PATRICIA PICCININI | INDEX | WRITING | CALENDAR | CONNECTIONS | CV | CONTACT | STUDIO | ARCHIVE |
Patricia Piccinini - Curriculum Vitae | |
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Biography | |
1965 | Born Freetown, Sierra Leone |
1972 | Arrived in Australia |
1985-88 | Bachelor of Arts (Economic History), Australian National University |
1989-91 | Bachelor of Arts (Painting), Victorian College of the Arts |
1994-96 | Coordinator, The Basement Project Gallery |
2016 | Doctor of Visual and Performing Arts (honoris causa), University of Melbourne |
2017-19 | Enterprise Professor, Victorian College of the Arts, University of Melbourne |
Selected Solo Exhibitions | |
2021 | ALPHA60, Hugs, Heide Museum of Modern Art, Bulleen, Australia |
Patricia Piccinini, Scott Lawrie Gallery, Auckland, New Zealand | |
The Instruments of Life, Kai Art Center, Tallinn , Estonia | |
2020 | Curious Affection on tour, NorthSite, Bulmba-ja Arts Centre, Cairns, Australia |
Between the Shadow and the Soul, Helsinki Taidehalli, Helsinki, Finland | |
The Gardeners Eye, Roslyn Oxley9 Gallery, Sydney, Australia | |
Curious Affection on tour, Artspace Mackay, Mackay, Australia | |
Omfamna Framtiden, Boras Museum of Art, Boras, Sweden | |
2019 | Chromatic Balance, Tolarno Galleries, Melbourne, Australia |
Life Clings Closest, Cairns Art Gallery, Cairns, Australia | |
En Kaerlig Verden, Arken Museum, Copenhagen, Denmark | |
2018 | Curious Affection, Gallery of Modern Art, Brisbane, Australia |
Curious Imaginings, Vancouver Biennale at the Patricia Hotel, Vancouver, Canada | |
Patricia Piccinini and Joy Hester: Through Love, TarraWarra Museum of Art, Healesville, Australia | |
The Field (Project), Sydney Contemporary Artfair, Sydney, Australia | |
Patricia Piccinini, Hosfelt Gallery, San Francisco, USA | |
2017 | Conscienceness, Kibla Portal, Kibla, Slovenia |
The Struggle and the Dawn, Roslyn Oxley9 Gallery, Sydney, Australia | |
No fear unmingled with hope, Tolarno Galleries, Melbourne, Australia | |
2016 | ComSciencia, CCBB Rio De Janiero, Rio De Janiero, Brazil |
ComSciencia, CCBB Belo Horizonte, Belo Horizonte, Brazil | |
Alone With The Gods, Greenaway Art Gallery, Adelaide , Australia | |
We feel, conceive or reason, laugh or weep, Hosfelt Gallery, San Francisco, USA | |
ComSciencia, CCBB Brasilia, Brasilia, Brazil | |
Patricia Piccinini: Bodyscape, Yu-Hsiu Museum of Art, Caotun, Taiwan | |
2015 | Piccinini at Hosfelt, Artinternational, Istanbul, Turkey |
ComSciencia, CCBB Sao Paulo, Sao Paulo, Brazil | |
Another Life, University of Quebec Art Museum, Montreal, Canada | |
Relativity, Galway International Arts Festival Gallery, Galway, Ireland | |
The Shadows Calling, Dark Mofo / Mercury Building, Hobart, Australia | |
And colour is their flesh, Tolarno Galleries, Melbourne, Australia | |
2014 | Like Us, Newcastle Art Gallery, Newcastle, Australia |
The Touch of Another, Warrnambool Art Gallery, Warrnambool, Australia | |
Skywhale, Splendour in the Grass, Byron Bay, Australia | |
2013 | Structures of Support, Canberra Museum and Gallery, Canberra, Australia |
I have spread my dreams under your feet, Roslyn Oxley9 Gallery, Sydney, Australia | |
Kaunas Biennial Unitext, NGO Kaunas Biennial, Kaunas, Lithuania | |
Skywhale, Canberra Centenary, Dark Mofo, Canberra, Hobart, , Australia | |
2012 | Those who dream by night, Haunch of Venison , London, UK |
There are no strangers, Tolarno Galleries, Melbourne, Australia | |
The Welcome Guest, Conner Contemporary Art, Washington DC, USA | |
2011 | Hold Me Close To Your Heart, Arter Space For Art, Istanbul, Turkey |
Once Apon a Time, Art Gallery of South Australia, Adelaide, Australia | |
The Welcome Guest, Conner Contemporary Art, Washington DC, USA | |
The Fitzroy Series, Centre for Contemporary Photography, Melbourne, Australia | |
2010 | Relativity, Art Gallery of Western Australia, Perth, Australia |
Not as We Know It, Haunch of Venison , New York, USA | |
Beyond Our Kin, Roslyn Oxley9 Gallery, Sydney, Australia | |
Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea | |
2009 | Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia |
Unforced Intimacies, Tolarno Galleries, Melbourne , Australia | |
Recent Work, Byblos Art Gallery, Verona, Italy | |
2008 | The Place Where It Actually Happens, Yvon Lambert, New York, USA |
Piccinini, Perc Tucker Regional Gallery, Townsville, Australia | |
The Wellspring, Tolarno Galleries, Melbourne, Australia | |
Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia | |
2007 | (tiernas) Criaturas/(tender) Creatures, Artium, Vitoria-Gasteiz, Spain |
Hug: Recent Works by Patricia Piccinini, Frye Museum, Des Moines Art Center, Seattle, Des Moines, USA | |
Double Love Knot, Lismore Regional Gallery, Lismore, Australia | |
Recent Work, Roger Williams Gallery, Auckland, New Zealand | |
2006 | In Another Life, Wellington City Gallery, Wellington, New Zealand |
Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia | |
Life Cycle, Tolarno Galleries, Melbourne, Australia | |
2005 | Nature's Little Helpers, Robert Miller Gallery, New York, USA |
Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia | |
2004 | Sculpture, Robert Miller Gallery, New York, USA |
2003 | We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy |
We are Family, toured to Hara Museum, Bendigo Art Gallery, Tokyo, Bendigo, Japan, Australia | |
Precautionary Tales, Tolarno Galleries, Melbourne , Australia | |
Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia | |
Love Me Love My Lump, Monash Centre and Dryphoto Gallery, Prato, Italy | |
Call of the Wild, toured to John Curtin Gallery, Perth, Australia | |
2002 | Call of the Wild, Museum of Contemporary Art, Sydney, Australia |
Retrospectology, Australian Centre for Contemporary Art, Melbourne, Australia | |
Sandman, National Gallery of Victoria, Melbourne, Australia | |
Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia | |
2001 | The Breathing Room, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan |
Superevolution, Centro de Artes Visuales, Lima, Peru | |
One Night Love, Tolarno Galleries, Melbourne, Australia | |
2000 | Swell, Artspace, Sydney, Australia |
Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia | |
1999 | Protein Lattice, Republic Tower billboard, Melbourne, Australia |
Truck Babies, Tolarno Galleries, Melbourne, Australia | |
Plasticology, NTT InterCommunication Centre, Tokyo, Japan | |
1998 | Sheen, Adelaide Festival, Adelaide, Australia |
Car Nuggets, Arts Victoria, Melbourne, Australia | |
1997 | Psycho, Tolarno Galleries, Melbourne, Australia |
1996 | Natural Beauty, The Basement Project, Melbourne, Australia |
Your Time Starts Now..., Contemporary Art Centre of South Australia, Adelaide, Australia | |
Your Time Starts Now..., Institute of Modern Art, Brisbane, Australia | |
1995 | Love Me Love My Lump, The Basement Project, Melbourne, Australia |
TerrUrbanism, toured to The Australia Centre, Manila, Philippines | |
1994 | TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia |
T.M.G.P., The Basement Project, Melbourne, Australia | |
Indivisibles, The Basement Project, Melbourne, Australia | |
Selected Group Exhibitions | |
2020 | Reshaped Reality, Osthaus Museum, Hagen, Germany |
Supernatural, Kunsthalle Tubingen, Tubingen, Germany | |
Moving Energies 10 Years ME, me Collectors Room, Berlin, Germany | |
2019 | Hyper Realism Sculpture, Parc de la Boverie, Liège, Belgium |
Australia. Antipodean Stories, PAC Padiglione d'Arte Contemporanea, Milano, Italy | |
Future and the Arts, Mori Art Museum, Tokyo, Japan | |
