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© Bett Gallery Hobart
Tasmania
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Peter James Smith - Curriculum Vitae, October 2004 |
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Peter James Smith was born in Paparoa, New Zealand in 1954 and emigrated to Australia in 1980. He is widely published as a mathematician and holds the degrees BSc (Hons), MSc, PhD with a Master of Fine Art in painting. He is Professor of Mathematics and Art at RMIT University in Melbourne, where he is Head of the School of Creative Media (photography, creative writing, screenwriting, multimedia, animation, music, sound, digital art). He currently holds an Australian Research Council Grant in the area of statistical modelling of censored data. |
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1954 |
Born, Paparoa, New Zealand |
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1976 |
BSc (Hons) (University of Auckland) |
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1980 |
MS (Rutgers University) |
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1984 |
PhD (University of Western Australia) |
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1988 |
Begins exhibiting extensively in Australia and New Zealand |
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1993 |
Published Into Statistics, Thomas Nelson Australia: Melbourne. (800 pages) |
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1995 |
Published ‘Renovated scatterplots for censored data’, Biometrika, 82, 447-52 |
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1996
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Published ‘Renovating interval-censored responses’, Lifetime Data Analysis, 2, 1-11 |
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Associate Professor of Statistics in the Department of Statistics and Operations Research, RMIT University, Melbourne |
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1996-2002 |
Head, Department of Statistics and Operations Research, RMIT University, Melbourne |
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1998 |
Published Into Statistics, 2nd edn, Springer Verlag: Singapore |
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1999 |
Invited speaker, Auckland Writers Festival, 28 May |
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2000 |
Keynote speaker, ‘1st Australian Conference on Mathematics and Art’, Bond University, Gold Coast, Australia |
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2002 |
Published research monograph The Analysis of Failure and Survival Data, Chapman and Hall/CRC: Boca Raton, Florida |
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Head, School of Creative Media, RMIT University, Melbourne |
2003 |
Master of Fine Art (Painting), RMIT University, Melbourne |
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Invited Keynote Speaker, On Visualising Numbers, 5th International Conference on Industrial and Applied Mathematics, Sydney, 7—11 July. |
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Professor of Mathematics and Art, School of Creative Media, RMIT University, Melbourne |
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Selected Solo Exhibitions |
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1975 |
Surrealism to Landscape, Northland Society of Arts, Whangarei, New Zealand |
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1976
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On The Land, Mollers Gallery, Auckland, New Zealand |
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Recent Paintings, Mollers Gallery, Auckland, New Zealand |
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1977
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Fibonacci Numbers, Barry Lett Galleries, Auckland, New Zealand |
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Random Numbers, Elva Bett Gallery, Wellington, New Zealand |
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1978 |
The Violin Performance Pictures, and The Sample Survey Pictures, Barry Lett Galleries, Auckland, New Zealand |
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Fence Paintings, Elva Bett Gallery, Wellington, New Zealand |
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1982 |
Two Waters, R.K.S. Art, Auckland, New Zealand |
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1988 |
Across Two Waters: A Survey, Faculty Gallery, Faculty of Art and Design, RMIT, Melbourne, Australia |
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1989 |
Zero Crossing, Faculty of Visual and Performing Arts, Ballarat University, Ballarat, Australia |
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1990 |
Archimedes Crying, R.K.S. Art, Auckland, New Zealand |
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Archimedes Crying, The Suter Gallery – Te Aratoi o Whakatu, Nelson, New Zealand |
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1991 |
Attractor, R.K.S. Art, Auckland, New Zealand |
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1993 |
Moa Walk, R.K.S. Art, Auckland, New Zealand |
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1994 |
Recent Work, Janne Land Gallery, Wellington, New Zealand |
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Statistical Text, Monash University Gallery, Monash University, Melbourne, Australia |
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1995 |
Signs of Man, The Suter Gallery – Te Aratoi o Whakatu, Nelson, New Zealand |
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Gathering Data, R.K.S. Art, Auckland, New Zealand |
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1996 |
Data Frames, Janne Land Gallery, Wellington, New Zealand |
