Megan Jenkinson is an Associate Professor at the Elam School of Fine Arts, University of Auckland, New Zealand. She works primarily in the medium of photography and has exhibited over a 30 year period, both nationally and internationally. Including the Esslingen Photo Triennale, 1989, the Sydney Biennale, 1990, and the Sharjah Biennale in 1999, and in significant exhibitions such as Photography Now, 1989 at the Victoria and Albert Museum (to commemorate the first 150 years of photography).Read More
She went to Antarctica as an Antarctic Artists Fellow in December 2005 and her experiences there have resulted in an extensive body of work that will be exhibited during the Photography Festival in 2008 at Two Rooms. She is currently preparing work for an installation at the Christchurch Art Gallery featuring the fossils collected by Scott’s Polar Party on their fated return journey from the Pole in 1912.
Jenkinson’s earlier project, The Virtues, 1996, went to eight public venues in New Zealand, and its accompanying book Under The Aegis: The Virtues, 1997. This series was awarded a major prize in 1999 by an international jury at the Sharjah Biennale.
Public collections in New Zealand that hold her work include: the Museum of New Zealand Te Papa Tongarewa; the Sarjeant Gallery, Wanganui, the Govett-Brewster Art Gallery, New Plymouth; the Dunedin Public Art Gallery; and the Auckland Art Gallery; and the Aigantighe Art Gallery, Timaru.
International collections include: The Victoria and Albert Museum, London; the Bibliothèque Nationale and the Centre Georges Pompidou, Paris; the Museum of Fine Arts, Houston; the Art Gallery of New South Wales, Sydney; and the National Gallery, Canberra.
Publications: Jenkinson, Megan. Under the Aegis: The Virtues. Ed. by Peter Shand with essays by: Marina Warner, Elizabeth Eastmond, Dougal Blyth and Tom Stevenson, Marcus Wilson, Denys L. Drysdall and Laurence Simmons (Auckland, Fortuna Press, 1977). Jenkinson, Megan. Per Genus et Differentiam. Essay by Priscilla Pitts – (with the Jensen Gallery, 1995).
In directing interest towards formal and spatial relationships, Jenkinson curiously makes the subjects of these photographs entirely universal and detached, (paradoxically) from any specific time or place. Moreover, as large-scale vinyl prints, her photographs are seamlessly attached to the walls at a variety of heights and ostensibly randomly...