Issue 1 2009
Geoffrey Batchen teaches the history of photography at The Graduate Centre of the City University of New York. His books include Burning with Desire: The Conception of Photography, The MIT Press, 1997; Each Wild Idea: Writing, Photography, History, The MIT Press, 2001; Forget Me Not: Photography and Remembrance, Van Gogh Museum & Princeton Architectural Press, 2004; and William Henry Fox Talbot, Phaidon, 2008.
Naomi Cass, Director of the Centre for Contemporary Photography (CCP), curator and writer, has worked in the fields of contemporary art, craft, design and music since completing her honours degree at the University of Melbourne. In 2005 she oversaw relocation of the CCP, now in its 22nd year, to purpose designed premises.
Anne Ferran came to prominence in Australian contemporary art in the 1980s. Her work since 1995 has largely been on aspects of Australia’s colonial past, especially those concerning anonymous women and children. Her most recent work surveys an urban landscape on the verge of destruction, the 2012 Olympic site in east London. She teaches in the Photomedia Studio of Sydney College of the Arts, University of Sydney and is represented by Stills Gallery, Sydney and Sutton Gallery, Melbourne.
Dr Alison Inglis is a Senior Lecturer and Program Head of Art History at the University of Melbourne. Since 1995, she has also been the Course Co-ordinator of the Master of Art Curatorship program. She teaches, researches and publishes in the areas of nineteenth-century art, technical art history and art patronage and collecting.
Odette Kelada is an academic and writer working in Melbourne, at Monash University. She is currently the Research Associate on the ARC Discovery Project Transnational and Cross-Cultural Choreographies in Australia, and writes and researches on the creative arts, race, gender and the politics of identity and representation. She holds a PhD in literature from Charles Sturt University.
Kyla McFarlane is a writer, editor and Assistant Curator - Exhibitions at Monash University Museum of Art, Melbourne. Kyla has written on contemporary visual art in Australia and New Zealand since 1996, with a particular emphasis on photography. She has published numerous catalogue essays, articles, book chapters and reviews. Kyla’s curatorial projects at Monash University Museum of Art include The Ecologies Project, with Geraldine Barlow, 2008 and The Line Between Us: The Maternal Relation in Contemporary Photography, 2005. Kyla holds a PhD in visual culture from Monash University which focuses on the relationship between contemporary photography, feminism and psychoanalysis. She has also worked as a pictorial editor at The Age and the New Zealand Herald.
Patrick Pound is a Melbourne based artist. His work ranges from photos of things found flattened on the street, to a collection of Lost Bird posters; from newspaper cuttings of people with their faces covered, to the title pages of CANCELLED library books – Cubism CANCELLED, Painting as a Pastime CANCELLED, Museum Pieces CANCELLED, Great Expectations CANCELLED. In 1995 Pound bought his way into ‘Men of Achievement’ as part of a ten year project called ‘c.v. – a work in progress‘. In 2003 he featured in the Cambridge edition of ‘The International Who’s Who of Intellectuals’, and in 2004 he was named ‘International Artist of the Year’. For fun, he is currently also working on a PhD in art history at Melbourne university. He is represented in Australia by GRANTPIRRIE Gallery in Sydney and in New Zealand by Hamish McKay Gallery, Wellington and Anna Bibby Gallery, Auckland.
Peter Shand is currently Head of the Manukau School of Art in Manukau City and Senior Lecturer in Fine Arts at the University of Auckland. He holds a PhD in Art History from the University of Auckland and an LLM specializing in intellectual and cultural property from King’s College, the University of London. His research interests are concentrated on contemporary creative practices (art, design and fashion) and the inter-relation of art and law. Current projects include essays on New Zealand fashion for the National Gallery of Victoria and Te Papa Tongarewa, the Museum of New Zealand and a book on photographer Fiona Pardington.
Hamish Tocher lives in Wellington and teaches at the Wellington Institute of Technology. His current practice uses projection to create illusory spaces, modeled after the space in the artwork of late classicism and of the Renaissance, in which figures and forms carry out actions that illustrate connections between the past and contemporary imagery. He is interested in deploying and distorting perspectival illusion and anamorphosis. His sculptor friends think it’s hilarious that he’s trying to make things with his hands. In earlier work, he made collages and tableaux that compared historical painting to contemporary fashion images. He also worked with optics and scanners to make crude cameras. He is studying for an MFA from RMIT University. Hamish Tocher is represented by McNamara Gallery, Wanganui, New Zealand.