Cars: Accelerating the Modern World, Victoria and Albert Museum, London, UK | |
Encounters: Honoring the Animal in Ourselves, Palo Alto Art Center, Palo Alto, CA, USA | |
Licht Luft Scheisse, Botanical Museum, Berlin, Germany | |
The Coming World, Garage Museum of Contemporary Art, Moscow, Russia | |
The XXII Triennale di Milano, Broken Nature, P a l a z z o d e l l A r t e , Milan, Italy | |
Apocalyptic Horse, Heide III: Albert & Barbara Tucker Gallery, Bulleen, Australia | |
Enter, Housemuseum Galleries, Kew, Australia | |
Projects, Seattle Art Fair, Seattle, USA | |
Perfection, Science Gallery, Dublin, Ireland | |
The Gifts of Tony Podesta, Katzen Art Center, Washinton DC, USA | |
Reshaped Reality, Chiang Kai-sheck Memorial Hall, Taipei, Taiwan | |
Auto-didactic: The Juxtapoz School, Petersen Automotive Museum, Los Angeles, USA | |
2018 | Obsession: Devil in the Detail, Mornington Peninsula Regional Art Gallery, Mornington, Australia |
The Public Body, Artspace, Woolloomooloo, Australia | |
Perfection, The Science Gallery, Melbourne, Australia | |
This Wild Song, Town Hall Gallery, Hawthorn, Melbourne, Australia | |
Mirror Mirror, Paul Robeson Galleries, Newark, NJ, USA | |
The Exodus of Ordinary, Vivian Gallery, Warkworth, New Zealand | |
Frankensteins Birthday Party, Hosfelt Gallery, San Francisco, USA | |
Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide, Australia | |
Let's Play, Bunjil Art Gallery, Narre Warren, Australia | |
2017 | Hyper Real, National Gallery of Australia, Canberra, Australia |
All the Better to See you with, Fairy Tales Transformed, Ian Potter Gallery, Universty of Melbourne, Parkville, Australia | |
Pulsanti, Abdulmecid Mansion / Arter, Istanbul, Turkey | |
At 50, Tolarno Galleries, Melbourne, Australia | |
Gys! Er den levende?, Arken Museum of Modern Art, Copenhagen, Denmark | |
Momentum 9 Bienale 'Alienation', PunktO Galleri 15, Moss, Norway | |
Revival, National Museum of Women in the Arts, Washington, USA | |
Beyond Belief: the Sublime in Contemporary Art, Bathurst Regional Art Gallery, Bathurst, Australia | |
Mad Love, Arndt Art Agency, Berlin, Germany | |
The Universe and Art, ArtScience Museum, Singapore | |
The Universe and Art, Mori Art Museum, Tokyo, Japan | |
2016 | On the Origin of Art, MONA (Musuem of Old and New Art), Hobart, Australia |
N e w R o m a n c e A r t a n d t h e p o s t h u m a n , Museum of Contemporary Art, Sydney, Australia | |
Soft Core, Casual Powerhouse Arts Centre, Lake Macquarie City Gallery, Hawkesbury Regional Gallery, Bathurst Regional Gallery, Cowra Regional Gallery, Shoalhaven Arts Centre, Shepparton Art museum, Ararat Regional Art Gallery, Wagga Wagga Art Gallery, Sydney, Lake Macquarie, Hawkesbury, Bathurst, Cowra, Nowra, Shepparton, Ararat, Wagga Wagga, Australia | |
Speed, Murray Art Museum, Albury, Australia | |
The New Romance, National Museum of Contemporary Art, Seoul, South Korea | |
Cornucopia, Shepparton Art Museum, Shepparton, Australia | |
Weird and Wonderful, Museum Folkwang, Essen, Germany | |
Australian Exotica, Monash Gallery of Art, Melbourne, Australia | |
Super Natural, National Museum of Women in the Arts, Washington, USA | |
2015 | Materia Prima, LABoral Centro De Arte, Gijon, Spain |
The Post-Photographic Condition, Le Mois De La Photo a Montreal, Montreal, Canada | |
Demonstrable, University of Western Australia, Perth, Australia | |
Beautiful Beast, The New York Academy of Art, New York, USA | |
Q u e e n s i z e F e m a l e A r t i s t s f r o m t h e O l b r i c h t C o l l e c t i o n , me Collectors Room, Berlin, Germany | |
Dark Heart, Adelaide Biennial of Australian Art, Adelaide, Australia | |
2014 | Menagerie, Australian Centre for Contemporary Art, Melbourne, Australia |
In the Flesh: Experiencing the New Real, National Portrait Gallery of Australia, Canberra, Australia | |
PULSE: Reflections on the body, Canberra Museum and Gallery, Canberra, Australia | |
The Gathering II, Wangeratta Art Gallery, Wangaratta, Australia | |
In the Flesh: Experiencing the new real, National Portrait Gallery of Australia, Canberra, Australia | |
Remain in Light: Photography from the MCA collection touring exhibition, Museum of Contemporary Art, Ipswich Reg Gallery, Western Plains Culture Centre, Maitland Reg Gallery, Bendigo Art Gallery, Artspace Mackay, Hawkesbury Reg gallery, Sydney, Ipswich, Dubbo, Maitland, Bendigo, Mackay,Windsor, Australia | |
Swell, Screen Space, Melbourne , Australia | |
Melbourne Now, NGV, Melbourne, Australia | |
2013 | Post-humanist Desire: Sexuality and Digitality in Contemporary Art, Museum of Contemporary Art, Taipei, Taiwan |
Nature of the Beast, The New Art Gallery, Walsall, England | |
How to tell the future from the past, Haunch of Venison , New York, USA | |
The Future's Not What It Used To Be, Newlyn Art Gallery and The Exchange, Newlyn, England | |
The Wandering: Moving Images from the MCA Collection, Cairns Regional Gallery, Cairns, Australia | |
Project Genesis, Ars Electronica, Linz, Austria | |
Call of the Wild, Hosfelt Gallery, San Francisco, USA | |
Vrrooom, Perc Tucker Regional Gallery, Townsville, Australia | |
Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Regional Gallery, Rockhampton, Australia | |
Seven Sisters, Karen Jenkins-Johnson Gallery, San Francisco, USA | |
Fairy Tales, Monsters, and the Genetic Imagination, The Frist Center for the Visual Arts,Glenbow Art Museum, Winnipeg Art Gallery, Nashville, Tennesse, Calgary, Manitoba, USA, Canada | |
2012 | The Observer, Haunch of Venison, London, UK |
Louise Bourgeois, Heide Museum of Modern Art, Melbourne, Australia | |
Blue: Matter, Mood, and Melancholy, 21c Museum Hotel, Louisville, USA | |
Confounding: Contemporary Photography, National Gallery of Victoria, Melbourne, Australia | |
Nature vs Nurture, FaMa Gallery, Verona, Italy | |
Animal/Human, University of Queensland Art Museum, Brisbane, Australia | |
Concepts of Life in Contemporary Sculpture, Georg Kolb Museum, Berlin, Germany | |
Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia | |
The Freeze, Maroondah Art Gallery, Melbourne, Australia | |
Controversy: the power of art, Mornington Peninsula Regional Art Gallery, Melbourne, Australia | |
Chromogenic, 2012, Media House Gallery, The Age building, Melbourne, Australia | |
Inspiring Art> recipients of the Pat Corrigan Artists Grant, Maitland Regional Art Gallery, Maitland, Australia | |
2112: Imagining the Future, RMIT Gallery, Melbourne, Australia | |
2011 | Power of Making, Victoria & Albert Museum, London, UK |
Boundaries Obscured, Haunch of Venison , New York, USA | |
Our Origins, Museum of Contemporary Photographty at Columbia, Chicago, USA | |
Tokyo Art meeting: Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan | |
Not As We Know It, Haunch of Venison , New York, USA | |
The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada | |
2010 | Medicine and Art, Mori Art Museum, Tokyo, Japan |
2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan | |
Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands | |
2009 | Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany |
Niet Normaal: Difference on Display,, Beurs Van Berlage,, Amsterdam, The Netherlands | |
Colliding Worlds, Samstag Museum, Adelaide, Australia | |
Contemporary Australia: Optimisim, GOMA Queensland Art Gallery, Brisbane, Australia | |
Neo-Goth: Back In Black, University of Queensland Art Museum, Brisbane, Australia | |
The Stranger, Yvon Lambert, New York, USA | |
2008 | Gallery Artists, Conner Contemporary Art, Washington DC, USA |
Figuring Landscapes, ArtSway, and then travelling UK and Australia until 2010, Hampshire, UK | |
