Tom Nicholson

curriculum vitae - download as pdf

Tom Nicholson (b. 1973 Melbourne, Australia) is an artist who lives and works in Melbourne, Australia. He is represented by Milani Gallery, Brisbane. He is also a Lecturer in Drawing at Monash Art, Design and Archicture, Monash University.

 

Selected solo exhibitions

2012

(with Raafat Ishak) Proposition for a banner march and a black cube hot air balloon, 11 July - 9 September, Shepparton Art Museum, Shepparton;

2011

Drawings and correspondence, 15 August-24 September, Anna Schwartz Gallery, Melbourne;

2010

(with Tony Birch) Camp Pell Lecture, 28 January - 27 February, Artspace, Sydney,

2009

(with Andrew Byrne) Lines towards another century, performed by L'Arsenale, 6 June 2009, commissioned by Media Art Bath, Parco delle Rimembranze, Venice;

2008

(with Andrew Byrne) Lines towards another century, performance with the Elysian Quartet and Oliver Langdon, 22 June, exhibition 24 June - 6 July, Media Art Bath at The Holburne Museum, Bath, UK;

2007

After action for another library, 15 September-10 February 2008, Te Tuhi Centre for the Arts, and Pakuranga Library, Auckland, New Zealand;

Documents from a banner marching project, 2-11 March, Ocular Lab Inc., Melbourne;

2006

Traces towards four Coranderrk drawings in a Berlin store-room, Plattform, Berlin, 26-31 October;

After action for another library, Anna Schwartz Gallery, Melbourne, 1-30 September;

Flag Time: Marat at his last breath, Ocular Lab, Melbourne, January;

2004           

22.06.1911/30.10.2004: Documents after Marching Season, IASKA (The Aurora Project), Kellerberrin, 6 November;

2003           

After action for another library, Humboldt University, Berlin, 28 August-3 October;

Stills from an archive into five actions, Australia Centre, Berlin, 3-30 September;

Melancholia (Documents after five actions, Berlin), Gertrude Contemporary Art Spaces, Melbourne, 7 February-1 March;

Fragments from an archive into five actions, West Space, Melbourne, 21 February - 8 March;

Anarchist Salon (with David Corbet), Ocular Lab, Melbourne,1 April;

2002

Documents after five actions, Kapelle der Versöhnung, Berlin, 8-22 November;

Fragments from an archive into five actions, studio exhibition, Berlin,16-23 November;

2001

After action against book burning (Two fragments for a disused Stasi office), studio exhibition, Berlin,13-19 September;

2000

After Dili Action, West Space, Melbourne, 5-15 April;

1999

Collaborative Project: A Syntax into Six Landings, with John Abbate, Public Office, Melbourne, April.

 

<Selected group exhibitions

2012

Parallel Collisions, 12th Adelaide Biennial of Australian Art, curated by Natasha Bullock and Alexie Glass-Kantor, 2 March - 29 April, Art Gallery of South Australia, Adelaide;

Marking Time, curated by Rachel Kent, 28 March - 3 June, Musuem of Contemporary Art, Sydney;

Gestures in Time, curated by Katya Garcia-Anton and Lara Khaldi, part of the inaugural Qalandiya International, director Jack Persekian, 3 - 15 November, Jerusalem, Ramallah, and locations throughout the West Bank;

(with Andrew Byrne) Sonic Spheres: TarraWarra Biennial, TarraWarra Museum of Art, 5 August - 9 December;

(with Riccardo Vaglini) Radio Alice, Margaret Lawrence Gallery VCA, 7 September - 6 October;

Paul Guest Prize for Drawing, Bendigo Art Gallery, 14 July - 26 August;

Liquid Archives, Monash University Museum of Art, 19 July - 22 September;  

(with Raafat Ishak), Ocular Lab, Margaret Lawrence Gallery, VCA, University of Melbourne, Melbourne;

Propositions part two, 6 - 12 November, Milani Gallery, Brisbane;

(with Raafat Ishak), On collaboration, Breenspace, Sydney, 30 November - 22 December;

2011

Surviving the future, curated by Jan-Erik Lundstrom, Murmansk Art Museum, Murmansk, Russia;

Second World, curated by WHW, visual arts component of Steirischer Herbst, Graz, Austria, 23 September - 16 Octobe; and at Galerija Nova, Zagreb, 15 September - 18 November;

Without Words: Photography and Emotion, curated by Kyla McFarlane, June, CCP, Melbourne;

10 ways to look at the past, curated by Jane Devery, July, National Gallery of Victoria, Melbourne:

Finalists exhibition, Melbourne Prize for Urban Sculpture, November, Federation Square, Melbourne.

