{"id":224,"date":"2023-07-01T16:54:35","date_gmt":"2023-07-01T04:54:35","guid":{"rendered":"https:\/\/blogs.otago.ac.nz\/visualstudies\/?p=224"},"modified":"2025-11-24T20:25:44","modified_gmt":"2025-11-24T07:25:44","slug":"publications-by-network-members-july-2022-june-2023","status":"publish","type":"post","link":"https:\/\/blogs.otago.ac.nz\/visualstudies\/publications-by-network-members-july-2022-june-2023\/","title":{"rendered":"Publications by Network Members: July 2022\u2013June 2023"},"content":{"rendered":"

Fox, Alistair.\u00a0Melodrama, Masculinity and International Art Cinema<\/em>. London\/New York:\u00a0Anthem Press, 2022. [236 pages]<\/p>\n

Fox, Alistair. \u201c\u2018They Came to Me in the Night\u2019: A Midnight Sanctuary by the Torchlight of Memory.\u201d In\u00a0Wesley John Fourie: They Came to Me in the Night<\/em>, edited by Alistair Fox and\u00a0Hilary Radner, NP. Published on the occasion of the exhibition \u201cWesley John Fourie: They Came to Me in the Night,\u201d 27 August\u201324 September 2022, RDS Gallery, Dunedin.<\/p>\n

Freschi, Federico. \u201cEditorial: \u2018multi.\u2019\u201d In\u00a0Junctures\u00a0<\/em>22 (2022): 6-9.\u00a0https:\/\/orcid.org\/0000-0002-9515-3303<\/a><\/p>\n

Freschi, Federico. \u201cNot Just Another Travelogue: Silence, Nostalgia and Pathos in Rachel Hope Allan\u2019s Photographs of Japan.\u201d In\u00a0Rachel Hope Allan: Not Just Another Shinjuku Love Hotel<\/em>, edited by Alistair Fox and Hilary Radner, pp. 5\u201310. Published on the occasion of the exhibition \u201cNot just Another Shinjuku Love Hotel,\u201d 13 May-18 June 2022, RDS Gallery, Dunedin.<\/p>\n

Freschi, Federico. \u201cBetween Palimpsest and Pentimento: Abstraction and Painterly Process in Michael Greaves\u2019s \u2018The Promise and the Fall.\u2019\u201d In\u00a0The Promise and the Fall<\/em>, edited by Michael Greaves, pp. 5\u20137. Published on the occasion of the exhibition\u00a0The Promise and the Fall<\/em>, May 2022, Olga Gallery. Dunedin: Otago Polytechnic, 2022.<\/p>\n

Hanfling, Edward. Review of Robert P. West, \u201cExact Air.\u201d\u00a0Art New Zealand<\/em>\u00a0186 (Winter 2023): 55.<\/p>\n

Hanfling, Edward. Review of Kirsten Carlin, \u201cYellow Ground.\u201d\u00a0Art New Zealand<\/em>\u00a0184 (Summer 2022): 58.<\/p>\n

Hanfling, Edward. Review of Deborah Rundle, \u201cTomorrow Is Today Now.\u201d\u00a0Art New Zealand<\/em>\u00a0183 (Spring 2022): 65.<\/p>\n

Hanfling, Edward. \u201cBehind the Fortress Walls: A Conversation with Grahame Sydney.\u201d\u00a0Art New Zealand<\/em>\u00a0182 (Winter 2022): 52\u201361.<\/p>\n

Hanfling, Edward. Review of Felix Harris, \u201cMagical Thinking.\u201d\u00a0Art New Zealand<\/em>\u00a0182 (Winter 2022): 51.<\/p>\n

Lonie, Bridie. \u201cFelix Harris.\u201d\u00a0In\u00a0Felix Harris: Silence in Paradise<\/em>, edited by Alistair Fox and Hilary Radner, NP. Published on the occasion of the exhibition \u201cFelix Harris: Silence in Paradise,\u201d June 2023, Olga Gallery, Dunedin.<\/p>\n

Lonie, Bridie. \u201cEcological Thought in the Paintings of James Robinson, Jenna Packer and Ayesha Green.\u201d In\u00a0The Dialogics of Contemporary Art Painting Politics<\/em>, edited by Simon Ingram, Gregory Minissale, Caroline Vercoe, Victoria Wynne-Jones, pp. 205-217. Bielefeld\/Berlin: Kerber Art, 2022.<\/p>\n

