Christina Barton

Qualifications

MA (Auckland)

Research specialties

Christina's research, teaching and curatorial practice focus on her interest in post-1960s' New Zealand art; draw on her knowledge of contemporary art and theory, and build on her ambition to create a variety of platforms for thinking about art and its histories.

She has gained her knowledge from many years of first-hand contact with the New Zealand and international art scene, through her work as an academic, as a curator working in public art museums in Wellington and Auckland, and as a writer and commentator.

Career summary

After completing her MA thesis in 1987 on the history of post-object art in New Zealand (1969-1979), Christina took up a position as research assistant at the Auckland Art Gallery Research Library.

This inaugurated a career as a curator in art galleries that has seen her realising various exhibitions and publications in her capacity as Assistant Curator at Auckland Art Gallery (1988-1992) and as Curator of Contemporary New Zealand Art at the Museum of New Zealand Te Papa Tongarewa in Wellington (1992-1994), as well as independently for various galleries both in New Zealand and Australia.

In 1995 she took up a teaching position in Art History at Victoria University of Wellington. She taught full-time here until 2007, at all levels and across a range of topics, but especially in her specialist subject: New Zealand art.

In April 2007 Christina was appointed Director of the Adam Art Gallery, Victoria University's custom-built gallery which runs a programme of exhibitions and manages the VUW Art Collection. In this capacity she brings the academic and curatorial strands of her career together, and has developed the gallery as a key platform for teaching and research.

Christina remains active beyond the university as a writer and commentator on contemporary art.

Current research projects

Christina's particular research interests cover:

  • the history and legacy of post-object art in New Zealand.
  • the character and consequences of conceptual and critical practices as they have been undertaken locally and internationally from the 1960s to the present.
  • the uses to which photography and related reproductive technologies have been put in recent New Zealand art.
  • the nature and history of art in public space.

Christina is currently researching Billy Apple - New Zealand's leading conceptual artist.

Publications

Curated exhibitions and related monographs

BAD VISUAL SYSTEMS Ruth Buchanan, Judith Hopf, Marianne Wex, Adam Art Gallery, Wellington, 2 October – 21 December 2016.

Walker Evans: Magazine Work; Sherrie Levine: African Masks After Walker Evans; Patrick Pound: Documentary Intersect; Sonya Lacey: Newspaper for Vignelli, Adam Art Gallery, 30 July – 18 September 2016 (a coordinated series of four independent projects).

Barton, Christina. Billy Apple: A Life in Parts, Auckland Art Gallery, Auckland, 2015, 112pp.

The Specious Present: Andrew Beck, David Claerbout, Colin McCahon, Keith Tyson, with Hummel, Adam Art Gallery, Victoria University of Wellington, Wellington, 17 June–20 September 2015.

Billy Apple: The Artist Has to Live Like Everybody Else, Auckland Art Gallery, Auckland, 14 March–21 June 2015.

Barton, Christina, Kim Pieters: What Is a Life?, Adam Art Gallery, Victoria University of Wellington, Wellington, (27 May – 21 September 2014).

Kim Pieters: What Is a Life?, edited and with an introduction by Christina Barton, Adam Art Gallery, Wellington, 2014.

Barton, Christina, RELOAD: Kirk Gallery Series 2014, Adam Art Gallery, Victoria University of Wellington, Wellington, (27 May – 21 September 2014).

Barton, Christina, Simon Denny: The Personal Effects of Kim Dotcom, Adam Art Gallery, Victoria University of Wellington, Wellington, (4 Oct – 19 Dec 2014).

Beautiful Creatures: Jack Smith, Bill Henson, Jacqueline Fraser, Adam Art Gallery, Victoria University of Wellington, Wellington, (3 May – 7 July 2013).

Paul Johns: Mum, a commissioned installation for All There Is Left, Adam Art Gallery, Victoria University of Wellington, Wellington, (21 July – 29 September 2013).

Peter Robinson: Cuts and Junctures, Adam Art Gallery, Victoria University of Wellington, Wellington, (12 October – 20 December 2013).