2010

Animism, curated by Anselm Franke, 15 January - 15 May, at Extra City Kunstahl Antwerpen and MUHKA, Antwerp, Belgium;

Last Ride in a Hot Air Balloon: The 4th Auckland Triennial, curated by Natasha Conland, 12 March - 20 June, Auckland Art Gallery Toi o T?maki with Auckland Triennial Partner AUT University in association with exhibition partners Artspace, St Paul St and The George Fraser Gallery, Auckland, New Zealand;

(with Andrew Byrne) 8th Shanghai Biennale, curated by Gao Shiming, 24 October - 28 February 2011, Shanghai Art Museum, Shanghai, China;

The Art of War, curated by Sean Donaher, 19 June - 22 August, CEPA, Buffalo, USA;

To the Arts, Citizens!, curated by Oscar Faria and Joao Fernandes, 19 November - February 2011, Serralves Museum, Porto, Portugal;

Kent State: Four Decades Later, curated by Ann Stephen and Luke Parker, 13 May - 18 July, University Art Gallery, University of Sydney;

Still Vast Reserves II, curated by Alexie Glass-Kantor, Emily Cormack, Chris Sharp, 30 July - 28 August, Gertrude Contemporary Art Spaces, Melbourne;

(with Tony Birch) Duetto, curated by Domenico de Clario, 28 May - 26 June, Australian Experimental Art Foundation, Adelaide;

2009

Word, 4 July - 8 August 2009, Anna Schwartz Gallery Sydney;

Still vast reserves, curated by Alexie Glass, Francesco Stocchi, and Emily Cormack, 24 September - 24 October, Galleria Magazzino d'Arte Moderna, Rome;

(with Raafat Ishak) West Brunswick Sculpture Triennial, curated by OSW (Terri Bird, Bianca Hester, and Scott Mitchell), 21 March 12 April 2009, over four sites: wBST base camp, 135 Union Street, Brunswick; Anstey and Ashton; Ocular Lab; Nikos' Rear Entrance; and 461 Albert Street, Brunswick West.

Erased: Contemporary Australian Drawing, curated by Natasha Bullock, an Asialink touring exhibition, beginning 20 July - 23 August 2009, at the Nanyang Academy of Fine Arts Gallery (NAFA), Singapore;

The Gift, June 12 – 28, I. C. A. N., Sydney;

+/-, curated by Danny Lacy, 7 September – 9 October, curated by the Monash University Museum of Art at the Faculty Gallery, Faculty of Art and Design, Monash University, Melbourne;

2008

Since we last spoke about monuments, curated by Mihnea Mircan, 14 September - 9 November, Stroom den Haag, The Hague;

Finallists exhibition of the Melbourne Prize for Urban Sculpture, 10-24 November, Federation Square, Melbourne;

(in collaboration with Raafat Ishak), Form and discontent, curated by Brad Haylock and Misa Glisovic, 12 December 2008 - 3 January 2009, Dont come, Melbourne;

2007

System error: War is a force that gives us meaning, curated by Lorenzo Fusi and Naeem Mohaiemen, Centro Arte Contemporanea, Palazzo delle Papesse, Siena, 3 February-6 May;

Regarding Fear and Hope, curated by Victoria Lynn, Monash University Museum of Art, Clayton, and the Monash Faculty Gallery, Caulfield, Melbourne, 5 July-28 July (Caulfield), 4 July-25 August (Clayton);

(action with Raafat Ishak) Proposition for an action with banners and a black cube hot air balloon, 13 March, Arden Street Football Ground, North Melbourne;

(as casa amarilla, in collaboration with Domenico de Clario) Odradek, 15-31 August, Faculty Gallery, Faculty of Art & Design, Monash University, Melbourne;

2006

Zones of contact, 15th Biennale of Sydney, curated by Dr Charles Merewether, 7 June – 27 August;

Trans versa: conversando en el sur, curated by Danae Mossman and Zara Stanhope, Galeria Metropolitana, Santiago, 4 October-4 November, as part of the South Project;

Trinity Nine, an Ocular Lab project at Trinity College, Melbourne, 8-27 August;

(with Andrew Byrne) Endgame: Late-capitalist Realism, a project by The Office of Utopic Procedures, VCA Gallery, 14 September-9 October;