Life (Death Thereafter), Silvershot, Melbourne, Australia | |
The Land of Retinal Delights, Laguna Art Museum, Laguna Beach, USA | |
Bloodline: The Evolution of Form, McClain Gallery, Houston, USA | |
New Millenium, Lismore Regional Gallery, Lismore, Australia | |
FX in Contemporary Photography, McClelland Gallery and Sculpture Park, Melbourne, Australia | |
Global Feminisms, Brooklyn Museum, New York, USA | |
Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA | |
Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher , Wurzberg, Germany | |
2007 | Diagnose [Kunst]: Contemporary art reflecting medicine, Kunstmuseum Ahlen, Ahlen, Germany |
Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands | |
MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia | |
Artist Makes Video: Art Rage Survey 1994-1998, Queensland College of Art, Brisbane, Australia | |
Redefined, Corcoran Museum of Art, Washington DC, USA | |
Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA | |
Long Live Sculpture, The Open Air Museum for Sculpture Middelheim, Antwerp, Belgium | |
2006 | Prism, Bridgestone Museum of Art, Tokyo, Japan |
Black & Blue, Robert Miller Gallery, New York, USA | |
High Tide, Zacheta National Gallery of Art, Warsaw, Poland | |
Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F Johnson Museum of Art Cornell University, Ithaca, USA | |
High Tide, Contemporary Art Centre, Vilnius, Lithuania | |
The Idea of the Animal, RMIT Gallery, Melbourne, Australia | |
New to the modern: Heide's Collection 25 years on, Heide Museum of Modern Art, Melbourne, Australia | |
Strange Cargo, Newcastle Region Art Gallery, travelling exhibition until March 2008, Newcastle, Australia | |
Supercharged, Institute of Modern Art, travelling exhibition until June 2008, Brisbane , Australia | |
2006:Contemporary Commonwealth, Australian Centre for the Moving Image, Melbourne , Australia | |
Epic, Lismore Regional Gallery, Lismore, Australia | |
Home Goal: Diversity in Contemporary Art from the Collection of Dr. Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia | |
Becoming Animal, MASS MoCA, North Adams, USA | |
Detox, Kunstnernes Hus, Oslo, Norway | |
Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, USA | |
2005 | I thought I knew but I was wrong, Ssamzie Space, Seoul, South Korea |
Almost, Robert Miller Gallery, New York, USA | |
Living Apart Together, Odapark Venray, Venray, The Netherlands | |
Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, Australia | |
Rheinschau Art Cologne Projects, Art Cologne, Cologne, Germany | |
Andererseits: die phantastik, Landesmuseum, Linz, Austria | |
We Are the World, Chelsea Art Museum, New York, USA | |
2004 | Brides of Frankenstein, San Jose Museum of Art, San Hose, USA |
Auto Fetish: The Mechanics of Desire, Newcastle Region Gallery, Newcastle, Australia | |
Bloom: Mutation, Toxicity and the Sublime, Govette Brewster Art Gallery, New Plymouth, New Zealand | |
I thought I knew but I was Wrong, Jamjuree Art Gallery, Pathumwan, Bangkok, Thailand | |
Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, Australia | |
Repercussions, Greenaway Art Gallery, Adelaide , Australia | |
The Plot Thickens, Heidi Museum of Modern Art, Bulleen, Victoria | |
Written with Darkness: Selected photographs from the Corrigan Collection, University of Technology Gallery, Sydney, Australia | |
Face Up, Hamburger Bahnhof, Berlin, Germany | |
Bienal de La Habana, Havana, Havana, Cuba | |
Second Sight, National Gallery of Victoria, Melbourne, Australia | |
2003 | see, here, now, The Ian Potter Museum of Art, Melbourne, Australia |
Liverpool Biennale: International 2002, Tate Liverpool, Liverpool, England | |
(The world may be) fantastic: 2002 Biennale of Sydney, Object Gallery, Sydney , Australia | |
Tech / No / Zone, Museum of Contemporary Art, Taipei, Taiwan | |
2002 | Melodrama: Lo Excesivo en la Imaginación Posmoderna, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain |
Modified Terrain, Institute of Modern Art, Brisbane , Australia | |
conVerge; where art and science meet, Art Gallery of South Australia, Adelaide, Australia | |
Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain | |
For Real, Wood Street Galleries, Pittsburgh, United States | |
2nd Berlin biennale, Postfuhramt (Old Postal Services Building), Berlin, Germany | |
hybrid | |
Melbourne Festival, The Australia Projects, Melbourne Zoo and RMIT Gallery, Melbourne, Australia | |
2001 | Seeing through Landscape, Australian Centre for Photography, Sydney , Australia |
Desire, Royal Melbourne Institute of Technology Gallery, Melbourne, Australia | |
Gwangju Biennale, Gwangju City Art Museum, Gwangju, Korea | |
Song of the Earth, Museum Fridericianum, Kassel, Germany | |
Passing Time: The Möet & Chandon Exhibition, Art Gallery of New South Wales, Sydney, Australia | |
2000 | Terra Mirabilis: Wonderful Land, Centre for Visual Arts, Cardiff, Wales |
Zeitgeössische Fotokunst Aus Australien, Neuer Berliner Kunstverein, Berlin, Germany | |
Zeitgeössische Fotokunst Aus Australien, Museum Scholß Hardenberg, Velbert, Germany | |
Zeitgeössische Fotokunst Aus Australien, Kunstsammlungen, Chemnitz, Germany | |
Zeitgeössische Fotokunst Aus Australien, Kulturzentrum der Stadt Stuttgart, Stuttgart, Germany | |
Flow, National Art Gallery, Kuala Lumpur, Malaysia | |
Bonheurs des Antipodes, Musée de Picardie, Amiens, France | |
Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA | |
Sporting Life, Museum of Contemporary Art, Sydney, Australia | |
Plastic Life, Level 2, Art Gallery of New South Wales, Sydney, Australia | |
Akihabara TV 2, Akihabara electrical stores, Tokyo, Japan | |
Signs of Life: Melbourne International Biennial, Telstra Exchange Building, Melbourne , Australia | |
A Window Inside Outside, Gwangju City Art Museum, Gwangju, Korea | |
Probe, Australian Embassy, Beijing, China | |
1999 | The Liquid Medium:Video Art, Queensland Art Gallery, Brisbane, Australia |
ARTificial Life, Artspace, Auckland, New Zealand | |
Akihabara TV, Akihabara electrical stores, Tokyo, Japan | |
The Persistence of Pop, Monash University Gallery, Melbourne, Australia | |
Signature Works, Australian Centre for Photography, Sydney, Australia | |
Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan | |
Byte Me, Bendigo Art Gallery, Bendigo, Victoria | |
Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia | |
Up the Road: Contemporary Artists out of the VCA, Australian Centre for Contemporary Art, Melbourne, Australia | |
Metamorphosis, Mornington Peninsula Regional Art Gallery, Victoria, Australia | |
Hype: Fashion, Art and Advertising, RMIT Gallery, Melbourne, Australia | |
1998 | Natural Selection (Australian Perspecta 1997), Museum of Contemporary Art, Sydney, Australia |
Art=Advertising, Robert Lindsay Gallery, Melbourne, Australia | |
Lawyers, Guns and Money, Experimental Art Foundation, Adelaide, Australia | |
1997 | Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan |
Fotofeis, Gallery of Modern Art, Glasgow, Scotland | |
Nothing Natural, Plimsoll Gallery, Hobart, Australia | |
Nothing Natural, Latrobe Regional Gallery, Morewll, Australia | |
Wild Kingdom, Institute of Modern Art, Brisbane, Australia | |
Techne, Perth Institute of Contemporary Arts, Perth , Australia | |
Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney, Australia | |
Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria, Australia | |
Perception & Perspective, National Gallery of Victoria, Melbourne, Australia | |
1996 | Nothing Natural, The Basement Project, Melbourne, Australia |
