Patricia Piccinini
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http://www.patriciapiccinini.net
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1965 |
Born Freetown, Sierra Leone |
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1972 |
Arrived in Australia |
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1984 |
Diploma in Italian Language, Universita di Firenze, Florence, Italy |
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1985-88 |
Bachelor of Arts (Economic History), Australian National University, Australia |
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1989-91 |
Bachelor of Arts (Painting), Victorian College of the Arts |
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1994-96 |
Coordinator, The Basement Project Gallery |
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1999-2000 |
Part-time tutor, Victorian College of the Arts, Australia |
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2008 |
Macro, Museum of Contemporary Art, Roma, Italy [upcoming] Solo show, Museum of Fine Art, Montreal, Canada [upcoming] Solo show, Neuburger Museum, New York, USA [upcoming] Piccinini, (survey show), Perc Tucker Regional Gallery, Queensland Patricia Piccinini: The place where it actually happens, Yvon Lambert, New York Hug: Recent Work by Patricia Piccinini, Frye Art Museum, Seattle, Washington |
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2007 |
(tender)creatures, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain and the Des Moines Art Center in Iowa, USA Patricia Piccinini, Recent Work, Roger Williams Contemporary, Auckland, New Zealand Hug: Recent Work by Patricia Piccinini, Des Moines Art Centre Downtown |
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2006 |
Recent Drawings, Roslyn Oxley9 Gallery, Sydney Life Cycle, Tolarno Galleries, Melbourne Feature artist in Art Tapei 2006, Tapei, Taiwan Patricia Piccinini: In Another Life, City Gallery Wellington, New Zealand |
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2005 |
Patricia Piccinini: Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, New York, USA In bocca al lupo, digital projection, Newcastle Region Gallery, New South Wales, Australia |
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2004 |
Patricia Piccinini: Sculpture, Robert Miller Gallery, New York, USA We Are Family, Bendigo Art Gallery, Bendigo, Australia Repercussions, (individual and collaborative works by Peter Hennessey and Patricia Piccinini), Greenaway Art Gallery, Adelaide, South Australia |
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2003 |
We Are Family, Hara Museum of Contemporary Art, Shinagawa, Tokyo (to February 2004) Precautionary Tales, Roslyn Oxley9 Gallery, Sydney Precautionary Tales, Tolarno Galleries, Melbourne Love Me Love My Lump, Dryphoto arte contemporanea, Monash Centre in Prato, Tuscany, Italy We are Family, Australian Pavillion, 50th Venice Biennale, Venice, Italy (15 June - 2 November). Exhibition tour to Hara Museum of Contemporary Art, Shinagawa, Tokyo, Japan (6 December 2003 - 1 February 2004) and Bendigo Art Gallery, Bendigo, Victoria (17 April - 27 June 2004) Call of the Wild, John Curtin Gallery, Curtin University of Technology, Bentley, Western Australia |
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2002 |
Retrospectology: the world according to Patricia Piccinini, Australian Centre for Contemporary Art, Southbank, Victoria, December 2002 - March 2003 Sandman, Project Work, National Gallery of Victoria at Federation Square, Melbourne, Australia Call of the Wild: Patricia Piccinini, Museum of Contemporary Art, Level 4, Sydney Autoerotic, Roslyn Oxley9 Gallery, Sydney |
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2001 |
One Night Love, Tolarno Galleries, Melbourne The Breathing Room, Tokyo Metropolitan Museum of Photography, Images and Technology Gallery, Tokyo, Japan Superevolution, Centro de Artes Visuales, Lima, Peru |
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2000 |
Desert Riders, Roslyn Oxley9 Gallery, Sydney |
