School Operations Coordinator De-Arn.Buchholz@op.ac.nz
Head of School
Head of School Dunedin School of Art
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.
Senior Lecturer Alysha.Bailey@op.ac.nz
Senior Lecturer Frank.Pawluk@op.ac.nz
Lawrence teaches the Diploma in Ceramic Arts Glaze paper (Year 1 & 2). He has worked for Otago Polytechnic since 1986 and holds a Diploma in Teaching with distinction. Lawrence's area of expertise is Glaze Chemistry and in the 1990's he was awarded a research prize for developing software that is still used in the glaze chemistry field throughout the world. He currently works from home delivering the content of the Glaze Technology papers via Moodle. Lawrence is also responsible for a number of ceramics-related websites including nzpotters.com which is run by the society New Zealand Potters.
Marion is a lecturer in the Print Studio and was awarded a Master of Fine Arts from the Dunedin School of Art in 2013. Her art practice includes print, sculpture, photography and curating while her research investigates experimental processes that consider the impact of human activity in the social and ecological environment. Marion also works in administration at the Dunedin School of Art and is collections coordinator for the OP art collection.
Mark Bolland is Senior Lecturer, Programme Manager for Undergraduate Programmes, and Studio Co-ordinator for Photography and Electronic Arts at Dunedin School of Art. Since graduating from the Royal College of Art, London, with an MA, he has divided his time between teaching, writing and his art practice. Mark's current photographic practice constitutes an ongoing project about image culture and the changing landscape of New Zealand. His photographs are about how experiences of this place are mediated through image and how these landscapes, their histories and people's experiences of them are commodified. He has exhibited photographic work in both the UK and New Zealand. He was a finalist in the 2016 National Contemporary Art Award at the Waikato Museum, Hamilton, New Zealand and has had solo exhibitions in Dunedin, Christchurch and Wellington. He has written essays for exhibition catalogues on a range of artists, including Thomas Demand & Jeff Wall and many articles for journals and magazines, including Art New Zealand, PA Magazine, Photoworks, Portfolio, Source and others. In his teaching and supervision Mark focuses on photography histories and prehistories, and photography's role in contemporary art and our digital culture.
Michael is a Senior Lecturer in the Painting studio and holds an MFA (distinction) in Painting, a BA in Art History & Theory, and a degree in Teaching. His research is is driven by the seemingly contradictory world of the maker, the object and the thing. His paintings combine the visual fact and the imaginary proposal of painting in a way that identifies a slippage in our visual sensations.
Michael is a Lecturer within the Dunedin School of Art. Research expertise encompasses Contemporary Art, Drawing, Painting, Video, and Sound. Michael holds a Master of Fine Arts (Painting) from the University of Canterbury and a BA from the University of Otago.
Scott is a Senior Lecturer in Sculpture and graduated from Elam School of Fine Arts, University of Auckland in 1999 with a Master of Fine Arts. He exhibits nationally and internationally on a regular basis and was awarded the prestigious Frances Hodgkins Fellowship at the University of Otago in 2002 and the Wallace Award Development prize in 2003. Scott was selected to exhibit at the Gwangju Biennale, South Korea, 2012 and the Personal Structures exhibition, Venice Biennale, 2013. He was awarded the Martin Tate Wallace Artist Residency in Vladivostok, Russia, 2016. Scott supervises the studio practice of postgraduate students, whom he challenges to constantly question the content and form of their work.
Programme Managers / Coordinators / Professors
Alexandra Kennedy is Postgraduate Coordinator and a Principal Lecturer in Art History and Theory and Professional Practices, and supervises at postgraduate level. Alexandra has a Master of Fine Arts. Her practice is located within a context which engages with the zero gesture in painting, addressing the critical relevancy of painting and its ability to reflect upon and engage with its own histories. Hence it could be described as painting about painting, or meta-painting. Making use of the notion of the holes in space created by electronic and digital technologies, there is a reworking this concept as an aesthetic of the void which draws on the conceptual, procedural and material emphasis of non-objective painting and on the conventions of painting as object, formalist minimalism and process based conceptualism. Alexandra exhibits and curates nationally and internationally. As a postgraduate supervisor Alexandra's approach is learner-centred and oriented to theory following practice.