Möet & Chandon Touring Exhibition, National Gallery of Victoria, Melbourne, Australia | |
Möet & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane, Australia | |
Möet & Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide, Australia | |
Möet & Chandon Touring Exhibition, Art Gallery of New South Wales, Sydney, Australia | |
Cyber Cultures, Performance Space, Sydney, Australia | |
Alternative Realities tour, Pacific Cultural Centre, Taipei, Taiwan | |
Alternative Realities tour, Tamsui Centre of Arre, Tamsui, Taiwan | |
Alternative Realities tour, Mountain Art Gallary, Kaohsiung, Taiwan | |
Alternative Realities tour, Karnataka Chitrakala Parishath Gallery, Bangalore, India | |
Alternative Realities tour, Government Museum & Art Gallery, Chandigarh, India | |
Alternative Realities, Ian Potter Gallery, University of Melbourne, Melbourne, Australia | |
Alternative Realities tour, University of Science and Technology, Hong Kong, China | |
Alternative Realities tour, Zhu Qizhan Gallery, Shanghai, China | |
1995 | Alternative Realities tour, Wang Fun Art Gallery, Beijing, China |
Alternative Realities tour, Gallery Artbeam, Seoul, Korea | |
Technothelylogia: Technology for and by Women, Monash University Gallery, Melbourne, Australia | |
Since the Accident, The Basement Gallery, Melbourne, Australia | |
Our Parents' Children, National Gallery of Victoria, Melbourne, Australia | |
A Gathering of Shades, Temple Studio, Melbourne, Australia | |
Fleshly Worn, ASA Gallery, Aukland, New Zealand | |
Ada's Spawn, New Media Network, Melbourne, Australia | |
Plastiche (Curator), The Basement Project, Melbourne, Australia | |
Critical Mass, Arts Victoria Gallery, Melbourne, Australia | |
City Screens, Melbourne International Festival, Melbourne, Australia | |
Deliquescence, 200 Gertrude Street, Melbourne, Australia | |
Deliquescence, Canberra Contemporary Art Space, Canberra, Australia | |
1993 | Deliquescence, First Draft Gallery, Sydney, Australia |
Selected Bibliography | |
2021 | Jaklyn Babington, Know My Name, NGA, 2021, p. 11 |
Konrad Marshall, High Flyer - Good Weekend mag, Fairfax press, 2021, Cover, pp.12-15 | |
2020 | Anni Doyle Wawrzynczak, How local art made Australias national capital, ANU Press, 2020, Cover, 245, 246 |
Dr. phil. Ann-Katrin Günzel, Kunstforum international, kunstforum.de, 2020, pp 48-49, 61, 86-87 | |
2019 | Jon Wood & Julia Kelly / Nato Thompson, Contemporary Sculpture, Cragg Foundation, 2019, pp 215-217 |
Tokuyama Hirokazu, Kondo Kenichi, Future and the Arts, Mori Art Museum, Tokyo, 2019, pp 136-137 | |
Benoit Remiche, Hyper-Realism Sculpture ceci n'est pas un corps, Tempora, 2019, pp 178-179 | |
Jon B K Ransu, Hreinn Hryllingur form og formleysur I samtimalist, Prentsmidjan Oddi ehf, 2019, p 146 | |
Guillaume Baychelier, No age, please, we're posthuman!, Editions Kime, 2019, pp 99-116 | |
Rebecca Morrill / Louisa Elderton, Great Women Artists, Phaidon Press, 2019, p. 320 | |
Paola Antonelli / Ala Tannir, Broken Nature, La Triennale di Milano, 2019, p. 261 | |
Yanki Lee, Kana Ohashi, Speculations: Beyond Human Centered Design, Shinano Co, 2019, pp. 274-275 | |
Corbett Lyon, Fleur Watson, Enter, Housemuseum Galleries, 2019, Central Gallery 9. | |
Dr Otto Letze, Mr Franklin Hill, Reshaped Reality, Institute fur Kulturaustausch, 2019, pp. 120-121 | |
Franco Bolelli, Manuela Mantegazza, Per Tuttii I Per Sempre, Amazon , 2019, Front cover | |
Jeans Jamin, Michel Leiris, Gradhiva, Musee Du Quai Branly, 2019, pp. 88-99 | |
Jean Marie Panazol, TDC (Textes et Documents Pour la Classe), Reseau Canope, 2019, pp. 7, 81 | |
Christian Gether, Stine Hoholt, Dea Antonsen, A World of Love, Arken Museum of Modern Art, 2019 | |
Henry T. Greely, Issues in Science and Technology, N a t i o n a l A c a d e m y o f S c i e n c e s & , Spring, 2019, pp. 32-33 | |
Jennifer Sakai & Klaus Ottmann, The Gifts of Tony Podesta, American University Museum, 2019, pp.88-89 | |
Therese Gilligan, MC_AC, Loreto Mandeville, 2018, pp. 69-74 | |
Otto Letze, Nicole Fritz, Almost Alive / Kunsthalle Tubingen, Hirmer Verlag, 2018, pp. 122-123 | |
2018 | Nathan Scolaro, Dumbo Feather / PP makes Tender Art, Berry Liberman, 2018, pp. 86-95 |
Sally Claxton, The Art of Feminism, Elephant Book Company Ltd, 2018 | |
Evelyn Tsitas, My Monster, RMIT Gallery, Melbourne, 2018, p. 54 | |
Liz Rideal, Kathleen Soriano, Madam & Eve, Women Portraying Women, Laurence King Publishing, 2018, p 107 | |
Samantha Comte, All the better to see you with, Fairy tales transformed, Ian Potter Museum of Art, 2018, pp.15, 82-85 | |
Peter McKay, Patricia Piccinini, Curious Affection, Queensland Art Gallery Gallery of Modern Art, 2018 | |
Anonda Bell, Mirror Mirror, Paul Robeson Galleries, Rutgers Uni, 2018, pp. 28, 104-105 | |
Elizabeth Finkel, Cosmos, Cosmos Media, Melbourne, Issue 77, 2018, pp. 52-61 | |
Michael Klant / Joseph Walch, GK Kunst 2- Plastick, Skulptur, Objekt, Schroedel Westermann, 2017, p. 58 | |
Anna Davis, New Romance. Art and the Posthuman, Museum of Contemporary Art, Sydney, 2017, pp.8-9, 16,33,54, 140-147 | |
2017 | Abdulmecid Kosku / Omer Koc, Pulsanti aperietur, MAS Matbaacilik San ve Tic A.S., 2017, pp.20-21 50-51 64-67 71-71 |
Matthias Arndt / Rachael Vance, MAD, Arndt Art Agency, 2017, pp. 38-41 | |
Kon Gouriotis, Artist Profile, Nextmedia, 2017, pp. 56-65 | |
Kathryn Wat, Revival, National Museum of Women in the Arts, 2017, pp. 78-81 | |
Honor Hager, The Universe and Art, Artscience museum, Singapore, 2017, p. 90 | |
Marysa van den Berg, KIJK / Dier Maakt Mens, KIJK Magazine, Netherlands, July, 2017, pp. 34-35 | |
Charles Green, Art Forum International, May 2017, Artforum International Magazine, 2017, p.356 | |
Richard Perram, Beyond Belief The sublime in contemporary art, Bathurst Regional Art Gallery, 2017, pp. 30-33 | |
Silja Leifsdottir, What Remains, Fotogalleriet, Oslo, 2017, p. 79 | |
Otto Letze, GYS! Er den levende?, Arken Museum for Moderne Kunst, 2017, p.90-91 | |
Bowden, Hannan, D'Aglas, Lindley, D'Angelo, Art-isan, Studio Arts for VCE, Cambridge University Press, 2017, p. 144, 208 | |
Adam Geczy, The Artificial Body in Fashion and Art, Bloomsbury Publishing, 2017, p. 70,79,84-87 | |
Michael Do, Soft Core, Ligare Book Printers, 2016, pp. 66-71 | |
Barbara Creed , Stray: Human/Animal Ethics in the Anthropocene , Power Publications , 2016 | |
2016 | David Walsh, On the Origin of Art, Museum of Old & New Art, 2016, p. 453-461 |
Nanjo Fumio, The Universe and Art, Mori Art Museum, Tokyo, 2016, p. 126 | |
Natasha Bullock, MCA Collections, Museum of Contemporary Art, Sydney, p. 292-293 | |
Malene Breusch Hansen, Researchers Wildest Tools, Bonnier Publications Int, 2016, p. 93 | |
Thomas Macho, Das Schwein, Agora 42, Aug-2016, pp. 43-48 | |
Jane O'Sullivan, Beyond the Border, Australian Financial Review, March, 2016, pp. 54-59 | |
Joan Fontcuberta, The Post-Photographic Condition, Kerber Photo Art, 2016, pp. 122-127 | |
Jeon Hyesook, Post Human, SACK, Seol, Korea, 2015, pp. 229-236 | |
Kim Jeongbae, New Romance, MMCA, Korea, 2015, pp. 140-155 | |
2015 | Marcello Dantas, Comciencia, Centro Cultural Banco, Brasil, 2015 |
William Myers, BioArt: Altered Realities, Thames & Hudson, 2015, pp. 52-57 | |
Jessica Housand-Weaver, Carbon Culture, Media Solutions USA, Issue 1, Fall 2014, Cover front & back, pp. 51-56 | |
Jaqueline Millner, ARTAND Australia, Art & Australia, Issue 52.1 - 2014, Cover, pp. 4, 128, 136-143 | |
2014 | Ron Radford, Collection Highlights, National Gallery of Australia, 2014, p. 196 |
Andrea Virginas, Acta Universitatis Sapientiae, Sapientia Hungarian Uni of Transylvania Scientific Publishing House, Vol 8, 2014, pp. 149-166 | |