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1999 |
Protein Lattice (billboard), Republic Tower, Melbourne |
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1998 |
Sheen, Project work, 1998 Adelaide Festival, Adelaide |
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1997 |
Psycho, Tolarno Galleries, Melbourne |
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1996 |
Natural Beauty, The Basement Gallery, Melbourne |
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1995 |
Love Me Love My Lump, The Basement Project, Melbourne |
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1994 |
T.M.G.P.,The Basement Project, Melbourne |
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1993 |
Love Story, Platform, Melbourne |
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1992 |
All That Glistens, Temple, Melbourne |
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1991 |
The Body DIS-corporate, Linden, Melbourne |
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2008 |
In the Land of Retinal Delights, Laguna Art Museum, California [upcoming] Supercharged: the car in contemporary culture, IMA touring show - Logan Art Gallery, Redcliffe Art Gallery [upcoming] Neo Goth: Back in Black, The Art Museum, University of Queensland, curated by Alison Kubler `The Gathering,' Art Film, Art 39 Basel, Switzerland |
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2007 |
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 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, Griffith University, Queensland College of Art, Brisbane Supercharged: the car in contemporary culture, IMA touring show - 24Hr Art, Bathurst Regional Art Gallery, Pinnacles Gallery Strange Cargo: Contemporary art as a state of encounter, Newcastle Region Art Gallery, Broken Hill Regional Art Gallery, Bendigo Art Gallery, Orange Regional Gallery, Wagga Wagga Art Gallery and Tweed River Regional Gallery |
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2006 |
Supercharged: the car in contemporary culture, Institute of Modern Art, Brisbane Prism, Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan Black & Blue, Robert Miller Gallery, New York, USA The Idea of the Animal, RMIT Gallery, Melbourne, Victoria Oh! My deer!, Feast of Mind, Buffet of Art XVIII, Fubon Art Foundation, Taipei, Taiwan Uneasy Nature, Weatherspoon Art Museum, The University of North Carolina at Greensboro Sculpture: Thomas Schütte, Iskender Yediler, Phillip Metten, Patricia Piccinini, Folkert de Jong, Maurizio Cattelan, Wang Du, Thomas Rentmeister, Katharina Fritsch and Ricky Swallow, The Open Air Museum for Sculpture Middelheim, Antwerp CRASH (and other earthly pleasures), Lawrence Wilson Art Gallery, The University of Western Australia, Perth, Western Australia Becoming Animal, MassMOCA, North Adams, USA, 29 May 2005 - 1 Feb 2006 High Tide: Currents in Contemporary Australian Art, Zacheta National Gallery of Art, Warsaw, Poland and Contemporary Art Centre, Vilnius, Lithuania Strange cargo - contemporary art as a state of encounter, Newcastle Region Art Gallery, Broken Hill City Art Gallery, Bendigo Art Gallery, Orange Regional Gallery, Wagga Wagga Art Gallery, Tweed River Region Gallery |
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2005 |
Figure It Out, Hudson Vallery Center for Contemporary Art, Peekskill Perception, The Daryl Hewson Photographic Collection, Queensland Centre for Photography, Bulimba, QLD, Australia Group Show, Roslyn Oxley9 Gallery, Sydney The Subjective Figure, Robert Miller Gallery, New York C'town Bling, curator Anne Loxley, Campbelltown Arts Centre, NSW, Australia 10/21 - VCA at the Venice Biennale, Victorian College of the Arts, Melbourne, Australia Drawing Centre, curated by Ross Woodrow, Newcastle Region Art Gallery, NSW, Jan-Mar I thought I knew but I was wrong, curated by Alexie Glass and Sarah Tutton, Ssamzie Space, Seoul, South Korea Almost, Robert Miller Gallery, New York, USA |
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2004 |