I, HERE, NOW Vivian Lynn, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010. 140pp

Play On, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010 (8 May – 25 July, 2010)

Play On, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010, 40pp

Anthony McCall: Drawing with Light, Adam Art Gallery, Victoria University of Wellington, Wellington, (24 February – 25 April, 2010)

Gavin Hipkins. Bible Studies (New Testament), Adam Art Gallery, Victoria University of Wellington, Wellington (16 October 2009—7 February 2010)

Wall Works, Adam Art Gallery, Victoria University of Wellington, Wellington (8 September-4 October 2009)

Billy Apple New York 1969-1973, Adam Art Gallery, Victoria University of Wellington, 28 March – 17 May 2009

I, HERE, NOW Vivian Lynn, Adam Art Gallery, Victoria University of Wellington, 25 October 2008 – 15 March 2009

The Subject Now, Adam Art Gallery, Victoria University of Wellington, 26 July – 5 October 2008

Hydraulics of Solids: João Maria Gusmão and Pedro Paiva, Adam Art Gallery, Victoria University of Wellington, 15 February – 20 April 2008

Hydraulics of Solids: João Maria Gusmão and Pedro Paiva, Adam Art Gallery, Victoria University of Wellington (editor and author of introduction, 5-8), 2008, 38pp.

Primary Products, Adam Art Gallery, Victoria University of Wellington, 11 August – 7 October 2007

Four Times Painting, Adam Art Gallery, Victoria University of Wellington, Wellington, 2007 [26pp]

The Expatriates: Frances Hodgkins and Barrie Bates, exhibition catalogue, Adam Art Gallery, Victoria University of Wellington, 2004 [52 pages]

Joseph Kosuth: Guests and Foreigners. Rules and Meanings (Te Kore). Wellington: Adam Art Gallery (with essays by Joseph Kosuth and Charles Green), 2004, [96pp]

Ground/Work: The Art of Pauline Rhodes, Wellington: Adam Art Gallery and Victoria University Press, 2002 (136pp)

Language Matters, Wellington: Adam Art Gallery, 2000 (20pp)

Close Quarters: Contemporary Art from Australia and New Zealand, Melbourne: Monash University Gallery, 1998 (48pp) (with Zara Stanhope and Clare Williamson)

Art Now: The First Biennial Review of Contemporary Art, Wellington: Museum of New Zealand Te Papa Tongarewa, 1994 (196pp)

Alter-Image: Feminism and Representation in New Zealand Art 1973-1993, Wellington: City Gallery,1993 (120pp) (with Deborah Lawler-Dormer)

Sculpture by Marie Shannon, Wellington: Museum of New Zealand Te Papa Tongarewa, 1993 (4pp)

Surface Tension: Ten Artists in the '90s, Auckland: Auckland City Art Gallery, 1992 (20pp)

Louise Henderson: The Cubist Years, Auckland: Auckland City Art Gallery, 1991 (38pp)

In the Forest of Dream (Touring exhibition 16/02/10ation), 1990 (42pp) (with Wystan Curnow and Gregory Burke)

After McCahon: Some Configurations in Recent Art, Auckland: Auckland City Art Gallery, 1989 (44pp)

Edited books

Walking the Ridge: Writings from the 2017 Adam Art Gallery Summer Intensive, Adam Art Gallery, Wellington, 2017, 46pages.

BAD VISUAL SYSTEMS Ruth Buchanan, Judith Hopf, Marianne Wex, exhibition catalogue, Adam Art Gallery, Wellington, 2017 (includes ‘Postscript’, curatorial essay, n.p)

Patrick Pound: Documentary Intersect, exhibition catalogue, Adam Art Gallery, Wellington, 2016.  

Now Showing: The Govett Brewster Art Gallery, (eds) Christina Barton, Wystan Curnow, Jon Bywater Govett-Brewster Art Gallery, New Plymouth, 2016.

Drawing Is/Not Building, foreword by Christina Barton, edited by Christina Barton, Sarah Treadwell and Simon Twose, Adam Art Gallery, Wellington, 2015, 95 pages. (ed.) Barton, Christina and Robert Leonard, with Thomasin Sleigh, The Critic’s Part:

Wystan Curnow Art Writings 1971 - 2013, Adam Art Gallery, Institute of Modern Art and Victoria University Press, Wellington and Brisbane, 2014 (480 pages). (ed.) Barton, Christina, Simon Ingram: Painting Machines 2005 – 2014, Kerber Verlag, Biedenfeld, 2014 (152 pages).