Lisbeth Brunnich, Science Illustrated, Denmark, Bonnier Publications, Issue 17, 2014, p. 22 | |
Penelope Grist, Portrait, National Portrait Gallery, Spring/Summer, 2014, pp. 8, 17 | |
Elizabeth Ann Macgregor OBE, Glenn Barkley, Remain in Light (exhibition catalogue), Museum of Contemporary Art, Sydney, 2014, pp. 50-51 | |
Laura Baigorri Ballarín, Sense and Responsibility: A Bioethical Perspective on Experimental Creation, Hipatia Press, Vol 2, Number 2, 2014, pp.152,153, 161 | |
Julie R. Sasse, Blurred Boundaries: A History of Hybrid Beings and the Work of Patricia P., University of Arizona Press, 2014 | |
Mr. Terukazu Suenaga, Ms. Yoko Hayashi, Mr. Motoaki Hori, The Art of the 20th Century and Beyond, Bijutsu Shuppan-sha, Tokyo, July 20th, 2013, p. 204 | |
Diana Warnes, Under My Skin (Exhibition Catalogue), Rockhampton Art Gallery, 2013, p. 49 | |
2013 | Caitlyn Burford, Manor House Quarterly, Manor House Quarterly, USA, Issue 07 , 2013, pp. 8, 46-57 |
Zoe Forget, Hey (Modern art & pop culture), Ankame Editions, #15, 2013, pp. 66-75 | |
Lucy Marczyk, (INSIDE) interior design review, Niche Media Pty Ltd, Sept / Oct 2013, p. 20 | |
Gong Yan, Art World 278 (Safari, the Zoetrope of Monsters), Shangai Central Publishing, 2013 | |
Deborah Robinson, The Nature of the Beast (Exhibition Catalogue), The New Art Gallery Walsall, 2012 | |
Jason Smith / Linda Michael, Louise Bourgeois in Australia (Exhibition Catalogue), Heide Museum of Modern Art, 2013, p. 118-121 | |
Antoine de Galbert, Memories of the Future, Collection of Thomas Olbricht (MR8), Fage Edition et La maison rouge, 2012, pp. 84, 210-211 | |
Ming Turner, Post - Humanist Desire, Museum of Contemp. Art, Taipei, Taipei, 2013, pp 8-11 | |
Kelly Gellatly, 101 Contemporary Australian Artists, National Gallery of Victoria, 2012, p. 170-171 | |
2012 | Marc Wellmann, BIOS Concepts of Life in Contemporary Sculpture, George Kolbe Museum, 2012, Cover, pp. 82-85 |
Linda Hertzman, Bild I Skolan, Swedish Teachers Union, Jan, 2012, p. 26-27 | |
Scala, Mark W., Fairy Tales, Monsters and the Genetic Imagination (Exhibition Catalogue), Vanderbuilt University Press, Sept, 2012 | |
Ewen McDonald, MCA Collection. Volume One, Museum of Contemporary Art, Sydney, March, 2012 | |
Linda Williams, Imagining the Future (exhibition catalogue), RMIT Gallery, Melbourne, Jan, 2012, p. 50-51 | |
Harrington, Zoe, Sculpture and the Enemies, Sculp & Enemies.com.au, Jan-March, 2012, p. 14-23 | |
JD Talasek, Rick Welch, Kevin Finneran, Visual Culture and Evolution, an Online Symposium, University of Maryland, USA, 2012, p. 188-189 | |
McDonald, Helen, Nearly Beloved, Patricia Piccinini, Piper Press, 2011 | |
Tony Ellwood, Ten Years of Contemporary Art. The James C Sourris AM Collection, Queensland Art Gallery, 2011, p. 138 | |
Singapore Art Museum, Video, an Art, a History 1965 - 2010, Singapore Art Museum, 2011, p. 88, 91, 93 | |
Dr Vivien Gaston, Controversy: The power of art (exhibition cat.), Mornington Peninsula Gallery, 2012, p. 21 | |
Jane Messenger, Once Upon A Time (Exhibition Catalogue), Art Gallery of South Australia, 2011 | |
2011 | Katrina Strickland, Neither Fish nor Fowl, Weekend Australian Fin Review, 2011, p. 37 |
Millner, Jacqueline, Conceptual Beauty, Artspace, Sydney, 2009, pp. 16-22, 106 | |
Robertson, Jean and McDaniel, Craig, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2010, pp. 264-266 | |
Kwang-Suk, Lee, The Art and Cultural Politics of Cyber Avant-gardes, Thomson Publications, 2010, pp. 379-385 | |
Alexandra Spring, Talks Art, Australian Vogue, 2011, p. 130 | |
Engberg, Juliana, Relativity (exhibition catalogue), Art Gallery of Western Australia, 2010 | |
2010 | Stadeus, Geert, and Snoeck, Patrick, Patricia Piccinini, Snoecks 2010, 2010, pp. 210-223 |
Bodeker, Katja and Hammer, Carmen, Wunderforschung, Nicolai, 2010, pp. 52-53 | |
The Revival of Empty Spaces, Patricia Piccinini, Monthly Art Magazine, Apr-2010, pp. 72-77 | |
Reilly, Maura, Curating Transnational Feminisms, Feminist Studies Magazine, Spring 2010, p.161 | |
Nycole Paquin, Becoming Animal: Deliria and Fabulous Foolishness, Espace Sculpture, Fall - 2010 | |
Hong, Kyoung-Han, Art in Post, Public Art, Mar-2010, pp. 142-143 | |
Hong, Kyoung-Han, Patricia Piccinini (interview), Public Art, Apr-2010, p. 177 | |
Linda Michael, Every 23 Days: 20 years touring Asia, Asialink , Jul-1909, p. 64 | |
Chrudzimska-Uhera, Katarzyna, Niepewna przysztosc Rzezby: Patricia Piccinini, Lamus, Jul-1909, pp. 62-67 | |
Clark, John, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, 2009, p.38 | |
Mori Art Museum, Medicine and Art: Imagining a future for Life and Love, Mori Art Museum, Tokyo, 2009, pp. 228-229 | |
Grehan, Helena, Performance, Ethics and Spectatorship in a Global Age, Palgrave Macmillan, 2009, pp. 8, 140, 142-3, 162-7, 187, 189 | |
Ardenne, Paul, Art le Present: La creation plasicienne au tournant du XXI siecle, Editions du Regard, 2009, pp. 156, 184 | |
Allemand, Lauranne, Denaro, Dolores, and team, Genipulation, Kunsthaus Centre d'art, 2009, pp. 116-119 | |
2009 | Roos, Robert, Wonderland: Through the Looking Glass, Kunsthall Kade Amersfoort, Netherlands, 2009, pp. 80-83 |
Green, Erica, Colliding Worlds, Samstag Museum, University of Adelaide, 2009, pp. 1-3 | |
Egan, Fiona, Born to be Wild: the Motorcycle in Australia, Penrith Regional Gallery, 2009, pp. 4, 28 | |
Hackett, Edward, Reflections for Looking Forward, Sciencemag.com, Jan-2009, pp. 340-345 | |
Korper Kurz nach der Geburt, Kunst und Unterricht, Kallmeyer, Jul-1909, p. 49 | |
Warne-Smith, Drew, Up Next: Patricia Piccinini, The Weekend Australia Magazine, March 14-15, 2009, p. 7 | |
Martain, Tim, Otherworldly Designs, The Mercury Magazine, March 21, 2009, p.2-3 | |
Strickland, Katrina, Tasmania's Modern Take, The Weekend Australian Financial Review, April 9-13, 2009, p. 56 | |
Levine, Stacey, Looking Together: Writers on Art, University of Washington Press, 2009, p. 36, 45 | |
Neylan, John, Motherhood Statement, The Adelaide Review, Mar-2010, pp.30-31 | |
Smallenburg, Sandra, Beeldende Kunst, NRC Handelsblad, May 1, 2009, p.8 | |
The Phantasm of International Biennales, Monthly Art Magazine, Dec-2009, p. 116 | |
Palmer, Maudie, Encounters with Australian Modern Art, Macmillan Art Publishing, 2009, pp. 246-247 | |
Art and Australia, Current: Contemporary Art from Australia and New Zealand, Dott Publishing, 2009, pp. 256-259 | |
Haraway, Donna , When Species Meet, University of Minnesota Press, 2008, pp. 287-292, 387 | |
Heartney, Eleanor, Art and Today, Phaidon Press, 2008, pp. 188-189 | |
Jessica Ullrich, Tier-Werden, Mensch-Werden, NGBK, 2009, pp 36-37 | |
Hulsbosch, Marianne, Cambridge Visual Arts: Stage 4, Cambridge University Press, 2008, pp. 148-149 | |
2008 | Slade, Lisa, The Thrall of the Skull, Neo Goth: Black is Back, 2008, pp. 24-26 |
Koop, Stuart, Beep Crackle: Contemporary art from the middle of nowhere, Institute of Modern Art, Sydney, 2008, pp. 126-135 | |
Takamado, Her Highness, the Princess, Transcripts of Lectures, Osaka University of Arts, 2008, pp. 111-112 | |
Kudo, Kiki, Post No Future, Kawade Shobo Shinsha Publishers, Japan, 2008, pp. 127-129 | |
Braun, Bart, Nieuwe Dieren, Uitgeverji Veen Magazines, 2008, pp. 120-122 | |
Zeitz, Lisa, Moped als Madonna: Das geheime Leben der Vespa, Kunstmarkt, February 23, 2008, p. 44 | |
Foster Gage, Mark, Etiologies of Beauty: Architecture and the New Physics of Appearances, Perspecta 40: Monster, 2008, p. 93 | |
Johnson, Ken, Some Shows for Escape, Some for Introspection, The New York Times, July 4, 2008, p. 30 | |