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Hypertext, Gallery 101, Collins St, Melbourne, Australia |
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1997 |
Figuring The Drift of Stars, Judith Anderson Gallery, Auckland, New Zealand |
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1998 |
Elements, Gallery 101, Collins St, Melbourne, Australia |
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Making Notes on the Visible, Milford House, Dunedin, New Zealand |
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Remarks on Space-time, Judith Anderson Gallery, Auckland, New Zealand |
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1999 |
Deep Field Measure, Janne Land Gallery, Wellington, New Zealand |
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It is by gathering data that we come to know about the world, Gallery 101, Melbourne, Australia |
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2000 |
Marks of the Navigator, Judith Anderson Gallery, Auckland, New Zealand |
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View, Janne Land Gallery, Wellington, New Zealand |
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2001 |
A Cinematic Trace, Judith Anderson Gallery, Auckland, New Zealand |
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Underlapping Science, Gallery 101, Melbourne, Australia |
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2002 |
Underlapping Science, Michael Nagy Fine Art, Sydney, Australia |
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Always through the dark; Notes on the continuing presence of history, Judith Anderson Gallery, Auckland, New Zealand |
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2003 |
Fading Light, Milford Galleries, Dunedin, New Zealand. |
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Fading Light, Gallery 101, Collins St, Melbourne, Australia |
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2004 |
The Substance of Clouds, Judith Anderson Gallery, Auckland, New Zealand |
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STILLS from ‘Fading Light’, Bett Gallery Hobart, Tasmania, Australia |
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Selected Group Exhibitions |
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1976 |
Group Exhibition, John Leech Gallery, Auckland, New Zealand |
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Group Show 76, Mollers Gallery, Auckland, New Zealand |
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1977 |
New Year/New Works, Barry Lett Galleries, Auckland, New Zealand |
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Young Contemporaries, Auckland City Art Gallery, Auckland, New Zealand |
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1986 |
Inaugural Exhibition, Editions Gallery, Fremantle, Western Australia |
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1992 |
A Breath of Fresh Art---A selection of recent art works by 35 New Zealand artists, The Bath-House Art and History Museum, Rotorua, New Zealand |
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1994 |
New Year/New Work, R.K.S. Art, Auckland, New Zealand |
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1995 |
Herald-Sun Art Award, juried exhibition of finalists, Herald and Weekly Times, Melbourne, Australia |
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Artworkz Seven, 101 Collins Street Acquisitive Prizes 1995, juried exhibition of finalists, Gallery 101, Melbourne, Australia |
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1996 |
Shifting Ground, Moonee Valley Festival Contemporary Art Prize 1996, curated by Sharyn Dawson, Melbourne, Australia |
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Fifth Australian Contemporary Art Fair, Melbourne Royal Exhibition Buildings, Melbourne, Australia |
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The Land, Centre of Contemporary Art, Christchurch, New Zealand |
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Re-view, Gallery 101, Melbourne, Australia |
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1997 |
3 Major Surveys of Modern New Zealand Art, Milford Galleries, Dunedin, New Zealand |
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Director’s Choice, Gallery 101, Melbourne, Australia |
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1998 |
Summer Survey 1998: Robert McLeod, Allen Maddox, Peter James Smith, John Parker, Philippa Blair, Judith Anderson Gallery, Auckland, New Zealand |
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Picturing History, Centre of Contemporary Art, Christchurch, New Zealand |
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Sixth Australian Contemporary Art Fair, Royal Exhibition Buildings, Melbourne, Australia |
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Art for Life, Centre of Contemporary Art, Christchurch, New Zealand |
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Director’s Choice, Gallery 101, Melbourne, Australia |
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1999 |
Catalogue Show, Milford House, Dunedin, New Zealand |
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Salon des Refusees, curated exhibition of entries from the Archibald and Wynne Prizes, S. H. Ervin Gallery, Sydney, Australia |
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Looking South-across time, distance, place and culture, Milford Galleries, Dunedin, New Zealand |
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Eighth Annual Wallace Art Awards in Association with the Visa Gold Art Award, juried exhibition of finalists, Wallace Trust Gallery, Auckland, New Zealand |
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Director’s Choice, Gallery 101, Melbourne, Australia |
