college of creative arts postgraduate prospectus 2015

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Postgraduate

College of Creative Arts Toi Rauwharangi

Wellington / Manawatū, New Zealand

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03 About the College of Creative Arts

05 The postgraduate experience

12 MFA in Design / Fine Arts

16 Master of Design

20 Postgraduate Diploma /

MasterofMāoriVisualArts

24 PhD

28 Researchsupervisorprofiles

51 About Wellington, New Zealand

53 How to apply

WelcomeHaere mai

Please note: the information in this publication

is accurate at the time of printing. Please check

our website for any updates: creative.massey.ac.nz

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Massey University College of Creative Arts Toi Rauwharangi

Established in 1886 as the Wellington School of Design, the College is part of Massey University of New Zealand. ItoffersdegreesinDesign,FineArt,MāoriVisualArts, Creative Media Production and Commercial Music*.

Rankings › Substantial Equivalency status,

awarded by the US accreditation

body NASAD (National

Association of Schools of Art

and Design). This means that,

in NASAD’s view, the College’s

programmes are ‘substantially

equivalent’tothoseofferedby

NASAD-accredited US schools,

such as Rhode Island School of

Design, California Institute of the

Arts and Cranbrook Academy of

Art. Massey is the only university

in Australasia to receive NASAD

Substantial Equivalency.

nasad.arts-accredit.org

› Ranked 4th in Australasia

(top in Australia/New Zealand)

for design concept by global

design agency Red Dot.

en.red-dot.org

› Ranked 1st in New Zealand

for design and visual art

research, according to the

2013 New Zealand government

Performance Based Research

Funding round.

www.tec.govt.nz

Interior of Te Ara

Hihiko, creative arts

building, Wellington *Commercial Music starts in 2016.

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The postgraduate experience

CultureTheCollegeseekstofosterfive

definingattributesinstudents

at all levels:

Toi – creativity

Mohio – virtuosity

Matauranga – understanding

Mana – autonomy

Whanaungatanga – connectedness

Postgraduate students in the

College support and challenge

each other to deepen, stretch,

disrupt and transform their

creative practice. The atmosphere

is friendly and high-achieving.

Laura Woodward,

Documenta 2012 (CoCA

European Study Tour)

National and international visitorsThe College runs regular

international study tours, and

benefitsfrommanyvisiting

artists, designers, curators and

critics. Previous visitors include

Jonathan Barnbrook (graphic

design,filmmaking,typography),

Natalie Jeremijenko (art/science),

Robin Hammond (human rights

photography), Katja Gruitjers (food

design), Kate Fletcher (sustainable

fashion), and Justin Ferrell (human-

centred design).

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In recent years, the College has fostered formal residency programmes to facilitate sustained engagement between creative practitioners, students and the community.

Te Whare Hēra Wellington International Artist Residency This programme is run by Whiti

o Rehua – The School of Art at

Massey, in partnership with the

Wellington City Council. Residents

are based in a waterfront studio:

2014: Christian Thompson

(inaugural)

2015: Sasha Huber

College of Creative Arts Pasifika ResidencyHosted by the College, invited

artists and designers are based

on the Wellington campus:

2012: Siliga Setoga (inaugural),

Janet Lilo, John Pule

2013: Shigeyuki Kihara,

Taupou Tatau

2014:SheyneTuffery

Tohunga Mahi Toi: Māori Artist and Designer in ResidenceHosted by the College on the

Wellington campus:

2014: Jacob Scott (inaugural)

Critical Forum, 7 August

2014: What will you do

for the Arts? Election

debate between party

spokespeople on arts,

culture and heritage

Key issues in creative practice are often explored at ‘Critical Forum’ – regular events for postgraduate studentsandstaffwhereinvited guests present their response to a provocation, followed by discussion. Most sessions include international contributors, who join by video link.

Examples of recent critical forum topics: › When it all goes to custard:

Failure and risk in creative

practice

› Weapons of mass innovation:

How can social media act

as an art and design tool?

› Art, Design and Food:

When taste is in your mouth

Masters students receive their own space within a shared studio environment. Doctoral students can opt either to be part of the postgrad studio or to have a separate studio on campus.

