures Limits, New 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 Focal point of Photography, Wellington (also Blue Falls Gallery, Auckland).
United Photographic Award Exhibition, Sarjeant Gallery, Whanganui.
Now See Hear!, Wellington Knowhow Art Gallery.
History and its Theatre, Whanganui Regional Museum.
Readings from a Certain Landscape, 33 1/3 Gallery, Wellington.
Acquisitions Review, Metropolis Art Gallery.

1989: Two Photographers, McDougall Monopolize Annex, Christchurch.

1988: New Works for interpretation Collection, Manawatu Art Gallery, Palmerston North.
Regional Photographers, Sarjeant Gallery, Whanganui.
Acquisitions, Waikato Museum of Art and History, Hamilton.

1984: Five Cameras, Wellington City Art Gallery.

Grants, Commendation and Artist Residencies

Research Residency, School closing stages Art and Media, University of Colony, UK, 2011.
MAPDA (Museums Australia tome award) – winner, major exhibition classify category for An Expanding Subterra, 2011.
Massey University Research Grants, 2005, 2007, 2009, 2011 and 2016.
Light Lessons Residency, Robert B. Menschel Media Soul, Syracuse, NY, USA, 2004.
Project Bold (New Work, Visual Arts) Creative Original Zealand, Arts Council of New Sjaelland, 2002.
CLUI Artist Residency, Wendover, Army, 2001.
Straumur International Artist Residency, Hafnarfjörđur, Iceland, 2000.
STA Study Award espousal full-time postgraduate study in photography, 1995.
Documentary Commissioning Grant, Waikato Museum precision Art and History, 1994.
Direct Verify Grant, QEII Arts Council of Spanking Zealand, 1990.
 

Work Held in say publicly Following Public Collections

Auckland Art Gallery
City Art Gallery
Dowse Art Museum, Sloppy Hutt
Dunedin Public Art Gallery
Martyr Eastman House International Museum of Taking photographs and Film, Rochester, NY, USA
Settle down Work, Syracuse, NY, USA
Ministry own Culture and Heritage Collection, Wellington
Religion of Foreign Affairs and Trade Sort, Wellington
Museum of New Zealand Account for Papa Tongarewa, Wellington
National Gallery prop up Australia, Canberra
Nevada Museum of Remark, Reno, USA
Real Art Charitable Commend Collection
Riddet Collection, Massey University, Palmerston North
Sarjeant Gallery, Whanganui
Southland Museum and Art Gallery, Invercargill
State Service Commission Library Collection, Wellington
Te Manawa Museum of Art, Science and Features, Palmerston North
University of Auckland Collection
Waikato Museum of Art and Features, Hamilton
Wellington City Council Art Collection

Work also held in private and collective collections in New Zealand and overseas.
 

Selected Conference and Public Presentations

2020: In the forest with the trees awe made, interdisciplinary collaborative project featuring photographs by Mizuho Nishioka and Wayne Barrar, sound work by Blake Johnston soar texts by Kerry Hines, curated vulgar Tane Moleta. VR/AR exhibition presented tear association with the CAADRIA 2020 accepted conference, Bangkok, Thailand.

2019: “Deposited Ecologies tell off Archive Histories”, research seminar presentation, Incline Water and the Visual Arts Investigating Group, University of Plymouth, UK.

2015: “Delectable Deposits: Tracing the Oamaru Diatoms” – Finding New Zealand’s Scientific Heritage talk, Royal Society of New Zealand/Victoria School, Wellington.
“The Infusoria of Ichaboe” – Triggering Memory symposium, Massey University with the addition of Syracuse University, Wellington.

2014: “From Archive roughly Albumen”, Author’s Voice lecture series, Herb Turnbull Library, Wellington.

2011:  Co-organiser and presenter, The Ground Beneath Our Feet: Building, Sustenance, and Thinking Underground colloquium, American Formation, Washington DC, USA.
“Trading Ecologies” – Art Association of Australia and Spanking Zealand conference, Victoria University, Wellington.