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Exhibition Space, Judith Anderson Gallery, Auckland, New Zealand |
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2000 |
Annual Exhibition, Mobile Art, Auckland, New Zealand |
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The Numbers Game, Adam Art Gallery--Te Pataka Toi, Wellington, New Zealand |
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Melbourne Artfair 2000, 7th Australian Contemporary Art Fair, Royal Exhibition Buildings, Melbourne, Australia. (Represented by Gallery 101, Melbourne, Michael Nagy Fine Art, Sydney.) |
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2000 |
Stand 33 @ Gallery 101, A Melbourne Artfair 2000 Satellite Exhibition, Gallery 101, Collins St, Melbourne, Australia |
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SQuaRE 2000, Gallery 101, Collins St, Melbourne, Australia |
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Mathematics and Art, Bond University Art Gallery, Gold Coast, Queensland, Australia |
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2001 |
Australia---You Are Here! Four perspectives of landscape through painting and photography, Gallery 101 at Flemington, Melbourne, Australia |
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2002 |
The Postcard Show, Linden Gallery, St Kilda, Melbourne, Australia |
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The 2002 John Leslie Art Prize: Art refers to Environment, juried exhibition of finalists, Gippsland Art Gallery, Sale, Victoria, Australia |
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Wyndham City Contemporary Art Prize 2002, juried exhibition of finalists, Melbourne, Australia |
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Synergy, A collaborative exhibition between artists and scientists, curated by Dick Bett, CSIRO Marine Laboratories, Hobart, Tasmania |
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Melbourne Artfair 2002, 8th Australian Contemporary Art Fair, Royal Exhibition Buildings, Melbourne, Australia. (Represented by Gallery 101, Melbourne, Michael Nagy Fine Art, Sydney.) |
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Bendigo Bank Tattersall’s Club Art Prize, juried exhibition of finalists, Brisbane, Australia |
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2003 |
Inaugural Exhibition, Michael Nagy at Jersey Road, Michael Nagy Fine Art, Sydney, Australia |
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Compendium, Platform 5, curated by Martina Copley, Melbourne, Australia |
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Future Perfect, curated by Gerard Castles and Dick Bett, Bett Gallery Hobart, Tasmania. |
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OverView ‘’ Is As: Landscape as metaphor’’, Milford Galleries Dunedin, New Zealand |
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Opening exhibition, Milford Galleries Queenstown, New Zealand |
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Strata, Postgraduate exhibition, Class of 2003, RMIT University, Melbourne |
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2004 |
Textures of Place, Milford Galleries Queenstown, New Zealand |
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Inaugural exhibition, Judith Anderson Gallery—Hawkes Bay, New Zealand |
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Compendium, ICON Museum of Art, Deakin University, curated by Martina Copley, Melbourne, Australia |
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The Transit of Venus, Milford Galleries: Queenstown, Dunedin and Auckland, New Zealand |
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Artfair 04, Royal Exhibition Buildings, Melbourne, Australia. |
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Exhibition Reviews |
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1974 |
Terry McNamara, ‘Talent among the banality’, review, New Zealand Herald, Auckland, New Zealand |
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Terry McNamara, ‘Gallery’s best show yet’, review, New Zealand Herald, Auckland, New Zealand, 29 October |
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1975 |
L.W. Keys, `Intriguing blend from young artist’, review, The Northern Advocate, Whangarei, New Zealand, August |
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Terry McNamara, ‘Mixed bag in group show’, review, New Zealand Herald, Auckland, New Zealand, December 13 |
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1976 |
Denys Trussell, ‘Exhibitions’, review, Auckland City News, Auckland, New Zealand, August |
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Terry McNamara, ‘Attack artist’s chief quality’, review, The New Zealand Herald, Auckland, New Zealand, 17 August |
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1977 |
Dugald Page, ‘Art potential in new works’, review, The New Zealand Herald, Auckland, New Zealand, 10 February |
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Neil Rowe, ‘Mathematical Influence in art’, review, The Evening Post, Wellington, November 19 |
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Neil Rowe, ‘Wellington’, review, Art New Zealand, 8, 18 |
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Neil Rowe, ‘It could become known as the year of the photographer’, annual review, The Evening Post, Wellington, New Zealand, December 31 |
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1978 |
Terry McNamara, ‘Tough Job for Critic’, review, The New Zealand Herald, Auckland, New Zealand, June 20 |
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Gordon H. Brown, review, The Auckland Star, Auckland, New Zealand, June |