Lonie, Bridie. \u201c\u2018Mind Wandering\u2019: the Art of Wesley John Fourie.\u201d In\u00a0Wesley John Fourie: They Came to Me in the Night,\u00a0<\/em>edited by Alistair Fox and Hilary Radner, NP. Published on the occasion of the exhibition \u201cWesley John Fourie: They Came to Me in the Night,\u201d 27 August\u201324 September 2022, RDS Gallery, Dunedin.<\/p>\n

McLean, Thomas. \u201cBeyond the Frame,\u201d\u00a0North & South<\/em>, June 2023, pp. 50\u201355.<\/p>\n

McClean, Thomas. \u201cEngraving and More: The Curious Career of Rona Dyer (1923-2021).\u201d\u00a0Art New Zealand<\/em>\u00a0185 (Autumn 2023): 84-88.<\/p>\n

McLean, Thomas. \u201cGorse! What is it good for?\u201d North & South<\/em>, February 2023, pp. 67\u201369.<\/p>\n

McLean, Thomas. \u201cGorse Is People.\u201d In\u00a0The Making and Remaking of Australasia: Mobility, Texts and \u2018Southern Circulations,<\/em>\u00a0edited by Tony Ballantyne, pp. 183-196. New York\/London: Bloomsbury, 2022.<\/p>\n

McLean, Thomas. \u201cBeyond Steampunk,\u201d\u00a0North & South<\/em>, November 2022, pp. 80\u20131.<\/p>\n

Novero, Cecilia. “Striking (Up) Multispecies Friendships: Creative Collaborations with Crows and Hawks.” Societ\u00e0 Italiana Antropologia Applicata, Verona, Italy, 14-17 December 2022. Refereed Conference Presentation; Libro del Convegno, pp. 84-87.<\/p>\n

Novero, Cecilia. \u201cMessmates at the Table: From Companion Pieces to Companion Species.\u201d In\u00a0Kate Fitzharris: Companion Piece<\/em>, edited by Alistair Fox and Hilary Radner, NP. Published on the occasion of the exhibition\u00a0Companion Piece<\/em>, October 2022, RDS Gallery, Dunedin.<\/p>\n

Novero, Cecilia. \u201cAvant-Garde Cli-Fi Avant-la-Lettre: D\u00f6bin\u2019s Mountains Seas and Giants (1924).\u201dCentro Studi Arti della Modernit\u00e0, Turin, Italy, 14-18 May 2022. Refereed Conference Presentation.<\/p>\n

Osborne, Joanna. Reviews of \u201cTe Whanaketanga \/ Something is Happening Here,\u201d Robin White; \u201cLen Castle\u201d; \u201cKa Kore Kua Kore,\u201d Aidan Taira Geraghty (K\u0101i Tahu, Ng\u0101i T\u016b\u0101huriri) & Moewai Marsh (K\u0101i Tahu, K\u0101ti Huirapa, Ng\u0101ti Kahungunu ki te Wairoa), ODT, 15 June 2023.<\/p>\n

Osborne, Joanna. Reviews of \u201cNirun,\u201d Sorawit Songsataya; \u201cThe Wandering Womb,\u201d Pleun Gremmen (Netherlands) and Menahem Wrona (Brazil); \u201cFor the Love of Birds: The artistic depiction and classification of New Zealand birds,\u201d Dunedin Public Libraries, ODT, 25 May 2023.<\/p>\n

\u00a0<\/strong>Osborne, Joanna. \u201cSandra Bushby and Natalie Guy in Conversation with Margaret Johanna Paul,\u201d NP. Published on the occasion of the exhibition \u201cBlue Fleur,\u201d Olga Gallery, May 2023, Dunedin.<\/p>\n

Osborne, Joanna. Reviews of \u201cNoise Collector,\u201d Sujii Park; \u201cK\u0101 Kaih\u014dpara,\u201d Peter Robinson; \u201cTintypes,\u201d Bridget Reweti, ODT, 27 April 2023.<\/p>\n

Osborne, Joanna. Reviews of \u201cTe Mai Peita,\u201d and \u201cKare \u0101-Roto,\u201d Angus Tahere Hayes, both at Tini Whet\u016b Project Space; \u201cIrreplaceable,\u201d Kirstin O\u2019Sullivan Pere; \u201cLeaf,\u201d Jae Hoon Lee, ODT, 30 March 2023.<\/p>\n

