reflections on photography in Wellington

I've been continuing to search the web looking for more Wellington-based art photographers,  other than  those I mentioned in an earlier post on this blog and on a post here. I was interested in those art  photographers who had an online presence,  and  in my search I came across Mark Marriott, Hans Weston, Tracey Kearns. These are photographers with a body of work and who exhibit regularly. 

By all accounts Wellington has a number of  good active art photographers, non-profit galleries,  some small artist-run spaces and a photographic dealer gallery.  The  art photographic scene appears  to be lively, the work interesting, with much of it is  project based.  There are more reflections on the Wellington photographic scene  here.

An example  of a project based  body of work  is the  recent book by the poet /photographer Mary Macpherson.  Old New World, consists  of  her photographs made over seven years  about the changes in New Zealand society as seen in the small regional/rural towns throughout the country.   The narrative is one of a shift from a traditional New Zealand, to places of prosperity and development that look very different to the 1960s and 70s. Peter Ireland interpreted the work "as a melancholy lament for the steady disappearance of the New Zealand of her childhood and youth, especially since the economic “reforms” of the 1980s." 

Maybe not.  There  is a section that deals with places that have been changed or transformed through development. Ireland says that:

The road trip is a bit of a guy thing, and, formally, her imagery then tended to echo the style pioneered here by Robin Morrison and furthered by other male photographers such as John McDermott and Derek Henderson [ie., The Terrible Boredom of Paradise]

However, the  photographic  works that Macpherson says that she thought about before making her Old New World photographs  were Stephen Shore’s Uncommon Places (for his photographing of everyday streets and buildings with tremendous formal sophistication)  Joel Sternfeld’s American Prospects (his restrained, yet socially charged images) and Walker Evan’s photographs of buildings.