X-Mas Stockings, Roslyn Oxley9 Gallery, Sydney Auto Fetish: The Mechanics of Desire, curated by Nick Mitzevich, Newcastle Region Art Gallery, Newcastle, New South Wales Brides of Frankenstein, guest curator Marcia Tanner, San Jose Museum of Art, USA Written with Darkness: selected photographs from the Corrigan Collection, UTS Gallery, University of Technology, Sydney, Australia Andererseits: die phantastik, Landesmuseum, Linz, Austria The Plot Thickens: Narratives in Australian Art, A Heide Museum of Modern Art Travelling Art Exhibition, Melbourne, Australia I thought I knew but I was wrong: New video art from Australia, an Asialink and Australian Centre for the Moving Image touring exhibition, ACMI, Melbourne; Jamjuree Art Gallery, Pathumwan, Bankok, Thailand; Seoul, Korea We are the world, Chelsea Art Museum, USA Satellite cities and tabloid life, MUMA Monash University Museum of Art, Melbourne 2004 Adelaide Biennial of Australian Art: Contemporary Photo-media, Art Gallery of South Australia, Adelaide, South Australia Repercussions: Individual and Collaborative Works by Peter Hennessey and Patricia Piccinini, Greenaway Art Gallery, Adelaide Newcastle Region Art Gallery Acquisitions 2001 - 2002, Newcastle Region Art Gallery, New South Wales, Australia BLOOM: Mutation, Toxicity and the Sublime, Govett-Brewster Art Gallery, New Zealand |
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2003 |
Bloom mutation, toxicity and the sublime, Govett Brewster Gallery, New Plymouth, New Zealand (to February 2004) Face Up: Contemporary Art from Australia, Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, Germany Benale de la Hababa, Havana, Cuba Stellar, Centre of Contemporary Photography Fundraising Auction, Centre of Contemporary Photography, Melbourne See here now, Vizard Foundation Art Collection of the 1990s, Ian Potter Museum of Art, University of Melbourne, Melbourne Flagship: Australian Art in the National Gallery of Victoria, 1790 - 2000, The Ian Potter Centre, National Gallery of Victoria, Melbourne |
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2002 |
2nd Sight Australian Photography in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, to 2003 Liverpool Biennale International 2002, Liverpool Tate, Liverpool, United Kingdom Tech/No/Zone, Museum of Contemporary Art, Taipei, Taiwan (the world may be) fantastic, Biennale of Sydney, Sydney, Australia Melodrama: Lo Excesivo en la Imaginacion Posmoderna, Artium, Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain Modified Terrain, Institute of Modern Art, Brisbane, Australia conVerge: where art and science meet, Adelaide Biennial of Australian Art 2002, Art Gallery of South Australia, Adelaide For Real, Wood Street Galleries, Pittsburgh, USA The First Twenty Years: Roslyn Oxley9 Gallery, Roslyn Oxley9 Gallery, Sydney Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain
Screen Life: Film Screening Programme, Govettt-Brewster Art Gallery Theatre, 3 Aug - 29 Sept, Melbourne, Victoria |
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2001 |
Seeing Through Landscape, Australian Centre for Photography, Sydney Centenary of Federation: The Australia Projects, RMIT Gallery 1, 2, 3 and 4, Royal Melbourne Institute of Technology, Melbourne, Australia Contagion: Australian Media Art at the Centenary of Federation, New Zealand Film archive, Wellington, New Zealand
Lightness of Being, Contemporary Photographic Art from Australia, Monash University Gallery, Monash University, Melbourne |
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2000 |
Songs of the Earth, Museum Fridericianum, Kassel, Germany
Bonheur des Antipodes, Musée de Picardie, Amiens, France Plastic Life (with Christopher Langton), Level 2 Project, Art Gallery of New South Wales, Sydney
Flow, National Gallery, Kuala Lumpur, Malaysia |
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1999 |
Melbourne International Biennial: Signs of Life, Melbourne
Probe, curator Linda Wallace, Australian Embassy, Beijing, China |
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1998 |
Up the Road, ACCA, Melbourne |
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1997 |