Andrew is a Senior Lecturer and the Studio Coordinator for Jewellery Metalsmithing. Originally from Australia, he holds a Master of Fine Arts degree in Gold and Silversmithing from the Royal Melbourne Institute of Technology and undertook a craft traineeship in 1988 with leading Australian jeweller, Susan Cohn. Andrew is represented in several Australian gallery collections, has exhibited all around the globe and has undertaken numerous guest lecturer and speaker positions. Andrew's art practice has recently shifted to corporate and private commissions for sculpture and jewellery. He is experienced working with Maori and taonga maori. Andrew has a diverse maker practice which overlaps with design. Andrew draws on his combined experience as an educator and practising artist to advise postgraduate students to be suitably ambitious both academically and in their artistic development.
Graham Fletcher is a Principal Lecturer and the Studio Coordinator for Painting. He is also the Pasifika advisor for the Dunedin School of Art. He holds a Doctorate of Fine Arts from the University of Auckland and has held numerous exhibitions nationally and internationally. In 2010, he was awarded The Wallace Arts Trust Developmental Award which consisted of a two month residency at Vermont Studio Centre in the United States. Fletcher's research interests are practice based, within the field of painting. Of particular concern is the critical legacy of the widespread European tradition of housing collections of Oceanic or African tribal art in domestic settings. Of particular relevance, as an artist of mixed Samoan and European heritage, was the question of how this legacy might be appropriated and subverted within a contemporary Pacific and New Zealand context. See www.grahamfletcher.co.nz for more information.
Professor Jane Venis is a multi-media artist, musician and writer. Her studio practice focuses on the absurdities and concerns of contemporary popular culture, which is expressed through the making of objects, video, sound and performance works. Recent solo installations have taken place in public galleries and museums in New Zealand and she has contributed to juried group exhibitions in the USA, South Korea, The UK and China. Her current writing links to her studio practice and focuses on how the creative practice of Japanese chindogu can be used to discuss the tension between art and design. Jane is an Academic Leader in the School of Design and teaches in undergraduate and postgraduate programmes in the College of Art and Design and Architecture and is the Editor of Scope Art and Design. She has a Master of Fine Arts from the Dunedin School of Art and a PhD in Fine Arts from Queensland College of Art, Griffith University, Australia. Jane has Nine years' experience supervising postgraduate students. She supports students in their dissertation writing, coming from a position as a practising artist familiar with studio practice.
ORCID profile: https://orcid.org/0000-0001-5571-6354
Johanna Zellmer completed a formal apprenticeship as a goldsmith in Germany and holds a Master's degree from the Canberra School of Art, Australian National University. She is a Principal Lecturer and Studio Coordinator for Jewellery & Metalsmithing.
Johanna explores contemporary discourses of capitalism and identity by using currency as a key medium. Through the basic jewellery interventions of cutting and forging minted state symbols from coins, Johanna questions whether the hybrid identities of contemporary culture can be embodied in a single object. The publication of a book alongside her touring exhibition ‘forged’ enabled her to comprehensively capture interlinking concepts of nation states, migration, data collection, access and social encounter as being essential to her practice. She considers contemporary jewellery to be able to function as an analytical tool or instrument of identity politics. Her most recent research considers the advance of human genome counting towards DNA sequencing entire populations. She’s questioning its potential for inclusion or exclusion of migrants, with references to the American sci-fi movie Gattaca from 1997. Accordingly Johanna explores the potential of jewellery to be used as a medium of socio-political knowledge.