New Social Commentaries, Warrnambool Art Gallery, 2 September-5 November;

Ghosts of self and state, curated by Geraldine Barlow, Monash University Museum of Art, Clayton, 5 April – 10 June;

Banners held high: The 150th Anniversary of May Day/Labour Day, curated by Jo Holder, The Cross Art Project, Sydney, 6 - 27 May;

2005

The body. The ruin, curated by Bridget Crone, The Ian Potter Museum of Art, The University of Melbourne, 5 November – 22 January;

The Melbourne Prize for Urban Sculpture, finalists exhibition, Federation Square, Melbourne, 9 – 20 November;

course, with Jan Svenungsson, Ocular Lab, Melbourne, July 29-31;

Re/thinking, Bus Gallery, Melbourne, 4 September – 22 October;

Ocular Lab: 12, curated by Kirsten Rann and Alex Rizkalla, Spacement, Melbourne,19 April-7 May;

From Space to Place, curated by Marco Marcon, Perth Institute of Contemporary Art, Perth, 31 March-8 May;

2004

(with Raafat Ishak) 2004: Australian Culture Now, National Gallery of Victoria, Melbourne, June-August;

NEW04, curated by Geraldine Barlow, Australian Centre for Contemporary Art, Melbourne, 23 March-19 May;

Performance anxiety, Ocular Lab, Melbourne, February;

2003

Curiosity kills the gab, curated by Tobias Berger, Artspace, Auckland;

Feedback: Art, Social Consciousness, and Resistance, curated by Charlotte Day, Monash University Museum of Art, 19 March-10 May;

Video Loop: Actions, curated by Blair French, Performance Space, Sydney, July;

2001

The Office of Utopic Procedures, West Space, October-November;

(in collaboration with Louisa Bufardeci)The Stolen Generations Memorial Competition, June-August, Museum of Victoria, Melbourne;

2000

Critical Response, curated by Felicity Fenner, Ivan Dougherty Gallery, Sydney, 29 April-27 May;

Action/Recollection: Here the body is, West Space, 13 July-5 August;

Drawing: The Extended Field, VCA Gallery, Melbourne, September;

1998

VCA Graduate Exhibition, Drawing Department, VCA.

1997

Drawing in the 90s, Sutton Gallery, Fitzroy.

 

<Artists' books by Tom Nicholson

2010

Drawings and correspondence, Design: Brad Haylock (Melbourne: Surpllus, 2010). Published on the occasion of the exhibition Animism, curated by Anselm Franke, 15 January - 15 May, at Extra City Kunstahl Antwerpen and MUHKA, Antwerp, Belgium; a second edition was published on the occasion of the solo exhibition, Drawings and correspondence, at Anna Schwartz Gallery, 2011.

2009

Monument for the flooding of Royal Park, Design: Brad Haylock (Melbourne: Schwartz City, 2009).

2003

After action for another library, Design: Brad Haylock (Self-published, 2003, as a German-English bilingual book, on the occasion of the exhibition, After action for another library, Humboldt University, Berlin, 28 August-3 October; subsequently published as an Italian-English bilingual version, self-published, 2007, as part of an installation in the exhibition System error: War is a force that gives us meaning, Centro Arte Contemporanea, Palazzo delle Papesse, Siena, Italy, 3 February-6 May; later published by Surpllus, as an English-only version, as part of an installation in the exhibition The Art of War, 19 June - 22 August, CEPA, Buffalo, USA;

 

<Selected essays/publications on Tom Nicholson's work

2012

Tony Birch, "Tom Nicholson's shadow", Broadsheet, March 2012;

Anneke Jaspers, "Interview with Tom Nicholson", Das Superpaper, Adelaide Biennial issue, March 2012;

Andrew Benjamin, "With the line. Within the line. Notes on the work of Tom Nicholson", in Marking Time (exh. cat.), (Sydney: MCA, 2012);

Natasha Bullock and Alexie Glass-Kantor, Parallel Collisions, exh. cat. (Adelaide: AGSA, 2012);

2011

Shelley McSpedden, "Inteview with Raafat Ishak and Tom Nicholson", Discipline, no. 1, Winter 2011, pp. 94-99.