Industrial design

workshop, Wellington

Students can access all the College’s

facilities, including Australasia’s

firstFabLab,industry-scalegreen

screen studio, audio mixing suite,

motion capture rig, photographic

darkrooms and digital processing

resources, print workshop, textiles

and fashion workrooms.

The Engine Room gallery on

the Wellington campus has a

programme of curated shows by

students,staffandvisitingartists

throughout the year. There are also

extensiveoff-campusexhibition

and presentation opportunities

across a diverse range of galleries,

spacesandmedia.InManawatū,

theMāoriVisualArtsprogramme

has a strong association with Te

Manawa Museum of Art, Science

and History.

theengineroom.org.nz

www.temanawa.co.nz

Image overleaf

Maddie Leach, Grad

Camp, February 2014

Opening of Tāmē, lolo

& ata, exhibition by

Janet Lilo, John Pule

and Siliga Setoga, in

The Engine Room gallery,

November 2012

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MFA in Design/ Fine Arts

The MFA programme has a strong collective philosophy. By bringing together a small cohort of postgraduate studentsfromdesignandfinearts,theMFAfostersintensetransdisciplinary conversations and exploration. It is well suited to artists working from a hybrid or expanded practice and designers who want to develop adventurous work that challenges convention.

Prerequisites: Honours degree or equivalent

(eg US four-year Bachelors degree).

Duration: Two years full-time;

three years part-time.

Location: Wellington, New Zealand.

Application deadline: 15 November (March start)

International applications: It is recommended that

international students apply

at least three months before

the start date.

Massey is the only New Zealand

university to run a transdisciplinary

MFA programme across art

and design.

Although the norm in the United

States, an advanced two-year MFA

is relatively new to New Zealand.

It is an intensive commitment, which

we believe is required to develop a

fully realised body of creative work.

The programme is based on dynamic

seminars and masterclasses led

by visiting lecturers and academic

staffattheCollegeofCreativeArts,

along with regular group critiques

and one-on-one meetings with

mentors/supervisors.

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Each year begins with Grad Camp

– a creative retreat to regional

New Zealand, with one or more

international thinkers-in-residence.

Previous thinkers: Mick Wilson,

LaureneVaughan,DavidHaines,

Sasha Huber.

There are many opportunities

for MFA students to engage

with College research projects

and wider community initiatives,

including the Wellington LUX light

festival,TeWhareHēraWellington

International Artist Residency, and

art:science collaborations.

Thefirstyearoffersstudents

the freedom to ‘travel’, creatively-

speaking. Students dig deep,

interrogating the fundamentals

of their practice. There is no

pressure, at this point, to produce

fully resolved work; students are

expected to push their work in

new directions and explore the

possibilities in their ‘failures’

as well as ‘successes’. This

transformative process takes

time. By the second year most

students are demonstrating a

much deeper, critically informed

sense of who they are as creative

practitioners and carry that into

theirfinalthesisproject.

Structure of the MFA

Year OneStudents enrol in three papers:

› Postgraduate Studio (75 credits)

› Postgraduate Seminar

(30 credits)

› Thesis Preparation (15 credits)

Year TwoThe second year consists

entirely of one paper:

› Thesis Project (120 credits)

ContactMaddie Leach

Postgraduate Coordinator – MFA

[email protected]

Image overleaf

Johanna Mechen, MFA

2014, Stepping into

Social Waters: A Video

Essay on the Waiwhetu

Stream 2014, 21 minutes,

HDVideoLoop

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Master of Design

The Master of Design caters for students wishing to pursue externally-connected design research projects, whether based in the commercial, governmental, cultural or community spheres.

Prerequisites: Honours degree, or equivalent

(eg US four year Bachelors degree).

Duration: One year full-time;

may be done part-time.

Location: Wellington. Research may

be done elsewhere.

Application deadline: 15 May (June start)

15 August (September start)

15 November (March start)

International applications: It is recommended that

international students apply

at least three months before

the start date.

The College acts as a broker

for industry projects, matching

business research needs with

MDes candidates. The College

has had considerable success

to date in obtaining Callaghan

Innovation* and private business

funding for industry-linked

projects, notably in New Zealand

wool and agribusiness. The College

aims to facilitate design projects

that contribute to research-

driven innovation and sustainable

economic growth, and is actively

seeking to expand its pool of

business projects. This will expand

the opportunities for students to

pursue research of commercial

benefitforwhichtheycanbe

supported by scholarships.