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1982 |
Terry McNamara, ‘Depressing Week at the Galleries’, review, The New Zealand Herald, Auckland, New Zealand, April 5 |
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1988 |
RMIT Openline, 4, ‘!Eureka!’, RMIT University, Melbourne, Australia, June |
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1990 |
‘Archimedes Crying’, review, The New Zealand Herald, Auckland, New Zealand, February 14 |
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Corinne Ambler, ‘Combining his talents’, article, Nelson Evening Mail, Nelson, New Zealand, September 25 |
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1991 |
Terry McNamara, ‘Thursday Arts’, review, The New Zealand Herald, Auckland, New Zealand, July 4 |
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1993 |
Ann Somerville, ‘Powerful works in world visions’, article, Rotorua Times, Rotorua, New Zealand, January 13 |
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Terry McNamara, ‘Perspective on Art’, review, The New Zealand Herald, Auckland, New Zealand, November 18 |
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1994 |
RMIT Openline, ‘Maths and painting add up well in art exhibition’, RMIT University, Melbourne, Australia, July 27 |
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Stephen Cain, ‘Ghosts from an obsession’, review, The Evening Post, Wellington, New Zealand, May 31 |
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1995
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Fiona Cassie, ‘Smith mixes maths and art’, The Nelson Evening Mail, Nelson, New Zealand, 12 February |
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Keith Stewart, ‘Entwining the lines of arts, science’, Sunday Star Times, Auckland, New Zealand, 9 July |
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Terry McNamara, in ‘Perspective on Art’, New Zealand Herald, Auckland, New Zealand, 12 July |
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John Daly-Peoples, in ‘Review--Auckland’, Art New Zealand, 76. |
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Keith Stewart, ‘Best of 95’, New Zealand Listener, December. |
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1996 |
Keith Stewart, ‘Capturing the potent power of Mt Ruapehu’, Sunday Star Times, Auckland, New Zealand, 14 July |
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Pauline Swain, ‘Art in Ruapehu summit atmospherics’, article, The Dominion, Wellington, New Zealand, 13 July |
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Elva Bett, ‘Excellence in different mediums’, review, The Dominion, Wellington, New Zealand, 12 July |
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Stephen Cain, ‘Robin White back—balanced and flawless’, review, The Evening Post, Wellington, New Zealand, 18 July |
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Colin Slade, ‘Approaching the land in an individual way’, The Press, Christchurch, New Zealand, 25 September |
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Robyn Ussher, ‘Views of the landscape’, The Press, Christchurch, New Zealand, 25 September |
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Ann Marsh, ‘Best and Fairest’---Visual Arts Review, Fifth Australian Contemporary Art Fair, Herald Sun, Melbourne, Australia, 4 October |
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1997 |
Keith Stewart, ‘The good, the bad, and the ugly of ‘96’, Sunday Star Times, Auckland, New Zealand, 12 January |
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Keith Stewart, ‘This light load is a big ask’, Sunday Star Times, Auckland, New Zealand, 10 August |
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Terry McNamara, ‘Painting by Numbers’, New Zealand Herald, Auckland, New Zealand, 1 August |
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John Daly-Peoples, ‘Landscapes match Wagnerian philosophy’, The National Business Review, 8 August |
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Keith Stewart, ‘Hotere highlight of healthy year’, Sunday Star Times, Auckland, New Zealand, December |
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1998 |
‘Arts Calendar March/April: Peter James Smith’, The Age, Melbourne, Australia, 23 March |
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Mary Lou Jelbart, Arts National, Radio 3LO, Melbourne, Australia, 19 April |
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Claire Heaney, ‘Elements of Two Worlds’, Herald Sun, Melbourne, Australia, 20 April |
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Joanne Campbell, Review, Otago Daily Times, Dunedin, New Zealand, 21 July |
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The Australian Commercial Galleries Association Guide Book, 1998—1999, 32--33 |
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Wayne Mowatt, Radio Art: Keith Stewart interviews Peter James Smith, National Radio, New Zealand, 5 November |
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Terry McNamara, ‘Whatever takes your fancy’, review, New Zealand Herald, Auckland, New Zealand, 7 November |
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1999 |
Mark Amery, Deep Field Measure exhibition review, Radio Art, National Radio, New Zealand, 10 June |
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John Daly-Peoples, ‘Arts: The Wallace Art Awards, New Zealand’s Richest Art Prize’, The National Business Review, September 17 |
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2000 |
Terry McNamara, ‘Minimalism’s meditative power for the millenium’, review, New Zealand Herald, Auckland, New Zealand, 8 May |
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‘Art with Numbers’, article, Capital Times, Wellington, New Zealand, 12-19 July |
