book

Stopover

‘Stopover’ was published by Victoria University Press, Wellington, New Zealand, and co-published by University of Hawai’i Press, Hawai’i, USA, and launched with grace and sustenance amongst the cane cutters and their families, and in the shade of a giant mango tree, by Bruce Connew, Catherine Griffiths, Brij Lal, Padma Lal, Jogindhar Singh Kanwal and Amarjit Kaur in Vatiyaka, Fiji, 2pm, Saturday, 25 August, 2007.
“Connew’s work combines haunting images with a text that is poetic, elegant, and moving in its clarity. There is a power and persuasion to his work that even the most scholarly and responsible analyses cannot match.” Professor David Hanlon, Director, Centre for Pacific Islands Studies, University of Hawai’i.

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briefs

2015-01-19

Body of Work

A new project and forthcoming book.

“In the first instance, ‘Body of Work’ is about the orchestrated process of horse breeding. But, as I wriggled through the months of scrutiny, in the midst of fluids, the snorting, the rawness of procreation, I gradually became aware of an idiosyncrasy in the temperament of the mares being served. I warmed to my task through the breeding season, specifically because I came to recognise, little by little, in one mare after another, an unforeseen faculty for reflection, each mare subtly relaying to those about them, an almost transcendent appreciation of their peculiar predicament.”

BRUCE CONNEW / 01.2015

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briefs

2014-11-17

National Gallery of Australia, August 2014

The National Gallery of Australia has collected three complete series.

Late August 2014, the National Gallery of Australia collected three complete series: ‘Kanaky’, ‘Censored’ and ‘Stopover’. 

Kanaky’ toured New Zealand universities, through 1986, with the New Zealand Students’ Arts Council.
The National Gallery of Australia has collected the complete 29-image vintage exhibition series, #1 of an open edition, printed at the time of the first exhibition. 155 x 230 mm, image size.

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Exhibition

I Saw You

For twelve months, from the top floor of home, veiled behind an apron of black velvet, through double-glazing and a long lens, I photographed the comings and goings of a car park, an ample piece of reclaimed Wellington land that juts out into a bay, a family beach to one side. Surveillance is routine nowadays. It’s everywhere.

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