Christina Barton

Chapters

• “The Task of Painting: Beyond Buying and Selling the Dream,” 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,” 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 [forthcoming].
• “Cass Altarpiece by Julian Dashper,” Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, Auckland, 2024 [forthcoming].
• “An Uneventful Life,” Nick Austin, Robert Heald Gallery, Wellington, 2024 [forthcoming].
  

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

• “The Power of Provenance,” 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,” Billy Apple® Rainbows 1965, The Mayor Gallery, London, 2022, pp. 11–25
  
• “Impasse after Impasse: Iris Gate, 1999,” Barbara Tuck: Delirium Crossing, Adam Art Gallery, Anna Miles Gallery, Ramp Gallery, Wellington, Auckland, Hamilton, 2022, pp. 34–37. 
  

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

• “Seven Notes (For Kate),” Kate Newby YES TOMORROW, Adam Art Gallery, Wellington, 2021, pp. 135–143. 
  
• [with Jenny Harper], “Storm Warning: Lessons and Reflections,” 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’,” 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,” Melting Moments: A Private Collection of Contemporary Art, 28 October 2021, Webb’s, Auckland, 2021, pp. 26–29.

• “Foreign Bodies, Strange Parts,” [pdf] Constellations: Zac Langdon-Pole’s Art Journey, edited by András Szántó, BMW Art Journey Series, Hatje Cantz, Berlin, 2020, pp. 73–79.
  
• “Foreword,” 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,” 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,” 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,” Edith Amituanai: Double Take, Adam Art Gallery, Wellington, 2019, pp. 56–62. 
  

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

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

• “Five Questions for Pip Culbert,” Pip Culbert: Seams, Artspace, Auckland, 2016, not paginated. 
  
• “Foreword,” 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] 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?’,” What Is a Life? Kim Pieters, Adam Art Gallery, Wellington, 2014, pp. 4–11.
  
• “Notes on Method,” 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,” 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,” 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,” 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’,” Billy Apple® New York, 1970–75, The Mayor Gallery London, 2013, pp. 8–13.
  
• “Out of Place,” [pdf] If You Were To Live Here: Fifth Auckland Triennial, Auckland Art Gallery, Auckland, 2013, pp. 8–13.

• [with Geoffrey Batchen] “Preface,” 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,” Behind Closed Doors: New Zealand Art from Private Collections in Wellington, Adam Art Gallery, Wellington, 2011, pp. 8–9.
  
• “Post-object Art,” [pdf] 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,” David Hatcher: Semantic Bliss, edited by Mercedes Vicente, Govett-Brewster Art Gallery, New Plymouth, 2011, pp. 7–15.
  

• “Introduction,” Anthony McCall: Drawing with Light, Adam Art Gallery, Wellington, 2010, not paginated.
  
• “Billy Apple,” New Zealand Art from Cook to Contemporary, Te Papa Press, Wellington, 2010, p. 141. [Also: “Vivian Lynn”, p. 193]
• “Billy Apple – The Sixties Remembered,” Billy Apple® British and American Works 1960–69, The Mayor Gallery, London, 2010,  pp. 8–32.
  
• “Bruce Barber in New Zealand 1969–1975,” 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,” I HERE, NOW Vivian Lynn, Adam Art Gallery, Wellington, 2010, pp. 9–19.
  
• “Introducing Play On”, Play On [pdf], Adam Art Gallery, Wellington, 2010.
  

• “About Billy Apple – A Life in Parts,” 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,” 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,” 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,” One Day Sculpture, edited by Claire Doherty and David Cross, Litmus Research Initiative and Kerber Verlag, Wellington and Bielefeld, 2009, p. 196.
  
• “Preface,” Gavin Hipkins: Bible Studies (New Testament), Adam Art Gallery, Wellington, 2009, pp. 1–2.  
  

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

• “Four Times Painting,” Four Times Painting, Adam Art Gallery, Wellington, 2007.
  
• “Fragments and Bits: A Brief History of Temporary Sculpture in Wellington,” Wellington: A City for Sculpture, edited by Jenny Harper and Aaron Lister, Wellington Sculpture Trust, Wellington, 2007, pp. 121–127.
  
• “Billy Apple,” 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 View: Works from the VUW Art Collection, Adam Art Gallery, Wellington, 2006, p. 2.
  

• “Return of the Dead,” 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’,” Enjoy Five Year Retrospective Catalogue, edited by Melanie Hogg [Oliver], Enjoy Trust, Wellington, 2005, pp. 56–59.
  
• “Victoria’s Art: An Insider’s View,” 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,” Ans Westra: Handboek, edited by Lawrence McDonald, BWX, Wellington, 2004, pp. 93–102.
  

• “Becoming Billy Apple,” 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,” Joseph Kosuth: Guests and Foreigners, Rules and Meanings (Te Kore), An Installation, Adam Art Gallery, Wellington, 2004, pp. 6–22.
  
• “Out of the Deep,” 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,”  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,” 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] Action Replay: Postscript, Artspace, Auckland, 2000, pp. 22–39. 
  

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

• “Art and New Zealand Literature,” 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,” 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,” 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,” 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),” 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,” The Twist: Julian Dashper, Waikato Museum of Art and History, Hamilton, 1998, pp. 9–18.
  

• “Chamber Piece: In Conversation with Vivian Lynn,” Vivian Lynn: Spin Versor Versari, City Gallery Wellington, Wellington, 1997, not paginated.
  
• “Headspace,” 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,” Light Works: Bill Culbert, City Gallery Wellington, Wellington, 1997, p. 14–23.

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

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

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

• “Lynn, Vivian,” Dictionary of Women Artists, edited by Delia Gaze, Fitzroy Dearborn, London, 1995, pp. 873–875.
  
• “MondriAn after MondriAAN by Leon van den Eijkel,” Artists’ Projects: Leon van den Eijkel, Museum of New Zealand Te Papa Tongarewa, 1995, not paginated.
  
• “Timeline,” 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,” Caroline Williams: Over Here, Brooker Gallery, Wellington, 1995, pp. 1–8.

• “Marking out the Terrain: An Introduction to Art Now,” 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,” 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,” Alter-Image: Feminism and representation in New Zealand Art 1973–1993, City Gallery Wellington, 1993, pp. 61–64.
  
• “Sculpture by Another Name,” Sculpture by Marie Shannon, Museum of New Zealand Te Papa Tongarewa, Wellington, 1993, not paginated.

• “At the Surface: An Introduction,” 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] Headlands: Thinking Through New Zealand Art, edited by Mary Barr, Museum of Contemporary Art, Sydney, 1992, pp. 173–184.
  

• “In Transit,” Original Copies: International Fax Art, Auckland, New Zealand, Murray Lazelle Gallery, Auckland, 1991, not paginated.
• “Louise Henderson, Cubism and Modernism,” Louise Henderson: The Cubist Years 1946–1958, Auckland City Art Gallery, Auckland, 1991, pp. 17–36.
  
• “A Place for Popular Memory,” 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] 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 the Forest of Dream, Moët & Chandon New Zealand Art Foundation, Auckland, 1990, pp. 3–5.
  

• “After-words: Conversation around McCahon,” After McCahon: Some Configurations in Recent Art, Auckland City Art Gallery, Auckland, 1989, pp. 7–17.
  
• “Terra Informis – Known Ground,” Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography, Wellington City Art Gallery, Wellington, 1989, pp. 30–31.