Christina Barton

Chapters

• “Foreword,” in Chris Corson-Scott, The Afterglow of Industry: New Zealand Photographs 2012–2022, Daylight Books, New York, 2025, pp. 6–7.
• “Canone Aureo 848, 2017,” in Giorgio Griffa and Peter Robinson, Differences in Kind and Rhythm, Te Uru Waitākere Contemporary Gallery, 2025 [forthcoming].
  
• “An Uneventful Life,” in Nick Austin, Robert Heald Gallery, Wellington, 2024 [forthcoming].

• “Julian Dashper: Cass Altarpiece,” in Being, Seeing, Making, Thinking: 50 Years of the Chartwell Project, edited by Sue Gardiner and Megan Shaw, The Chartwell Collection Trust and Auckland Art Gallery Toi o Tāmaki, Auckland, 2025 p. 104.

• “The Task of Painting: Beyond Buying and Selling the Dream,” in Simon Denny: Landscapes, Sorry Press, Munich, 2024, pp. 20–25.
  
• [with Gregory Burke] “The Afterlives of Performance Art: The Case of Peter Roche & Linda Buis,” in Resetting the Coordinates: An Anthology of Performance Art in Aotearoa New Zealand, edited by Christopher Braddock, Ioana Gordon-Smith, Layne Waerea and Victoria Wynne-Jones, Massey University Press, Wellington, 2024, pp. 108–127.

• “Foreword,” in Energy Work: Kathy Barry/Sarah Smuts Kennedy, Adam Art Gallery, Wellington, 2023, pp. 5–6.
  
• “With Simon Morris’s Room of Time,” in Simon Morris, City Gallery Wellington, 2023, pp. 20–27. 
  

• “The Power of Provenance,” in The Bank of New Zealand Art Collection, edited by Hamish Coney, Robert Leonard and Julian McKinnon, Webb’s, Auckland, 2022, pp. 73–75. 
  
• “The Rainbow Master,” in Billy Apple® Rainbows 1965, The Mayor Gallery, London, 2022, pp. 11–25
  
• “Impasse after Impasse: Iris Gate, 1999,” in Barbara Tuck: Delirium Crossing, Adam Art Gallery, Anna Miles Gallery, Ramp Gallery, Wellington, Auckland, Hamilton, 2022, pp. 34–37. 
  

• “Foreword,” in Paul Cullen: Building Structures ++, edited by Marcus Moore and Allan Smith, slit/fountain, Auckland, 2021, pp. 7–8.
  

• “Seven Notes (For Kate),” in Kate Newby YES TOMORROW, Adam Art Gallery, Wellington, 2021, pp. 135–143. 
  
• [with Jenny Harper], “Storm Warning: Lessons and Reflections,” in Uneven Bodies (Reader), edited by Ruth Buchanan, Aileen Burns & Johan Lundh, and Hanahiva Rose, Govett-Brewster Art Gallery, New Plymouth, 2021, pp. 42–52. 
• “What’s in a Name? The Making of ‘Billy Apple’,” in Billy Apple® A Brand Looking for a Product, MTG Hawke’s Bay, Napier, 2021, pp. 9–16. 
  

• “Where It All Began: Billy Apple and Webb’s,” in Melting Moments: A Private Collection of Contemporary Art, 28 October 2021, Webb’s, Auckland, 2021, pp. 26–29.

• “Foreign Bodies, Strange Parts” [pdf], in Constellations: Zac Langdon-Pole’s Art Journey, edited by András Szántó, BMW Art Journey Series, Hatje Cantz, Berlin, 2020, pp. 73–79.
  
• Foreword to Looking for a New Country: Christopher Perkins in New Zealand, co-edited with Priscilla Pitts, Adam Art Gallery, Wellington, 2020, pp. 9–11.
• “Gate III,” McCahon 100: Connecting Cultural Legacy with Contemporary Practice, McCahon House Trust, Auckland, p. 30.
  

• “A Thrown Stone, A Glass House. The Insider Ethics of Kate Newby,” in Kate Newby: I Can’t Nail Down the Days, edited by Julianne Bischoff, Kunsthalle Wien and Sternberg Press, Vienna and Berlin, 2019, pp, 113–127.
  