Beare, Michael & Welfare, Phillippa, Just Imagine, Wollongong City Gallery, 2008, pp. 12-13 | |
Cruz, Marcos, Designer Surgeons, Architectural Design, Nov-2008, p. 48 | |
Saehrendt, Christian & Kittl, Steen, Sprachfuhrer Deutsch - Kunst, Kunst - Deutsch, Dumont Buchverlag, Koln, 2008, pp. 149-150 | |
Suzanne Anker and JD Talasek, Visual Culture and Bioscience, University of Maryland, USA, 2008, p. 198 | |
Queensland Art Gallery, Contemporary Australia: Optimism, Queensland Art Gallery, 2008, pp. 182-185 | |
Fernandez Orgaz, Laura, (Tiernas) Criaturas, Artium, 2007 | |
Haraway, Donna , Speculative Fabulations for Technoculture's Generations: Taking Care of Unexpected Country, (Tiernas) Criatures, 2007 | |
Alderton, Steven, Patricia Piccinini: Double Love Knot (exhibition catalogue), Lismore Regional Gallery, 2007 | |
Hickson, Patricia, Hug or Run?, Hug: Recent Work By Patricia Piccinini, 2007 | |
Rosenberg, Randy, Art in Action: Nature, Creativity and Our Collective Future, The Natural World Museum, 2007 | |
2007 | Heartney, Eleanor, Worldwide Women, Art in America, June/July 2007, pp. 155-165 |
Blas, Susana, Patricia Piccinini: Documentary about the exhibition (Tiernas) Criatures at Artium , Metropolis, Spain, Oct-2007 | |
Armstrong, Carol, Carol Armstrong on Global Feminisms and WACK!, Artforum International, 0202/00/0707, pp. 360-362 | |
Were, Virginia, A Matter of Transformation, ArTnews New Zealand, Summer 2007, p. 60-62 | |
Israel, Glenis, Essential Art, Jacaranda, 2007, pp. 202-206 | |
Wallis, Geoffrey, Eye to i: The Self in Recent Art, Ballarat Fine Art Gallery, 2007, p.90 | |
Smith, Royce W., Hug: Recent Work by Patricia Piccinini, Review, 0202/00/0707, pp. 42-45 | |
Astrapellou, Marilena, Dear Scooter: Patricia Piccinini's Auto Art, Intersection, Spring 2007, p. 26 | |
de Rooij, Marie Jeanne, Down Under: The Hague Sculpture 07 (exhibition catalogue), Veenman Publishers, 2007, pp. 76-80 | |
Artundo, N, Science in Person, El Correo Espanol El Pueblo Vasco, October 4th, 2007, Cover, p. 77 | |
Crespo, Txema G., Piccinini Bordering the Limits of Nature, El Pais, October 4th, 2007, p. 37 | |
Lloyd, Tim, The Canvas Economy, The Advertiser Review, Sept.1, 2007, p. 1, 6,7 | |
Macgregor, Elizabeth Ann, MCA Collection: New Acquisitions (exhibition catalogue), Museum of Contemporary Art, Sydney, 2007, p. 20 | |
Ostbye, Guri Lorentzen, Barn + Kunst = Danning, Gorilo Forlag, Oslo, Norway, 2007, pp. 148-149 | |
Toffoletti, Kim, Cyborgs and Barbie Dolls: Feminism, Popular Culture and the Posthuman Body, I.B. Tauris and Co. Ltd, 2007, pp. 133-159 | |
Fujinami, Rieko, Nesting in an Ambiguous World, Dart International, Fall 2007, p. 36 | |
Coslovich, Gabriella, NGV Masters private exhibition deal, Metro News and Reviews, 2007, p. 16 | |
Bugden, Emma (ed), Patricia Piccinini: In Another Life (exhibition catalogue), City Gallery Wellington, 2006 | |
Brennan, Stella, Border Patrol, In Another Life, 2006, pp. 6-9 | |
Winship, Ingrid, Genetics in a Genome Era, In Another Life, 2006, pp. 14-15 | |
Weyns, Sara, Long Live Sculpture, Middelheim Museum, Antwerp, 2006, p. 13, pp.52-55 | |
Setsuko, Nakamura, Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, 2006, pp 71-77 | |
2006 | Doll, Nancy, Uneasy Nature, Weatherspoon Art Museum, 2006, pp. 42-47 |
Kardasz, Magda and Rees, Simon, High Tide: New Currents in art from Australia and New Zealand, Zacheta National Gallery of Art, Warsaw, 2006, pp. 79-80, 216 | |
Larson, Kay, Beautiful Mutants, Art News, Feb-2006, pp. 106-109 | |
Boucher, Brian, Patricia Piccinini at Robert Miller, Art in America, Feb-2006, p. 128 | |
McRae, Vanessa, Supercharged: The Car in Contemporary Culture, Institute of Modern Art, Brisbane | |
Green, Charles, 2006: Contemporary Commonwealth, National Gallery of Victoria, Melbourne, Jun-1909, pp.98-101 | |
Geczy, Adam and Genocchio, Benjamin, What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, Jun-1909, pp. 301-305 | |
Crombie, Isobel, Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, National Gallery of Victoria, Melbourne, Jun-1909, pp. 14, 110, plate 10 | |
Reena, Jana, Review of Patricia Piccinini: Nature's Little Helpers at Robert Miller Gallery, tema celeste contemporary art, no. 113, p. 85 | |
York, Hong Cing-fong Hsiao, Artist of the Year / Asia Live, Art Taipei, 2006, 2006, Cover, first 10 pages. | |
Slade, Lisa, Strange Cargo (exhibition catalogue), Newcastle Region Art Gallery, 2006, p. 6, 8, 13, 52,53 | |
Davies, Suzanne, The Idea of the Animal (exhibition catalogue), RMIT Gallery, 2006 | |
Tucker, Anne, Endangered Species: Patricia Piccinini and the Human Condition, Juxtapoz, February, pp. 72-77 | |
Riley, Jan, Patricia Piccinini, Sculpture Magazine, Vol 25, No 7, September 2006, p. 75 | |
Smith, Jason, Epic (exhibition catalogue), Lismore Regional Gallery, 2006, cover, p.5 | |
Perram, Richard, Home Goal (Exhibition catalogue), Bathurst Regional Art Gallery, 2006 | |
Lippert-Rasmussen, Kasper & Balling, Gert, Det Menneskelige Eksperiment, Museum Tusculanums Forlag, 2006, p. 233 | |
Miller, Christopher, Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, 2005 | |
Kent, Rachel, Nature is as Nature Does: Patricia Piccinini's Super-Natural Creations, Nature's Little Helpers, 2005 | |
Havilah, Lisa, C'town Bling, Campbelltown Arts Centre, 2005 | |
Mitzevich, Nick, Newcastle Region Art Gallery: Highlights from the Collection, Newcastle Region Art Gallery, 2005, p. 63 | |
Delany, Max, Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, 2005, pp. 50-51 | |
2005 | Wilson, Beth, Brand X Art, Chronogram, May-2005 |
Glueck, Grace, The line between species shifts and a show explores and move, The New York Times, Aug-2026 | |
Genocchio, Benjamin, Images of Reality, In Three Dimensions, The New York Times, Jun-2026 | |
Glover, Michael, Masters of the dark arts, The Times, Oct-2029 | |
Smee, Sebastian, Nature's Little Helpers make tasty omelette, The Australian | |
Tofts, Darren, Interzone: Media Arts in Australia, Craftsman House, 2005, pp. 98-101 | |
Welschen, Fred, Living Apart Together (exhibition catalogue), Odapark Venray, 2005 | |
Nowotny, Helga, Unersattliche Neugier: Innovation in einer fragilen Zukunft, Die Deutsche Bibbliothek, 2005, Cover | |
Savie, Chris, Untitled article, Adbusters, 2005 | |
Rees, Simon, Adelaide Biennial of Australian Art exhibition catalogue, AGSA, 2004 | |
Patricia Piccinini: We are Family, BT, Vol. 56, no. 845, pp 15-17 | |
Bec, Luis, The Demonstrous, Monsters, Ghosts and Aliens: The politics of representation in the digital era, F. Javier Pascual, Madrid, 2004, p 60 | |
Bourke, Gregory, Bloom: Mutation,Toxicity and the Sublime (exhibition catalogue), Govett Brewster Art Gallery, 2004 | |
Crisp, Lyndall, Freaks of Nature, Financial Review Weekend, 29-30 May 2004, p. 35 | |
2004 | Israel, Glenis, Senior Artwise 2: Visual Arts 11-12, Jacaranda, 2004, pp. 193-201 |
Eisenmann-Klein, Marita, Reconstruction and updating in plastic surgery in 'UmBauhaus: Updating Modernism', Jovis Verlag, Berlin, 2004, p. 56 | |
Glass, Alexie & Tutton, Sarah, I thought I knew but I was wrong: New video art from Australia (exhibition catalogue), Asialink / ACMI, Melbourne, 2004 | |
Gibson, Ross, Written with Darkness (exhibition catalogue), University of Technology, Sydney | |
Lovelace, Carey, Flesh & Feminism, Ms., Spring 2004, pp. 65-69 | |
Palmer, Daniel, Medium Without a Memory: Australian Video Art in 'I thought I knew but I was wrong', Asialink / ACMI, Melbourne, 2004 | |
Piccinini, Patricia, We are Family Lecture, Hara Museum Review, No 64, Spring 2004, pp. 6-7 | |