*www.callaghaninnovation.govt.nz

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The MDes is a busy, focused

programme. Students are expected

to produce innovative and

responsive design work that

is thoroughly grounded in research

methodologies and expertly

realised. Those who are most

successful generally enter the

year with a clear project brief and

develop strong relationships with

their external ‘client’ from early

on. Students with industry-linked

projects often spend long periods

situated on the business premises

of their client.

The programme is largely driven

by individual conversations

with supervisors and clients.

Students are required to make

progresspresentationstostaff,

fellow students and clients

at key milestones.

Examples of recent MDes projects › Site-specificspatialdesign

for visitor experience in restored

wetland – for Wither Hills

Vineyards,Marlborough

› Techniques for using waste

wool in textiles – with Wool Yarns

Ltd, Summit Wool Spinner and

Radford Yarn Technologies Ltd

› Applying open design

principles through digital

fabrication – with the

international Fab Lab network

› Electric fencing solution

with enhanced usability

for the European lifestyle

farmer market – with Gallagher

Animal Management

› Ask Away online youth voter

engagement tool – with Loomio

and Code for New Zealand

Structure of the MDesThe MDes consists of one paper:

› Design Thesis (120 credits)

ContactAssociate Professor Brian Lucid

Postgraduate Coordinator – MDes

[email protected]

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Meg Howie, MDes

2014, Ask Away, with

Loomio and Code for

New Zealand

Kelly Rimkeit Olatunji,

MDes 2014, Capturing

Loft for Fibretech

New Zealand

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Postgraduate Diploma /Master of Māori Visual Arts

MasseyUniversity’sMāoriVisualArtsprogrammewasestablished in 1995, encouraging students to ground theirpracticewithinakaupapaMāoriparadigm.Manyofthe alumni are now well-established New Zealand artists, while the more recent graduates are attracting recognition as emerging talent.

Prerequisites: DegreeordiplomainMāoriVisual

Arts or substantial background in

Māorivisualarts.

Duration: One year full-time for each

qualification;maybedone

part-time.

Location: ManawatūCampus,

Palmerston North, New Zealand.

Applications remain open until

theMarchstart.ToiohokiĀpiti

welcomes all indigenous artists

by encouraging engagement in

research and applied practices

relevant to individual cultural

contexts. It is recommended that

international students apply at

least three months in advance.

Eachyearbeginswithawānanga

to help students become part of

theToiohokiĀpitiMāoriVisual

Artswhānau.Thisisfurther

fosteredwithamid-yearwānanga

where postgraduate students

share and critique their practice as

a cohort. Students can enrol either

internally or extramurally. Studio

space is available.

Students pursue an individually

designed programme of

advanced studio practice in

Māoriorindigenousvisualculture

development related to their

personal strengths and interests.

The objective is to realise an

individually conceived body of work

that allows for the design and/or

coordination of an exhibition.

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ThecurrentexpertiseofMāori

VisualArtsfacultyspansawide

range of practice from painting

to moving image. A particular

strength of the programme is that

the degree structure and delivery

embraces customary practices

from carving to weaving.

Students have two options for

their programme of study, although

at postgraduate diploma level,

students must have over 10 years

of exhibition practice to be eligible

for the studio-only option.

Structure of the programme

Postgraduate Diploma in Māori Visual Arts Option One: mixed studio/theory

› Te Wahapu Matatau, advanced

studio practice (90 credits)

› OnepaperfromMāoriStudies

or Museum Studies (30 credits)

or

Option Two: studio-only

› NgāMiroWhakaaturanga,pre-

thesis practicum (120 credits)

Master of Māori Visual Arts Option One: studio-only. This

includes a written exhibition report.

› NgāMiroWhakaaturanga:

MasterofMāoriVisualArts

thesis practicum (120 credits)

or

Option Two: mixed studio/theory

› Te Wahapu Matatau, advanced

studio practice (90 credits)

› OnepaperfromMāoriStudies

and/or Museum Studies (30

credits)ContactRachael Rakena

Postgraduate Coordinator

–MāoriVisualArts

[email protected]

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Israel Tangaroa Birch

(Ngāpuhi,Ngāti

Kahungunu),MMVA,

E kau ki te tai e (2012),

lacquer on stainless

steel. From Whakawhiti

Āria:Transmission,

collaborative show with

Professor Robert Jahnke

and Shane Cotton.

