Peter Robinson has won the 2008 Walters Prize. The Auckland-based artist wins $50,000 and an all expenses paid trip to New York with the opportunity to exhibit his work at Saatchi & Saatchi's world headquarters.

Peter Robinson's sculpture Ack occupied ARTSPACE at the same time as the 2006 Walters Prize exhibition where he was also a finalist for his work The Humours. Like The Humours, Ack implies notions about physical duration, about internal operating systems and the impermanence of organic material.

Peter Robinson has won the 2008 Walters Prize. The Auckland-based artist wins $50,000 and an all expenses paid trip to New York with the opportunity to exhibit his work at Saatchi & Saatchi's world headquarters.

Peter Robinson's sculpture Ack occupied ARTSPACE at the same time as the 2006 Walters Prize exhibition where he was also a finalist for his work The Humours. Like The Humours, Ack implies notions about physical duration, about internal operating systems and the impermanence of organic material.

1966 Born Ashburton, New Zealand, lives and works in New Zealand
1989 Bachelor of Fine Arts, IIam School of Fine Arts, University of Canterbury, Christchurch, New Zealand
1990 Diploma of Teaching, Christchurch College of Education, Christchurch
1995 Ludwig Forum fur Internationale Kunst Residency, Aachen, Germany
1996 Goethe Institut Residency, Dusseldorf, Germany 1998 Artspace Residency, Sydney, Australia 1999 Kunstlerhaus Bethanien Residency, Berlin
2001 Creative New Zealand Residency, Kunstlerhaus Bethanien, Berlin
2001 bi-polar, 49th Venice Biennale, New Zealand Pavilion, Museo di Sant'Apollonia, Venice, Italy

Solo Exhibitions

2007 Projects@230 Young Street, Sutton Gallery, Melbourne
Sue Crockford gallery, Auckland, NZ
Brooke-Gifford Gallery, Christchurch, New Zealand
2006 ACK!, Artspace, Auckland, NZ
Peter McLeavey Gallery, Wellington
2005 The Humours, Dunedin Public Art Gallery
2004 Neo Conceptual Primitivism, Anna Bibby Gallery, Auckland, New Zealand
2003 Brooke-Gifford Gallery, Christchurch, New Zealand
Divine Comedy, Wellington City Art Gallery, Wellington, New Zealand
2002 The Return of The Hand, Peter McLeavey Gallery, Wellington
Black Holes Suck And So Do I, Kapinos Galerie fur Zeitgenossische Kunst, Berlin, Germany
Joytwotimesex, Anna Bibby Gallery, Auckland
Divine Comedy, Auckland Art Gallery Toi o Tamaki, Auckland
Divine Comedy, IIam School of Fine Arts Gallery, University of Canterbury, Christchurch
2001 Cipher, 5th Gallery, Dublin
Divine Comedy, Govett-Brewster Art Gallery, New Plymouth, New Zealand
2000 No reading allowed here, Kapinos Galerie fur Zeitgenossische Kunst, Berlin, Germany
The end of the twentieth century, Peter McLeavey Gallery, Wellington, New Zealand
1999 No Boundary Condition, Peter McLeavey Gallery, Wellington, New Zealand
Point of infinite density, McDougall Contemporary Art Annex, Christchurch, New Zealand
1998 I know nothing, Peter McLeavey Gallery, Wellington, New Zealand
The big crunch, Anna Bibby Gallery, Auckland, New Zealand
Stedelijk Museum, Amsterdam, The Netherlands
1997 NZPR, Brooke-Gifford Gallery, Christchurch, New Zealand
Nice paintings, Anna Bibby Gallery, Auckland, New Zealand
Canon fodder, Peter McLeavey Gallery, Wellington, New Zealand
1996 Peter Robinson, Anna Bibby Gallery, Auckland, New Zealand
Home and away, Peter McLeavey Gallery, Wellington, New Zealand
1995 Opus operandi, Ghent, Belgium
Bad Aachen ideas, Ludwig Forum fur Internationale Kunst, Aachen, Germany
1994 100%, Peter McLeavey Gallery, Wellington, New Zealand
New Lines/Old Stock, Brooke-Gifford Gallery, Christchurch
1993 9 Paintings of 1993, Peter McLeavey Gallery, Wellington, New Zealand
1992 The spaces between, Brooke-Gifford Gallery, Christchurch, New Zealand
1990 Nature, forms, myth, Last Decade Gallery, Wellington, New Zealand (with Shane Cotton)