Wild Kingdom, Institute of Modern Art, Brisbane |
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1996 |
Basement, Stripp, Auckland, New Zealand |
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1995 |
Alternative Realities, Hong Kong; Melbourne; China; Korea; Taiwan; |
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1994 |
Plastiche, (Curator), The Basement Project, Melbourne |
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1993 |
City Screens, Melbourne International Festival, Melbourne |
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1992 |
Deliquescence, First Draft West, Sydney |
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1991 |
Heretical Gestures at the Birth of Enlightenment, Swanston Street Gallery, Melbourne |
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Progressive Business Award, Victorian Premier Award (2005)
Australia Council, New Media Fellowship (2000) |
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Australian National Gallery
Newcastle Region Art Gallery Collection of Anthony and Heather Podesta, Washington, DC The Michael Buxton Contemporary Australian Art Collection, Melbourne Phoenix Art Museum, AZ 21C Museum, Louisville, KY Middleheim Museum Antwerp, Belgium |
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Artist statements, www.patriciapiccinini.net |
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2007 |
(tender)creatures, exh. cat., with essays by Laura Fernandez Orgaz, Donna Haraway and Patricia Piccinini, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain Dr Tania Peitzker, `Grand Tour Fever,' The Australian Art Market Report, Issue 25, Spring, pp.50-51 Eleanor Heartney, `Worldwide Women' (colour reproduction of `Big Mother') Art in America, June/July 2007, p156-157 |
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2006 |
Supercharged: the car in contemporary culture, Institute of Modern Art, Brisbane Kasia Janczewski, `Review of Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, New York, 22/10/05 - 30/11/05', Eyeline, no. 60, p. 60 High Tide: new currents in art from Australia and New Zealand, exhibition catalogue, Contemporary Art Centre, Vilnius and Poland, Warsaw Oh! My deer!, Feast of Mind, Buffet of Art XVIII, exhibition catalogue, Fubon Art Foundation, Taipei, Taiwan pp. 10-11 Art Taipei 2006, Artist of the Year/Asia Live art fair catalogue, Council of Cultural Affairs, Taiwan Patricia Piccinini: In Another Life, exhibition catalogue, City Gallery Wellington, New Zealand Saige Walton, `Patricia Piccinini', 2006 Contemporary Commonwealth Catalogue, National Gallery of Victoria and Australian Centre for the Moving Image, pp. 98 - 101 Brian Boucher, `Patricia Piccinini at Robert Miller,' Art in America, February 2006, p. 128 Michael Desmond, `Molecule as Muse', Cosmos Magazine, Issue 6, December 2005 - January 2006 pp. 42 - 44 Reena Jana, Review of Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, tema celeste, contemporary art, no. 113, p. 85 Kay Larson, `Beautiful Mutants', ARTnews, February 2006, pp.106-9 Tucker, Anne, `Endangered Species: Patricia Piccinini and the Human Condition,' Juxtapoz, February, pp. 72-77, illus. [Reproductions of Surrogate (for the Northern Hairy Nosed Wombat), 2005, p. 72; Undivided, 2004, p. 73; Big Mother, 2005, p. 74; Enroachment, 2005, pp. 74-75; Radial, 2005, Cyclepup, 2005, and The Embrace, 2005, p. 76, Bodyguard (for the Golden Helmeted Honeyeater), 2004, p. 77]. The Idea of the Animal, exh. cat., RMIT Gallery, Melbourne, Victoria |
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2005 |
10/21 - VCA at the Venice Biennale, exh. cat., Victorian College of the Arts, Melbourne Grace Glueck, `Becoming Animal: The Line Between Species Shifts, and a Show Explores the Move,' New York Times, 26 August http://www.nytimes.com/2005/08/26/arts/design/26glue.html?8hpib Bazartmagazin, front cover, `Nature's Little Helpers: Offspring', 15 June 2005 Richard Kalina, `Report from Downunder: Down Under no more', Art in America, April 2005, pg. 77