Jacqueline Fraser: THE MAKING OF THE CIAO MANHATTAN TAPES 2013, ed Barton, Christina, Adam Art Gallery, 2013 (96 pages)

Reading Room: A Journal of Art and Visual Culture: Elective Proximities, no 6, December 2013, co-edited with Natasha Conland and Wystan Curnow, E.H. McCormick Research Library, Auckland Art Gallery, Auckland (224 pages).

Blackley, Roger, Te Mata: The Ethnological Portrait, Adam Art Gallery and Victoria University Press, Wellington, 2010, (40pp)

Butler, Rex, Colin McCahon in Australia,The Gordon H. Brown Lecture, no 8, 2010, Victoria University of Wellington, Wellington, 2010 [48 pp] (Series editor)

Reading Room: A Journal of Art and Culture. Liquid State, 4, 2009 (author of introduction) eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland (224 pages)

Reading Room: A Journal of Art and Culture. Art Goes On, 3, 2009 (author of introduction) eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland (184 pages).

Treadwell, Sarah. Revisiting Rangiatea, The Gordon H. Brown Lecture, no 6, 2008, Victoria University of Wellington, Wellington, 2007 [48 pp] (Series editor)

Reading Room: A Journal of Art and Culture, 2, Transcendental Pop, E H McCormick Research Library, Auckland Art Gallery, 2008 (with Wystan Curnow and Natasha Conland)

Reading Room: A Journal of Art and Culture, no 1, 2007 (co-editor of new refereed journal with Wystan Curnow and Robert Leonard) [183pp]

Bell, Leonard. In Transit: Questions of Home and Belonging in New Zealand Art, The Gordon H. Brown Lecture, no 5, 2006, Victoria University of Wellington, Wellington, 2007 [48 pp] (Series editor)

Goldson, Annie. Memory, Landscape, Dad & Me, The Gordon H. Brown Lecture, no 4, 2005, Victoria University of Wellington, Wellington, 2006 [48 pp] (Series editor)

Brown, Gordon H, Elements of Modernism in Colin McCahon’s Early Work, Art History Lecture Series, 1, Wellington: Art History, Victoria University of Wellington, 2003 (45pp) (series editor)

Manufacturing Meaning: The Victoria University of Wellington Art Collection in Context, Wellington: Adam Art Gallery, 1999, (10 x 18pp) (concept curator and editor)

Harper, Jenny, Boyd Webb, Auckland and Wellington: Auckland Art Gallery and Museums Aotearoa, 1998, (187pp) (editor)

New Vision: A Critical View of the Visual Arts Infrastructure, Wellington: McDermott Miller, 1997 (with Jenny Harper and Michael Volkerling; report commissioned by Creative New Zealand and the Chartwell Trust)

Chapters or sections in books

‘No Ordinary Museum: The Govett-Brewster, Contemporary Art and the Contingency of History’, in Now Showing: The Govett Brewster Art Gallery, (eds) Christina Barton, Wystan Curnow, Jon Bywater, Govett-Brewster Art Gallery, New Plymouth, 2016.

‘Five Questions for Pip Culbert’, essay for Pip Culbert: Seams, Artspace, Auckland, July 2016, n.p.

‘Preface’, Dark Watch: Pauline Rhodes, exhibition catalogue, edited by Abby Cunnane and Charlotte Huddleston, St Paul St Gallery, Auckland, 2016.

Barton, Christina. ‘Preface’, Dark Watch: Pauline Rhodes, exhibition catalogue, edited by Abby Cunnane and Charlotte Huddleston, St Paul St Gallery, Auckland, 2016.

Barton, Christina, ‘Notes on Method’, The Critic’s Part: Wystan Curnow Art Writings 1971 – 2013, edited by Christina Barton and Robert Leonard, with Thomasin Sleigh, Adam Art Gallery, Institute of Modern Art and Victoria University Press, Wellington and Brisbane, 2014, pp. 13-19.

Barton, Christina, ‘To Whom It May Concern’, Maddie Leach: If You Find the Good Oil, Let  Us Know, Govett-Brewster Art Gallery, New Plymouth, 2014, pp. 38-45.