Selected Group Exhibitions

2006 Sue Crockford Gallery
2004 Termite Art Against White Elephant, Actual behaviour of drawing, Museo Colecciones ICO, Madrid, Spain
2003 The Sky is the Limit, Kunstverein, Langenhagen, Germany
2002 Iconoclash, ZKM, Karlsruhe, Germany
Centre of Attraction, 8th Baltic Triennale of International Art, Vilnius,Lithuania
Media City Seoul, Museum of Modern Art, Seoul, South Korea
Rest In Space, Kunstnerhus Oslo, Norway
2002 Profiler, co-curated with Astrid Mania, Kunstlerhaus Bethanien, Berlin; Govett-Brewster Art Gallery; New Zealand; University of Kent Gallery, England
2001 bi-polar, 49th Venice Biennale, New Zealand Pavilion, Museo di Sant'Apollonia, Venice, Italy
Superman in Bed - Collection Schurmann Kunst fur Gegenwart und Fotografie,
Museum am Ostwall, Dortmund, Germany
...troubler l'echo du temps, oeuvres de la collection, Musee d'Art Contemporain de Lyon, Lyon, France
2000 Partage d'exotismes, 5th Biennale d'art contemporain de Lyon 2000, Lyon, France
Continental shift, Ludwig Forum fur Internationale Kunst, Aachen, Germany (toured to Bonnefantenmuseum, Maastricht, The Netherlands; Stadsgalerij, Heerlen, The Netherlands; Musee d'Art moderne, Luttich, Belgium)
Heimat kunst, Haus der Kulturen der Welt, Berlin, Germany
Drive: power, progress, desire, Govett-Brewster Art Gallery, New Plymouth, New Zealand
1999 Kunstwelten im dialog, Museum Ludwig, Koln, Germany
Toi Toi Toi: three generations of artists from New Zealand, Museum Fridericianum, Kassel, Germany and Auckland Art Gallery Toi o Tamaki, New Zealand
Home and away: Contemporary Australian and New Zealand art from the Chartwell Collection, Auckland Art Gallery Toi o Tamaki, Auckland Art Gallery, Auckland, New Zealand
What I photographed this summer, Peter McLeavey Gallery, Wellington, New Zealand
1998 Entropy zu hause, Suermondt-Ludwig Museum, Aachen, Germany
Everyday, 11th Biennale of Sydney, Art Gallery of New South Wales, Sydney, Australia
Necessary protection, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Blood brothers, Peter McLeavey Gallery, Wellington, New Zealand
What we do here, Peter McLeavey Gallery, Wellington, New Zealand
1997 Trade routes: history and geography, 2nd Johannesburg Biennale, billboard and page art projects, Johannesburg, South Africa
Seppelt Art Awards, Museum of Contemporary Art, Sydney, Australia
McCahon to Robinson, Peter McLeavey Gallery, Wellington, New Zealand
Family values, Peter McLeavey Gallery, Wellington, New Zealand
Sky writers and earth movers, McDougall Contemporary Art Annex, Christchurch, New Zealand
1996 Inclusion/Exclusion: Art in the Age of Post Colonialism and Global Migration, Kunstlerhaus Burgring, Graz, Austria
23rd International Biennale of Sao Paulo, Biennale Pavilion, Sao Paulo, Brazil
2nd Asia-Pacific Triennale of Contemporary Art, Queensland Art Gallery, Brisbane, Australia
1995 Cultural safety: contemporary art from New Zealand, Frankfurter Kunstverein, Frankfurt, Germany and City Gallery, Wellington, New Zealand (toured to Ludwig Forum fur Internationale Kunst, Germany; Waikato Museum of Art and History, Hamilton and Dunedin Public Art Gallery)
Hangover, Dunedin Public Art Gallery, Govett-Brewster Art Gallery and Waikato Museum of Art and History, New Zealand
Korurangi, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand
1994 Localities of desire, Museum of Contemporary Art, Sydney, Australia
Parallel lines: Gordon Walters in context, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand
Art Now, Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
Aoraki/Hikurangi, McDougall Contemporary Art Annex, Christchurch, New Zealand
1993 Cartel, Brooke-Gifford Gallery, Christchurch, New Zealand
Te Hau a Taonga, Te Taumata Gallery, Auckland, New Zealand
Groundswell, Manawatu Art Gallery, Palmerston North, New Zealand
1992 Te Kupenga, CSA Gallery, Christchurch, New Zealand
ARX 3, Artist Regional Exchange Institute of Contemporary Art, Perth, Australia
Shadow of style: eight new artists, City Gallery, Wellington and Govett-Brewster Art Gallery, New Plymouth, New Zealand
Vogue/Vague, CSA Gallery, Christchurch, New Zealand
A comfortable environment, Dunedin Public Art Gallery, Dunedin, New Zealand
Prospect Canterbury, McDougall Contemporary Art Annex, Christchurch, New Zealand
1991 Kohia Ko Taikaka Anake, National Art Gallery, Wellington, New Zealand
Recognitions, McDougall Contemporary Art Annex, Christchurch, New Zealand
Peter Robinson, Euan McLeod and Shane Cotton, Brooke-Gifford Gallery, Christchurch, New Zealand
He Toi Na Ngaa Toa O Te Whare Waanaga O Waitaha, School of Fine Arts, University of Canterbury, Christchurch, New Zealand
1990 Goodman/Suter Biennale, Suter Art Gallery, Nelson, New Zealand
On task, CSA Gallery, Christchurch, New Zealand
Te Atinga - contemporary Maori art, Uenuku Marae, Moeraki, New Zealand

