Christina Barton

Essays

• “Billy Apple (1935–2021): Artist,” The Dominion Post, Wellington, 11 September 2021, p. B6.
  
• “Mother Watching TV, Napier, 1969” as part of “Rita Angus: Seven Writers, Seven Works,” Art News New Zealand, September 2021, pp. 87–88.
  
• “Mother Lode – On the Phenomenon of the ‘Older Woman Artist’,” ArtNow, 8 October 2021.
  
• “Innovation only Part of the Puzzle,” The Dominion Post, 21 October 2021, p. 16.

• “Peter Roche (1957–2020),” Art New Zealand, no. 176, Summer 2020 – 2021, pp. 37–38.

• “Vivian Lynn (1931–2018),” Art New Zealand, no. 169, Autumn 2019, pp. 38–39.

• “Auckland: Simon Denny, Michael Lett,” Artforum International, vol. 56, no. 6, February 2018, p. 223.
  
• “Christina Barton Speaks! An Interview with Christina Barton, Isabella Dampney and Theo Macdonald,” Isabella Dampney and Theo Macdonald: Heart of Glass, edited by Louise Rutledge, Enjoy Public Art Gallery, Wellington, 2018, pp. 58–72.
  
• “Gregory Burke: Saskatoon. Where?,” City Gallery Wellington Blog, February 2018.
  
• “Remembering Vivian Lynn,” City Gallery Wellington Blog, December 2018.
  
• “Vivian Lynn: Artist, Teacher and Feminist,” The Dominion Post, Wellington, 28 December 2018, p. 26.
  
• “Zero Degrees of Separation,” B.191, Christchurch Art Gallery Te Puna o Waiwhetū Bulletin, no. 191, Autumn 2018, pp. 40–45.

• “Projecting Tomorrow: Tash Hopkins at Western Springs,” Art New Zealand, no. 163, Spring 2017, pp, 97–101.
  
• “Your Hotel Brain: Remembering the Nineties,” B.189, Christchurch Art Gallery Te Puna o Waiwhetū Bulletin, no. 189, Spring 2017, p. 39.

• “Image/World: Recent Work by Andrew Beck,” [pdf] Art New Zealand, no. 156, Summer 2015–16, pp. 68–71.
  
• “New Zealand at Venice: Simon Denny’s Secret Power,” [pdf] Art Monthly Australia, no. 285, November 2015, pp. 18–19.
  
• [with Maddie Leach and Zara Stanhope], “One Shining Gum/Savia Brillante,” Enjoy Occasional Journal, Issue: “The Dendromaniac,” edited Jessica Hubbard, Ann Shelton, and Alice Tappenden, March 2015.
  
• “Rethinking Headlands,” [pdf] Afterall: A Journal of Art, Context and Enquiry, no. 39, Summer 2015, pp. 101–110.

• “Together/Apart – Regional Networks in a Global Age: Imagining the Pacific in New Zealand,” [pdf] Reading Room: A Journal of Art and Culture, no. 6, “Elective Proximities”, 2013, pp. 70–85.

• “Andrew Drummond: Observation/Action/Reflection,”  Journal of New Zealand Art History, vol. 32, 2011, pp. 133–135. [Book review]
  

• “Julian Dashper: International Velvet,” [pdf],Hamish McKay, Wellington, 2011.
  

• “Mind the Gap. Billy Apple: Between British and American Pop 1960–64,” Australian and New Zealand Journal of Art, Special Issue: “21st Century Art History,” vol. 9, nos. 1/2, 2008/9, pp. 163–187.
  
• [with Natasha Conland and Wystan Curnow] “Round Table: The State of Art and Discourse in New Zealand,” Reading Room: A Journal of Art and Culture, no. 3: “Art Goes On,” 2009, pp. 6–29.

• “Action/Event/Document: Reconsidering the Monument,” Enjoy Occasional Journal [pdf], Issue: “Public Good – Itinerant Responses to Collective Space,”  July 2008, pp. 8–15.
  
• “Going Round,” Column, Number 2, Special Issue: “2008 Biennale of Sydney Critical Response,” Artspace, Sydney, 2008, pp. 25–29.
  
• “Hamish Keith, The Big Picture: A History of New Zealand Art from 1642,” New Zealand Books, vol. 18.3, no. 83, Spring 2008, p. 7. [Book review]

• “Ann Shelton: 26 Photographs of a House,” Architecture New Zealand, Number 3, May/June 2007, pp. 112–114.
• “Jim Allen Now,” [pdf] Artlink, Special Issue: “The South Issue: New Horizons,” vol. 27, no. 2, 2007, pp. 24–27.
  
• “Who is Billy Apple? The Artist after the Death of the Subject,” Reading Room: Journal of Art and Culture, Issue: “Autobiography in the Wake of Conceptualism”, no.1, 2007, pp. 80–95.

• “Finding the Pattern: The Photographs of Fiona Amundsen,” Art New Zealand, no. 118, Autumn 2006, pp. 46–51, 79.
  
• “On the Line: Allan Sekula’s Waiting for Tear Gas,” Visit, no. 8, Summer/Autumn 2006, pp. 12–13.
  
• “State of the Art – New Zealand,” [pdf] Artlink, Special Issue: “New Zealand Contemporary Art, Turangawaewae A Place to Stand,” vol. 26, no. 2, June 2006, pp. 32–37.

