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<P class="subhead">Reviews for “Freedom’s Edge” by Victoria Ginn</P>
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<P>A powerful study of the psychology of imprisonment, as well as a portrait—in words and images—of Afghanistan in the last days before the Soviet invasion and the rise of the Taleban. <a href="publications/freedom01.htm">read more</a></P>
<P class="attribution">The Dominion, March 2001—“Paperbacks” column. Reviewer David Larsen
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<P><I>Freedom’s Edge</I> is Victoria Ginn’s gripping account of what happens when an adventure goes off the rails. <a href="publications/freedom02.htm">read more</a></P>
<P class="attribution">North and South Magazine, February 2001. New Zealand Books by Chris Bourke</P>
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<P>Spare, vivid, never self-indulgent, <I>Freedom’s Edge</I> is made even more pleasurable for the reader by the inclusion of 68 black-and-white plates printed from the films Ginn was able to recover before she left Afghanistan—at the cost of a friend’s imprisonment. <a href="publications/freedom03.htm">read more</a></P>
<P class="attribution">Kennedy Wayne, Signature Magazine Aug/Sept 2001</P>
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<P>It’s such a reminder of the days when many people travelled in those wonderfully exotic parts of the world, and freely and easily spent all sorts of time (for all sorts of reasons) in Kabul. <a href="publications/freedom04.htm">read more</a></P>
<P class="attribution">Anne MacKenzie, Telefilm Canada—January 26 1998</P>
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<P>In my humble opinion, the draft screenplay/outline contains all the ingredients for a riveting feature film... <a href="publications/freedom05.htm">read more</a></P>
<P class="attribution">S. Wayne Clarkson, Chairman/CEO, Ontario Film Development Corporation</P>
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<P>As I read the Treatment the story was happening on a screen for me... I can see the potential for a really interesting film. <a href="publications/freedom06.htm">read more</a></P>
<P class="attribution">Moya Wood, Feature Film Assessor, Australian Film Commission</P>
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<P class="subhead">Reviews for “The Spirited Earth” by Victoria Ginn</P>
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<P><I>The Spirited Earth</I> is a stunning display which blends Ginn’s photos with her commentaries on societies which still blend religious tradition and performance.</P>
<P class="attribution">The Bookwatch, USA</P>
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<P>Successfully conveys the essential message of the performance through one moment of photographic stillness...</P>
<P class="attribution">Photographic Resource Centre, Boston University</P>
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<P>Ginn’s photographs catch the grace and energy of the performances...</P>
<P class="attribution">American Booklist</P>
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<P>Enthralling portrayals of performance art.</P>
<P class="attribution">London Sunday Times</P>
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<P>Stunningly beautiful tribute to the exotic.</P>
<P class="attribution">Dance Magazine New York N.Y.</P>
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<P>The work, superbly illustrated is a hymn of love for humanity. This fabulous reportage is unique in its kind.</P>
<P class="attribution">Var Matin, Paris</P>
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<P>A collection of surprising beauty and originality.</P>
<P class="attribution">Le Dauphine Libere, Paris</P>
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<P>In her exquisite book, Ginn shows the diversity of the societies she visited while revealing their shared interest in preserving their traditional cultures.</P>
<P class="attribution">Publishers Weekly, USA</P>
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<P>Visionary sensitive photographs</P>
<P class="attribution">Stern Magazine Germany</P>
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<P>She produces images of great variety which defy any categorisation just as each photograph defies exact referential interpretation. She could be seen as a new element of an important trend in modern photography which is normally seen as “surrealism” but it should be noted that these images are proposing anew approach as they are deeply rooted in eastern mythologies.</P>
<P class="attribution">Alain Sayag, Curator for Photography, Georges Pompidou Centre, Paris</P>
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<P>Not only I, but the few who work with me here, have been immensely impressed by the beauty, the originality and heightened perception of your work. It is a remarkable achievement.</P>
<P class="attribution">Sir Laurens van der Post</P>
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<P>...her photography is not only of the highest quality, but is both imaginative and truly revealing of the marvelous qualities of her subjects...</P>
<P class="attribution">Michael Hoffman, Executive Director, Silver Mountain Foundation, Incorporating Aperture, New York, New York</P>
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<P>...an outstanding photographic record of dance in Asia which will complement and enhance the collections in our dance archive, the premier collection of dance materials in the world.</P>
<P class="attribution">Dr Robert M Henderson, Chief, Library and Museum of the Performing Arts, New York, New York</P>