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PhD

The Doctor of Philosophy (PhD) is the highest superviseddegreeofferedatMasseyUniversity.

Prerequisites: MFA,MDes,MMVAortheir

equivalent (eg MA/MPhil).

Duration: Minimum three years full-time;

part-time available.

Location: Wellington;Manawatū(Toioho

kiĀpiti,MāoriVisualArts).

Research may be done elsewhere.

Application date: Ongoing

To obtain a PhD in the College of

Creative Arts, students must carry

out independent research that

makesasignificantcontribution

to new knowledge throughout

creative and written outputs.

TheToiohokiĀpitiPhDprogramme

especially welcomes national

and international indigenous artists

by encouraging engagement in

research and applied practices

relevant to individual cultural

contexts.

Appropriatelyqualifiedstaffin

the College supervise doctoral

candidates in Design, Fine

Art,MāoriVisualArt,Visual

and Material Culture or across

disciplinary areas. The doctoral

thesis may either involve creative

practice work with a substantial

piece of academic writing

(approximately 30,000 words),

or a wholly written dissertation

(80,000–100,000 words).

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ContactProfessor Sally J Morgan

Director of Doctoral Research

[email protected]

For Māori Visual Arts PhDs:Professor Robert Jahnke

Doctoral Studies and Research

LeaderforToiohokiĀpiti

[email protected]

Selected PhD theses › Emily Clark, ‘Only the Darkness

knows who I am.’ Discourses

on x rays in the ‘shadow clinic’

› John Di Stefano, Moving images

of home

› Daniel James, Hybridising

Performance in Mashup Practice

› Paul Melser, Pictures of the

Body. Painting as Praxis

› Patricia Thomas, ‘Large letter’d

as with thundering shout’.

An Analysis of Typographic

Posters Advertising Emigration

to New Zealand, 1839–1875

› Peter Trevelyan, Orthogonal

Orthodoxy

› JohnsonWitehira,TaraiKōrero

Toi:ArticulatingaMāoriDesign

Language

› Areta Wilkinson, Jewellery

as Pepeha: Contemporary

Jewellery informed by

MāoriInquiry

› Elizabeth Grant, Bronze as a

non-customary intervention

in the interpretation of insects

fromthenaturalworldofMāori

Bronwyn Holloway-

Smith, PhD candidate,

screenshot from Te Ika-

a-Akoranga (2014)

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JohnsonWitehira(NgāPuhi,Tamahaki),

PhD 2013, Puhororangi, digital

installation shown simultaneously on

34 billboards in Times Square New York

2012, with support from Chorus NZ.

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Research

The College of Creative Arts has the largest number of internationally ranked researchers in visual art and design of any New Zealand university.

Allacademicstaffteachinginto

postgraduate programmes have

significantresearchprofiles.The

following pages present a selection

ofpostgraduatesupervisorystaff.

Forafullstafflist,and

descriptions of expertise,

visit: creative.massey.ac.nz

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Kingsley Baird, Stela

‘Cenotaph’ (2014).

Militärhistorisches

Museum, Dresden,

Germany. Stainless steel.

Photo: David Brandt

Kingsley BairdProfessor

Available to supervise: Masters and PhD

Professor Kingsley Baird is an

artist and writer whose primary

research platform is memory and

memorialisation. His sustained

investigationofthesefieldsis

undertaken through the design

of commissioned public memorials

such as the Tomb of the Unknown

Warrior (New Zealand, 2004) and

The Cloak of Peace (Japan, 2006);

making artefacts that investigate

new conceptual, aesthetic, and

material ways of creating memory

forms; and published textual

outputs.

www.kingsleybaird.com

Wayne BarrarAssociate Professor


Associate Professor Wayne

Barrar is a photography-based,

visual arts researcher. His

international exhibition and

publication work principally

investigates issues related to

landscape change and the

culturalredefinitionofnature.

