Function:
Development and realisation of the Gallery's vision, strategic planning, communications, fundraising and external advocacy. Represents the Gallery externally and internally, both nationally and internationally. A member of the Gallery's management team.

Appointments since 2006:
2011
Commissioner for New Zealand, Venice Biennale of Art (from Jan 2010); Panellist, Department review, Elam School of Fine Arts, University of Auckland
2010
Board member, Museums Aotearoa
2009
Commissioner for New Zealand, Venice Biennale of Art (appointed by Creative New Zealand Arts Council)
2007–
College of Arts External Advisory Group, University of Canterbury; International Visual Arts Reference Group, Creative New Zealand
2007–10
National Museums Training Council, ATTTO
2006–
Adjunct Professor, University of Canterbury School of Fine Arts; National panel member (TEC Humanities & Law assessment panel, PBRF)

Community Service:
2009
ICON Awards panel, Arts Foundation of New Zealand
2008
Selector (with Justin Paton and Helen Kedgley), Headland: Sculpture on the Gulf, Waiheke Island; ICON Awards panel, Arts Foundation of New Zealand
2007–
Member, Public Art Advisory Group, Christchurch

Positions Held:
2006–
Director, ChristchurchArt Gallery Te Puna o Waiwhetu
2004 – 2006
Assistant Vice-Chancellor (Academic),Victoria University of Wellington
2001 – 2004
Head, School of Art History, Classics and Religious Studies
1995 – 2000
Head of Art History
1994
Director, Museum Projects, Museum of New Zealand Te Papa Tongarewa, Wellington
1992 – 1993
Director, Art and History, Museum of New Zealand Te Papa Tongarewa
1990 – 1992
Director, National Art Gallery, Wellington (until legislative change)
1988 – 1989
Institutional Planning Team, Museum of New Zealand Te Papa Tongarewa
1986 – 1988
Senior Curator (International Art), National Art Gallery, Wellington
1983 – 1986
Curator (European Art), Queensland Art Gallery, Brisbane
1983
Assistant Curator, International prints and illustrated books, National Gallery of Australia (then Australian National Gallery), Canberra

Qualifications:
1983
Diploma in Museum Studies, University of Sydney
1982
Master of Philosophy (in Art History), Courtauld Institute, University of London
1977 Master of Arts (in Religious Studies with 1st class honours) University of Canterbury
1976 Diploma of Secondary Teaching, Christchurch Teachers' College
1972 Bachelor of Arts, University of Canterbury

Publications:
2010
'Seen in the right light', review of Ian Wedde, Bill Culbert: Making Light Work, in New Zealand Books, vol.20, no.1, issue 89, autumn, p.25
'The Good and the Bad' (comment on the 2010 APT, Gallery of Modern Art, Queensland), Eyeline: Contemporary Visual Arts, Brisbane: Eyeline Publishing, no.71, p.77
'Crucifixion', and 'Two sculptures in Wellington', in Andrew Drummond: Observation/Action/Reflection, Christchurch, pp.70–1, 182–3
'On the table', interview with John Reynolds, B.160, Christchurch, autumn, pp.44–9
'Breaking the barriers', The Press, Christchurch, 26 February, GO section, pp.10-11
2008
'A taste of NZ treasure' review of Ralph Hotere, The Press, Christchurch, 24 Dec, p.B4
'Painter's life illuminated', review of Jill Trevelyan, Rita Angus: An artist's life, The Press, Christchurch, 28 May, p.D3
2009
'It's about commitment', B.158, Christchurch, spring, pp.38–41 
2007
Wellington: a city for sculpture (ed. with Aaron Lister) Victoria University Press, in association with the Wellington Sculpture Trust, November 2007, 144pp. (author of 'Disappearing Wellington', pp.128-35)
'L.S. Lowry', catalogue entries in Ted Gott, Lauri Benson and Sophie Mathiesson (curators), Modern Britain 1900–1960, National Gallery of Victoria, Melbourne, pp.134–5
'Deviancy, they cried', The Press, Christchurch, feature article, 25 July, p.D1
2005
'Exhibiting sexuality in Aotearoa New Zealand 1975-2000', in Allison Kirkman and Pat Moloney (eds.), Sexuality down under, Otago University Press, Dunedin, pp.214–35 and 276–84 (footnotes)
Bill Culbert's Long white cloud, 1985, catalogue entry in William McAloon (ed.), Victoria's art: a university collection, Adam Art Gallery, Wellington for VUW, pp.82→3
2004
'Museum as provocateur – art galleries and controversy', Australian and New Zealand Journal of Art, vol.4, no.2, 2003 and vol.5, no.1, 2004, pp.57–75
'Peter Robinson's Pākehā have rights too!', in Zara Stanhope (ed.), Three colours: Gordon Bennett and Peter Robinson, exhibition catalogue, Heide Museum of Modern Art, Melbourne, pp.38–40 (ill. p.41)
'Bridget Riley in conversation with Jenny Harper', in Bridget Riley: painting and drawings 1961–2004, Ridinghouse, London, in association with the British Council, 2004, pp.95–9
'Conversation' translated into German in Bridget Riley: Bilder und Zeichnungen 1959–2005, Argauer Kunsthaus, Aarau, 2005
2003
'Christchurch Art Gallery Te Puna o Waiwhetu: achievements and challenges', The Journal of New Zealand Art History, vol.4, pp.1–3, p.10 (footnotes)
'Ex tenebris lux: comment by Jenny Harper', review of the Christchurch Art Gallery, Architecture New Zealand, May/June, pp.30–2
2002
'Moller-fied?: comment by Jenny Harper', review of the art spaces in Te Papa, Architecture New Zealand, March/April, pp.29–30
'Cultural pledges: a background perspective', in Damian Skinner, 'New sites, new sights', Art New Zealand, no.102, spring 2002, pp.36–7
2001
'Memo to Te Papa', Museum National, May, pp.22–5
2000
Pre/dictions: the role of art at the end of the millennium (ed.), papers presented at the Conference of the AAANZ, December 1999, Victoria University, Wellington, 243pp.
1999
'Boyd Webb,' Toi! Toi! Toi!, catalogue essay, Fredericianum, Kassel, pp.124–31
1997
Boyd Webb, Auckland Art Gallery, Auckland, and Museums Aotearoa, Wellington, 1997, 182pp. (exhibition curator, catalogue compilation and author of lead essay)
New vision: a critical view of the visual arts infrastructure, with Michael Volkerling and Christina Barton, commissioned by Creative New Zealand and the Chartwell Trust, McDermott Miller, Ltd, Wellington, 108pp.