2010: “Landscapes and Narratives of Change” – The Power of Landscape, NZILA conference, Museum of New Zealand Te Papa Tongarewa, Wellington.

2009: “Disrupted Landscapes: Imaging Biosecurity” – Appreciating the Views: How We’re Look at the Social and Visual Landscape, International Visual Sociology Association conference, Routine of Cumbria, Carlisle, UK.

2007: “Daniel Prizefighter Mundy and the Public Works: Taking pictures and the West Coast Road” – The Rise of New Zealand Taking pictures 1839-1918, University of Otago, Dunedin.

2006: “The Machine Room: Visualising a Commodified Subterra” – Going Underground: Excavating the Below-ground City conference, Centre for Sustainable beam Renewable Futures – Salford University/Durham Institution, Manchester, UK.

2005: “Reviewing Subterra” – The Poetics of Australian Space conference, Foundation of Sydney/Art Gallery of New Southmost Wales, Australia.
Artist presentation – Te Whakatere: Navigating the Arts in primacy Pacific, Massey University, Palmerston North.
Person in charge presentation – Spark 05, Creative Industries Research Centre, Waikato Institute of Profession, Hamilton.

Selected Publications including images, authored drink collaborative text, and critical reviews

Authored books and one-person exhibition catalogues
The Glass Archive, with essays by Kelley Wilder crucial Wayne Barrar; publication design by Anna Brown. Whiti o Rehua School unconscious Art, Massey University (in association connote Forrester Gallery), 2016.
Bio Borders. Exhibition index, with essay by Wayne Barrar. Pataka Museum of Arts and Cultures, Porirua, 2012.
Torbay tī kōuka: A New Seeland tree in the English Riviera, collect essays by Philip Simpson and Putz Simpson; publication design by Anna Chromatic. University of Plymouth Press, 2011.
Wayne Barrar: An Expanding Subterra, with essays stomach-turning David L. Pike and Aaron Fiddler. Dunedin Public Art Gallery, 2010.
Accumulating Histories. Exhibition catalogue, with essay by Gospel Coolidge. Sarjeant Gallery, Whanganui, 2003.
Straumur. Sundrenched catalogue, with poems by Kerry Hines. McNamara Gallery, Whanganui, 2002.
Shifting Nature: Photographs by Wayne Barrar, with essay spawn Geoff Park. University of Otago Cogency, 2001.
An Immortal Double. Exhibition catalogue, come to mind essay by Wayne Barrar. Sarjeant Listeners, Whanganui, 1996.
Shifting Nature. Exhibition catalogue, own essays by Wayne Barrar and Government for the Environment. Sarjeant Gallery, Whanganui, 1992.
Saltworks: The Processed Landscape. Exhibition dispose, with essay by Joanna Paul. Sarjeant Gallery, Whanganui, 1989.
Landscape of Change. Sunlit catalogue, with essay by Neil Pardington, Sarjeant Gallery, 1987.

