Otago Polytechnic

Head of Department

  Clive Humphreys
Acting Head of School Principal Lecturer cliveh@op.ac.nz

Clive is Acting Head of School, a Principal Lecturer and teaches textiles, painting, and drawing. He has been supervising postgraduate studio projects since 1998 and has also chaired and examined postgraduate examinations. Clive has a Honours Diploma in Art and Design from KingstonuponThames School of Art and Design. He is a recipient of an Ako Aotearoa Teaching Excellence Award in 2015. His recent research has consistently developed around the potentials and problems of pictorial composition and its various strategies for engagement of the viewer.

Publications and Research

Humphreys, C. (2011) Waiheke Drawings. Waiheke Community Gallery, Waiheke Island, Auckland, 10 January - 24 January 2011. 11 large drawings (approx 100x150cms).

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De-Arn Buchholz
School Operations Coordinator DBuchholz@op.ac.nz

Programme Managers / Coordinators / Professors

  Leoni Schmidt
Director: Research and Postgraduate Studies LEONI@op.ac.nz

Professor Leoni Schmidt is the Director Research and Postgraduate Studies. She is Academic Leader for postgraduate programmes in the Dunedin School of Art, and organises the weekly seminar programme primarily for postgraduate students (also open to the public) and the postgraduate workshop programme to support students with training and development in research methods, writing and presentation skills, and exploration of their own communities of studio practice. Leonis doctorate, a D Litt et Phil, is from the University of Johannesburg. She also has an MA (Fine Arts) from the University of the Witwatersrand and a BA (Fine Arts) from the University of South Africa, and a Graduate Diploma in Tertiary Education from Otago Polytechnic. Leoni has supervised many postgraduate students up to Masters level in the Dunedin School of Art and PhD candidates at other institutions, and assessed many postgraduate students for a wide range of universities. There are strands to Leonis research contemporary drawing and its political agency, and the interface between trauma architecture and contemporary art. Leonis alignment between her background in philosophy and art history and theory, and her knowledge of contemporary art practice and studio methods, help students to write about their own research practice.

Publications and Research

Schmidt, L. (2015) Architecture van Brandenburg in an Era of Waste Crisis. South African Journal of Art History, Vol.30, Number 2, 2015: 139-145.

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  Michele Beevors
Studio Co-ordinator: Sculpture micheleb@op.ac.nz

Michele 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 holds Masters degrees from the Canberra School of Art (Australian National University) and Columbia University (New York). Her research concerns a feminist perspective, the issue of sustainability particularly as it affects animals, and with craft and sculpture practices. Michele is involved with the Aramoana Conservation Charitable Trust.

Publications and Research

Beevors, Michele (2017) The Dead Heart University of Applied Arts, Vienna, Austria November 2017.

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  Mark Bolland
Programme Manager Undergraduate Programmes, Studio Co-ordinator Photography & Electronic Arts mbolland@op.ac.nz

Mark Bolland is Senior Lecturer, Programme Manager for Undergraduate Programmes, and Studio Coordinator 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. Marks 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 peoples 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 photographys role in contemporary art and our digital culture.

Publications and Research

Bolland, M. (2012) Cultural Cross-Pollination: Wayne Barrar’s Torbay ti kouka, Art New Zealand, Issue 142 Winter 2012. http://www.art-newzealand.com/Noarticles/issue142.html

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  Neil Emmerson
Studio Co-ordinator: Print NeilE@op.ac.nz

Neil Emmerson is a Senior Lecturer and coordinates the Print Studio. Neil has a Master in Visual Arts from the Sydney College of the Arts, University of Sydney. His research expertise spans a broad range of Printrelated technologies, Identity Politics, Queer Theory, and Gay and Lesbian History. According to Kirsty Grant (Curator, Prints and Drawings, National Gallery of Victoria), his subject matter is political, both in terms of the critical focus it directs towards aspects of contemporary social and cultural life, and through its consistent projection of gay experience into the public realm (excerpt from Contemporary Australian Printmaking). He has been selected for numerous print related survey exhibitions at major public galleries in Australia and New Zealand since the 1990s and his work is held in the collections of major public institutions like the Auckland Art Gallery, Australian National Gallery in Canberra, the Art Gallery of New South Wales in Sydney and the National Gallery of Victoria in Melbourne. In 2006 he was awarded the Fremantle Print Award. He has been an artist in residence with Cork Printmakers in Ireland in 2013, and at RMIT University in Melbourne in 2016.

