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Derrick Cherrie’s research interests include object-oriented sculptural, installation and conceptual art practices that engage with the psychological and social contracts promoted by contemporary material cultures; quasi-architectural structures; and the exploration of the physical and psychological occupancy of space in sculptural practices.
 
An actively exhibiting artist in New Zealand since the early 1990s, Derrick’s works have been recognised at a national and international level. Examples of his sculpture and drawing practice are held in a number of nationally significant and internationally recognised public art collections, including: Te Papa Tongarewa - The Museum of New Zealand; Auckland Art Gallery, Auckland, New Zealand; and Govett‑Brewster Art Gallery, New Plymouth, New Zealand.

Current doctoral supervisions:

• Primary supervisor: Jae Hoon Lee, "Nomad: Exploration of the Growing Body in a Global Relationship"

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Gavin Hipkins’ research engages contemporary fine arts, photography and experimental film, including landscape traditions and postcolonial theory; digital montage and discourses of hybridity; photo and filmic experimental narrative structures. He has exhibited widely in New Zealand and internationally over the last two decades, working primarily in expanded photographic series. Recent exhibitions and film screenings include: This Fine Island, Centre Pompidou, Paris, 2011, and Armory Film, New York, 2012; Envisioning Buildings: Reflecting Architecture in Contemporary Art Photography, Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, 2011; and Unnerved: The New Zealand Project, Gallery of Modern Art, Brisbane, 2010. He is currently supervising ten Master of Fine Arts studio and research portfolio candidates working in a range of contemporary and historic visual arts fields, including documentary photography, video, and emergent abstract painting.

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Dr Lucille Holmes is a cultural theorist, writer, psychoanalyst and lecturer in fine arts at The University of Auckland. She currently researches and writes on contemporary art, art education, and the application of psychoanalytic theory to visual art practice. She is also an executive and founding member of the Centre for Lacanian Analysis (NZ), a member of the NZ Forum of the School of Psychoanalysis of the Forums of the Lacanian Field, and her editorial roles include Journal for Lacanian Studies and Cyborg Subjects: Discourses on Digital Culture. Dr Holmes teaches at both undergraduate and postgraduate levels, and since 2001 has supervised masters and doctoral students in art therapy, art and performance art.

Recent doctoral supervisions:

• Co-supervisor: Mark Harvey, "Performance, Test, Labour."

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Simon Ingram currently works with painting, machines and radio astronomy. In past work his focus was on painting using custom-built machines programmed with techniques of self-making derived from artificial life. In new work his machine's attention is turned outward and upward to make paintings with the help of a radio telescope tuned into electromagnetic energy. His practice takes him on a journey from painting to the Russian avant-garde, robotics, artificial life, computer science, radio astronomy and back again. Painting is proposed as a critical, contemporary model of practice whose conceptual signification is explored while its complexity and material density are retained. His work has been exhibited at The Centre for Contemporary Non-Objective Art (Belgium), The Kunstverein Medienturm (Austria), PS1/MoMA (USA), The Suburban (Chicago), The Adam Art Gallery (New Zealand), Frankfurter Kunstverein (Germany).

Current doctoral supervisions:

• Primary supervisor: Kate Newby, "I'm so tired: art beyond 'exhibitions' and 'making objects'"

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Megan Jenkinson’s most significant projects to date are The Virtues, 1996, the accompanying publication Under The Aegis: The Virtues, 1997, and the Antarctica project, 2007. Other research interests include colour theory, perception, and notions of the material imagination as espoused by Gaston Bachelard, which she incorporates into her artistic practice through a dialectical approach to imagemaking. Her photography has been exhibited in major art events such as the Sydney Biennale, 1990, the Sharjah Biennale, 1999, and Photography Now, 1989, at the Victoria and Albert Museum (an exhibition commemorating the first 150 years of photography); and her work is held in twenty national and seven international public collections.

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Jonathan Mane-Wheoki’s research encompasses aspects of nineteenth century European art and architectural history (The Gothic Revival, Pre-Raphaelitism, Ecclesiology, the interface between the natural sciences, art and architecture, and Realism). He has taught across the spectrum in modernism and contemporary art, with a particular interest in musical analogies, the application of colour theory and the tradition of painterliness in modern and abstract painting. His research, exhibition curation, and teaching on the Modernist and contemporary art cultures of post-contact Māori as well as Pacific and indigenous peoples are highly regarded and have been widely influential.