Barton, Christina, ‘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 Trust, Christchurch, 2014, pp. 9-19.

‘Out of Place’, If You Were to Live Here, The Fifth Auckland Triennial, Auckland Art Gallery, Auckland, 2013, pp.22-27.

‘Billy Apple—“In the Area of the Negative Condition”’, in Billy Apple New York, 1970-75, The Mayor Gallery, London, 2013, pp.8-13.

‘Billy Apple- The Sixties Remembered’, Billy Apple: British and American Works 1960-69, The Mayor Gallery, London, 2010, 8-32

‘Billy Apple’ and ‘Vivian Lynn’ in New Zealand Art from Cook to Contemporary, Te Papa Press, Wellington, 2010, 141,193

‘Bruce Barber in New Zealand 1970-1975’, Bruce Barber Work, 1970-2008, edited By Cleland, Stephen and Blair French, Artspace and Te Tuhi Centre for Art, Sydney and Auckland, 2010, 52-63

‘About Billy Apple—A Life in Parts’, Billy Apple, Sourcebook 7/2009, eds Zoe Gray, Nicholaus Schafhausen, and Monika Szewczyk, Witte de With Center for Contemporary Art, Rotterdam, 2009, 13-29.

‘Billy Apple, Less is Moore’, One Day Sculpture, eds Claire Doherty and David Cross, Litmus Research Initiative, Wellington and Kerber Verlag, Bielefeld, 2009, 196.

‘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, eds Fulya Erdemci and Danae Mossman,

Art and Industry, Christchurch, 2009, 16-20 (and catalogue entry on Billy Apple, 34). Texts on Billy Apple, Philip Dadson, Andrew Drummond, Vivian Lynn, Pauline Rhodes for Art at Te Papa, Wellington: Te Papa Press (edited by William McAloon), 2009

Texts on Billy Apple, Julian Dashper, Maddie Leach, Mladen Bizumic, Bill Culbert, in Speculation, [book documenting 30 artists published by Artspace Auckland as New Zealand’s contribution to the Biennale of Venice 2007] Auckland: Artspace, 2007

Fragments and Bits: a Brief History of Temporary Art in Wellington’, in Harper, Jenny and Aaron Lister (eds), Wellington: City for Sculpture, Wellington: Wellington Sculpture Trust and VU Press, 2007, 120-127

‘Billy Apple, From the V.U.W. Art Collection, 2005’ in In View: Works from the VUW Art Collection. Wellington: Adam Art Gallery, 2006, 2

‘Return of the dead’, Shane Cotton: Maori Gothic, Wellington: Hamish McKay Gallery, Wellington, 2006, np [800 words]

Victoria’s Art: An Insider’s View’ in Victoria’s Art: A University Collection, McAloon, William (ed). Wellington: Adam Art Gallery and Victoria University of Wellington, 2005. [1,000 word overview, and two 300-word essays on Robin White and Louise Henderson]

Camera /Actions: film and video in the work of Philip Dadson. New Zealand Film Archive Occasional papers: Wellington, 2005 (n.p. 2,000 words)

‘Afterlife: Ans Westra in the Wake of the Documentary’, in Ans Westra: Handboek. McDonald, Lawrence (ed). Wellington: BWX, 2004, pp 93-102.

‘Out of the deep’ in Maddie Leach: Gallery Six. Hamilton: Waikato Museum of Art and History, 2004, [not paginated, 3,000 words].

'Introduction: Joseph Kosuth in New Zealand' in Joseph Kosuth: Guests and Foreigners. Rules and Meanings (Te Kore), Wellington: Adam Art Gallery, 2004, pp 6-22 

'“What was directly lived has moved away into a representation” - Photography and Post Object Art' in Action Replay: Postscript, Auckland: Artspace, 2000, pp 22-39

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

‘Len Lye’ in Toi Toi Toi: Three Generations of Artists from New Zealand. Kassel: Museum Fridericianum, 1999, pp 62-63

‘Zero-ing In: On Julian Dashper’ in The Twist: Julian Dashper, Hamilton: Waikato Museum of Art and History, 1998, pp 9-18