For example, in An Expanding

Subterra (2011), Barrar’s

photographs analysed the

commodificationofunderground

space in four countries. Recent

projects have investigated the

effectofspecieschangeon

landscape formation and the

richness of biological archives.

He additionally has an interest

in photographic history and

imaging technologies.

www.waynebarrar.com

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Chris BennewithAssociate Professor AssociateProVice-Chancellor,Enterprise

Available to supervise: Masters

Associate Professor Chris

Bennewith is a communication

designer whose research focuses

on testing and extending the

aesthetic possibilities of new

media. As the visual designer

for international art and design

collective Squidsoup, Bennewith’s

research has resulted in original,

interactive, graphical displays

thatallownewandhighlyrefined

visual representations of digital

objects to be ‘projected’ in three

physical dimensions. Recent work

has been shown in Germany, the

Netherlands, New Zealand, Norway,

Switzerland, Qatar and the UK.

www.squidsoup.org

Anna BrownSenior Lecturer Director of Open Lab


Anna Brown is a design educator

and book designer. In educating

about design, her focus is on

creative leadership, collaboration

and design-led innovation.

Key areas of interest are design

thinking, user-driven design,

design for and with government,

citizen engagement, experience

design and service design. In

her practice, Anna comes from

an established discipline of book

design, and explores the book

as an embodied object, a re-

presentation device, a cultural

artefact and in non-linear forms.

Anna Brown, The

Endless Book (2011)

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Heather GalbraithAssociate Professor


Associate Professor Heather

Galbraith is a curator and writer

in modern and contemporary

New Zealand and international

art. She is Commissioner for

NewZealand’s2015Venice

Biennale project (Simon Denny:

Secret Power), having been Deputy

Commissioner in 2013 and 2009

(Bill Culbert: Front Door Out Back;

Francis Upritchard: Save Yourself,

which she co-curated). She has

held senior curatorial positions

including at the Museum of New

Zealand Te Papa Tongarewa and

City Gallery Wellington, and is

regularly invited to sit on advisory

boards and selection committees.

Robert (Bob) JahnkeProfessorofMāoriVisualArts Doctoral Studies and Research Leader forToiohokiĀpiti Ngai Taharora, Te Whanau a Iritekura, Te Whanau a Rakairoa o Ngati Porou


Professor Jahnke is considered

one of New Zealand’s leading

contemporaryMāoriartists.

Primarily a sculptor, he works with

a range of media including found

objects, wood, steel, lead and

neon although he also has a MFA

in Graphic Design from the Elam

School of Fine Arts and a MFA

in experimental animation from

California Institute of the Arts. He

alsohasaPhDinMāoriStudies

from Massey University. His work

askswhatitmeanstobeaMāori

artist, often exploring the role and

ubiquity of Christian symbolism in

Māorivisualculture

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Vicki KaraminasProfessor of Fashion Deputy Director of Doctoral Research


ProfessorVickiKaraminas

examines the relationship between

contemporary fashion and culture

as a barometer of social change.

Her area of expertise is in gender

and sexuality, the nexus between

fashion and art and philosophies

of the body. She is the co-creator of

the niche fashion label OPUS 9, with

Justine Taylor. She holds editorial

positions with several international

peer-reviewed journals. Her most

recent book (2015) is Fashions

Double. Representations of Fashion

in Photography, Painting and Film,

London: Bloomsbury, with Adam

Geczy.

www.opus9.com.au

Andre KtoriAssociate Professor Head of Te Rewa o Puanga – the School of Music and Creative Media Production


Andre Ktori is best known for

interactive music for which he

has won BAFTA, Milia d’Or and

Millennium Product awards. He

has exhibited at The Tate Britain,

Museu d’Art Contemporani de

Barcelona, Musée du Louvre, ISEA

and Fuse, and performed at FCMM

Montreal and NEMO Amsterdam.

Ktori has worked in convergence

media developing cross-platform

opportunities for organisations

suchastheBBC,Sky,Open,V2

and Nokia. His current research

is in design and composition for

generative, interactive and reactive

music application.

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Holly McQuillan,

MakeUse (2014),

UserModifiableZero

Waste Coat, pattern

and garment. Photo:

Thomas McQuillan

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Bronwyn LabrumAssociate Professor


Associate Professor Bronwyn

Labrum is an interdisciplinary

scholar whose work spans the

history and theory of: design,

visual culture, material culture,

fashion, museums, and gender.