Samela Harris, Addicted to art', Australian Art Collector, Issue 32, April, p. 118 Emma Beatty, `Biennials this year,' The Art Newspaper, 2005, pg. 142 Gallerie d'Art & Co, `A Bocca Aperte: In Australia `'arte riesce a togliere il fiato,' 2005 The Australian Art Market Report, Issue 15, Autumn 2005, p. 44 Andrew Frost, `Patricia Piccinini,' Australian Art Collector, Issue 31, January-March 2005, p. 99 Renato Diez, `Art Basel, Una festa per l'arte,' Bendigo Art Gallery: Selected Works, Bendigo Art Gallery, Victoria, 2005, p. 32, 34, 35 Gillian Serisier, `The art of Collectives', The Australian Art Market Report, Issue 14, Summer 2004 - 2005 |
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2004 |
Ken Johnson, `Patricia Piccinini', The New York Times, April 16, p. E34 Linda Michael, `We Are Family', Sun Gazing -The Australia-Japan Art Exhibitions Touring Program 2002-2004, exh. cat., pg 16-19 Nellie Castan, `New York - The Armory Show 2004,' ART EXPO, pg. 30 Ingrid Woodrow, `Auto Fetish,' exh. cat., Newcastle Region Art Gallery, Nov 04 - Jan 05 Terry Ingram, `Production Values, Negative reaction hits prices,' The Australian Financial Review, 24th October Patricia Piccinini, `Bodyguard,' 2004, http://www.patriciapiccinini.net Patricia Piccinini, `We are the family,' la máquina contemporánea, Autumn 2004, No.2, p. 18 Ken Bolton, `Australian Women Artists: Sailing to Tahiti,' Jamini: International Arts Quarterly, November, p. 68 - 79 Jackie Randles, `Radio Eye: A Perfect Life,' ABC Radio National, Australia, 16 and 20 October Renato Diez, `Art Basel, Una festa per l'arte,' Arte, September, p. 66 - 73 David Broker, `The Adelaide Biennial of Australian Art,' Eyeline #54, Winter, p. 44 - 46 Kathryn Mills, `Consumed by Passion,' Australian Art Collector, issue 29, July - September 2004, p. 82 - 85 Alexi Glass, Sarah Tutton, I Thought I Knew But I Was Wrong, exh. cat., The Asialink Centre, University of Melbourne and Australian Centre for the Moving Image (ACMI), Melbourne Patricia Piccinini, `We are Family Lecture,' Hara Museum Review, no. 64, Spring, pp. 6-7 Simon Plant, `Art Breaking,' Herald Sun Weekend, 8 May 2004, pp. 6-7 Lyndall Crisp, `Freaks of Nature,' The Weekend Australian Financial Review, May 29-30, p. 35 Wahjudi, Claudia, `Face up - Xeitgenösshiche Kunst aus Australien,' Austellungen, Kunstforum International, Bd. 168, 01/02/2004 Margaret Hamilton, `Face Up: Record Attendances for `Australian' artists in Berlin,' Kultur, Edition 8 Richard Grayson, `The Downside up Show,' Broadsheet, Volume 32, no. 4, 2/2003 - 12/2004 Ed. Annette Larkin, `Artists of the 21st Millennium: Patricia Piccinini,' Art Market Report, Issue 11, Autumn, p. 19 Suzanne Anker and Dorothy Nelkin, The Molecular Gaze : Art in the Genetic Age, Cold Spring Harbor Laboratory Press, New York Ken Johnson, `Patricia Piccinini, Robert Miller Galleries,' Art Guide Galleries: Chelsea, April 16, p. E34 Simon Rees, `Patricia Piccinini,' Adelaide Biennale of Australian Art: Contemporary photo-media, exh. cat., Art Gallery of South Australia `Patricia Piccinini: We are Family,' BT, vol. 56, no. 845, pp. cover, 5, 15-27 Michael Fitzgerald, `Not Dying, Changing,' TIME, March 22, 2004, p. 62, 63 Ian M. Clothier, `Review: mutation, toxicity and the sublime,' Rhizome Digest, vol. 9, no. 9, New Museum of Contemporary Art, New York Michael Newall, `Art in an economy of pleasure,' Broadsheet, Contemporary Art Centre of South Australia, Adelaide, Feb-May, vol. 33 no. 1, p. 32 - 35 Anthony Byrt, `The Creepy Contemporary Sublime,' Broadsheet: Contemporary Visual Art and Culture, Feb-May, vol. 33 no. 1, Contemporary Art Centre of South Australia, Adelaide, p. 53 - 55 Bregory Burke, Bloom: Mutation, Toxicity and the Sublime, exh. cat., Govett-Brewster Art Gallery, New Plymouth, New Zealand Bridget Crone, `Face Up: Contemporary Australian Art in Berlin,' Art & Australia, vol. 41, no. 3, Autumn 2004, p. 386, 387 Claudia Wahjudi, `Face up - Zeitgenössiche Kunst aus Australian, Ausstellungen,' Kunstforum International, 1 February Shincyo sha, `Patricia Piccinini We are Family,' Geijutsu Shinco, 