‘Out of Site: A Brief History of Public Art (in Four Parts)’ in Mary Barr (ed), Ready Mix: Essays and Pictures from the Concrete Deal, Wellington: The Concrete Deal, 1998, pp 20-26

‘Art and New Zealand Literature’ in Roger Robinson and Nelson Wattie (eds), Oxford Companion to New Zealand Literature, Auckland: Oxford University Press, 1998, pp 24-27 (with 17 entries on individual artists: Apple p 22; Binney p 57; Browne p 75; Budd p 77; Clark p 106-7; Earle p 157; Hodgkins p 240; Hotere p 245; Killeen p 286; Lee-Johnson p 304; McCahon p 317; Parkinson p 430-1; Paul p 433; Pule p 454-5; Sharpe p 492; Westra p 583; Woollaston p 596-7)

‘Julia Morison and Martin Grant’s Material Evidence: 100 Headless Women’ in Sacred and Profane, Adelaide: Adelaide Festival, 1998, pp 56-60

‘Headspace’ in There: Caroline Williams, Melbourne: University of Melbourne Gallery, 1997, pp 7-14

‘Chamber Piece: In Conversation with Vivian Lynn’ in Vivian Lynn: Spin Versor Versari, Wellington: City Gallery, 1997 (2pp)

‘Mon Soleil: Considering Photography in the Work of Bill Culbert’ in Light Works: Bill Culbert, Wellington: City Gallery, 1997, pp 14-23

‘Postcards from the Edge: An Exchange with David Clegg’ in David Clegg: To Collect or Exchange, New Plymouth: Govett-Brewster Art Gallery,1996 (2pp)

'Drummond, Andrew', in Jane Turner (ed), The Dictionary of Art, London: MacMillan, 1996, p 304

‘Uncanny Spaces’ in Caroline Williams: Over Here, Wellington: Brooker Gallery, 1995, pp 1-8

'Henderson, Louise' and 'Lynn, Vivian' in Delia Gaze (ed), Dictionary of Women Artists, London: Fitzroy Dearborn, 1995, pp 664-667, 873-875

‘Timeline’ in Cultural Safety: Contemporary Art from New Zealand, Frankfurt and Wellington: Frankfurter Kunstverein and City Gallery, 1995, pp 114-128

'Framing the Real: Postmodern Discourses in Recent New Zealand Art' in Bernice Murphy (ed), Headlands: Thinking Through New Zealand Art, Sydney: Museum of Contemporary Art, 1992, pp 173-184

'A Place for Popular Memory' in Pleasures and Dangers: Artists in the '90s, Auckland: Longmans and Moet & Chandon, 1991, pp 150-157

'Entries' in Now See Hear! Art, Language and Translation, Wellington: Wellington City Art Gallery and Victoria University Press, 1990, pp 215-222

'Terra Informis - Known Ground' in Imposing Narratives: Post-documentary Photography in New Zealand, Wellington: Wellington City Art Gallery, 1989, pp 30-31

'Drawing Analogies' in Drawing Analogies: Recent Dimensions in New Zealand Drawing, Wellington: Wellington City Art Gallery, 1988, pp 9-13

'Maria Olsen' in NZ XI, Auckland: Auckland City Art Gallery, 1988, pp 70-76

Articles and reviews

‘Image/World: Recent Work by Andrew Beck’, Art New Zealand, 156, Summer 2015-16, pp. 68-71.

Barton, Christina. ‘Image/World: Recent Work by Andrew Beck’, Art New Zealand, 156, Summer 2015-16, pp. 68-71.

Barton, Christina. ‘Rethinking Headlands’, Afterall Journal, 39, 2015, pp. 100-110.

Barton, Christina. ‘New Zealand at Venice: Simon Denny’s Secret Power’, Art Monthly (Australia), issue 285, November 2-15, pp. 18-19.

‘Together/Apart: Regional Networks in a Global Age: Imagining the Pacific in New Zealand, 1976’, Reading Room: A Journal of Art and Visual Culture: Elective Proximities, n.6, December 2013, pp.70-85. 

‘Round Table: The State of Art and Discourse in New Zealand’ (coordinator and editor of a roundtable discussion with Peter Brunt, Emma Bugden, Gregory Burke, Natasha Conland, Wystan Curnow, Gavin Hipkins, Robert Leonard and Damian Skinner) Reading Room: A Journal of Art and Culture. Art Goes On, no 3, 2009, eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland, 6-29.