Her current research focuses on

everyday life in 1950s and 1960s

New Zealand through its material

and visual culture and she is editing

an international collection of

essays on material histories.

Maddie LeachSenior Lecturer Postgraduate Coordinator – Fine Arts


Maddie Leach is an artist

working across contemporary

sculpture,site-specificart

practice and new public art.

Her practice is conceptually

focused and establishes highly

specificrelationshipsbetween

form, materials, locations, histories,

events, environments, individuals

and communities. Recent work

includes If you find the good oil

let us know (2012–2014), which

wasselectedasafinalistforthe

Walters Prize – New Zealand’s

most prestigious contemporary

art award.

www.maddieleach.net

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Brian LucidAssociate Professor Postgraduate Coordinator – Design


Associate Professor Brian Lucid

is a communication designer

with expertise in user experience,

interaction design and information

visualisation. Until 2015 he was

Professor of Graphic Design at

the Massachusetts College of

Art and Design, Boston, where he

supervised postgraduate research

at the intersection of visual design

and emerging technologies. His

professional practice involves

crafting user-centered products,

systems and services for clients

such as Proximity Lab, Harvard

University Center For European

Studies, Adobe Systems, The

Isabella Stewart Gardner Museum,

The Barbarian Group and Solidworks.

Holly McQuillanSenior Lecturer


Holly McQuillan works primarily

in sustainable design practice.

She often explores risk taking

in the context of fashion design.

She is currently co-writing the

firstcomprehensivebookon

Zero Waste Fashion and leading

a multi-disciplinary research

project exploring way-showing

andusermodifiablezerowaste

garment design. She was lead

investigator for New Zealand

in Local Wisdom, a global

project to foster sustainable

engagement with fashion, and

was part of Cutting Circle (2013),

an international collaboration

developing experimental

practices that fuse aesthetics,

creative patternmaking and

socially invigorating design.

www.hollymcquillan.com

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Sally J MorganProfessor of Fine Arts Director of Doctoral Research


Professor Sally J Morgan studied

at the Royal Academy of Fine

Arts in Antwerp and was later

European Fellow at the Städel

Schule, Frankfurt. Her artwork has

been exhibited in France, Belgium,

Switzerland, the Netherlands,

Germany, Bulgaria, Brazil, Japan,

UK, USA, and New Zealand. She

has had works shown at the ICA in

London,theArnolfini,theNational

Review of Live Art UK, Belluard

Bollwerk, Switzerland and has been

selected for Deep Anatomies in

the Bahamas 2015, and for the

Chicago In>Time performance art

festival in 2016.

Simon MorrisSenior Lecturer


Simon Morris is an artist who

focuses on painting, site-responsive

wall drawing and installation.

He explores abstraction and the

possibilities that surface from self-

imposed restraints on structure,

materials and process. His

64-metre Rainscreen, developed

incollaborationwithAthfield

Architects and Fraser Engineering,

provides a centerpiece façade for

the Dowse Art Museum. Recent wall

drawings include responses to the

specificarchitecturalqualitiesofthe

Frankfurter Kunstverein during the

2012 book fair, and Mexico City’s

MUCA ROMA in 2011.

Sally J Morgan,

from The Solution

of the Bomb Aimer’s

Daughter, Performance

Arcade 2015. Photo:

Jess Chubb

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Anne NobleDistinguished Professor of Fine Arts (Photography)


Distinguished Professor Anne

Noble’s work engages with

contemporary environmental

issues and our relationship to

land and place. She produces

books and installations that

incorporate still and moving

images.ShewasmadeanOfficer

of the New Zealand Order of Merit

for services to photography in

2003, a New Zealand Arts Laureate

in 2009, and received a Fulbright

Senior Scholar Award in 2014.

Widely known for her work on

Antarctica, current projects are

concerned with the decline of the

honeybee and human impacts

on natural biological systems.

Distinguished Professor Noble

represented Australia and New

Zealand as curator for the Musée

du quai Branly Photoquai Biennale

of 2009, 2011 and 2013.