• “Camera/Actions: Film and Video in the Work of Philip Dadson,” [pdf] New Zealand Film Archive Occasional Paper, Wellington, 2005, not paginated.
  
• “et al.,” Contemporary, no. 74, 2005, p. 60.

• “Disappearing Act: Anthony Byrt Talks to Christina Barton about Billy Apple’s Recent Projects,” Ramp Magazine, no. 1, April 2004, pp. 19–23.
  

• “Maddie Leach: Gallery Seven (10,000 metres),” Illusions: New Zealand Moving Image and Performing Arts Criticism, no. 33, Autumn 2002, p. 39.
  
• “Feature: Art, Life and Cinema,” Illusions: New Zealand Moving Image and Performing Arts Criticism, no. 33, Autumn 2002, pp. 38–39.

• “New Horizons: New Zealand in Venice,” Art New Zealand, no. 101, Summer 2001–2002, pp. 41–45, 90–91.

• “Hammond’s Place,” Art New Zealand, no. 97, Summer 2000–2001, pp. 66–69.
  
• “Joseph Kosuth in New Zealand: An Introduction,” Art New Zealand, no. 96, Spring 2000, pp. 60–64.
  
• “Strangers to Ourselves,” Visit, no. 3, Summer 2000-2001, p. 2.

• “Fabricating Archives: Six New Zealand Artists Confuse the System,” Artlink, Special Issue: “Mining the Archive,” vol. 19, no. 1, March 1999, pp. 22–26.
  
• “Leap of Faith: Contemporary New Zealand Art,” Art/Text, no. 65, May 1999, pp. 97–98.
  
• “Revealing History’s Blindspots,” Visual Arts and Culture, vol. 1, no. 1, 1999, pp. 168–177.

• “alt.nature at Artspace, Auckland,” Art & Text, no. 61, May–July 1998, pp. 93–94.
  
• “Don Peebles: The Harmony of Opposites by Justin Paton, Robert McDougall Art Gallery and Hazard Press, Christchurch, 1997,” New Zealand Books, November 1998, pp. 8–9. [Book review]
  
• “Pushing the Envelope: Developments at the Govett-Brewster Art Gallery,” Art New Zealand, no. 87, Winter 1998, pp. 56–59.

• “View from the Top: Contemporary New Zealand Painting by Michael Dunn, Craftsman House, Sydney, 1996,” Art New Zealand, no. 82, Autumn 1997, pp. 77–78. [Book review]
  

• “Luise Fong,” Art + Text, no. 53, January 1996, p. 76.
  
• “Vivian Lynn’s Semi(r)otics,” Art New Zealand, no. 79, Winter 1996, pp. 54–57.
  

• “Uncanny Spaces: Recent Paintings by Caroline Williams,” Art New Zealand, no. 75, Winter 1995, pp. 57–59.
  

• “Making (a) Difference: Suffrage Year Celebrations and the Visual Arts in New Zealand,” [pdf] ArtLink, Special Issue: “Art & The Feminist Project”, vol. 14, no. 1, Autumn 1994, pp. 62–64.
  

• “‘Can Your Pussy Do the Dog?’ Thoughts on Amending the Vulgar,” Illusions: NZ Moving Image and Performing Arts Criticism, nos. 21 & 22, Winter 1993, pp. 67–68. [Book review]
  
• “Ten Years On: Reviewing the Terrain for Women in Art in New Zealand,” Art New Zealand, no. 68, Spring 1993, pp. 50–52.

• “The Last Small World: Jim Allen’s New Zealand Environment No 5,” Midwest, no. 1, 1992, pp. 29–31.
  
• “Light Traffic: David Tremlett at Artspace: A Model for Cultural Exchange,” Art New Zealand, no. 65, Summer 1992–93, pp. 60–63.
  
• “Pleasures and Dangers,” Stamp, no. 29, March 1992, p. 30. [Film review]
  
• “The Wertheim Room: ‘A Home for a Living Art’,” New Zealand Home & Building, Souvenir Edition: The 1950s Show, Auckland City Art Gallery, November 1992, pp. 17–19.

• [with Priscilla Pitts] “Unearthing Nature: Land Projects by Four Artists 1969–1980,” Antic, no. 5, June 1989, pp. 75–96.
  

• “Drawing Analogies,” Drawing Analogies: Recent Dimensions in New Zealand Drawing, curated by Gregory Burke, Wellington City Art Gallery, Wellington, 1988, pp. 9–13.
  
• “Maria Olsen,” NZ XI, Auckland City Art Gallery, Auckland, 1988, pp. 70–76.
  
• “New Moves – Physical Statements: Five Sculptors in Hamilton,” Art New Zealand, no. 48, Spring 1988, pp. 80–83.
  

• “Peter Roche and Linda Buis: Recent Drawings and Sculptures,” Art New Zealand, no. 42, Autumn 1987, pp. 72–73.
  

• “Maria Olsen,” Art New Zealand, no. 40, Spring 1986, pp. 34–37.
  
• “Some Responses to the Sixth Biennale of Sydney,” Art New Zealand, no. 41, Summer 1986–87, pp. 81–83, 95.

• “Claudia Pond Eyley: A Question of Representation,” Art New Zealand, no. 36, Spring 1985, pp. 46–49.