Plant, Simon, Art Breaking, Herald Sun Weekend, 09-May-2004, pp.6-7 | |
Rhodes, Kate, Patricia Piccinini's Desert Rider (Mountain), Art Bulletin of Victoria, Australia, No 44, 2004, pp. 90-91 | |
Villaca, Nizia, The Multiplication of Bodies in Artistic Communication in 'Metacorpos' (exhibition catalogue), Paco das Artes,Brasil, 2004, pp 56-7, 64-5, 100, 142 | |
Anderson, Karen, Monstrorum Historia: Biotech and Teriomorphism, Cluster, No. 4, 2004, pp. 144-151 | |
Vielhaber, Christiane, Junge Kunst ruckt nach vorn, Das Kunst Magazin, Vol. 11, 2004, p. 209 | |
Wertheim, Margaret & Christine, Teratology in 'Patricia Piccinini: We Are Family' (Linda Michael, Ed), Australia Council, 2003 | |
Smith, Jason, Patricia Piccinini: Sandman (exhibition catalogue), National Gallery of Victoria, Melbourne, 2003 | |
Antony, Rachael, We Are Family: Art by Patricia Piccinini, The Big Issue, no. 179, 9-24 June 2003, p. 11 | |
Block, Andrew, Arts: Bizarre Beasts, Qantas, no. 115, January 2003, p. 61 | |
Boyd, Chris, Visions of a Strange New World, The Weekend Australian Financial Review | |
2003 | Clifford, Andrew, Attack of the Clones, The Sunday Star Times, New Zealand, December 28 2003, p. 22 |
Crawford, Ashley, Patricia Piccinini in 'see here now, Vizard Foundation Art Collection of the 1990s' (exhibition catalogue), The Ian Potter Museum of Art, Melbourne, 2003, pp. 108-109 | |
Eccles, Jeremy, For the Love of Her Art, The Canberra Times, 25-May-2003, pp. 6-7 | |
Fortescue, Elisabeth, Meeting a boy who isn't there, The Daily Telegraph, 18-Aug-2003, p. 34 | |
Foster, Alasdair, Interview: Patricia Piccinini, Photofile, no. 68, April 2003, pp. 18-23 | |
Glass, Alexie, Patricia Piccinini, res, March-April 2003, p. 43 | |
Kinsman, Chloe, Patricia Piccinini (interview), tema celeste contemporary art, no. 98, pp. 58-61 | |
Patricia Piccinini in 'Havana Biennale 2003' (exhibition catalogue) , Centre for Contemporary Art, Havana, 2003, pp. 180, 340-341 | |
Lynn, Victoria, Patricia Piccinini in 'Face Up: Contemporary Art from Australia' (exhibition catalogue), Kantz, Berlin, Germany, 2003 | |
McDonald Crowley, Amanda, Creative Encounters: The Art/Science of Collaboration, Sarai Reader, Feb-2003, pp. 227-235 | |
Michael, Linda, Patricia Piccinini: Still life with Stem Cells in 'Monash University Collection: Three Decades of Collecting', Monash University Museum of Art, Melbourne, 2003, p. 113 | |
Michael, Linda, Love Me Love My Lump: Patricia Piccinini Photographs (exhibition catalogue), Monash University Museum of Art, Melbourne, 2003 | |
Smith, Bernard, Patricia Piccinini in 'Two Centuries of Australian Art', Thames and Hudson, Victoria, 2003, p.162 | |
Carroll, Alison, Sun Gazing: The Australia-Japan Art Exhibitions Touring program 2002-2004, The Asialink Centre, The University of Melbourne, 2004 | |
McAuliffe, Chris, and Harvey, Sue, see here now: Visard Foundation Art Collection of the 1990s, Thames and Hudson, Victoria, 2003, pp. 108-109 | |
Strickland, Katrina, Mother Love, The Weekend Australian, 2-4 May 2003, pp. 14-17 | |
Woodcock, Ben, Freak Show, State of the Arts, pp. 89-90 | |
Fitzgerald, Michael, Driving out Demons, Time (Pacific), 01-Jul-2003, pp. 62-64. | |
Genocchio, Benjamin, Genetically Modified Sculpture, The Australian, 11-12 January 2003, Review p. 21 | |
Genocchio, Benjamin, Piccinini and friends carve out a name in Venice, The Australian, 14-15 June 2003, p. 3 | |
Gill, Raymond, Family Values, The Age, 14-Jun-2003, A3 p. 12 | |
Hill, Peter, The Artist & Her Offspring, The Sydney Morning Herald, 25-26 January 2003, Spectrum pp. 6-7 | |
Hutak, Michael, The Far-out Pavilion, The Bulletin, 25-Jun-2003, p. 75 | |
Ingram, Terry, Happy as a pig in Venice: Piccinini parties to celebrate success, The Australian Financial Review, 27-Jun-2003, p. 43 | |
Lethbridge, Brett, Beauty Beyond Bizarre, The Courier-Mail, 15-Jun-2003, p. 30 | |
Naylor, Stephen, Feeling the heat at the 50th Venice Biennale, Art Monthly Australia, no. 161, July 2003, pp. 34-39 | |
Nelson, Robert, 'Clever Technology, Serious Questions', The Age, 05-Jan-2003, Arts p. 17 | |
Rees, Simon, Patricia Piccinini at ACCA, Flash Art, May-June 2003, p. 84 | |
Turner, Jonathan, Alien Nation, ARTnews, vol. 102, no. 8, September 2003, p. 107 | |
Lindinger, Verlag and Schmid, Uncompromising Mindset, Kunst Jahr 2003, 2003, p. 26, 28 | |
Kent, Rachel (ed), Call of the Wild: Patricia Piccinini (exhibition catalogue), Museum of Contemporary Art, Sydney, 2002 | |
Engberg, Juliana, Patricia Piccinini in '(The world may be) fantastic' Ewen McDonald (ed.) (exhibition catalogue), Biennale of Sydney, 2002 | |
Rowell, Amanda, Autoerotic (exhibition catalogue), Roslyn Oxley9 Gallery, Sydney, 2002 | |
Vele Ivanmaria, We Are Animals / Boiler Mag, Arti Graphiche, 2002, inside front cover | |
Engberg, Juliana, Retrospectology: The World According to Patricia Piccinini (exhibition catalogue), ACCA, Melbourne, 2002 | |
2002 | Smith, Jason, Sandman: Patricia Piccinini (exhibition catalogue), National Gallery of Victoria, Melbourne, 2002 |
Barragan, Paco, Patricia Piccinini in 'El Arte Que Viene (The Art to Come)', Subastas Siglo, Madrid, 2002, p. 236 | |
Faulkner, Jane, Patricia in Wonderland, The Age, 28-Nov-2002, p. 13 | |
Foster, Alasdair, Patricia Piccinini in 'Blink: 100 photographers 010 curators 010 writers', London: Phaidon Press, 2002, pp. 300-304 | |
Greenstein, M. A., Arte o Baño del sol, Lapiz, no. 179/180, 2002, p. 136 | |
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 28-Jul-2002, p. 2 | |
Michael, Linda, Love Me Love My Lump, The Diplomat, December 2002 - January 2003, pp. 45-46 | |
Millner, Jacqueline, Love in the Time of Intelligent Machines, Artlink, Vol 21 no 4, 2002, p. 42-47 | |
Palmer, Daniel, Patricia Piccinini, Frieze: Contemporary Art and Culture, Issue 65, 2002, p. 93-94 | |
Papastergiadis, Nikos, One Night Love, Object, no. 39, pp. 50-52 | |
Piccinini, Patricia, Life in the Media Landscape in 'Prefiguring Cyberculture: An Intellectual History', Power Publications, University of Sydney, 2002, p. 202-203_ | |
Bennet, Oliver, The quality of Mersey: Liverpool Biennale/International 2002, The Observer, UK, 16-Sep-2000 | |
Green, Charles, Patricia Piccinini, Artforum, May-2002, p. 194 | |
Hill, Peter, Weird Science, The Sydney Morning Herald, 30 August-5 September 2002, Metro p. 26 | |
Hynes, Victoria, Driven, The Sydney Morning Herald, 24-30 May 2002 | |
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 28-Jul-2002, p. 2 | |
Millner, Jacqueline, Storytelling, Eyeline, no. 49, Spring 2002, pp. 30-32 | |
Toffoletti, Kim, Patricia Piccinini; Lumps and Stem Cells, Eyeline, no. 50, Summer 2002/2003, p. 47 | |
Michael, Linda, One Night Love (exhibition catalogue), Tolarno Galleries, Melbourne | |
Hennessey, Peter, Patricia Piccinini: Installations in 'What is Installation? An Anthology of Writings on Australian Installation Art', Power Publications, Sydney, 2001, p. 301 | |
Hutak, Michael, Perfect Planet, Professionally Reproduced, Australian Art Collector, Issue 18, October 2001, p. 65 | |
McDonald, Helen, Erotic Ambiguities: The Female Nude in Art, Routledge, London, 2001, pp. 200-204 | |
Boiler, Arti Graphiche | |
Crawford, Ashley, Contemporary Australian Art, An Odd Creature from Down Under, Art and Australia ARCO insert, Vol 37, no. 2, 2001, p. 2 | |
2001 | Lancashire, Rebecca, Piccinini's Monsters, The Age, 27-May-2001, Extra p. 3 |
McCulloch-Uehlin, Susan, Virtual Visions, The Australian, 28-Oct-2001, Arts p. 9 | |
Travis, Lara, Vivid Vehicles of Delight for Lovers of One Night, The Age, 28-Oct-2001, p. 22 | |