Sary Zananiri, Interview with Tom Nicholson, Art Territories, http://www.artterritories.net/?page_id=1376

2010

Anselm Franke et al, Animism, exh. cat. (Antwerp: Sternberg Press, Extra City, and MUHKA, 2010);

Mihnea Mircan, “Tom Nicholson”, in Natasha Conland (ed.), Last ride in a hot air balloon. 4th Auckland Triennial, exh. cat. (Auckland: Auckland Art Gallery, 2010);

Nicola Harvey. “Camp Pell Lecture”, Frieze online, 19 February 2010.

2009

Blair French, “Tom Nicholson: Following the event”, Art & Australia, Vol. 47, No. 1, Spring 2009;

Anthony Gardner, “Which histories matter?”, Third Text, Volume 23, Issue 5, September 2009, pp. 605 – 615;

Reuben Keehan, “Tom Nicholson”, in Natasha Bullock (ed.), Erased: Contemporary Australian Drawing, exh. cat. (Melbourne: Asialink, 2009);

Nicola Harvey, “Word”, Frieze online, 3 August 2009

2008

Chris Fite-Wassilak, Review of Lines towards another century, Frieze, Issue 118, October 2008;

Chris Fite-Wassilak, Review of Lines towards another century , Art & Australia, December 2008;

Mihnea Mircan, “Since we last spoke about monuments”, in exh. cat. Since we last spoke about monuments (The Hague: Stroom Den Haag, 2008);

Max Delany, Essay on contemporary Melbourne art, as part of the Melbourne City Profile, Frieze, Issue 115, May 2008;

Nicola Harvey, Essay on contemporary Melbourne art, as part of the Melbourne City Profile, Frieze, Issue 115, May 2008;

Bridget Crone, “Lines towards another century”, in exh. cat., Andrew Byrne and Tom Nicholson Lines Towards Another Century (Bath: Media Art Bath, 2008).

2007

Jarrod Rawlins, “Tom Nicholson” (Review of the solo exhibition After action for another library at Anna Schwartz Gallery, September 2006), Flash Art, Jan-Feb 2007, p. 114;

Lorenzo Fusi and Naeem Mohaiemen (ed.), System Error: War is a force that gives us meaning, exh. cat., Palazzo delle Papesse Centro Arte Contemporanea, Siena, and Silvana Editoriale, Milan, 2007;

Victoria Lynn, Regarding Fear and Hope, exh. cat., Monash University Museum of Art, Melbourne, 2007;

Robert Nelson, "Regarding Fear and Hope", review, The Age, 25 July;

Adam Gifford, "After action for another library at Te Tuhi Centre for the Arts and Pakuranga Library", New Zealand Herald, 18 October;

2006

Dr Charles Merewether, “Taking place: Acts of survival for a time to come”, in Zones of Contact, the 15th Biennale of Sydney, (exh. cat.), Sydney, 2006;

Dr Charles Merewether and Tom Nicholson, “The practice of action”, in After action for another library, the 15th Biennale of Sydney, Sydney, 2006;

John Mateer, “The gap of the border: Tom Nicholson’s Banner marching project”, Heat 11, pp. 171-188;

Anthony Gardner, “Re/thinking”, Art & Australia, vol. 43, no. 3, p. 433;

Michael Janover, “Learning to live with ghosts”, in Ghosts of self and state (exh. cat.), Clayton: Monash University Museum of Art, 2006, pp. 39-41.

2005

John Mateer, “Berlin is an archaeological find”, in Marco Marcon (ed.), From Space to Place (exh. cat.), Perth: IASKA, 2005, p. 39;

Marco Marcon, “From Space to Place”, in From Space to Place (exh. cat.), Perth: IASKA, 2005, pp. 3-8;

Bridget Crone, “The ruined body?”, in The body. The ruin (exh. cat.), Melbourne: The Ian Potter Museum of Art, The University of Melbourne, 2005, pp. 8-22;

“A dialogue between Jan Svenungsson and Tom Nicholson”, in course (exh. cat.), Melbourne: Ocular Lab, 2005;

Ted Snell, “Artists welcome a township’s embrace”, The Australian, 27 April 2005;

Daniel Palmer, “2004: Australian Culture Now”, Art and Australia, vol. 42, no. 2, pp. 196-7;

2004

Geraldine Barlow, “New 04”, in NEW04, exh. cat., ACCA: Melbourne, 2004, pp. 6-11;

Ray Edgar, “Seven days” in NEW04, exh. cat., ACCA: Melbourne, 2004, pp. 38-39;

Brett Jones (ed.), Form and Formation: West Space 1993-2003, 3 Deep Publishing: Melbourne, 2004;