• Foreword to On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell, edited by John C. Welchman, Adam Art Gallery and Sternberg Press, Wellington and Berlin, 2019, pp. 33–36.

• “From the End of Her Driveway,” in Edith Amituanai: Double Take, Adam Art Gallery, Wellington, 2019, pp. 56–62. 
  

• “Lost and Found,” in Louise Henderson: From Life, Auckland Art Gallery Toi o Tāmaki and Christchurch Art Gallery Te Puna o Waiwhetū, Auckland and Christchurch, 2019, pp. 171–178. 
  

• “Here I Give Thanks,” in The Collection of Frank and Lyn Corner, Art + Object, Auckland, 2018, p. 6.
  
• “No Turning Back,” in Billy Apple® Six Decades 1962–2018, Rossi & Rossi, Hong Kong, 2018, pp. 9–19.

• “Postscript,” in Bad Visual Systems: Ruth Buchanan, Judith Hopf, Marianne Wex, Adam Art Gallery, Wellington, 2016, not paginated. 
  

• “Five Questions for Pip Culbert,” in Pip Culbert: Seams, Artspace, Auckland, 2016, not paginated. 
  
• Foreword to Pauline Rhodes: Dark Watch, St PAUL St Gallery, Auckland, 2016, pp.4–6.

• “No Ordinary Museum: The Govett-Brewster, Contemporary Art and the Contingency of History” [pdf], in Now Showing: The Govett-Brewster Art Gallery, Govett-Brewster Art Gallery, New Plymouth, 2016, pp. 257–267.
  

• “The Harbour Studio Years, Or How To Ask the Question, ‘What Is a Life?’,” in What Is a Life? Kim Pieters, Adam Art Gallery, Wellington, 2014, pp. 4–11.
  
• “Notes on Method,” in The Critic’s Part: Wystan Curnow’s Art Writings 1971–2013, Adam Art Gallery, Institute of Modern Art, and Victoria University Press, Wellington and Brisbane, 2014, pp. 12–19.

• “To Whom It May Concern,” in Maddie Leach: If You Find the Good Oil, Let Us Know, Govett-Brewster Art Gallery, New Plymouth, 2014, pp. 41–45.
  
• “Untitled (McCahon House Studies), 2012, For Shannon Te Ao,” in Shannon Te Ao: I Can Press My Face Up Against the Glass, The Physics Room, Christchurch, 2014, pp. 7–16.
• “Post-object and conceptual art,” in Te Ara – The Encyclopedia of New Zealand, 2014, https://teara.govt.nz/en/post-object-and-conceptual-art.
  

• “Billy Apple – ‘In the Area of the Negative Condition’,” in Billy Apple® New York, 1970–75, The Mayor Gallery London, 2013, pp. 8–13.
  
• “Out of Place” [pdf], in If You Were To Live Here: Fifth Auckland Triennial, Auckland Art Gallery, Auckland, 2013, pp. 8–13.

• [with Geoffrey Batchen] Preface to Dark Sky, Adam Art Gallery, Wellington, 2012, pp. 2–3.
  
• “Phoenixes,” Points of Contact: Jim Allen, Len Lye, Hélio Oiticica, Adam Art Gallery and Govett-Brewster Art Gallery, Wellington and Auckland, 2012, pp. 23–27.

• Foreword to Behind Closed Doors: New Zealand Art from Private Collections in Wellington, Adam Art Gallery, Wellington, 2011, pp. 8–9.
  
• “Post-object Art” [pdf], in Art Toi: New Zealand Art at Auckland Art Gallery Toi o Tāmaki, Auckland Art Gallery, Auckland, 2011, pp. 249–256.
• “Some Thoughts about David Hatcher’s Semantic Bliss,” in David Hatcher: Semantic Bliss, edited by Mercedes Vicente, Govett-Brewster Art Gallery, New Plymouth, 2011, pp. 7–15.
  

• Introduction to Anthony McCall: Drawing with Light, Adam Art Gallery, Wellington, 2010, not paginated.
  