Tony ParkerProfessor of Industrial Design AssociateProVice-Chancellor, Strategic Relations Director of Research


Professor Tony Parker is an

industrial designer who works

across design for agriculture,

security and automotive design.

His primary focus is aesthetically

drivenaffectiveproductdesign,

which includes product desirability,

usability, experience and innovation

for improved user satisfaction.

Thisapproachisexemplifiedby

his long-standing association with

leading manufacturer Gallagher

Industries (NZ) creating innovative

commercialised designs for

agribusiness, and the experimental

research-led design for the Hulme

Supercar.

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Martin PatrickSenior Lecturer


Dr Martin Patrick is an art critic,

historian, writer, and regular

contributor to a wide variety

of national and international

publications, including Art

Monthly, Afterimage, and the

New Zealand Listener. His research

specificallyinvolvescriticalwriting

on interdisciplinary practices and

experimental uses of media in

modern and contemporary visual

art. He teaches into both the

theory and studio components of

undergraduate and postgraduate

art programmes.

www.martinpatrick.net

Image overleaf

Anne Noble,

Spectregraph #03 (detail)

from The Bee Wing

Photograms, 2014

Julieanna PrestonProfessor


Professor Julieanna Preston

is a spatial artist, interior and

architectural designer, theorist,

and writer researching across

feminist philosophy, new

materialism and spatial politics.

Her work often incorporates

performative installation, such

as the two-day moving stuff

(2013) at the Auckland Arts

Festival, questioning the boundary

between industrial economies

and environmental ecologies.

Preston’s most recent book

is Performing Matter: interior

surface and feminist actions

(2014: Spurbuchverlag, Germany)

in which she inquires into the

material constitution of interiors

as sites of political protest and

ethical exchange.

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Rachael RakenaSenior Lecturer PostgraduateCoordinator–MāoriVisualArts Ngāi Tahu, Ngā Puhi


Rachael Rakena’s innovative use

of digital and electronic media

immersedinMāoritradition,culture

and values, prompted a new term –

toi rerehiko; a play on rorohiko, the

Māoriwordforcomputer(literally

‘electric brain’). She has exhibited

in New Zealand, Australia, China,

Italy, Germany, Poland, Lithuania,

France, Britain and the United

States, including works at the

SydneyBiennale,VeniceBiennale

(collateral events programme),

and Busan Biennale.

Rachael Rakena,

stills from Kaore te

aroha... (Endless is the

love...), HD video,

7mins 50 sec, 2009

Claire RobinsonProfessor of Communication Design ProVice-Chancellor,CollegeofCreativeArts


Professor Claire Robinson’s

research interest is the visual

communication of political

messages in the context of

election campaigning and

political leadership. Her research

has been disseminated through

international peer reviewed

journal articles, book chapters,

international conferences and

designs. Professor Robinson is

a frequent media commentator

on New Zealand politics. Current

research interests include visual

bias in election campaign coverage.

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Max SchleserSenior Lecturer


DrMaxSchleserisafilmmaker

who explores mobile devices as

creative and educational tools.

His portfolio includes various

experimental and collaborative

documentary projects, which

arescreenedatfilmandnew

media festivals internationally,

andonTV.Herecentlyco-

edited Mobile Media Making in

An Age of Smartphones (2014:

Palgrave Macmillan, London). His

experimental documentary Max

with a Keitai (2006) was one of the

firstfeature-lengthfilmstobeshot

completely on a mobile phone.

vimeo.com/user4764445

Ann SheltonAssociate Professor


Ann Shelton’s research

comprises large-scale, hyper-

real photographic artworks that

operate at the nexus of conceptual

and documentary modes. Shelton

is the winner of New Zealand

Contemporary Art Awards (2006

and 2010). Recent international

award nominations include the

AsiaPacificBreweriesFoundation

Signature Art Prize 2014 and Prix

Pictet 2012. Her work is widely

exhibited, including in Australia,

Germany, Spain, New Zealand

and the UK.

www.annshelton.com

| 47

Ngataiharuru TaepaKaihautuToiMāori:DirectorofMāoriArts Te Arawa, Te Āti Awa


Ngatai Taepa’s work is held in

numerous public and private

collections, including the

Museum of New Zealand Te Papa

Tongarewa. His current practice

includes installation works looking

at contemporary issues in New

Zealand society, and paintings

thatinvestigatetheMāoripractice

ofkowhaiwhai(traditionalMāori

painting). When describing his

approachtomātaurangaMāorihe

states“MypersonalwishforMāori

knowledgeisthatitisfluidand

remains a living thing, so people are

living according to that tikanga, that

knowledge. That’s important to me.”