Charles Green (ed.), 2004: Australian Culture Now, exh. cat.: National Gallery of Victoria: Melbourne, 2004;

Peter Clarke, “Politics as art”, Sunday Programme, 3LO, 11 April 2004;

Bianca Hester, “Critical Mass and Tom Nicholson's Banner Marches”, Natural Selection, No. 2, Winter 2004;

Megan Backhouse, “New Map of the Human Art”, The Age, 19 April 2004, Review pp. 6-7;

Janet Howie, “Project pushes boundaries”, Melbourne Yarra Leader, 5 April 2004, p. 15;

Robyn Phelan, “Report on art action ‘Seven days’ by Tom Nicholson”, North and West Melbourne News, June 2004, p. 10;

2003

Blair French, “Video Spell: Actions”, exh. cat. Video Spells: Actions, Performance Space, Sydney, 2003;

Charlotte Day, “Feedback”, in Feedback: Art, Social Consciousness, and Resistance, exh.cat. Monash University Museum of Art, Melbourne, 2003;

”After images” (dialogue with Christian Capurro and M. Bullock), Meanjin, Winter 2003;

Angus Trumble, “Action/Reaction”, in Melancholia (Documents after five actions, Berlin), exh. cat. Gertrude Contemporary Art Spaces, Melbourne, 2003;

Robert Nelson, review of Feedback, The Age, 2 April 2003, Review p. 6;

Anna Clabburn,”Text and tablets follow the script”, The Australian, 3-4 May 2003, p. 21;

2002

Martin Kleesman, “Die Bernauer Strasse ist eine Ruinenlandschaft”, Berliner Zeitung, 9 November 2002;

2000

Robert Nelson, “Digital forms speak language of the screen”, The Age, 28 July 2000, review p. 4;

Charles Green, “Your friends do not forget”, in Critical Response, ex. cat. Ivan Dougherty Gallery, Sydney, 2000;

 

<Selected writings by Tom Nicholson:

2011

with Jan Svenungsson, Forms for a public address (Melbourne: Surpllus, 2011).

2010

"Flooding back", catalogue essay for Kite Wise's exhibition, Explosions, Sarah Scout, Melbourne, September;

"This conversation", an exchange with Terri Bird on the work of Bianca Hester, Bianca Hester, exh. cat. (Melbourne: ACCA, 2010);

2009

“Pixels, shale, narratives”, Dominic Redfern: Stonewall, exh. cat. (Perth: PICA, 2009);

2007

"Walks and transmissions", Artlink, special South issue, June 2007;

"Blackboards, sounding boards", Beuys Steiner, exh cat., National Gallery of Victoria: Melbourne, 2007;

2006

“Raafat Ishak”, in Linda Michael (ed.), 21st Century Modern, exh. Cat., Art Gallery of South Australia: Adelaide, 2006;

2005

“Remembering New Eternal Cities: Ricky Swallow’s Field Recording (Highland Park Hydra), in This Time Another Year, exh. cat. Australian Pavillion, Venice Biennale: Venice, 2005;

“Upstairs, a Bike, a Horse”, in Charlotte Day (ed.), A short ride in a fast machine, Black Ink Press: Melbourne, 2005.

2004

“West Space, east space, civic space”, in Brett Jones (ed.), Form and Formation: West Space 1993-2003, 3 Deep Publishing: Melbourne, 2004, pp. 116-123;

2002

”Response”, in Laylah Ali, exh. cat.:   Indianapolis Museum of Art: Indianapolis, 2002;

“Watching this space”, Meanjin, August 2002;

”Haus Koebberling”, in Berliner Kunst, vol. 1, no. 9, p. 24;

 “Writing about cutting”, in Einschnitte/Incisions, ex. cat., Wilhelm Fabry Museum, Hilden, Germany, April 2002;

2000

“Cityscape Melbourne”, Flash Art, vol. 33, no. 212, May-June 2000, p. 71;

“22 Paragraphs after Action/Recollection”, in Action/Recollection: Here the Body Is, ex. cat. West Space, 2000;

“Review of Brent Harris: Swamp”, Art/Text, 68, February-April 2000, p. 83;

1999

“Melbourne International Biennial”, Art and Australia, December 1999, pp. 201-3;

“Ricky Swallow”, in Contempora5, ex. cat., National Gallery of Victoria, Melbourne, September 1999;

“Archives After the Seventies and After”, Artlink, vol. 19. no. 1, Aut.1999, pp. 63-65;

1998

“It’s Time: Everyday Language in the Biennale of Sydney”, in Charles Green and Susan Best (eds.), In the Everyday: Critical and Theoretical Speculations on the 11th Biennale of Sydney, Sydney: Artspace Visual Arts Centre Ltd., 1998, unpaginated.