Publications and Research

Emmerson, N. (2009) GOD (made me do it...) This exhibition, 8 – 31 July 2009, at William Mora Galleries, Melbourne, Australia, extended “The Glass Closet” work more sculpturally within a gallery context and takes a new title. Installation design and lighting has been developed with costumes extending onto the floor and casting strong shadows. The label ‘GOD, gay on demand’ appears as a business card, offering outfits for espionage and terror. Anne Kirker writes about this work in Art Monthly Australia, July 2010.

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  Graham Fletcher
Studio Co-ordinator: Painting/Pacifica Student Advisor gfletcher@op.ac.nz

Graham Fletcher is a Senior 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.

Publications and Research

Fletcher, G. (2015) Time of Others. Selected artists tackle the question of how we can authentically and meaningfully conceive, understand and engage with other cultural contexts of society, while residing within our own localities, and being part of a globalised world today. Featuring works by: Kiri Dalena(Philippines), Graham Fletcher (New Zealand), HO Tzu Nyen (Singapore), Saleh Husein (Indonesia), Jonathan Jones (Australia), On Kawara (Japan), An-My LÊ (USA), Lim Minouk (Korea), Basir Mahmood (Pakistan), mamoru (Japan), Miyagi Futoshi (Japan), Pratchaya Phinthong (Thailand), Bruce Quek (Singapore), Shitamichi Motoyuki (Japan), Natee Utarit (Thailand), Vandy Rattana (Cambodia), Võ An Khánh (Vietnam), Danh VO (Denmark). Museum of Contemporary Art, Tokyo (11 April – 24 June 2015), National Museum of Art, Osaka (25 July – 23 September 2015), Singapore Art Museum (21 November 2015 – 28 February 2016), Gallery of Modern Art, Brisbane (11 June – 18 September 2016)

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  Alexandra Kennedy
Postgraduate Coordinator/ Principal Lecturer: Art History & Theory, Professional Practices. alex@op.ac.nz

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 metapainting. 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 nonobjective 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 Alexandras approach is learnercentred and oriented to theory following practice.

Publications and Research

Kennedy, A., Kolaric, Mario, Schifano, Karen. (2011) Objectivity. Group curated exhibition, ParisCONCRET, Paris, FR., 2-30 July, 2011. 4 new works in group show. ParisCONCRET exhibits contemporary post-formalist work. Positioned my practice in this context at an international level in a curated show with an established NY artist & emerging Serbian artist (Karen Schifano - 1st Int'l Festival of Non-Objective Art, FR, 2011 & "Escape from New York," curator Matthew Deleget, The Engine Room, Massey Uni., Wellington & RMIT, Melbourne, 2008-09 & Mario Kolaric - 45th Zagreb salon 2010, 4th Croatian Drawing Triennial, 2008.) ParisCONCRET is part of established int'l network which includes American Abstract Artists, bus-dori, CCNOA, H29, Hebel_121, IS, Kunstruimte 09(GR), MINUS SPACE (NY), SNO & Factory 49 (AU). Artists represented include Clemens Hollerer (nominated for Future Generation Art Prize 2010, Kiev, Ukraine, Zurich Art Prize 2010, shortlisted STRABAG Award 2010).

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  Andrew Last
Studio Co-ordinator: Jewellery & Metalsmithing andrewl@op.ac.nz

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. Andrews 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.

Publications and Research

Last, A,. Monson, B,. Murphy, P,. & Duff, J. (2015) Touchstone Sculpture Otago Polytechnic, main entrance foyer, Forth Street Dunedin

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  Robert Cloughley
Programme Coordinator Diploma of Ceramic Arts / Technician and Lecturer Ceramics ROBERTC@op.ac.nz

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. Robs practice is in Ceramic Sculpture and he teaches a wide variety of ceramicrelated topics.