Image overleaf

Powhiri at MFA Grad

Camp 2013, Kuratini

Marae, Massey

University Wellington

| 51

About Wellington, New Zealand

The College of Creative Arts is based in Wellington. Most postgraduate courses are delivered from there. MāoriVisualArtsisontheUniversity’sManawatūcampus, two hours drive north of Wellington.

Wellington is the centre of

government in New Zealand.

It is the country’s cultural capital

– a compact, lively city of about

449,000 people, fringed by bush

and beaches.

Wellington is the only capital city

in the world to be awarded ‘Safe

City’ status by the World Health

Organisation. It ranked 12th out of

221 world cities for quality of living

(Mercer, 2014) and was named one

ofthefive“hottestcities”tovisitby

the BBC.

Digital businesses in the city are

developing rapidly; Wellington has

more companies in the Deloitte

TechnologyFast500AsiaPacific

index than anywhere else in New

Zealand. Globally successful

creativefirmsincludescreen

industry leaders Park Road Post,

Weta Workshop and Weta Digital.

Wellington has a culturally rich and

varied arts scene. It is home to the

Museum of New Zealand Te Papa

Tongarewa, New Zealand Symphony

Orchestra, New Zealand Ballet, New

Zealand International Festival of the

Arts, Wellington LUX light festival

and numerous galleries, venues,

artist spaces and creative ventures.

Wellingtonians, 25% of whom

were born overseas, are diverse,

educated, globally aware and

proud of their city.

Wellington has 50,000 hectares of

regional parks and forests. There

are 102 parks and playgrounds

in Wellington city alone so there

is bound to be one close by,

wherever you choose to live.

| 53

How to apply

To apply to study for a Masters or PhD at the College, students must submit a portfolio and research proposal in the prescribed format and attend an interview, either in person or by Skype.

The research proposal requirement

is particularly rigorous at doctoral

level, whereas the MFA has a very

open,exploratoryfirstyearsoit

is accepted that students’ initial

ideas may change radically. In all

cases,however,thefirststepis

to contact us. We will discuss your

research interests, alert you to

any scholarship opportunities and

explain the application process

in detail.

Massey University welcomes

more than 3,800 international

students from 100 countries

each year. International students

should contact Massey’s

InternationalOfficefirst,soyou

are fully informed about visa

and any other requirements. All

courses have a minimum English

languageproficiencyrequirement,

along with other prerequisites.

Masters [email protected]

PhD [email protected]

International enquiries+64 6 350 5701

[email protected]

More informationmassey.ac.nz/coca-postgrad

Exterior of Te Ara

Hihiko creative arts

building, Massey

University Wellington

| 54

“Studying at Massey has given me a really solid, strong

base to go out to the world, look it in the eye, and say

This is what I want to say.”

Kelcy Taratoa (Ngāi te Rangi, Ngāti Raukawa), Master of Māori Visual Arts 2005

“The MFA completely changed my creative practice.

Critical thinking is huge. The interdisciplinary aspect

is really important to me.”

Monica Buchan-Ng, MFA 2014

“The postgrad studio space was a humming creative

zone; healthy discussion about art and design

(sometimes art vs design) and gaining that important

second opinion…”

Kelly Rimkeit Olatunji, MDes 2013 Project Manager R&D at New Zealand Merino Ltd

“If someone were to say that there are still parts of their

practice that they want to critically analyse or unpack,

and they want to open up a dialogue with people

operating at a higher level, I would suggest they take

alook,seeifMasseyisagoodfitforthem.”

Shannon Te Ao, MFA candidate, invited to show at the Sydney Biennale 2014

Squidsoup, Volume

4,096 (2012), permanent

installation for Royal

Society of New Zealand

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www.massey.ac.nz/coca-postgrad

college of creative arts postgraduate prospectus 2015

Documents