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Katy Corner, ‘Mind bending, maths and art’, article, City Voice, Wellington, New Zealand, 6 July |
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John Millington, ‘Maths equals Art’, review, Brisbane Courier Mail, Brisbane, Australia, 20 December |
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2001 |
Terry McNamara, ‘The weight of darkness and the lift of light’, review, New Zealand Herald, Auckland, New Zealand, 25 June |
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John Daly - Peoples, ‘Art - iculate’, review, The National Business Review, Auckland, New Zealand, 29 June |
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2002 |
Angela Moriarty, ‘A matter of interpretation’, article, The Nelson Mail, Nelson, New Zealand, 9 January |
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Terry McNamara, ‘Pointers to nothing particular’, review, The New Zealand Herald, Auckland, New Zealand, October 28 |
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Charles Tongue, ‘Auckland Galleries’, article, State of the Arts, December 2002 to February 2003, 86-7. |
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Zara Stanhope, ‘Numbers Game: Creative connections between art and mathematics’, Newsletter of the New Zealand Mathematical Society, 84, 19-25 |
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2003 |
Joanne Campbell, ‘Science and art provide harmonious perspective’, review, Otago Daily Times, Dunedin, New Zealand, June 26 |
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David Eggleton, Sally Blundell, William McAloon, ‘I’ll buy that for a dollar’ investment article, New Zealand Listener, New Zealand, Sept 20-26 |
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Robert Nelson, ‘Wandering geometry beats layout’, review, The Age, Melbourne, Australia, 19 November |
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Essays on Exhibited Works |
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1978 |
Peter Lorimer, ‘Some of the Finite Projective Planes’, Mathematical Intelligencer, 5, 41-50 |
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1994 |
Robert Nelson, ‘Speculations on the Empirical Lyre of Peter James Smith’, Statistical Text exhibition catalogue, Monash University Gallery, Melbourne, Australia |
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1996 |
Keith Stewart, ‘Probability Bites’, Quote Unquote, August |
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Keith Stewart, Ditch—Peter James Smith: painting the gap, catalogue essay, Gallery 101, Melbourne, Australia |
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1997 |
Keith Stewart, ‘Life Science’, New Zealand Listener, 2 August |
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1999 |
Ben Marshall, ‘Painting x Numbers’, article, Australian Style, 31, 101 |
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Elizabeth Kerr, Looking South - across time, distance, place and culture, catalogue essay, Milford Galleries, Dunedin, New Zealand |
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2000
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John Gregory, ‘Peter James Smith: It is by gathering data that we come to know about the world’, Eyeline, 41, 48--9 |
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Pat Baskett, ‘All-rounder for our post-modern times’, article, New Zealand Herald, Auckland, New Zealand, 24 April |
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Zara Stanhope, The Numbers Game, catalogue essay, Adam Art Gallery---Te Pataka Toi, Wellington, New Zealand |
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Suzie Campbell, ‘Beyond the Known World: The Paintings of Peter James Smith’, Art New Zealand, 97, 82--85 |
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David Famularo, ‘Mathematical Musings’, article, The Dominion, Wellington, New Zealand, 17 November |
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2001 |
Stephanie Radok, ‘A water or a light’, article, Artlink, 21, 51--52 |
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Martina Copley, ‘Terrain’, catalogue essay for A Cinematic Trace, Judith Anderson Gallery, Auckland, New Zealand |
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Martina Copley, ‘The Ship’s Wake’, catalogue essay for Underlapping Science, Gallery 101, Melbourne; Michael Nagy Fine Art, Sydney, Australia |
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Patrick Hutchings, ‘Number is the Wisest Thing’, catalogue essay for Underlapping Science, Gallery 101, Melbourne, Michael Nagy Fine Art, Sydney, Australia |
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2002 |
Synergy, exhibition catalogue, CSIRO Marine Research Laboratories, Hobart, Tasmania |
Public and Corporate Collections |
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| Department of Mathematics, University of Auckland, New Zealand | |
| Auckland Hospital Board, Auckland, New Zealand | |
| New Zealand Ministry of Foreign Affairs | |
| Victoria University of Wellington, New Zealand | |
| Rothmans Cultural Foundation | |
| RMIT University, Melbourne, Australia | |
| Herald and Weekly Times, Melbourne, Australia | |
| Air New Zealand | |
| Eastern Energy, Melbourne, Australia | |
| La Trobe University, Melbourne, Australia | |
| 101 Collins Street, Melbourne, Australia | |
| National Australia Bank, Melbourne, Australia | |
| Massey University, Albany Campus, Auckland, New Zealand | |
| Wallace Trust Collection, Auckland, New Zealand | |
| The University of Tasmania, Hobart, Australia | |
| The Suter Gallery – Te Aratoi o Whakatu, Nelson, New Zealand | |
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