Ann Shelton (born 1967) is a New Zealand photographer and academic.[1]

Early life and education

Shelton was born in Timaru.[2] She completed a Bachelor of Fine Arts at Elam School of Fine Arts, University of Auckland in 1995 and a Master of Fine Arts at the University of British Columbia in 2002.[3][4][5]

Career

Shelton began her career as a photojournalist working for daily newspapers, before deciding she wanted more control over her images and deciding to go to art school.[6] As an artist, her work mixes conceptual and narrative traditions of photography.[3] In large-scale, hyper-real photographs she explores histories of people and of places, often bringing forgotten or controversial histories to light. Shelton has also shown a steady interest in the nature of the archive, exploring the collections of others in her work.[3]

Shelton first came to attention with the series Redeye. Selected from thousands of photographs taken over a period of two years, the work documents Auckland's art scene and its gallery openings, performances and underground events, especially those taking place around the artist-run space Teststrip.[7] Shelton has acknowledged Abigail Soloman-Godeau's essay 'Inside/Out' as an influence on the Redeye works.[8] Described by the artist as a 'social diary', the series was described by Auckland Art Gallery photography curator Ron Brownson as 'some of the most inventive and risk taking in recent art in New Zealand,'.[9][10]

Her 2000 series Abigail's Party consists of seven photographs which initially look like documentary shots of modernist homes' living rooms. However each image was staged in Shelton's own home. Discussing the works, Ingrid Neilson wrote:

Shelton hints at the difference between her images and the ‘real thing’, through her use of colour. While documentary photographs of modernist design are usually black and white, Shelton’s works are full, vibrant colour. Through reconstructing modernism, Shelton also has the opportunity to rewrite its history, and she does so with a feminist twist. Her use of luscious, juicy colours, tactile fabric, domestic settings, and titles such as Calendar Girl, Golden Girl or Show Girl, feminise and sexualise these modernist spaces.[11]

One of Shelton's best-known works is the multi-part A library to scale.[12] The artist took as her subject over 3,500 volumes of media clippings and handwritten transcriptions pasted into notebooks and hardback books by amateur historian Frederick B. Butler over a period of 60 years.[13] She discovered the volumes at Puke Ariki museum while undertaking a residency at the nearby Govett-Brewster Art Gallery.[7] Fascinated by Butler's enormous project and the richly visual sight of the shelves and shelves of collaged notebooks stored at the museum, Shelton went on to make several works relating to the archive: large-format photographs that reproduce the shelves; videos which show the pages of individual books being turned; and photographs of individual pages from Butler's own diaries.[13][14] The works have been shown in solo presentations and also as part of group exhibitions examining the nature of the archives, such as Collect/Project at the Adam Art Gallery and Unpacking my library at Te Tuhi.[15][16]

Shelton has frequently employed techniques of doubling, reversing and inverting photographs. She refers to this approach as 'visual stammering', and uses it to draw attention to the subjectivity of photography.[6] Doublet (after Heavenly Creatures), Parker/Hulme crime scene, Port Hills, Christchurch, New Zealand (from 2001) from her Public Spaces series (2001–2003) for example is a diptych made up of a single image of a curve of a forest path, one moving to the left and one to the right. The seemingly banal image draws its power from the site it documents, the location of the murder of Honorah Parker, later dramatised in Peter Jackson's film Heavenly Creatures.[17] In another work, Wintering, after a Van der Velden study, Otira Gorge from 2008, Shelton works from a preparatory sketch by Dutch-born artist Petrus van der Velden held in the collection of the Hocken Library at the University of Otago, choosing the rough drawing over the artist's dramatic oil paintings of the same topic.[18][19]

A recent series, jane says, created for her 2016 exhibition at Auckland Art Gallery Dark Matter, features plants traditionally associated with treatments for women's fertility placed in ikebana-like arrangements against vibrant coloured backgrounds.[20] The artist spent a year researching, collecting, arranging and photographing the plants, which include thistle, fennel, rhododendron and yarrow. She says:

Ikebana, as I understand it, is the concept that nature is perfect, but there is just a little bit too much of it. It needs distilling and minimising and controlling. I was thinking about what would be an appropriate way to photograph these plants, something that would convey the control they are capable of asserting.[20]

Between 2008 and 2018 Shelton served as a trustee of Enjoy Public Art Gallery, Wellington's longest running artist-run space.[21] She co-chaired Enjoy's board from 2010-2012 and was its Chair from 2012–2018.[22]