‘Mind the Gap. Billy Apple: Between British and American Pop 1960-1964’, Australian and New Zealand Journal of Art, special issue: 21st Century Art History, 2009, 162-187.

[Coordinator and editor] ‘Round Table: The State of Art and Discourse in New Zealand’, Reading Room, n.3, Auckland 2009, 6-29

[Book Review] ‘Hamish Keith, The Big Picture: A History of New Zealand Art from 1642’, New Zealand Books, vol 18, no 3, Issue 83, Spring 2008, 7

‘Going Round’, Column 2, 2008 Biennale of Sydney Critical Response Special Issue, Artspace, Sydney, 2008, 25-29 [commissioned text]

‘Action/Event/Document: Reconsidering the Monument’, Public Good: Itinerant Responses to Collective Space, [issue 1 of an occasional journal], Enjoy Public Art Gallery, Wellington, 2008, 8-15

‘Jim Allen Now’ Artlink (Adelaide), vol 27, no 2, June 2007, 24-27 (South Project special issue)

‘Ann Shelton: 26 Photographs of a House’, Architecture New Zealand (Auckland), no 3, May/June 2007, 112- 114

‘Who is Billy Apple? The Artist after the Death of the Subject’, Reading Room: A Journal of Art and Culture (Auckland), no 1, 2007, 80-95

‘State of the Art – New Zealand’, Art Link, vol 26, no 2, June 2006, 32-37

‘On the Line: Allan Sekula’s Waiting for Tear Gas’, Visit, no 8, Summer/ Autumn 2006, 12-13

‘Finding the Pattern: The Photographs of Fiona Amundsen’, Art New Zealand, no 118, Autumn 2006, 46-51, 79

‘Billy Apple: a history of the brand’, Auckland: Sue Crockford Gallery, np. et al.’, Contemporary [London], no 74, 2005, 60

Feature: Art, Life and Cinema’, Illusions, no. 33, Autumn 2002, pp 38-39 ‘Maddie Leach: Gallery Seven (10,000 metres)’, Illusions, no. 33, Autumn 2002, p 39

'New Horizons: New Zealand in Venice', Art New Zealand, no. 101, Summer 2001-2, pp 41-45, 90-91

'Hammond's Place', Art New Zealand, no. 97, Summer 2000-1, pp 66-69

Strangers to Ourselves’, Visit, Summer 2000-1, p 2 'Joseph Kosuth in New Zealand: An Introduction', Art New Zealand, no. 96, Spring 2000, pp 60-64 (written introduction to six commissioned and edited texts)

‘Fabricating Archives: Six New Zealand Artists Confuse the System’, Artlink, special issue: ‘Mining the Archive’, vol.19, no.1, March 1999 (Adelaide), 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.2, 1999, pp 168-177

(A) ‘Dark Times’, Leap of Faith: Contemporary New Zealand Art, New Plymouth: Govett-Brewster Art Gallery, 1998, (1p)

‘Don Peebles: The Harmony of Opposites by Justin Paton, Christchurch: Robert McDougall Art Gallery and Hazard Press, 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

‘Alt.nature at Artspace, Auckland’, Art + Text, no.61, May-July 1998, pp 93-94

‘View from the Top’, Art New Zealand, no.82, Autumn 1997, pp 77-78 (book review) ‘Vivian Lynn’s Semi(r)otics’, Art New Zealand, no.79, Winter 1996, pp 54-57

‘Luise Fong’, Art + Text, no.53, January 1996, p 76.

