Anna Miles

  • Yvonne Todd

    The five large color photographs in Yvonne Todd’s “Sea of Tranquility” portray women who project varying degrees of disaffection, stoicism, and timidity. Todd applies Revlon-style control to construct the opposite of the bouffant and bouncy. From the youthful but dead-eyed Maven Fuller (all works 2002) to the floating, disembodied Rebecca Weston, she assembles a group of unreachable females, encased in etiquette and up to their necks in lace. Todd’s work suggests a total immersion in artifice, a thralldom to studio photography, but the images offer a fresh view of the aspirations and conventions

  • Peter Peryer

    PETER PERYER'S best-known photograph may be the dead cow with legs akimbo that featured on the poster and the cover of the catalogue for Second Nature, his 1995–97 traveling exhibition curated by Peter Weiermair and Gregory Burke. But there is a back story to Peryer's coolly composed images of the '80s and '90s. Before his topsy-turvy cow inflamed the sensibilities of New Zealand meat producers, Peryer was better known for his angst-ridden photographs of the '70s, including an ongoing series of portraits of his wife, Erika Parkinson. As a document of a marriage the series is concise, at least

  • Gavin Hipkins

    The Habitat, 1999–2000, Gavin Hipkins’s latest photographic installation, was promoted as a political project, a kind of finely tuned savoring of the loss of modernist idealism. Hipkins has been accurately described as “a tourist of photography,” and in this exhibition his grasp of genre and tonal fluctuation is as astute as ever. He borrows the language of modernist architectural photography, perfected by stylists like Julius Shulman, and toys with it, turning out image after tightly cropped image so spellbound by representational method that they’re incapable of comprehending architectural

  • Jacqueline Fraser

    Jacqueline Fraser’s installation, The Flagellation of the True Voice, 1999, carries on her tradition of improbably light and elegant stories of loss and destruction associated with the colonization of New Zealand. Within a setting that approximates the heavily shrouded ambiance of a Victorian parlor, she considers the fatal contact between the Maori and some of New Zealand’s earliest and roughest European immigrants. At the heart of her tale is measles, a disease that, once introduced by European settlers, ravaged the Maori population on New Zealand’s South Island, in the 1830s. The artist’s

  • “Pictura Britannica”

    The letter always reaches its destination, but does the exhibition? Hastily installed in makeshift fashion as the opening program of the Te Papa Museum, “Pictura Britannica,” an Australian-curated exhibition of contemporary British art that was initially scheduled to appear in a privately run space, ended up in an institution that is oriented around national identity (the new museum tends to reduce art to a small piece of a larger sociological picture, by placing work alongside such historical curiosities as the waistcoat of Captain Cook or a refrigerator from the ’60s). The inclusion of at