@ John Kinder, Aucklond, IVorth Hedd, 1865. Albumen print, Aucl<land Arr Galiery -llci o Tanrai<i. Chris Corson-Scott, I'Jew Yetrrt Dny, 201 3. Chromogenic coiour print, courtesy of the artist. THE REVEREND DR JOHN KINDER, an esteemed i9th- centur:y artist, produced pristine watercolours and deep- focus photographs that convey a regard for his adopted home of New Zealand. After emigrating to Auckland in 1855 he travelled widely throughout the country with both brush and camera and was one of the earliest to record indigenous flola. Volcanic geology and the thermal regions of Rotorua fascinated him. He venerated colonial architecture, particularly the recer-rtly constructed wooden Gothic-style Selwyn churches. FIe worked as a teachel, grammar-school headmaster, military chaplain and Anglican priest. Kinder created rnore than 1000 watercolouts, drawings and photographs. His output is astonishing considering that he was, in fact, an amateur artist. His photographs single him out fol renown, given his use of the laborior-rs wet-collodion technique. Such large-format photography is testing; just one exposure might entail an entire day's work. This summer we are exhibiting some of Dr Kinder's watercolours and photographs alongside 20th-century large- format photography by New Zealand artists Mark Adams, Chris Corson-Scott and Haruhiko Sameshima. Rather than preferring a decisive moment of action as a documentary photographer would, these artists pre-p1an their photographs just as Kinder did a couple of centuries ago. Chris Corson-Scott recorded St Heliers beach on New Year's Day 2013. Bathers can be seen sweltering under the noon heat and the seascape shows the ultra-violet glare that we all recognize across the Tamaki isthmus' The hleached horizon starkly merges with a hazy, cloudless azure. In Kindert tiny landscape of 1865 he includes a yorng Norfolk pine as a hey part of his composition. Corson-Scott also carefully places his Norfolk pine at the left of his view. Kinder's Presence, until March 2014, Auckland Art Galiery Toi o Tamaki, cnr Kitchener and Wellesley Str::I, (09) 379 1349, aucklandartgallery.com i.. -" i Wffiryry ffiKffiffiW trffi&&ffi ffi ffiffiffiryr EXPLORE THE RELATIONSHIPS BETWEEN HISTORIC AN D CONTEMPORARY ARTWORKS HELD IN NEW ZEALAND GALLERIES WORDS RON BROWNSON SENIOR CURATOR NEW ZEALAND AND PAClFIC ART AIJCKLAND ART GALLERY TOI O TAIYAKI &* F-*s asl!A\.,€fl&: ffiB H WryS',:s H E:l !;l rd wr- W &srB*e k/ ,2 www.nzlifeandleisu re.co.nz
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@
John Kinder, Aucklond,
IVorth Hedd, 1865.
Albumen print,Aucl<land Arr Galiery-llci o Tanrai<i.
Chris Corson-Scott,I'Jew Yetrrt Dny, 201 3.
Chromogenic coiourprint, courtesy ofthe artist.
THE REVEREND DR JOHN KINDER, an esteemed i9th-
centur:y artist, produced pristine watercolours and deep-
focus photographs that convey a regard for his adopted
home of New Zealand. After emigrating to Auckland in
1855 he travelled widely throughout the country with both
brush and camera and was one of the earliest to record
indigenous flola. Volcanic geology and the thermal regions of
Rotorua fascinated him. He venerated colonial architecture,
particularly the recer-rtly constructed wooden Gothic-style
Selwyn churches. FIe worked as a teachel, grammar-school
headmaster, military chaplain and Anglican priest.
Kinder created rnore than 1000 watercolouts, drawings
and photographs. His output is astonishing considering that
he was, in fact, an amateur artist. His photographs single him
out fol renown, given his use of the laborior-rs wet-collodion
technique. Such large-format photography is testing; just one
exposure might entail an entire day's work.
This summer we are exhibiting some of Dr Kinder's
watercolours and photographs alongside 20th-century large-
format photography by New Zealand artists Mark Adams,
Chris Corson-Scott and Haruhiko Sameshima. Rather than
preferring a decisive moment of action as a documentary
photographer would, these artists pre-p1an their photographs
just as Kinder did a couple of centuries ago.
Chris Corson-Scott recorded St Heliers beach on New
Year's Day 2013. Bathers can be seen sweltering under the
noon heat and the seascape shows the ultra-violet glare that
we all recognize across the Tamaki isthmus' The hleached
horizon starkly merges with a hazy, cloudless azure. In
Kindert tiny landscape of 1865 he includes a yorng Norfolk
pine as a hey part of his composition. Corson-Scott also
carefully places his Norfolk pine at the left of his view.
Kinder's Presence, until March 2014, Auckland Art
Galiery Toi o Tamaki, cnr Kitchener and Wellesley Str::I,(09) 379 1349, aucklandartgallery.com i.. -" i
Wffiryry ffiKffiffiWtrffi&&ffi ffi ffiffiffiryrEXPLORE THE RELATIONSHIPS BETWEEN
HISTORIC AN D CONTEMPORARY ARTWORKS
HELD IN NEW ZEALAND GALLERIES
WORDS RON BROWNSONSENIOR CURATOR NEW ZEALAND AND PAClFIC ARTAIJCKLAND ART GALLERY TOI O TAIYAKI
&* F-*s asl!A\.,€fl&:ffiB H WryS',:sH E:l !;l rd wr-W &srB*e k/
,2 www.nzlifeandleisu re.co.nz
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