Selected Collections

Auckland Art Gallery Toi o Tamaki, New Zealand
Denver Art Museum, United States
Dunedin Public Art Gallery, New Zealand
FRAC Region D' Alsace - Lorraine, France
Musee d'Art Contemporain de Lyon, France
Museum of Contemporary Art, Sydney, Australia
Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
PROP Foundation, Montana, United States
Stedelijk Museum Amsterdam, Netherlands
Private and corporate collections

Selected Bibliography

Christina Barton, ‘Marking out the terrain, an introduction to Art Now, The First Biennial Review of Contemporary Art, exhibition catalogue, Wellington, Museum of New Zealand Te Papa Tongarewa, 1994, pp.7-11.
Gregory Burke, ‘bi-polar: Divine Comedy and A Demure portrait of the artist strip-searched', bi-polar, exhibition catalogue, 49th Biennale di Venezia 2001, Wellington: Creative New Zealand, 2001, pp. 7-16.
Gregory Burke, Divine Comedy - Peter Robinson, exhibition catalogue, New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2001.
Gregory Burke and Hanna Scott, ‘Drive: power, progress, desire', Drive: power, progress, desire, exhibition catalogue, New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2000, pp. 18-58.
Gregory Burke, Cultural Safety, Contemporary Art from New Zealand, exhibition catalogue, Frankfurt am Main: Frankfurter Kunstverein, Wellington: Wellington City Gallery, 1995, pp. 15-31.
Gregory Burke and Robert Leonard, ‘Style Shifts', Shadow of Style, exhibition catalogue, New Plymouth: Govett-Brewster Art Gallery and Wellington: Wellington City Gallery, 1992, pp. 2-3.
Sara Diamond, ‘Spotlight - Media-City Seoul 2002', Flash Art, vol. XXXV no. 227 November - December, p. 99.
Okwui Enwezor, Trade routes: history and geography, exhibition catalogue, 2nd Johannesburg Biennale, Johannesburg: Johannesburg Biennale, 1997.
Hanna Fink, ‘Speechless - The 1998 Biennale of Sydney', Art Asia Pacific, issue 23 1999, p. 35-37.
Brigitte Huck, ‘8th Baltic Triennial of Contemporary Art', Artforum, January 2003, p. 147.
Christian Huther, Kunstforum, no. 131 1995, pp. 378-9.
Robert Jahnke in ‘Korurangi: New Maori Art, A Commentary by Robert Jahnke', Korurangi: New Maori Art, exhibition catalogue, Auckland: Auckland Art Gallery Toi o Tamaki, p.42-43.
Belinda Jones, ‘Unpacking Peter Robinson' Creative New Zealand,
http://www.creativenz.govt.nz/venice-2001/artists/robinson/robinson-stor...
Robert Leonard, Everyday, 11th Biennale of Sydney, exhibition catalogue, Sydney: The Biennale of Sydney, 1998, p. 186.
Robert Leonard, ‘Peter Robinson's Strategic Plan' Art Asia Pacific, no. 16 1997, pp. 70-75.
Robert Leonard, Inklusion/Exklusion, exhibition catalogue, Graz: Kunsterlerhaus Graz, 1996, pp. 321-323.
Robert Leonard, ‘3.125 % Pure - Peter Robinson Plays the Numbers Game', Art +Text, no.50 1995, pp. 18-20.