Publications and Research

Rob Cloughley and Prudence Edge (2017) WHEEL (working title) Installation of work at The Anteroom Port Chalmers September 2017

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  Victoria Bell
Undergraduate Programmes Coordinator / Studio Coordinator - Textiles VictoriaB@op.ac.nz

Currently Victoria Bell is Undergraduate Programmes Coordinator and Studio Coordinator Textiles 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. Victorias 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.

Publications and Research

Bell,V. (2015) ‘Drape, Frill and Flounce: An Abbreviated History of the Curtain in the Western Tradition’. Symposium paper presented at ‘Art and Design: A symposium.’ Dunedin School of Art at Otago Polytechnic, Dunedin. 16-17 October. http://artandesign.org/

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  Jane Venis
Academic Leader- Creative Studies / Postgraduate Supervisor (Art) janev@op.ac.nz

Dr Jane Venis is a multimedia 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 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 the Academic Leader for Creative Studies and teaches in undergraduate and postgraduate programmes in the College of Art and Design and Architecture. 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 eight years experience supervising postgraduate students. She supports students in their dissertation writing, coming from a position as a practising artist familiar with studio practice.

Publications and Research

Venis, Jane. (2017) The Brass Section. As part of "Anything Could Happen" Yu Gallery, Yu Yuan Gardens, Shanghai, China. May 8th to June 9th 2017 curated by Anthony Deaker, Margo Barton and Jane Malthus.

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  Rachel Allan
Lecturer: Photography rachela@op.ac.nz

Rachel is a Lecturer in Photography and Electronic Arts. She is the liaison for Dunedin School of Art Foundation and coordinator for the students annual exhibition. She was awarded her Master of Fine Arts 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 practiceled conversation. She is experienced working with students for whom English is a second language.

Publications and Research

Allan, R.H (2016) Coke and popcorn. 12 images in a group show, Ridiculous Sublime, Dunedin Public Art Gallery, 2nd July – 24th October, 2016, Artists Talk, 3 July, 2016 http://www.eventfinda.co.nz/2016/curators-artists-tour/dunedin

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Anita DeSoto
Lecturer: Drawing anitad@op.ac.nz

  Scott Eady
Senior Lecturer: Sculpture SEady@op.ac.nz

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.

Publications and Research

Eady, S. (2013) IVAN (Calciami). Venice Biennale, Italy. http://vimeo.com/74236331

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  Lawrence Ewing
Principal Lecturer: Dip Ceramic Arts (distance) lewing@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. Lawrences area of expertise is Glaze Chemistry and in the 1990s 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 ceramicsrelated websites including nzpotters.com which is run by the society New Zealand Potters.

  Michael Greaves
Lecturer: Painting/International Liaison michaelg@op.ac.nz

Michael is a Lecturer in the Painting studio and holds a BA in Art History Theory, a BFA in Painting and a Postgraduate degree in Teaching. His research is is driven by the seemingly contradictory world of the maker and the object, isolation and irrelevance, common memories and collective histories, failed utopias and relationships between seemingly uncooperative imagery. For more information, visit www.michaeljgreaves.com

Publications and Research

Greaves, M.J. Bramwell, A. De Jong, E. Eady, S. Freeborn, C. Kikkawa, M. Madill, P. Pieters, K. Spiers, J. Taylor, C. Thomson, K. (2017) Southern Paradigms: Contemporary Dunedin. Curated by Craig Freeborn. The James Wallace Arts Trust, Pah Homestead, Auckland New Zealand. 23 May-16 July 2017 http://wallaceartstrust.org.nz/exhibitions/exhibition/southern-paradigms-contemporary-dunedin/

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  David Green
Lecturer: Photography and Electronic Arts dgreen@op.ac.nz

David is an artist, MFA candidate, and Lecturer in Photography and Electronic Arts.

Publications and Research

Green, D (2017) Cascade Bill Robertson Library

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  Bridie Lonie
Lecturer: Art History & Theory bridiel@op.ac.nz

Bridie is a Lecturer in the Dunedin School of Art, teaching Art History Theory and supervising postgraduate candidates. She has a Master of Arts (Art History and Theory) from the University of Otago and is currently enrolled in a PhD at the University of Otago on artists working with climate change. Her research interests include climate change and art in the public arena. Bridies approach to supervision is to bridge what her postgraduate students bring with the wider historical and theoretical context of art.