Osborne, Joanna. \u201cAllie Eagle (1949-2022).\u201d\u00a0Art New Zealand<\/em>\u00a0183 (Spring 2022): 55-57.<\/p>\n

Radner, Hilary. \u201cThe Cat\u2019s Tale: Two Paintings by Felix Harris.\u201d In\u00a0Felix Harris: Silence in Paradise<\/em>, edited by Alistair Fox and Hilary Radner. Published on the occasion of the exhibition \u201cFelix Harris: Silence in Paradise,\u201d June 2023, Olga Gallery, Dunedin.<\/p>\n

Radner, Hilary.\u00a0<\/strong>\u201cThe Greening of Aotearoa: Art and the Death of the Earth.\u201d In\u00a0Wesley John Fourie and Ng\u0101 Roma Poa: Green-screened,\u00a0<\/em>edited by Alistair Fox and Hilary Radner, NP. Published on the occasion of the exhibition\u00a0Green-screened<\/em>, February 2022, Wave Project Space, Dunedin.<\/p>\n

Radner, Hilary, \u201cKate Fitzharris: Companion Piece.\u201d In\u00a0Kate Fitzharris: Companion Piece<\/em>, edited by Alistair Fox and Hilary Radner, NP. Published on the occasion of the exhibition\u00a0Companion Piece<\/em>, October 2022, RDS Gallery, Dunedin.<\/p>\n

\u00a0<\/strong>Radner, Hilary.\u00a0<\/strong>\u201cI don\u2019t want your golden apple.\u201d In\u00a0I don\u2019t want your golden apple<\/em>, edited by Anita De Soto, NP. Published on the occasion of the exhibition\u00a0I don\u2019t want your golden apple<\/em>, August 2022,\u00a0<\/em>De Novo Gallery, Dunedin.\u00a0<\/em>Dunedin: Otago Polytechnic, 2022.\u00a0<\/strong>doi.org\/10.34074\/cata.220826<\/p>\n

Radner, Hilary and Michael Greaves.\u00a0<\/strong>\u201cIn Conversation with Michael Greaves, February 2022.\u201d In\u00a0The Promise and the Fall<\/em>, edited by Michael Greaves, pp. 11-13. Published on the occasion of the exhibition \u201cThe Promise and the Fall,\u201d May 2022, Olga Gallery. Dunedin: Otago Polytechnic, 2022.\u00a0doi.org\/10.34074\/cata.220512<\/p>\n

Raghav, Radhika.\u00a0\u201c<\/em>Seeing is Believing: A Study of the Hindu Diaspora’s Visual Culture in North America.\u201d\u00a0In \u201cThe\u00a0Politics of Representation in South Asian Visual Culture: Historical and Contemporary Perspectives,\u201d panel organised by Radhika Raghav.\u00a0Popular Culture Conference, the Society for Cultural Studies, Kulturwissenschaftliche Gesellschaft (KWG), Saarland University, 27\u201330 September 2023. Refereed conference presentation and panel. [Presenter and panel organiser; panel and paper accepted.]<\/p>\n

Raghav, Radhika. \u201cHonour and Masculine Pride for the Country: How the Bollywood Sports Biopic\u00a083\u00a0<\/em>Furthers India\u2019s Nationalist Cause,\u201d\u00a0theconversation.com. 24 January 2022.https:\/\/theconversation.com\/honour-and-masculine-pride-for-the-country-how-the-bollywood-sports-biopic-83-furthers-indias-nationalist-cause-174783<\/a>\u00a0.[Translated by Genevi\u00e8ve Sellier and published in French as \u201cKabir Khan\u00a083<\/em>: Bollywood au service du nationalisme hindou,\u201d\u00a0genre-ecran.net, 7 April 2022,https:\/\/www.genre-ecran.net\/?__83__<\/a>\u00a0]<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Fox, Alistair.\u00a0Melodrama, Masculinity and International Art Cinema. London\/New York:\u00a0Anthem Press, 2022. [236 pages] Fox, Alistair. \u201c\u2018They Came to Me in the Night\u2019: A Midnight Sanctuary by the Torchlight of Memory.\u201d In\u00a0Wesley John Fourie: They Came to Me in the Night, edited by Alistair Fox and\u00a0Hilary Radner, NP. Published on the occasion of the exhibition \u201cWesley […]<\/p>\n","protected":false},"author":39982,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-224","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts\/224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/users\/39982"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/comments?post=224"}],"version-history":[{"count":0,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts\/224\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/media?parent=224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/categories?post=224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/tags?post=224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}