Research from Lonie, Bridie
Bridie Lonie, PhD, is Head of School at the Dunedin School of Art. She is a graduate of the Department of History and Art History at the University of Otago and her thesis is entitled "Closer Relations, Art, Climate Change, Interdisciplinarity and the Anthropocene" (2018). She has a Bachelor of Fine Arts in Painting from the University of Auckland and was a founding member of the Women's Gallery, Wellington 1980-84. She worked on the development group for Ara Toi Ōtepoti Our Creative Future, Dunedin's Arts and Culture Strategy 2015. She was President of the Dunedin Public Art Gallery Society 2013-14. She has published art writing in Art New Zealand and the New Zealand Listener and has written many catalogue essays.
Lonie, B. & Tweedie, G. (2012) The Performance has the Last Word. Dialogue with Gemma Tweedie. We are optimistic (editors) Let's Roar Loudly, Conversations about art and feminism, Dunedin, WAO Publishing, 2012, 10-14 www.letsroarloudly.blogspot.com
Lonie, B. (2011) Introductory text. Catalogue text for Neil Emmerson, (I Must Confess...)II. William Mora Galleries, Richmond, Victoria, Australia, 2011. This introductory essay engages with Emmerson's deliberately provocative association between gay imagery and the Abu Ghraib photographs, citing Boris Groys's argument that the potency of the 9/11 attacks was in part due to their protagonists' understanding of the power of the media in an analysis of the Abu Ghraib images' representations of a conflicted western sexuality.
Lonie, B. (2012) Occupied Time. Qubit, a Weekend of Contemporary Performance Art,Dunedin, Ante-room Publishing, 2012, 2 pages, np
Lonie, B. (2012) Agency, Autonomy and Aura, AAA and OOO. Scope, Contemporary Research Topics,(AAA),Dunedin, Otago Polytechnic, 2012, 13-17, www.thescopes.org
Lonie, B. (2011) Enabling Relevance and Criticality in Transdisciplinary Practices in the Visual Arts. The International Journal of the Arts, Volume 5, No. 6, 2011 ISSN 1833-1866, htttp://www.arts-journal.com, double-blind peer-reviewed.
Lonie, Bridie (2011) Editorial: Peace, Responsibility and the Other. Junctures, The Journal for Thematic Dialogue 14; Peace, 2011, pp 7-11. The editorial introduces the articles in the issue through a discussion of the notion that peace can best be understood as a process, an active dialogue that is never at rest nor conclusive.
Lonie, B. (2011) Balanced Politics, The Art of Simon Kaan. Art New Zealand ISBN 0110-1102 Number 136, Summer 2010-11, pp 40-43. In this article, I show how Simon Kaan's use of studio methodologies drawn from both his Kai Tahu and Chinese heritage engenders both a blending of cultural values and studio methodologies and a deliberate adjacency as he seeks to provide, both politically and spiritually, a negotiation.
Lonie, B. & Ballard, S. (2010) Telling minor histories and writing theory practices: a conversation on feminist pedagogy. n.paradoxa, international feminist art journal, ISSN 141-0434, Volume 26, 2010, pp 30-37
Lonie, B. (2010) Re-fibra: Contemporary Textile Art; A Dialogue between New Zealand and Sweden. The Costume and Textile Association of New Zealand, ISSN 1176-3132, Context, dress/fashion/textiles, Issue 20; May 2010, pp 39-40. The article reviews an exhibition of textile works derived from Sweden and New Zealand as a project to consider parallels between the textile arts of the two countries. Parallel activites and interests in narrative occur, and the engagement reflects continuing concerns with the retention of textiles as a discipline in art schools.
Lonie, B. (2010) Representation, Use and Participation; Three Ways of Looking at Art/Science. Junctures, the journal of thematic dialogue, 13, December, 23-32.
Lonie, B. (2010) Review of the HotHouse Symposium, the Launch of the National Institute for Experimental Arts (NIEA), Utzon Room, Opera house, Sydney, Australia. Sydney Opera House, Sydney, Australia, July 20-21 2010. Junctures: The Journal for Thematic Dialogue, 13, December, pp 95-97. The National Institute of Experimental Arts, University of New South Wales, Sydney, opened with this symposium which sought to align the Institute's work with the ongoing development of the Sydney City Council's sustainability focus for the future. International artists and designers presented new models and challenges.
Lonie, B. (2009) Narrowing the Gap. Te Puna o Waiwhetu, Christchurch Art Gallery ISSN 1176-0540 B.152, Autumn, March-May 2009, pp 32-35. A discussion of the ways that Joanna Margaret Paul's artwork bridged the gaps between the values that she saw in both the transcendent and the material worlds through her use of an open composition, whiteness, voids and the specificities of human activities.
Lonie, B. (2007) Are we there yet? Exhibition response, Scope Contemporary Research Topics, Art. 2, 2007, pp 20 - 21, peer-reviewed.
Conference Contribution - Other
Lonie, B. (2009) Representation, participation and deployment; uses of scientific thought in the visual arts. Illustrating the Unseeable: Reconnecting Art and Science Symposium, Otago Polytechnic School of Art, Dunedin.This presentation of images from the histories of art considered ways in which artists had engaged with and reflected the developing concerns of science. The presentation was developed later into the journal article NRO2 .
Bridie, L. & Lange, S. (2009) Curricula in Crisis. ANZAAE 2009 Conference, Dunedin, April. A dialogue between Design and Art about the value of specific discipline histories and methodologies. A presentation of Bruno Latour's argument for a convocation between the human and the non-human was used as an argument for the retention of material-based practices and their attendant methodologies and associated values.