1997

“Leagues Under the Sea: Ricky Swallow”, Like, Art Magazine, 4, Summer/Autumn 1997/98, pp. 15-19.

 

<Selected papers and public events

2011

Contributor to the panel "Contemporary visions and critiques of the landscape", 18 June, Festival of Ideas, Melbourne University, Melbourne;

2010

“Actions towards imaginary monuments”, as part of the Architecture + Philosophy series, chaired by Esther Anatolitis and Helene Frichot, RMIT School of Architecture, April 29;

“Art in the city”, panel chaired by Dr Chris McAuliffe, Wheeler Centre for Books and Ideas, Melbourne, March;

“Alternative Solutions for Living in the Global Environment and Economy”, panel convened by Jon Bywater, Lecturer, Elam School of Fine Arts, University of Auckland, at the Auckland Art Gallery as part of Last ride in a hot air balloon. 4th Auckland Triennial, 14 March;

“Monuments and actions”, 7 October, Galleria Nova, Zagreb, Croatia;

2009

“Memory and imagination: Burke and Wills and Becker”, as part of Archive/Counter-Archive, a conference jointly organised by the Contemporary Art and the Archive Research Group (CARGO), Monash University, and the Centre for Drawing, Wimbledon College of Art, University if the Arts London, at the Monash Centre, Prato, July 2009;

2008

“Posters and meetings”, as part if Drawn Encounters, Complex Identities, co-organised by The Faculty of Art & Design, Monash University, and the University of the Arts, London, 17-18 September, The British School, Rome;

“Beuys and Explaining Pictures”, Kuvataideakatemia, Helsinki, February 12;

“Actions, images, traces”, Kuvataideakatemia, Helsinki, February 13;

“Collections and affiliations”, as part of Out of Bounds, Art, Faith and Religiosity, 20-23 August, Faculty of Art & Design, Monash University, Melbourne;

2007

“Actions towards the image”, as part of the off-site projects for Christian Capurro, Another Mis-spent Portrait of Etienne de Silhouette, Pensa con i sensi - Senti con la mente. L'arte al presente / Think with the Senses - Feel with the Mind. Art in the Present Tense, Biennale of Venice, 2007;

"Actions and co-ordinations", as part of Uncertain Places, 15-16 September, conference at Manukau Institute of Technology, Auckland, New Zealand;

"Transcriptions: Past tense, future tense", as part of the Transcription Symposium, 6 October, run by the Drawing Studio, Faculty of Art & Design, Monash University, Melbourne;

"Drawings, lectures, posters", as part of the Beuys Steiner Symposium, 27 October, National Gallery of Victoria, Melbourne;

2006

“The co-ordinated action”, Biennale of Sydney August Symposium, College of Fine Arts, University of New South Wales;
“Actions, residues, memory”, Crossing Horizons: Context and Community in the South, Santiago Gathering, The South Project, Museum of Contemporary Art, Santiago, October;

2004

”Actions and traces: Christian Capurro’s Another mis-spent portrait of Etienne de Silhouette as a drawing”, Worksense, Melbourne, March 2004;

2000

“Political engagement with Asia through art”, delivered at the Useby Forum, Centre for Contemporary Photography, Melbourne, 7 October 2000';

”Drawing and political action”, delivered at symposium Drawing: The Extended Field, 19 August 2000, Victorian College of the Arts, Melbourne;

1997

“Dead letters: photography and drawing in contemporary art”, public lecture, National Gallery of Victoria, Melbourne, 1997.

 

<Selected Grants/Awards

Creative Fellow, State Library of Victoria, 2007;

Finalist, New Social Commentaries, Warrnambool Art Gallery, 2006;

Finalist, The Melbourne Prize for Urban Sculpture, 2005, 2008, 2011;

Cultural activity grant, City of Melbourne, 2003;

International Export and Touring Fund, Arts Victoria, 2002;

Foundation for Young Australians, 2000;

New Work grant, Australia Council, 2000, 2007, 2011.

 

Selected collections

National Gallery of Victoria

Art Gallery of Western Australia

Monash University Museum of Art

State Library of Victoria

 

 

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