24 January, p. 112-115 Mari Hashimoto, `We are Family,' Fujinkoron, Chuokoron-Shinsha, Inc., 22 January 2004, p. 77 Hazuki Saisho, `We are Family,' Sankei Shimbun, 18 January 2004, p. 14 Kentaro Ichibara, `We are Family,' Invitation, 10 January 2004, p. 136 Wakato Onishi, `We are Family,' Asahi Newspaper (Culture Section), 8 January 2004, p. 31 Kotobuki Shiriagari, `Introduction to Contemporary Art, Part 1, Patricia Piccinini We are Family,' ART IT, Spring 2004, p. 26, 27 Hatanaka Minoru, `What's New - Patricia Piccinini We are Family,' ART IT, Spring 2004, p. 12 `Patricia Piccinini,' Bamboo, 1 January 2004, p. 12 - 15 Bijutsu, vol. 56 no. 845, issue 2, (cover) Roger Dedman, `2003: The Year at Auction', The Australian Art Market Report, Issue 11, Autumn Zara Stanhope, `To Infinity and Beyond', catalogue essay, February 2004 `Inspiration Can Be Found in Everything: Patricia Piccinini,' Dazed and Confused, January, p. 108 Glenis Israel, senior artwise: visual arts 11 - 12, book 2, John Wiley & Sons, Qld. pp. 193 - 198 |
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2003 |
Patricia Piccinini, Public Lecture - Tokyo Art University, 8 December 2003, http://www.patriciapiccinini.net Richard Grayson, `The Downside up Show,' Broadsheet, vol. 32, no. 4, 2/2003 - 12/2004 Dr. Janet McKenzie, `FACE UP,' Studio International, UK, 4 December Patricia Piccinini: We are Family, ed. Linda Michael, exh.cat., essays by Linda Michael, Margaret Wertheim & Christine Wertheim, 50th Biennale of Venice, Australia Council Retrospectology: The World According to Patricia Piccinini, exh. cat., essay by Juliana Engberg, Australian Centre for Contemporary Art, Melbourne Patricia PIccinini: Sandman, exh. cat., essay by Jason Smith, National Gallery of Victoria, Melbourne `Creative Watch, Art: We are Family,' Brain, Senden Kaigi, 29 December 2004, p. 131 Andrew Clifford, `Attack of the Clones,' Sunday Star Times, December 28, p. 22 (Sunday) Megumi Murata, `We are Family,' SO-EN, Bunka Publisher, 25 December 2003, p. 152 Yoko Kimura, `We are Family,' Mainichi Cyugakusei Shinbun, The Manishi Newpapers, 24 December 2003, p. 8 Chaiki Sakaguchi, `We are Family,' Tokyo Bros, Tokyo News Service Ltd, 20 December, p. 169 Noriko Kawakami, `Patricia Piccinini: We are Family,' FIGARO Japon, Hankyu Communications, 20 December 2004 - 5 January 2004, p. 115 John McGee, `Surface Tension,' Metropolis Tokyo, No. 508, December 19 Monty DiPietro, `A family unit to value in tech's brave new world,' The Japan Times Online, 17 December 2003, http://www.japantimes.co.jp/cgi-bin/getarticle.pl5?fa20031217md.htm `We are Family,' Seibundo Shinklo Sha Idea, 10 December 2003, p. 302 Regina Campbell, “Display covers genetic issues,” The Daily Yomiuri On-Line, 10 December 2003, http://www.yomiuri.co.jp/newse/20031210wo61.htm `Patricia Piccinini - update,' Crikey.com.au, http://www.crikey.com.au/columnists/2003/12/07-0001.html B.R., `Berlin: Opération séduction, L'oeil,' Dezember `Ancient Future - Australian Arts Festival 2003,' Australian and New Zealand Chamber of Commerce, Vol. 22, Issue 11, December `Australia-Japan Art Exhibitions Inititative: Patricia Piccinini: We are Family,' Asialink, http://www.asialink.unimelb.edu.au/arts/japan/en/we_are_family.htm Kim Toffoletti, `Imagining the Posthuman: Patricia Piccinini and the Art of Simulation,' Outskirts: feminisms along the edge, vol. 11, November -December 2003, University of Western Australia, http://www.chloe.uwa.edu.au/outskits/article2.html Aya Matsuura, `Patricia Piccinini We are Family,' Bijutsu Gahou, 30 November 2003, p.190, 191 `Until Next February - Around Tokyo,' Nikkei Weekly, 10 November 2003, p. 16, 17 `Patricia Piccinini: We are Family at Hara Museum of Contemporary Art,' Hanatsubaki Monthly Magazine), Australian Embassy Tokyo, October 2003, p. 18 Susan Shineberg, `In the jaws of Berlin's Great Whites, a taste of Australia,' The Age, Saturday, 4 October, 2003, p. 9 (News) Susan Shineberg, `Triumph in the teeth of adversity,' The Sydney Morning Herald, 6 October Belinda Grace Gardener, `Berlin: Australien im Blickpunkt,' Kunszeitung, No.86, October Meisner, `Weit mehr als Glasperlen und Haifische,' Mannheimer Morgen, 29 November Caroline Meagher, `Bridging the gap,' State of the Arts, Oct - Dec 2003, p. 86 Jan Minchin, `A Week in Berlin,' The Australian Art Market Report, Issue 10, Summer A. Berlino, `Face Up. L'arte australiana va forte,' Arte, December David Broker, `Venice: the great dictator,' Photofile #70, Summer 2003-2004, p. 32-35 `Face Up: Contemporary Australian Art,' review, Flash Art, October 2003, vol. 36, no. 232, p. 46 `Australian Creative Boom,' Kult, October Katrin Bettina Müller, `Australien ist anders,' Tip, No. 03/21, 9 October Ingeborg Hagedorn, `Australischer Kunstmonat Oktober' in Berlin, Blattgold, ArtsAustralia Berlin, October Carsten Probst, `Face Up - Zeitgenössiche australische Kunst im Hamburger Bahnhof Berlin,' DeutschlandFunk - `Kultur heute', 2 October, 5.35pm Felicity Fenner, `Venice Biennale: Dreams and Conflicts,' Art & Australia, vol. 41, no. 2, 2003, p. 214 - 217 Shirley Apthorp, `Urban work smashes cliches: Berlin is set to experience the cutting edge of Australian art,' The Australian, Tuesday, 30 September, p. 15 Jonathan Turner, `Alien Nation,' ARTnews, September, p. 107 Patricia Piccinini, `On Sandman,' Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, p. 147 Victoria Lynn, `Patricia Piccinini,' Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, p. 148, 149 Helga Nowotny, `Wish fulfilment and its discontents,' EMBO Reports, vol. 4, no. 10, European Molecular Biology Organisation, p. 917 - 920 Ashley Crawford, `Patricia Piccinini,' See Here Now: Vizard Foundation Art Collection of the 1990s, editors Chris MacAuliffe and Sue Harvey, Ian Potter Museum of Art, Thames and Hudson (Australia) Pty Ltd, Victoria, p. 108, 109 Max Delaney, `Skeletons in the closet: from the monument to the model - sculpture in the Collection,' Monash University Collection: Four Decades of Collecting, ed. Jenepher Duncan and Linda Michael, Monash University and Monash University Museum of Art, Victoria, p. 45 - 51 Tracey Clement, `Warped Reflections,' Artlink, vol. 23 no. 3, p. 52 - 57 Julian Engberg, `Loop-back: New Australian Art to Berlin,' Artlink, vol. 23 no. 3, p. 24 - 29 Marcia E. Vetrocq, `Venice Biennale: `Every Idea but One',' Art in America, no. 9, September, p. 76 - 87, 136 Christiane Paul, Digital Art, Thames & Hudson: World of Art, Thames & Hudson, London and New York, p. 37 Astrid Mania, `Digital Fornication, Mutual Procuration, Patricia Piccinini!,' Broadsheet, vol. 32, no. 3, September - November, p. 16, 17 Jonathan Turner, `Alien Nation,' ARTnews, September 2003, vol. 102, no. 8 `Patricia Piccinini, Still life with Stem Cells (Australian Pavilion, Giardini),' VMagazine, No. 25, September - October 2003 Elisabeth Fortescue, `Meeting a boy who isn't there,' The Daily Telegraph, 17 August, p. 34 Clara Laccarino, `Collector's Art,' Sun-Herald (Sunday Metro), July 13, 2003, p. 9 Maxine McKew, `Juliana Engberg. Artistic Director, Australian Centre for Contemporary Art,” The Bulletin, vol. 121, no. 26, 1 July 2003 Vittorio Ariosi, `La mie creature dal faturo biogenetico; L'artista Patricia Piccinini torna a Novellara incontra la sua ex maestra,' La Gazetta, (Italy), Sunday, June 29 2003, p. 18 Jonathan Pearlman, `What to say about … Venice Biennale,' Sydney Morning Herald, 28 June 2003, p. 44 See here now, Vizard Foundation Art Collection of the 1990s, Thames & Hudson Australia, Bendigo, Victoria Michael Kimmelman, `Cramming It All In At the Biennale,' New York Times, 26 June 2003, Final, Section E, Page 1, Column 5 Terry Ingram, `Happy as a pig in Venice: Piccinini parties to celebrate success,' Australian Financial Review, Thursday 26 June, p. 43 Michael Hutak, `The far-out pavilion; A series of disturbing sculpted images is Australia's most lauded exhibition at the Australian pavilion of the Venice Biennale. Michael Hutak surveys the event,' The Bulletin, vol. 121, no. 25, 24 June 2003 Vittorio Ariosi, `Artista globale con radici nella […],' La Gazetta, Tuesday June 24 