Johanna helps students to grow their own making, writing and exhibition practice in the field of contemporary craft. She is teaching across all levels and has been supervising postgraduate projects in both Jewellery and Ceramics in the past, with candidates’ research intersecting a wide range of disciplines, including architecture, medicine and theology. In 2014, she co-founded CLINKProject with Shane Hartdegen (HoD at Hungry Creek Art & Craft School), which prompts annual student and staff collaborations towards experimental and traditional pop-up exhibitions in Auckland and abroad. These have attracted invitations from the Auckland Museum, Te Uru Waitakere Contemporary Gallery, Radiant Pavilion and the Percy Grainger Museum in Melbourne. Key driving aspects developed by the group are collaborative making, public interaction and collective publication in the journal, Scope: Contemporary Research Topics (thescopes.org).
Johanna’s work has been presented in New Zealand's TVONE series Neighbourhood (episode 10 - North Dunedin) and been selected for the Parkin Drawing Prize. She exhibits internationally and her research projects are frequently discussed by Munich-based, Indian philosopher Dr Pravu Mazumdar.
Michele Beevors is a Senior Lecturer and the Studio Coordinator for Sculpture and Ceramics. She lectures in the undergraduate programme specialising in the History of Modernist Sculpture. She also supervises postgraduate students in the Theory and Practice of Art. Her approach to supervision considers criticality and engagement with contemporary practices.
Michele Beevors holds Master's degrees from the Canberra School of Art (Australian National University) and Columbia University (New York). Her sculptural art practice concerns a feminist perspective and the issue of sustainability, particularly as it affects animals. She is involved with the Aramoana Conservation Charitable Trust.
Rachel is a Senior Lecturer and Studio Coordinator for Photography. She is the public liaison for Dunedin School of Art Foundation and Residency Coordinator. She was awarded her Master of Fine Arts with distinction from Dunedin School of Art. Within her practice she utilizes both traditional chemical photographic techniques and modern interpretations to investigate photography's relationship to memory and personal enquiry. Similarly, she questions our relationship to photographs, both chemical and digital, considering their paradoxical messages. Her approach to supervising postgraduate studio work is a practice-led conversation. She is experienced working with students for whom English is a second language.
Rob is the Diploma in Ceramic Art programme coordinator / Ceramic Lecturer within the Dunedin School of Art. He has worked for Otago Polytechnic since 2002 and holds a Master of Fine Art. Rob's practice is in Ceramic Sculpture and he teaches a wide variety of ceramic-related topics.
Senior Lecturer, Victoria Bell is Undergraduate Programmes Coordinator for ART at The Dunedin School of Art at Otago Polytechnic, where she has worked since 2007. Her art practice is founded upon a textiles sensibility that is poised between textiles and sculpture, drawing upon the tensions and slippages between art and craft histories. Victoria's research explores in particular ideas about postcolonialism, feminism; identify construction, and the ethics of animal representation. In 2005 she received The Olivia Spencer Bower Award. She holds a Master of Fine Arts from The Dunedin School of Art at Otago Polytechnic, Bachelor of Design (Craft Art) from the School of Art & Design, Christchurch Polytechnic Institute of Technology (CPIT), Diploma in Art Aotearoa (Honours) from the Design and Arts College of New Zealand and Graduate Certificate in Tertiary Learning and Teaching from Otago Polytechnic. Victoria provides a holistic supportive supervisory relationship for postgraduate students, fostering their ambition and rigour and recognising the importance of community and connection.
Editorial Assistant Pam.McKinlay@op.ac.nz
Technical Teacher Brendon.Monson@op.ac.nz
Technical Teacher Jamie.Oliphant@op.ac.nz
Technical Teacher Lynn.Taylor@op.ac.nz
Steev is the Technical Teacher in the Printmaking studio. His drawings, which have print processes layered within, play with a balance between representation and abstraction. Steev's work questions how real our perception of life is when so much of the world is invisible to us. It refers to the duality of the conscious and the subconscious, or of the ‘real' world sitting above the dream world. For more information, visit: www.theartistsroom.co.nz
Technical Teacher Thomas.Lord@op.ac.nz