• “Billy Apple,” in New Zealand Art from Cook to Contemporary, Te Papa Press, Wellington, 2010, p. 141. [Also: “Vivian Lynn”, p. 193]
• “Billy Apple – The Sixties Remembered,” in Billy Apple® British and American Works 1960–69, The Mayor Gallery, London, 2010,  pp. 8–32.
  
• “Bruce Barber in New Zealand 1969–1975,” in Bruce Barber Work 1970–2008, edited by Stephen Cleland and Blair French, Artspace and Te Tuhi Centre for Art, Sydney and Auckland, 2010, pp. 52–63.

• “I, HERE, NOW Vivian Lynn: An Introduction,” in I HERE, NOW Vivian Lynn, Adam Art Gallery, Wellington, 2010, pp. 9–19.
  
• “Introducing Play On”, in Play On [pdf], Adam Art Gallery, Wellington, 2010.
  

• “About Billy Apple – A Life in Parts,” in Billy Apple, Sourcebook 7/2009, edited by Zoë Gray, Nicolaus Schafhausen and Monika Szewczyk, Witte de With Center for Contemporary Art, Rotterdam, 2009, pp. 13–29.
• “The Art of Interruption or Sculpture to Bump Into,” in Wandering Lines: Towards a New Culture of Space, 2008 Scape Christchurch Biennial of Art in Public Space, edited by Fulya Erdemci and Danae Mossman, Art and Industry, Christchurch, 2009, pp. 17–20. [Also: “Billy Apple”, p. 34]
  
• “Billy Apple,” in Art at Te Papa, edited by William McAloon, Te Papa Press, Wellington, 2009, p. 254. [Also: “Philip Dadson”, p. 322; “Andrew Drummond”, p. 323; “Vivian Lynn”, p. 324; “Pauline Rhodes”, p. 346]
  
• “Billy Apple, Less is Moore,” in One Day Sculpture, edited by Claire Doherty and David Cross, Litmus Research Initiative and Kerber Verlag, Wellington and Bielefeld, 2009, p. 196.
  
• Preface to Gavin Hipkins: Bible Studies (New Testament), Adam Art Gallery, Wellington, 2009, pp. 1–2.  
  

• Introduction to Hydraulics of Solids: João Maria Gusmão and Pedro Paiva, Adam Art Gallery, Wellington, 2007, pp. 5–8.
  

• “Four Times Painting,” in Four Times Painting, Adam Art Gallery, Wellington, 2007.
  
• “Fragments and Bits: A Brief History of Temporary Sculpture in Wellington,” in Wellington: A City for Sculpture, edited by Jenny Harper and Aaron Lister, Wellington Sculpture Trust, Wellington, 2007, pp. 121–127.
  
• “Billy Apple,” in Speculation, edited by Brian Butler, Artspace and J.R.P. Ringier, Auckland and Zürich, 2007, p. 194. [Also: “Julian Dashper”, p. 196; “Maddie Leach”, p. 217; “Mladen Bizumic”, p. 218, “Bill Culbert”, p. 219]

• “Billy Apple, From The V.U.W. Art Collection, 2005,” in In View: Works from the VUW Art Collection, Adam Art Gallery, Wellington, 2006, p. 2.
  

• “Return of the Dead,” in Shane Cotton: Maori Gothic, Hamish McKay Gallery, Wellington, 2006, not paginated.
  

• “Billy Apple: A History of the Brand,” Sue Crockford Gallery, Auckland, 2005, not paginated. 
• “Enjoy and the ‘Artistic Mode of Production’,” in Enjoy Five Year Retrospective Catalogue, edited by Melanie Hogg [Oliver], Enjoy Trust, Wellington, 2005, pp. 56–59.
  
• “Victoria’s Art: An Insider’s View,” in Victoria’s Art: A University Collection, edited by William McAloon, Adam Art Gallery and Victoria University of Wellington, Wellington, 2005, pp. 93–95.
  

• “Afterlife: Ans Westra in the Wake of the Documentary,” in Ans Westra: Handboek, edited by Lawrence McDonald, BWX, Wellington, 2004, pp. 93–102.
  