Current doctoral supervisions:

• Primary supervisor: Wayne Wilson-Wong, "Yellow: A Documentary Film"

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p.mule's research is mainly concerned with an exploration of the installation aesthetic in relation to persuasive/coercive methods ranging from the political and militaristic, through cults and fringe religious practices, to education, the internet and peer processes, institutional and otherwise (social solidarity). The research methodology is utilitarian, looking for the value (aesthetic or otherwise) residing in ready-made text, sound bites and incomprehensible, senseless or prosaic fragments – objects, acts, events, gestures, artefacts, music or text that often have an influence on political and social movements disproportionate to their intrinsic value. The et al. collective, through its installations, uses this research to isolate and re-juxtapose these fragments to explore the extent to which their meaning disintegrates or is re-created, perhaps in a completely different context.

Current doctoral supervisions include:

• Primary supervisor: Dan Arps, "Towards a grammar of a gestural interdisciplinary art practice in a post-Fordist context"
• Secondary supervisor: Kate Newby, ‘“I’m so tired”:  Art Beyond ‘Exhibitions’ and ‘Making Objects’"
• Secondary supervisor: Irena Keckes, "Unlimited resonance of repetition: Exploring Buddhist notions of Self and Identity through printmaking"

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Peter Shand’s research interests are: contemporary creative practices, including art, design and the theory of fashion; and the inter-relationship of art and law, notably issues in copyright and cultural heritage. He holds a PhD in Art History from The University of Auckland and an LLM in Intellectual and Cultural Property Law from King’s College, London. He publishes and undertakes curatorial work, most recently the introduction to New Zealand Fashion (Te Papa Press, 2010), as well as catalogue and journal essays on the work of artists Chiara Corbaletto, Nuala Gregory and Rebecca Ann Hobbs. He is currently working on a monograph on the photographer Fiona Pardington and preparing a pair of exhibitions on contemporary painting.

Current doctoral supervisions include: 

• Primary supervisor: Joyce Campbell: “On the Last Afternoon: Making Art in This Time of Ecological Crisis”
• Primary supervisor: Matthew Crookes: “Displacement – How Meanings Migrate”
• Primary supervisor: Nuala Gregory: “The Afterlife of Painting”

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Allan Smith is a writer whose research links languages of making and object ensembles with modes of subjectivity and ways of being in the world. He is particularly interested in following accented, emergent and improvisational materiality in the 19th century, the modern and contemporary eras through art, literature, technology and philosophy. This includes forms of urban alliteration; the geological imaginary; and temporalities of the sonic and visual fields. He has worked as a curator of contemporary art in City Gallery, Wellington and Auckland Art Gallery, and written about photography, painting, and installational practices.

Current doctoral supervisions include:

• Primary supervisor: Tessa Laird, “Rainbows and Kaleidescopes: The Revolution Will be in Colour”
• Primary supervisor: Tabatha Forbes, “Productive Contemplation: Environmental Perception Through Art, Site and Self"
• Primary supervisor: Layla Rudneva-McKay, “The Limits of My Language are Not the Limits of My World”

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Ruth Watson’s research focuses on the relations of place and representation, especially the image of the world as constructed by cartography. Current research includes work in video installation, sculpture and painting, as well as published articles in the history of cartography relating to cordiform maps of the sixteenth century. Ruth’s career includes over 25 solo exhibitions and she has exhibited internationally at The Sydney Biennale, Frankfurter Kunstverein and Aktionsforum (Germany), The Asia Society Museum (USA), Gallery of Modern Art, Museum of Sydney and Museum of Contemporary Art, (Australia) Akademie der Bildenden Künste (Vienna), as well as the Institute for Contemporary Art, Newtown (NZ).

Current doctoral supervisions include:

• Primary supervisor: Fiona Pardington, "Towards a Kaupapa for Kai Tahu Photography"
• Primary supervisor: Sean Kerr, "Forming, Norming, Storming and Performing: Improvisation, Group Dynamics and the Interactive Within a Fine Arts Context"
• Primary supervisor: Irena Keckes, "Unlimited resonance of repetition: Exploring Buddhist notions of Self and Identity through printmaking"
• Associate primary supervisor: Janine Randerson, "Meteorology and Time-based Art Practices"
• Secondary supervisor: Jae Hoon Lee, "Nomad: Exploration of the Growing Body in a Global Relationship"
• Secondary supervisor: Dan Arps, "Towards a grammar of a gestural interdisciplinary art practice in a post-Fordist context"

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