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<P>This is a book to lie in a pool of sunshine with, a book which sleep will prise from your fingers and whose images dance through your dreams.</P>
<P class="attribution">Tina Finn, The Dominion. 1991</P>
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<P class="subhead">Reviews for “Figure In The New Zealand Landscape”</P>
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<P class="figInLandnew" align="center">“<B>FIGURE IN THE NEW ZEALAND LANDSCAPE</B>” (2005)<BR>
128 pages of photographs on 150 gsm matt art paper.<BR>
<I>Order your author-dedicated first edition copy now - NZ$45 or US$35 (shipping included)<BR>
Please send payment with your order to:<BR>
<B>OTS Publishing Ltd. -
199 Otaki Gorge Road, Otaki RD1, New Zealand</B><BR>
Foreign rights for sale and distribution are available.</I></P>
<P>There is a gravity about this work already well known to Ginn’s admirers, especially in her series on the people of the New Guinea Highlands.</P>
<P class="attribution">John Roberts, Listener magazine (NZ). 1981</P>
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<P>Victoria Ginn throws down the gauntlet of raw courage challenge with a series of colour works strongly based on a period of pseudo surrealism mixed with impressionism—from the brilliant first print through a strange mixture, artfully photographed, cleverly posed, and technically perfect work.</P>
<P class="attribution">Auckland Herald, 1981 Reviewer unknown</P>
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<P>In this photograph ‘Untitled 1980’ the viewer feels the antithesis of forms with a shiver: a curvaceous naked female form reclines over a jagged rock surrounded by a snow clad mountain in which naked areas of rock protrude.....</P>
<P class="attribution">Picture of the month, Dunedin Public Art Gallery</P>
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<P>Outstanding visual effects are achieved. While in some photographs there is a conscious correlation drawn between human and landscape forms, in other works the emphasis is placed more on establishing a harmonic contrast. The naked girl climbing over a wire fence strikes a humorous, if bizarre note, which is re-echoed in some of the more theatrical works. In many works the costumed figure are used like question marks, accentuating the colour, texture and line of the land forms behind.</P>
<P class="attribution">Dominion Newspaper, 1981</P>
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<P>Stunning...Visually arresting and imaginative, and looked to this layman at least, superb.</P>
<P class="attribution">Elva Bett, Evening Post Newspaper, 1981</P>
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<P>Exceptional and beautiful.</P>
<P class="attribution">Fiona Kidman. Bookmarks. The N.Z Listener</P>
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<P>I found your work interesting for its strangeness, it has not really anything to do with images seen before..... You have to persevere despite your isolation.</P>
<P class="attribution">Alain Sayag, Curator for Photography. Centre Georges Pompidou, Paris</P>
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<P>Photographs of Victoria Ginn (Figure In a N.Z Landscape) are in the collection of the national museum of modern art and will be shown, in temporary display of our permanent collection.</P>
<P class="attribution">Alain Sayag, Curator for Photography. Centre Georges Pompidou, Paris</P>
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<P class="subhead">Review for “Inside Outsiders”</P>
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<P>I am reminded of the work of the New York photographer, Diane Arbus. If each took devastating photographs they reveal, finally, in their work, seperate possibilities. Arbus wrote: “I am creeping forward on my belly like they do in war movies...you do approach that stricken feeling where you know you can get killed”. Both women trespass in their photographs psychic limits. Both became casualties to the nightmarish reality they observed on our behalf. But in Victoria Ginn’s recent work (Figure in a Landscape) we have something beyond a combat death. Rather, shots of something hinted at in a poem by James K. Baxter:</P>
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<I> To pray for an easy heart is no prayer at all<BR>
Because the heart itself is the creaking bridge<BR><BR>
On which we cross these Himalayan gorges<BR><BR>
....do not rail at<BR>
The only gate we have to paradise.</I>
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<P class="attribution">Don Long</P>
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<P>Photography’s claim to being the most popular artform is well supported by the interest being shown in Victoria Ginn’s photographs of people exhibited in the university library....the most exciting show by a local artist.. The exhibition is arranged chronologically and documents a technical and personal development, and the exploration of a particular photographic idea. If it is presumptuous to see this exhibition as an autobiographical statement, it is not so to be aware of a very personal purgatorial vision of the city, balanced by an exuberance, a deep compassion for people and a warmth that is lacking, say, from ...’s work, where the distance between photographer and subject is felt as a yawning gap by the viewer.
.... Ms Ginn has an originality of talent and vision, and I look forward to seeing more of her work.</P>
<P class="attribution">Neil Rowe, Salient (Victoria University magazine)</P>
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