• “Becoming Billy Apple,” in The Expatriates: Frances Hodgkins and Barrie Bates, Adam Art Gallery, Wellington, 2004, pp. 5–22. [Also: “(Re-)Tracing Frances Hodgkins”, pp. 5–18]
  
• “Joseph Kosuth in New Zealand,” in Joseph Kosuth: Guests and Foreigners, Rules and Meanings (Te Kore), An Installation, Adam Art Gallery, Wellington, 2004, pp. 6–22.
  
• “Out of the Deep,” in Maddie Leach: Gallery Six, Waikato Museum of Art and History, 2004, not paginated.

• “On Time, Place and the Body in the Work of Pauline Rhodes,” in Ground/Work: The Art of Pauline Rhodes, Adam Art Gallery and Victoria University Press, Wellington, 2002, pp. 11–38.
  

• “1 + 1 (does not) = 2: Christina Barton in Conversation with Eugene Hansen and Marcus Williams,” in Filter: Eugene Hansen and Marcus Williams, Rim Books, Auckland, 2000, pp. 7–14.
  

• “‘What was directly lived has moved away into a representation’ – Photography and Post-object Art” [pdf], in Action Replay: Postscript, Artspace, Auckland, 2000, pp. 22–39. 
  

• “Len Lye,” in Toi Toi Toi: Three Generations of Artists from New Zealand, Museum Fridericianum, Kassel, 1999, pp. 62–63.
  

• “Art and New Zealand Literature,” in Oxford Companion to New Zealand Literature, edited by Roger Robinson and Nelson Wattie, Oxford University Press, Auckland, 1998, pp. 24–27. [With individual entries on: Billy Apple, p. 22; Don Binney, p. 57; Mary-Louise Browne, p. 75; L. Budd, p. 77; Fiona Clark, pp. 106–107; Augustus Earle, p. 157; Frances Hodgkins, p. 240; Ralph Hotere, p. 245; Richard Killeen, p. 286; Eric Lee-Johnson, p. 304; Colin McCahon, p. 317; Sydney Parkinson, pp. 430–431; Joanna Margaret Paul, p. 433; John Pule, pp. 454 – 455; Alfred Sharpe, p. 492; Ans Westra, p. 583; M.T. (Toss) Wollaston, pp. 596–597]
  

• [with Zara Stanhope and Clare Williamson] “Speaking of Strange Bedfellows,” in Close Quarters: Contemporary Art from Australia and New Zealand, Monash University Gallery and the Australian Centre for Contemporary Art, Melbourne, 1998, pp. 4–12.
  
• “Dark Times,” in Leap of Faith: Contemporary New Zealand Art, Govett-Brewster Art Gallery, New Plymouth, 1998, not paginated.
• “Julia Morison and Martin Grant’s Material Evidence: 100 Headless Woman,” in Sacred and Profane: 1998 Telstra Adelaide Festival Visual Arts Program, edited by Juliana Engberg and Ewen McDonald, Telstra Adelaide Festival, Adelaide, 1998, pp. 56–60.
  
• “Out of Site: A Brief History of Public Art (In Four Parts),” in Ready Mix: Essays and Pictures from the Concrete Deal, edited by Mary Barr, The Concrete Deal, Wellington, 1998, pp. 20–26.
• “Zeroing in: On Julian Dashper,” in The Twist: Julian Dashper, Waikato Museum of Art and History, Hamilton, 1998, pp. 9–18.
  

• “Chamber Piece: In Conversation with Vivian Lynn,” in Vivian Lynn: Spin Versor Versari, City Gallery Wellington, Wellington, 1997, not paginated.
  
• “Headspace,” in There: Caroline Williams, Ian Potter Museum of Art, University of Melbourne, Melbourne, 1997, pp. 7–14.
  
• “‘Mon Soleil’: Considering Photography in the Work of Bill Culbert,” in Light Works: Bill Culbert, City Gallery Wellington, Wellington, 1997, p. 14–23.