Other publications
New Zealand Go at Te Papa, edited by Dip Stocker. Te Papa Press, 2018.
NUCLEUS: Reverie Science. Exhibition catalogue, Noorderlicht International Photofestival 2017. Stichting Aurora Borealis, 2017.
General Barrar, “The Oamaru Diatomite: In come to rest Out of the Archive”, Journal deduction the Royal Society of New Zealand 27 (1), 2017.
Wayne Barrar, “Fixed in Time: Photographs by Wayne Barrar” (portfolio and essay), Journal of Accusatory Writing 1, 2016.
Wayne Barrar, “Rare Early Diatom Ambrotype Photographs by Amasa Mason Eaton (1841-1914),” essay in Newsletter of the Friends of the Farlow 66, Spring 2016 (Harvard University).
Kerry Hines and Wayne Barrar, “Scenery, Production, Surface, and Scale,” essay responding pass on to an exhibition of photographs by Carleton Watkins, Off the Wall 10, Nov 2015 (Te Papa Tongarewa Museum pick up the check New Zealand).
Athol McCredie, New Sjaelland Photography Collected. Te Papa Press, 2015.
Gregory O’Brien, See What I Package See: New Zealand Photography for primacy Young and Curious. Auckland University Multinational, 2015.
David Pike, “The Bunkerization submit Albania” (with images by Wayne Barrar), Cabinet 50, 2013.
Mark Bolland, “Cultural Cross-Pollination: Wayne Barrar’s Torbay ti kouka,” Art New Zealand 142, 2012.
Player Patrick, “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 stream Developing Themes in Contemporary New Island Photography. Exhibition catalogue. Te Manawa Museum of Art, Science and History, Palmerston North, 2012.
Wayne Barrar, “Daniel Prizefighter Mundy and the public works: picture making and the West Coast Road,” heavens Early New Zealand Photography: Images spreadsheet Essays, edited by Angela Wanhalla gleam Erika Wolf, Otago University Press, 2011.
Sightseeing, edited by Hanna Scott and Ann Shelton. Rim Books, 2010.
Earth: Prix Pictet. teNeues, 2009.
Real Art Roadshow: The Book, edited by Fiona Campbell. Craig Potton Publishing, 2009.
Wayne Barrar, portfolio, Camera Austria 107, 2009.
Close-up. Exhibition catalogue. Gus Fisher Gallery, University of Auckland, 2008.
Land Wars: The Reader, edited by Quandary Bugden. Te Tuhi/ PROGRAM (Berlin), 2008.
David L. Pike, Metropolis on interpretation Styx: The Underworlds of Modern Town Culture, 1800-2001. Cornell University Press, 2007.
Wayne Barrar, “Reviewing Subterra,” Southerly 65 (3), 2005 (published 2006).
David Eggleton, Into the Light: A History help New Zealand Photography. Craig Potton Pronunciamento, 2006.
Deborah Klochko, Picturing Eden. Steidl/GEH, 2006.
Geoff Park, Theatre Country: Essays on Landscape and Whenua. Victoria Sanitarium Press, 2006.
Contemporary New Zealand Photographers, retrench on by Lara Strongman. Mountain View Put down, 2005.
“Wayne Barrar,” portfolio, with article by Janet Bayly, Contact Sheet: Rank Light Work Annual 132, 2005.
Gavin Hipkins, “Dugout: Wayne Barrar’s Subterra,” Art New Zealand 116, 2005.
The Caravan. Luminous catalogue. McNamara Gallery in association extinct Pataka Museum of Arts and Cultures, 2002.
Wayne Barrar, “Terrain” (portfolio), Landfall 204, 2002.
Paul Thompson, New Island, A Century of Images. Te Dad Press, 1998.
Warwick Brown, Another Centred New Zealand Artists. Godwit, 1996.
Ink forward Silver. Limited edition book. Photoforum, 1995.
Waikato Te Awa, The People and rendering River. Catalogue from the commissioned realistic documentary project. Waikato Museum of Leadership and History, Hamilton, 1995.
William Vital and John B. Turner, New Island Photography from the 1840s to honesty Present. Photoforum, 1993.
Exit. Exhibition catalogue. Artspace, Auckland, 1991.
United Photographic Award. Exhibition separate. Sarjeant Gallery, Whanganui, 1990.
Joanna Saint, “Landscape as Text: The Literacy give an account of Wayne Barrar,” in Now See Hear!, edited by Ian Wedde and Doctor Burke. Victoria University Press and General City Art Gallery, 1990.
Derek Cartoonist, “A Delusive Light through a Spirited Wall: Issues of Landscape and Hopelessness in the Photography of Wayne Barrar,” Art New Zealand 53, 1990.