‘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', ArtLink, vol.14, no.1, Autumn 1994, pp 62-64

'Ten Years On: Reviewing the Terrain for Women in Art in New Zealand', Art New Zealand, no.68, Spring 1993, pp 50-52

'"Can Your Pussy Do the Dog?" Thoughts on Amending the Vulgar', Illusions, July 1994, pp 67-69 (book review of 'Amending the Vulgar', Mary-Louise Browne and Ruth Watson (eds), 1992)

'Light Traffic: David Tremlett at Artspace: A Model for Cultural Exchange', Art New Zealand, no.65, Summer 1992-93, pp 60-63

‘The Last Small World: Jim Allen’s New Zealand Environment no. 5’, Midwest, no.1, 1992, pp 29-30 

'The Wertheim Room: "A Home for a Living Art"', Home and Building, special issue: The 1950s Show, November 1992, pp 17-19

Unearthing Nature: Land Projects by Four Artists 1969-1980', Antic, no.5, June 1989, pp 75-96 (with Priscilla Pitts)

'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

'Some Responses to the Sixth Biennale of Sydney', Art New Zealand, no.41, Summer 1986-87, pp 81-83, 95

'Maria Olsen', Art New Zealand, no.40, Spring 1986, pp 34-37

'Claudia Pond Eyley: A Question of Representation', Art New Zealand, no.36, 1985, pp 46-49.

Conference papers and presentations

Te Matariki o Aotearoa’ paper presented at ‘Counter histories of art and social practice’, for Phantom Topologies, Circuit Symposium, City Gallery Wellington, 10 September 2016.

Barton, Christina, ‘Painting and the Post-Object’, Geocritical, Art Association of Australia and Aotearoa New Zealand Annual Conference, (session topic: c.1970 The Ends of Painting), University of Tasmania, Launceston, Tasmania, 7 December.

‘Action/Event/Document: Reconsidering the Monument’ One Day Sculpture Project Forum: ‘Between Moments and Monuments: Considering the Future of Contemporary Sculpture in the Public Realm’, Wellington, 8 March 2008

What happened? Performance’s New Subjects’, Aftermath Symposium, Artspace, Sydney, 18 August 2007

‘In and Out of Sight/Site: Jim Allen and the World Picture’, Santiago Gathering, South Project, Santiago Chile, 3 October 2006 (Published on line at: http://www.southproject.org/ Santiago/Biographies/Barton_paper.htm)

‘(Re)locating pop art – the case of Billy Apple’, Eye/site: Situating Theory and Practice in the Visual Arts, AAANZ Annual Conference, Sydney, 1 December 2005

'Making Claims: Maori and Media in Aotearoa New Zealand 1975-1983', Art Association of Australia and Aotearoa New Zealand, University of Melbourne, October 2001 (unpublished)

'Traces and Boundaries: The Photographic Legacy of Post-object Art', Symposium 2000, University of Canterbury, December 2000 (publication pending)

'The Archive and the Arrangements of History', Sacred and Profane: Artists’ Week (Visual Arts Conference), Adelaide Festival, March 9-13, 1998 (published as 'Revealing History’s Blindspots', Visual Arts and Culture, vol.1, no.2, 1999).

Public talks

Panel discussant, Exhibiting Art for the Now, Auckland Art Gallery, with Natasha Conland, Misal Adnan Yildiz and Allan Smith, 23 March 2016

Invited lecturer, Julian Dashper and Contemporary Art, Contemporary Art Night School, City Gallery Wellington, 5, 12, 19 April 2016

Panel discussant, Four Waves of Feminism Symposium, Dowse Art Museum, 15 April 2016.

‘So where does Pip Culbert fit?’, panel discussant with Misal Adnan Yildiz, Peter Robinson and Danae Mossman, Artspace, Auckland 2 July 2016.

‘Arresting copies: a roundtable discussion’, chair and discussant, with Glenn Hayward, Megan Dunn and Cassandra Barnett, Adam Art Gallery, 3 September 2016.

Chair and discussant, ‘In conversation: Ruth Buchanan with Sarah Hopkinson’, Adam Art Gallery, Wellington, 2 October 2016.

Chair, ‘Roundtable discussion: Marianne Wex in Wellington’, with Linda Evans, Prue Hyman, Barbara Strathdee, Sian Torrington, Sophie Davis and others, Adam Art Gallery, Wellington, 29 October 2016.

Lunchtime talk with Anthony Byrt on the British writer Ann Quin, Adam Art Gallery, Wellington, 18 November 2016.

Panel discussion, ‘Tai Ahihahi, Tai Awatea Curating Contemporary Maori Art’, chair with Anna Marie White, Helen Kedgley and Robert Leonard, Maori Art Workshop, City Gallery Wellington, 8 December 2016.