Webb, Caroline, Young Collectables, The Age, 27-May-2001, Today p. 1 | |
Engberg, Juliana, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 | |
Colless, Edward, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 | |
Yamagata, Hiroo, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 | |
Leggett, Mike, Patricia Piccinini, Photofile, no. 60, August 2000, p. 8-11 | |
Miki, Akiko, Very New Art 2000: 100 Artists, BT Art Magazine, vol. 52, no. 782, January 2000, p. 188-189 | |
2000 | Millner, Jacqueline, Afterword: Perspective on Perspecta in Martin Thomas (ed.) 'uncertain ground', Art Gallery of New South Wales, Sydney, 2000, p. 170 |
Pennings, Mark, Enchantment, Technoscience and Desire, Art and Australia, vol. 37, no. 4, 2000, pp. 556-565 | |
Murphy, Bernice, Patricia Piccinini in Zeitgeössische Fotokunst Aus Australien, Braus im Wachter Verlag, Heidleberg, Germany, 2000, pp. 26-31 | |
Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 11, January 2000, p. 84 | |
Genocchio, Benjamin, Reality Check via Plastic Bimbo, The Weekend Australian, 06-Aug-2000, Review p. 18 | |
Hoffman, Frank, Report from Kwangju: Monoculture and its Discontents, Art in America, Nov-2000, p. 74 | |
Hong-Hee, Kim, Kwangju Biennial, Flash Art, Summer 2000, p. 100 | |
James, Bruce, I'll have what she's having, The Sydney Morning Herald, 03-Feb-2000, Arts p. 12 | |
Scarff, Julian, Probe, Art Asia Pacific, Issue 27, 2000, pp. 28-30 | |
Engberg, Juliana, Essay in 'Signs of Life: Melbourne International Biennial' (exhibition catalogue), City of Melbourne, 1999 | |
Hatanaka, Minoru, Plasticology, InterCommunication, no. 29, Summer 1999, p. 189 | |
Stanhope, Zara, The Persistence of Pop (exhibition catalogue), Monash University Gallery, Melbourne, 1999 | |
Sun-Hee, Kim, A Window Inside Outside (exhibition catalogue), Gwangju City Art Museum, Korea, 1999 | |
Williamson, Clare, Digitalis Australis, History of Photography, no. 2, vol. 23, Summer 1999, pp. 107-113 | |
1999 | Clabburn, Anna, Baby Trucks Dump on Mass Consumption, The Age, 18-Mar-1999, Arts p. 17 |
Colless, Edward, Patricia Piccinini, Art + Text, no. 66, October 1999, p. 79-80 | |
Frost, Andrew, Australia' s 50 Most Collectable Artists, Australian Art Collector, no. 7, 1999, p. 50 | |
Sinclair, Jenny, Oh Baby, It's a Truck! , The Age, 17-Mar-1999, IT p. 2 | |
Taylor, Kerry, Artist's Infatuation with a Baby Beast, The Age, 16-Mar-1999, News p. 7 | |
Hennessey, Peter, Essay in 'Sacred and Profane' (exhibition catalogue), 1998 Adelaide Festival Visual Arts Program, 1998 | |
Sansom, Gareth, The Long and Winding Road in 'Up the Road: Contemporary Artists out of the Victorian College of the Arts', ACCA, Melbourne, 1998 | |
Geczy, Adam, Australian Perspecta, Eyeline, no. 35, Summer, 1998, p. 40 | |
Riley, Vikki, Machine Translations & Other Digital Heresies, Photofile, no. 53, April 1998, pp. 58-61 | |
Pennings, Mark, Art = Advertising (exhibition catalogue), Robert Lindsay Gallery, Melbourne, 1997 | |
1998 | Hennessey, Peter, Plastic Realist in Blair French (ed.) 'Photo Files: An Australian Photography Reader', Power Institute and ACP, Sydney, 1999, pp. 247-254 |
Burne, Philippa, Up the Garden Path, HQ Magazine, no. 54, Sept 1997, p. 23 | |
Johnson, Anna, Young at Art, Good Weekend, April 26, 1997, p. 36 | |
Uemura, Hisashi, LUMP, Gap Magazine, October, 1997, pp. 105-107 | |
1997 | Maloney, Evan, Consuming Art, Art Monthly, no. 99, May 1997, p. 17 |
Rooney, Robert, Arts on Friday: Art=Advertising, The Australian, 15-Mar-1997, p. 12 | |
Hennessey, Peter and Gregory, Chris, Patricia Piccinini: Your Time Starts Now... (exhibition brochure), Contemporary Art Centre of South Australia, 1996 | |
Schubert, Robert, Patricia Piccinini: Fetal Futures, Art + Text, no. 54, May 1996, pp. 33-35 | |
Clabburn, Anna, There's Something in Nothing Natural, Mesh, no. 8/9, Autumn 1996, pp. 27-28 | |
Cooper, Jackie, Natural Born Artist, The Australian, 02-Dec-1996, p.36 | |
Hill, Peter, Cameras, Lies and Photographic Exhibits, The Bulletin, 18-Sep-1996, p. 100 | |
1996 | Honeysett, Stuart, Computer Art a Child of Invention, The Australian, 15-May-1996, p. 7 |
McFarlane, Robert, Looking to the Future, The Sydney Morning Herald, 29-Aug-1996, p. 11 | |
Owen, Kristin and Simon Plant, Bubbly Prospects, Herald Sun, 10-Feb-1996, p. 33 | |
Pennings, Mark, Patricia Piccinini: Your Time Starts Now..., Eyeline, Summer 1996, p. 34 | |
Rooney, Robert, Melbourne Art, The Australian, 25-May-1996, p. 18 | |
Rooney, Robert, Möet & Chandon Touring Exhibition, The Australian, 24-Feb-1996, p. 13 | |
Stanhope, Zara, Mapping the Code: Artists Conceiving Data-bodies, Mesh, no. 8/9, Autumn 1996, pp. 16-17 | |
Kent, Rachel, Alternative Realities: Australian Artists Working with Technology (exhibition catalogue), Ian Potter Gallery, University of Melbourne, 1995 | |
Latham, Mary Ann, Inside Out: An Interview with Patricia Piccinini, Aedon, Dec-1995 | |
Stanhope, Zara, Technothelylogia: Technology of and by Women (exhibition catalogue), Monash University Gallery, Melbourne, 1995 | |
Cookes, Thomas, Multimedia Spawns Art, The Age, 13-Jul-1995, p. 21 | |
Gibson, Tom, Patricia Piccinini, Art + Text, no. 50, January 1995, p. 66 | |
1995 | McKenzie, Robyn, Hi-Tech Art Flows into the Mainstream, The Age, 27-Jul-1995, p. 23 |
Hennessey, Peter, Patricia Piccinini: Indivisibles (exhibition brochure), The Basement Project, Melbourne, 1994 | |
Gregory, Chris, Indivisibles, Eyeline, Spring 1994, pp. 42-43 | |
Marsh, Anne, City Theme Rules, Herald Sun, 18-May-1994, p. 47 | |
Storey, Rohan, The City Screen, Monument, vol. 1 no. 2, 1994, p. 64 | |
Teffer, Nicola, Body with Organs, Photofile, no. 42, June 1994, pp. 6-7 | |
1994 | Barren, Sonia, Pushing the Limits of Acceptability, The Canberra Times, 18-Feb-1993, p. 25 |
Hawker, Rosemary, Heretical Gestures at the Birth of Enlightenment, Eyeline, no. 15, 1991, pp. 16-20 | |
Jones, Mathew, The Body Dis-corporate: Patricia Piccinini, Agenda, no. 20/21, November 1991, p. 18 | |
Thompson, Kerstin, Charles Williams Gallery, Transition, no. 36/37, Summer 1991, pp. 172-17 | |
1993 | |
1991 | |
Selected Awards | |
2014 | International Cultural Exchange Program, Arts Victoria |
2006 | New Media Fellowship, Australia Council |
2002 | Arts Development grant, Arts Victoria |
2000 | Tokyo Residency, Australia Council |
1999 | Project Grant, Australia Council |
1998 | International Cultural Exchange Program, Arts Victoria |
1997 | Project Grant, Arts Victoria |
Christopher James Blyth Memorial Award, Victorian College of the Arts | |
1996 | Theodore Urbach Award, Victorian College of the Arts |
1991 | Theodore Urbach Award, Victorian College of the Arts |
1990 | |
1989 | |
Selected Public Collections | |
The Vehbi Koç Foundation, Istanbul, Turkey | |
Weatherspoon Art Museum, North Carolina, USA | |
Pheonix Art Museum, Arizona, USA | |
Middelheim Museum, Antwerp, Belgium | |
21C Museum, Louisville, Kentucky, USA | |
National Gallery of Australia, Canberra, Australia | |
National Gallery of Victoria, Melbourne, Australia | |
Art Gallery of New South Wales, Sydney, Australia | |
Queensland Art Gallery, Brisbane, Australia | |
Art Gallery of South Australia, Adelaide, Australia | |
Monash University, Victoria, Australia | |
Newcatle Region Art Gallery, New South Wales, Australia | |
The University of Melbourne, Victoria, Australia | |
Griffith University, Queensland, Australia | |
Waverley City Gallery, Melbourne, Australia | |
Bendigo Art Gallery, Victoria, Australia | |
Parliament House, Canberra, Australia | |
Artbank, Australia | |
This document was created Mon, 08 Mar 2021 08:38:41 +0000 |