Publications and Research

Lonie, B. (2012) Agency, Autonomy and Aura, AAA and OOO. Scope, Contemporary Research Topics,(AAA),Dunedin, Otago Polytechnic, 2012, 13-17, www.thescopes.org

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  Michael Morley
Lecturer: Drawing, Painting michaelm@op.ac.nz

Michael is a Lecturer in Drawing within the Dunedin School of Art. His research expertise encompasses Contemporary Art, Drawing, Painting, Video and Sound, and he began working for OP in 2000. Michael holds a Master of Fine Art (Painting) from the University of Canterbury and a BA from the University of Otago.

Publications and Research

Morley, M. (2016) Sadness Sings. Contribution to the group exhibition Exploded Worlds, Dunedin Public Art Gallery, 6 Feb. - 31 Dec. 2016. Curated by Lucy Hammonds and Lauren Gutsellhttp://dunedin.art.museum/exhibitions/now/works_from_the_dunedin_public_art_gallery_collection

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  Peter Stupples
Senior Lecture: Art History & Theory PeterS@op.ac.nz

Peter Stupples is currently Senior Lecturer in Art History and Theory at the Dunedin School of Art at the Otago Polytechnic He was formerly Associate Professor and Head of the Department of Art History and Theory at the University of Otago.He has written widely about Russian visual culture, his research speciality, and the social history of art. Among the six books published is Pavel Kuznetsov His Life and Art, Cambridge University Press, 1989. He has recently edited Art and Food (Cambridge Scholars Publishing) 2014, in which he also has a chapter Food, Social Status and the Russian AvantGarde, pp. 5372. His current book The Social Life of Art will be published early in 2015.Recent journal articles include Suprematism in the Antipodes Malevich in New Zealand, New Zealand Slavonic Journal, 41 2007, pp. 1935 Malevich and Vorticism, Canadian American Slavic Studies, 4 Winter, 2008 six entries in the Beloved Works from the Dunedin Public Art Gallery, December 2009, Art Education and Curating, Scope Art and Design 4, November 2009, pp. 144150 Art and Sacral Space, South African Journal of Art History, vol. 24, no.3, 2009, pp.127136 The Ceramics of Willem Brouwer and Maori Art, Journal of New Zealand Art History vol. 31, 2010, pp. 90101 Neuroscience and the Artists Mind, South African Journal of Art History, 2010, vol. 24, no.4, pp. 4357. Art and Aesthetics (pp. 3445) as well as The Mikula and Volga Fireplace (pp. 134141) were published in Scope Art and Design 5 and 6, 20102011. An essay, entitled A Cloud in Trousers A Meditation on Fashion was published in the catalogue for the exhibition NOMd The Art of Fashion, published by the Centre for Research on National Identity, University of Otago, 2011 and shown at the Eastern Southland Gallery, Gore in 28 July2 September 2011, pp. 4243 Abramtsevo Resisting and Accepting Cultural Translation, New Zealand Slavonic Journal, vol. 45, 2011 (published April 2013), pp. 7190 Florensky and Malevich The Image and Materiality, South African Journal of Art History, vol. 28, no. 2, 2012 (published December 2013), pp. 238249 Food, Social Status and the Russian AvantGarde, in Peter Stupples (ed.), Art and Food (Cambridge Scholars Publishing, NewcastleuponTyne, 2014), pp. 5372 Review of Patricia Railings Malevich Paints The Seeing Eye in Burlington Magazine, 1333 156, April 2014, pp. 248249.Peter has also curated art exhibitions at the Dunedin Public Art Gallery November 2004July 2005 Sites for the Eyes European Landscape in the Collection of the Dunedin Public Art Gallery April 2006July 2007 War and Peace RAINZ Russian Art in New Zealand, JuneSeptember 2009. He has also curated eight shows Art in Law IV and VII, IXX, in the Faculty of Law, University of Otago, 20092013 and also Art in Practice IIII in the Department of General Practice and Rural Health in the Faculty of Medicine, University of Otago 20112013. Peter organised the symposium Art and Law with the Faculty of Law, University of Otago and the Dunedin School of Art in November 2010, the Art and Medicine symposium, with the Faculty of Medicine, University of Otago and the Dunedin School of Art, August 26 2011, the Art and Food symposium, August 24 2012, the Art and Money symposium, August 30 2013 and is currently organising the Art and Book symposium for 1718 October 2014. He has also curated the exhibitions that run alongside the symposia.With David Green Peter completed a Moodle online course in Art in Oceania, 20112013, including films Paranesia and Confluence The Art and Practice of Simon Kaan. Within this area of study Peter reviewed Art In Oceania A New History, by Peter Brunt, Nicholas Thomas, Sean Mallon, Lissant Bolton, Deidre Brown, Damian Skinner and Susan Kuchler (London Thames Hudson, 2012) for The Burlington Magazine, 155, Dec. 2013, pp. 8367.He gave the Abbey College Prestige Lecture for 2011 on Australian Aboriginal Art as Art and the William Mathew Hodgkins Memorial Lecture at the Dunedin Public Art Gallery, August 11 2011 on Kikerino and Russian Art Nouveau Architectural Ceramics.With Dr Ruth Napper Peter coorganised the Art and Neuroscience Project between the Dunedin School of Art and the Brain Research Council at the University of Otago, November 2012July 2013 and is currently coorganising the Art and Anatomy Project, November 2013July 2014.