Exhibitions

Collections

Publications

  • Ron Brownson (ed), Ann Shelton: Redye, Auckland: Rim Books, 1997. ISBN 0473044129
  • Greg Burke (ed), A kind of sleep, New Plymouth: Govett-Brewster Art Gallery, 2005
  • Francis Pound, A library to scale, Auckland: Rim Books, 2006. ISBN 047311254X
  • Jeremy Cooper, Passion and Compassion, Wellington: Enjoy Public Art Gallery 2007
  • Martin Patrick, Room Room, Wellington and Whanganui: City Gallery Wellington and McNamara Gallery, 2008
  • Natalie Poland, Once more with feeling, Dunedin: Hocken Library, 2008
  • Hanna Scott, Sightseeing, Auckland: Rim Books, 2010. ISBN 9780473165604
  • Ann Shelton and Stephen Turner, Wastelands, Auckland: Rim Books, 2010.
  • Emma Bugden, A tree obverse, Lower Hutt: The Dowse Art Museum, 2012. ISBN 9780987668509
  • Sarah McClintock (ed), The city of gold and lead, Whanganui: Sarjeant Art Gallery, 2013. ISBN 9780986456985
  • Ann Shelton and Sarah Caylor, Holland Street, Wellington: Rim Books, 2013. ISBN 9780473257255
  • Meredith Robertshawe, Ann Shelton: doublethink, New Plymouth: Govett-Brewster Art Gallery, 2013. ISBN 9780908848737
  • Alice Tappenden (ed), A Spoonful of Sugar, Auckland: Rim Books, 2015. ISBN 9780994130600
  • Dark Matter, Auckland: Auckland Art Gallery Toi o Tamaki, 2016. ISBN 9780864633095

Artist books

  • Ann Shelton, Metadata, Auckland: Starkwhite, 2011

References

  1. ↑ "Shelton, Ann". Find NZ Artists. Retrieved 24 April 2016.
  2. ↑ Knight, Kim (18 November 2016). "Why Ann Shelton's photography is not just pretty pictures". The New Zealand Herald. ISSN 1170-0777. Retrieved 27 November 2019.
  3. 1 2 3 "Ann Shelton". College of Creative Arts, Massey University. Archived from the original on 25 January 2016. Retrieved 24 April 2016.
  4. 1 2 3 4 5 6 7 8 "Artists CV" (PDF). Trish Clarke Gallery. Retrieved 26 April 2016.
  5. ↑ Shelton, Ann, 1967-. Dark matter. Auckland Art Gallery. [Auckland]. ISBN 978-0-86463-309-5. OCLC 986431763.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  6. 1 2 Were, Virginia (Spring 2013). "Contested Narratives". ARTnews: 92–95.
  7. 1 2 Cooper, Jeremy. "Passion and Compassion" (PDF). Enjoy. Retrieved 24 April 2016.
  8. ↑ Leonard, Robert. "Fifteen Minutes, Twenty Years Later: Ann Shelton's Redeye". Robert Leonard. Retrieved 26 December 2016.
  9. 1 2 "Redeye". Christchurch Art Gallery. Retrieved 24 April 2016.
  10. ↑ Intra, Giovanni. "drive-by shootings". Ann Shelton. Archived from the original on 1 June 2016. Retrieved 24 April 2016.
  11. 1 2 "Abigail's Party". Adam Art Gallery. Retrieved 24 April 2016.
  12. ↑ Hurrell, John. "Gavin Hipkins and Ann Shelton". Artbash. Retrieved 24 April 2016.
  13. 1 2 Amery, Mark. "How to read a book". Ann Shelton. Archived from the original on 13 May 2016. Retrieved 24 April 2016.
  14. ↑ Pound, Francis. "The Reflecting Archive". Ann Shelton. Archived from the original on 13 May 2016. Retrieved 24 April 2016.
  15. ↑ "Collect/Project". Adam Art Gallery. Retrieved 24 April 2016.
  16. ↑ "Unpacking my library". Te Tuhi. Archived from the original on 13 May 2016. Retrieved 24 April 2016.
  17. ↑ "Doublet (after Heavenly Creatures), Parker/Hulme crime scene, Port Hills, Christchurch, New Zealand". Museum of New Zealand Te Papa Tongarewa. Retrieved 24 April 2016.
  18. ↑ "Wintering, after a Van der Velden study, Otira Gorge". Christchurch Art Gallery. Retrieved 24 April 2016.
  19. ↑ Poland, Natalie (2008). Once more with feeling. Hocken Library, University of Otago.
  20. 1 2 Knight, Kim (19 November 2016). "Why Ann Shelton's photography is not just pretty pictures". The New Zealand Herald. Retrieved 25 November 2016.
  21. ↑ "People | Enjoy Contemporary Art Space". enjoy.org.nz. Retrieved 27 November 2019.
  22. ↑ "Enjoy announces changes to governance board". The Big Idea. 5 September 2018. Retrieved 27 November 2019.
  23. ↑ "A kind of sleep". Govett-Brewster Art Gallery. Retrieved 24 April 2016.
  24. ↑ "A library to scale". Enjoy. Retrieved 24 April 2016.
  25. ↑ "Room Room". City Gallery Wellington. Archived from the original on 14 January 2015. Retrieved 24 April 2016.
  26. ↑ "Once more with feeling". Hocken Library, University of Otago. Retrieved 24 April 2016.
  27. ↑ "Solo: Four Wellington Artists". The Dowse Art Museum. Retrieved 24 April 2016.
  28. ↑ "The city of gold and lead". Sarjeant Art Gallery. Archived from the original on 23 April 2016. Retrieved 24 April 2016.
  29. ↑ "A project about a house". Enjoy. Retrieved 24 April 2016.
  30. ↑ "Ann Shelton: Dark Matter". Auckland Art Gallery. Retrieved 25 September 2016.
  31. ↑ "close to the wind". Two Rooms. Retrieved 27 November 2019.
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