Staff & Advisory Board
With more than 20 years’ experience Christina Barton has a formidable reputation in New Zealand as a writer, curator and art historian. She has held positions at Auckland Art Gallery (1987-1992) and the Museum of New Zealand Te Papa Tongarewa (1992-1994) and as Senior Lecturer in Art History at Victoria University of Wellington (1995-2007). Key exhibitions she has curated include After McCahon: Some Recent Configurations in Contemporary Art (Auckland Art Gallery, 1989); Art Now: The First Biennial Review of Contemporary Art (MoNZ, 1994); Close Quarters: Contemporary Artists from Australia and New Zealand (touring Australia and NZ, 1995); Joseph Kosuth: Guests and Foreigners, Rules and Meanings (Te Kore) (Adam Art Gallery (AAG), 2000); The Expatriates: Frances Hodgkins and Barrie Bates (AAG and Gus Fisher Gallery, 2004-5); Four Times Painting (AAG, 2007); Hydraulics of Solids: João Maria Gusmão & Pedro Paiva (AAG, 2008); The Subject Now (AAG, 2008); I, HERE, NOW Vivian Lynn (AAG, 2008-9); Billy Apple New York 1969-1973 (AAG, 2009) .
Art History Programme Staff Page
Michelle Menzies is a doctoral candidate at the University of Chicago, and a former Fulbright New Zealand Fellow. Her dissertation “Archives of Experience: Toward a Digital Aesthetics” re-reads Henri Bergson’s philosophy of intuition and movement to argue a definition of cinema expanded beyond the apparatus. Broader research interests coalesce around aesthetics, phenomenology, critical theory, and histories of media in relation to film, poetics, and contemporary art, with a particular emphasis on traditions surrounding the Frankfurt School and French post-structuralism. Michelle is a graduate of the Elam School of Fine Arts, University of Auckland, and was co-initiator of the Window art project in Auckland, NZ (2001-6). She has taught at The School of the Art Institute of Chicago and the University of Chicago. Recent projects include the exhibition/symposium Phenomenologies of Projection, Aesthetics of Transition: Anthony McCall 1970-79, 2001— (2012), and a catalogue text on Billy Apple (2009). She is an occasional contributor to Flash Art and Artforum magazines, and a fellow of the newly formed New Zealand India Research Institute.
Andy Cummins’ role is one of gallery co-ordinator and technician in relation to the installation and maintenance of exhibitions. He also assists Rebecca Rice in the ongoing management of the Victoria University of Wellington’s art collection.
Rebecca Rice graduated with her PhD in Art History from Victoria University in 2010. Her research dealt with colonial New Zealand art, particularly in relation to its histories of collection and display; an historical interest that has a certain resonance in her current role as Collection Officer. She teaches part-time in the Art History programme and is also a freelance contributor to art and art history journals and catalogues writing on both contemporary and historical art.
In addition to her role as Gallery Administrator at the Adam Art Gallery Therese Lloyd writes poetry. Her first full-length collection of poems Other Animals will be published by Victoria University Press in March 2013. Therese also works as a freelance writer and editor. She has a Master of Arts in Creative Writing from Victoria University of Wellington and was the Schaeffer Fellow at the Iowa Writer’s Workshop in 2006-07. She has worked in a number of roles in universities, libraries and in the wider community.
*We are very pleased to announce that Laura Preston, previously Curator at the Adam Art Gallery (2008-2012) has been appointed the inaugural Adam Art Gallery curator-at-large. From her base in Europe she will be working with us for one year to realise and help develop aspects of our programme and to offer on-the-spot insights into the art scenes she is encountering.
This new opportunity for the Adam to extend its reach internationally has been made possible by a grant from the Chartwell Trust. We are very grateful to the Trust for its ongoing support.
Neil Quigley is Deputy Vice Chancellor Research. He is also Professor of Economics and maintains an ongoing research programme through the New Zealand Institute for the Study of Competition and Regulation and his roles as a Research Associate of the Institute for Policy Analysis at the University of Toronto and the International Fellow at the C D Howe Institute in Toronto. He has undertaken research on a wide range of issues in applied microeconomics and is the author of papers in journals such as the Journal of Law and Economics, the Journal of Money Credit and Banking, and the Journal of Labour Economics.
Geoffrey Batchen is the newly appointed Professor of Art History at Victoria University of Wellington. He is a teacher, writer and curator specialising in the history of photography. He is the author of Burning with Desire: The Conception of Photography (1997, with subsequent translations into Spanish, Korean and Japanese), Each Wild Idea: Writing, Photography, History (2001), Forget Me Not: Photography and Remembrance (2004), William Henry Fox Talbot (2008), What of Shoes: Van Gogh and Art History (2009, in German and English), and Suspending Time: Life, Photography, Death (2010, in Japanese and English). He has also edited an anthology of essays titled Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida (2009). As a curator and editor, he has worked on exhibitions in Australia, Brazil, the Netherlands, Iceland, the United Kingdom, Germany, Japan and the United States and edited academic journals in Australia, the United Kingdom and the United States. He has given public lectures all over the world and taught in a number of tertiary institutions in Australia and the US, including the University of California San Diego, the University of New Mexico and the Doctoral Program in Art History at The Graduate Center of the City University of New York.
Sandy Callister is a Director of the marketing strategy firm The Providence Report and is a trustee for the Wigram Foundation and World Vision New Zealand. She has previously worked for TVNZ, Saatchi and Saatchi in New York, Unilever in London, and was Managing Director of Colmar Brunton in Wellington. She holds a PhD in History from the University of Auckland, and has studied women and leadership at the Harvard Business School. Her book The Face of War: New Zealand’s Great War Photography was published by Auckland University Press in May 2008. She is currently a Research Scholar at the Stout Centre, Victoria University, researching a book on New Zealand’s Victorian family albums.
Phyllis Mossman is a part-time Lecturer in Art History and has had a long association with the programme. She is also an enthusiastic supporter of the gallery who has provided informal advice and support over the years. She was on TheNewDowse Friends committee for seven years (three as President) and is currently the Art Consultant for the ANZ bank and (on an as required basis) for the Wellington office of Russell McVeagh and the Reserve Bank.
Priscilla Pitts is General Manager Heritage Destinations for the New Zealand Historic Places Trust Pouhere Taonga. Previously she was Director of the Dunedin Public Art Gallery and Otago Settlers Museum (1998-2007), the Govett-Brewster Art Gallery, New Plymouth (1993-1998) and Artspace, Auckland (1989-1993). She is well known as a commentator on contemporary art and has served at a national level on a wide variety of visual arts panels and committees.
Deborah Willis, is Pro-Vice Chancellor and Dean of the Faculty of Humanities and Social Sciences. She has a PhD in Education and lectured in the School of Education for over 10 years, specialising in curriculum, assessment and evaluation issues. In 1998, following a period of teaching and research in the Pacific, she was appointed Director of the Victoria University Teaching Development Centre. More recently she spent two years as Assistant Vice-Chancellor (Academic) with responsibility for academic policy and all aspects of teaching and learning quality.
The Adam Art Gallery relies on the work of volunteers to provide support and assistance in the administration of the gallery and in the co-ordination of projects and events. We are extremely grateful to our volunteers for the valuable contribution they make to gallery operations.
If you are interested in volunteer opportunities at the gallery, please contact: email@example.com