Publications and Research

Stupples, P. (2016) UNOVIS and the Future of Art. Art and Future Symposium, Dunedin, 13 October. https://www.op.ac.nz/assets/ArtSchool/Art-and-Future-programme.pdf

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  Johanna Zellmer
Senior Lecturer: Jewellery & Metalsmithing / Artist in Residence Programme Coordinator johannaz@op.ac.nz

Johanna Zellmer completed a formal apprenticeship as a goldsmith in Germany and a Masters degree at the Australian National University Canberra School of Art. She is a Senior Lecturer in Jewellery Metalsmithing and ArtistinResidence Coordinator at the Dunedin School of Art. As a jeweller Johannas research explores the potential of national iconic symbols to represent the hybrid identities of contemporary culture. She captures discourses and manifestations of personal identity and social encounter as an essential part of contemporary jewellery practice. Her work has been presented in New Zealands TVONE series Neighbourhood (episode 10 North Dunedin) and selected for the Parkin Drawing Prize. Research projects have been shown internationally and were discussed by Dr Pravu Mazumdar at the Die Neue Sammlung at the International Design Museum Munich in his keynote for Schmuck 2013. Johanna helps students grow their making and writing practice in a field of contemporary craft, including engagement in social aspects of jewellery and experimental and traditional exhibition practice.

Publications and Research

Zellmer, J. (2017) Clink Project #3 Forthcoming: Contemporary Research Topics (Art & Design);

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  Marion Wassenaar
Lecturer: Print | Art Collection | Administration Marionw@op.ac.nz

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. httpmarionwassenaar.wordpress.com

Kiri-Marie Mitchell
Lecturer Drawing and Studio Methodologies / Night Class Teacher: Drawing and Print kmitchell@op.ac.nz


Brendon Monson
Technical Teacher: Jewellery, Metalsmithing & Textiles and Night Class Teacher: JnM bmonson@op.ac.nz

  Colin Howes
Technical Teacher: Painting & Drawing chowes@op.ac.nz

Colin is the Technical Teacher for Painting. He has worked in this position since 1994 and holds a Diploma of Fine Arts (Honours).

Publications and Research

Howes, C. (2017) Out of Office, group show. DSA Gallery, Dunedin School of Art, September.

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Jamie Oliphant
Technical Teacher: Sculpture jamieo@op.ac.nz

  Steev Peyroux
Technical Teacher: Printmaking / Technician Painting steevp@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. Steevs 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

Publications and Research

Peyroux, S. (2017) Out of Office. DSA Gallery, Dunedin School of Art. September 2016.

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Emily Davidson
Technician: Photography and Electronic Arts emilyd@op.ac.nz

Support Staff

Pam McKinlay
Editorial Liaison | Web Administrator pamm@op.ac.nz

  Neil Grant
Emeritis Principle Lecturer ngrant@op.ac.nz

Neil mentors students in the Ceramics studio for BVA and DCA programmes.