• “Drummond, Andrew,” in The Dictionary of Art, edited by Jane Turner, MacMillan, London, 1996, p. 304.
  

• “Postcards from the Edge: An Exchange with David Clegg,” in David Clegg: To Collect or Exchange, Govett-Brewster Art Gallery, New Plymouth, 1996, not paginated. 
  

• “Henderson, Louise,” in Dictionary of Women Artists, edited by Delia Gaze, Fitzroy Dearborn, London, 1995, pp. 664–667. [Also: “Lynn, Vivian”, pp. 873–875]
  

• “Lynn, Vivian,” in Dictionary of Women Artists, edited by Delia Gaze, Fitzroy Dearborn, London, 1995, pp. 873–875.
  
• “MondriAn after MondriAAN by Leon van den Eijkel,” in Artists’ Projects: Leon van den Eijkel, Museum of New Zealand Te Papa Tongarewa, 1995, not paginated.
  
• “Timeline,” in Cultural Safety: Contemporary Art from New Zealand, curated by Gregory Burke and Peter Weiermair, Frankfurter Kunstverein and City Gallery Wellington, Frankfurt-am-Main and Wellington, 1995, pp. 114–128. 
  
• “Uncanny Spaces,” in Caroline Williams: Over Here, Brooker Gallery, Wellington, 1995, pp. 1–8.

• “Marking out the Terrain: An Introduction to Art Now,” in Art Now: The First Biennial Review of Contemporary Art, Museum of New Zealand Te Papa Tongarewa, 1994, pp 7–11. 
  

• [with Deborah Lawler-Dormer] “Unruly Practices: An Introduction to A Different View: 20 New Zealand Women Artists 1973–1993,” in Alter-Image: Feminism and representation in New Zealand Art 1973–1993, City Gallery Wellington, Wellington 1993, pp. 7–25.
  
• “Performance Art by Women in Aotearoa New Zealand 1974–1993,” in Alter-Image: Feminism and representation in New Zealand Art 1973–1993, City Gallery Wellington, 1993, pp. 61–64.
  
• “Sculpture by Another Name,” in Sculpture by Marie Shannon, Museum of New Zealand Te Papa Tongarewa, Wellington, 1993, not paginated.

• “At the Surface: An Introduction,” in Surface Tension: Ten Artists in the ’90s, Auckland City Art Gallery, Auckland, 1992, pp. 3–6.
  
• “Framing the Real: Postmodern Discourses in Recent New Zealand Art” [pdf], in Headlands: Thinking Through New Zealand Art, edited by Mary Barr, Museum of Contemporary Art, Sydney, 1992, pp. 173–184.
  

• “In Transit,” in Original Copies: International Fax Art, Auckland, New Zealand, Murray Lazelle Gallery, Auckland, 1991, not paginated.
• “Louise Henderson, Cubism and Modernism,” in Louise Henderson: The Cubist Years 1946–1958, Auckland City Art Gallery, Auckland, 1991, pp. 17–36.
  
• “A Place for Popular Memory,” in Pleasures and Dangers: Artists in the ’90s, edited by Trish Clark and Wystan Curnow, Longmans and Moët & Chandon New Zealand Art Foundation, Auckland, 1991, pp. 150–157.
  

• “Entries” [pdf], in Now See Hear! Art, Language and Translation, edited by Gregory Burke and Ian Wedde, Wellington City Art Gallery, Wellington, 1990, pp. 215–222.
  
• [with Wystan Curnow and Gregory Burke] “In the Forest of Dream: A Miscellany,” in In the Forest of Dream, Moët & Chandon New Zealand Art Foundation, Auckland, 1990, pp. 3–5.
  

• “After-words: Conversation around McCahon,” in After McCahon: Some Configurations in Recent Art, Auckland City Art Gallery, Auckland, 1989, pp. 7–17.
  
• “Terra Informis – Known Ground,” in Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography, Wellington City Art Gallery, Wellington, 1989, pp. 30–31. Republished in Photosynthesisers: Women and the Lens: Reader, edited by James Gatt, Te Uru Waitakere Contemporary Gallery, Auckland, 2025, pp. 43–44.