Robert Leonard, ‘Peter Robinson The End of the Twentieth Century', GalleryNews, Auckland, Auckland Art Gallery Toi o Tamaki, March/April/May/June 2004, p. 20.
William McAloon, ‘home and away, Contemporary Australian and New Zealand Art from the Chartwell Collection', home and away, Contemporary Australian and New Zealand Art from the Chartwell Collection, Auckland: Auckland Art Gallery Toi o Tamaki, 1999, pp. 15-29.
William McAloon, ‘Writing on the body, Locating the lost in recent sculpture', Art Now, The First Biennial Review of Contemporary Art, exhibition catalogue, Wellington, Museum of New Zealand Te Papa Tongarewa, 1994, pp. 19-23.
Jean-Hubert Martin, Universalis, exhibition catalogue, Sao Paulo: Sao Paulo Biennale, 1996.
Felicity Milburn, Sky writers and earth movers, Christchurch: The McDougall Contemporary Art Annex, 1998, n.p.
Anna Miles, Centre of Attraction - 8th Baltic Triennale of International Art, Vilnius, Lithuania: Baltic Triennale of International Art, 2002, p. 192-195.
Anna Miles, Media City Seoul, exhibition catalogue, Seoul: Seoul Museum of Art, 2002, p. 54-55.
Anna Miles, ‘Au Contraire', bi-polar, exhibition catalogue, 49th La Biennale di Venezia, Wellington: Creative New Zealand: 2001, pp. 56-60.
Anna Miles, Toi Toi Toi, exhibition catalogue, Kassel: Museum Fidericianum, 1999, pp. 160-167.
Anna Miles, Art Asia Pacific, issue 23 1999, pp. 77-81.
Hana O'Regan, ‘Peter Robinson', in William McAloon (ed.), home and away, Contemporary Australian and New Zealand Art from the Chartwell Collection, Auckland: Auckland Art Gallery Toi o Tamaki, 1999, p.56.
Liutauras Psibilskis ‘Spotlight - 8th Baltic Triennial', Flash Art vol. XXXIV no. 226 October 2002, p. 99.
Renate Puvogel, ‘Toi Toi Toi', Kunstforum, no. 147 1999, pp. 346 -348.
Christian Rattemeyer, ‘Mockingly Maori, Government Graphic Design and the Representation of Cultural Identity', culturebase.net: http://www.culturebase.net/print_artist.php?1458
Peter Robinson, Excerpts from ‘Megan Tamati-Quennell in conversation with Peter Robinson', Planet Magazine, Auckland, no.14, 1994, p.60 quoted in Localities of Desire, Contemporary Art in an International World, exhibition catalogue, Sydney: Museum of Contemporary Art, 1994, p65-66.
Edgar Schmitz ‘Centre of Attraction, 8th Triennial of International Art', Kunstforum International, no. 162 November-December 2002, pp. 378-381.
Lara Strongman, ‘Raw Deal', Art Now, The First Biennial Review of Contemporary Art, exhibition catalogue, Wellington, Museum of New Zealand Te Papa Tongarewa, 1994, p. 75.
Richard Vine, ‘Report from Seoul, Cyber City', Art in America, February 2003, pp. 57-59.
Scott Weaver, ‘Why Oh Why didn't I take the blue pill?', Broadsheet Contemporary Visual Arts and Culture, Adelaide: Contemporary Art Centre of South Australia, vol. 32 no. 4 December 2003-February 2004, p. 18.

Peter Robinson wins Walters Prize

October 2008