2003, p. 24 Laura Cumming, `Venice Biennale - But where's the art?,' The Observer, 22 June 2003, p. 13 Blake Gopnik, `Australia's Beast-Case Scenario,' The Washington Post (Sunday Arts), 22 June 2003, p. N 5 Peter Aspden, `Don't look now. There's an awful lot of playful irony at this year's Venice but Peter Aspden also finds work that bites,' Financial Times, 21 June 2003, p. 28 Rick van der Ploeg, `Klonen van menselijk DNA is onvermijdelijk,' Het Financieele Dagblad, 21 June 2003, p. 6 Susan Saccoccia, `The world's fair of contemporary art; Artists comment on war, cloning and impact of technology in range of media,' Christian Science Monitor, 20 June 2003 John Daly-Peoples, `Kiwis on the Trekka to Venice,' National Business Review, 20 June 2003 Geneviève Breerette, `Quelques pavillons prodiges de la Biennale de Venice,' Le Monde, 19 June 2003, p. 30 Rachel Campbell-Johnson, `Biennale? Don't you mean banal?' The Times, 18 June 2003, p. 15 (T2) Christopher Miles, `Art Review: A visual `Dictatorship' along Venice's canals,” Los Angeles Times (Home Edition), 18 June 2003, p. E-1 Annabel Moir, `Fresh: We are family,' Object Magazine No. 42, June - July, p. 16 Raymond Gill, `Piccinini's `family' spreads beyond Venice Biennale,' The Age, 18 June 2003, p. 13 Raymond Gill, `Venice Biennale,' Sydney Morning Herald (Metropolitan), Wednesday, June 18, p. 16 Benjamin Genocchio, `Artist's dear little family a popular draw,' The Australian, 17 June 2003, p. 15 Ermanno Krumm, `Padiglioni battano Arsenale. Senza chiasso,' Corriere della Sera (Cultura), Italy, 16 June 2003, p. 27 Martin Gayford, `Love in a hot climate,' The Sunday Telegraph, June 15 2003, p. 7 Arts Review (UK) Brett Lethbridge, `Beauty beyond bizarre,' Courier-Mail, Queensland Newspapers Pty Ltd, 14 June 2003 Benjamin Genocchio, `Piccinini and friends carve out a name in Venice,' Weekend Australian, June 14 - 15, p. 3 Von Silke Hohmann, `Friede für Kippenberger,' Frankfurter Rundschau, 14 June 2003 Raymond Gill, `Lifeforms bend preconceptions,' Sydney Morning Herald (Metropolitan), Friday, June 13, p. 15 Raymond Gill, `Family values,' The Age, 13 June 2003, p. 12 Tim Lloyd, `Future families,' Adelaide Advertiser, 9 June 2003, p. 86 Sebastian Smee, `Through new eyes,' POL Oxygen, Issue 3, June/ July, p. 40 - 47 Stephen Naylor, `Getting into the Giardini di Castello: Australia's representation at the Venice Biennale,' Art & Australia, 40th Anniversary Issue, Winter, vol. 40, no. 4, p. 594 - 601 S.M., `Hauptversammlung der Kunst:Australien,' Art: Das Kunstmagazin, no. 6, June, p. 26 The Art Newspaper, June (cover) and pp. 19 - 22 `Patricia Piccinini,' Blaze: Visual Art Writing from the Contemporary Art Centre of South Australia 1990 - 2002, CACSA, Adelaide, p. 44 Michael Hutak, `Venice Biennale,' Australian Art Collector, issue 24, April - June, p. 94, 95 Rachel Antony, `We are Family: Art by Patricia Piccinini,' The Big Issue, no. 179, 9-24 June, article 011 Megan Backhouse, `Mixed media: Bendigo buys Piccinini work,' The Age, 28 May 2003, p. 12 `Producing silk from a sow,' Herald-Sun, 28 May 2003, p. 52 Judy Skatssoon, `Altered States,' Gold Coast Bulletin, 27 May 2003 Jacqueline Maley, `Metropolitan - Spotlight,' The Sydney Morning Herald, 27 May 2003, p. 12 Katrina Strickland, `Biennale artist soars en route,' The Australian, 27 May 2003, p. 13 Jeremy Eccles, `For the love of her art,' Canberra Times, 24 May 2003, p. 6, 7
Bec Dean, `Perth Festival visual arts: local heroes,' RealTime + OnScreen, April - May, p. 30
Larissa Hjorth, `Patricia Piccinini,' Broadsheet, vol 32, no. 1, March, April, May, p. 31
Alasdair Foster, `Interview: Patricia Piccinini in conversation with Alasdair Foster,' Photofile # 68, April, p. 18 - 23
Ben Woodcock, `Freak Show,' State of the Arts, Australia and New Zealand, April - June, p. 89 - 90
Alexie Glass, `Patricia Piccinini,' RES arts, March - April, p. 43
Isobel Crombie ed., Flagship: Australian Art in the National Gallery of Victoria, 1790 - 2000, The Ian Potter Centre, National Gallery of Victoria, Melbourne, p. 95
Daniel Thomas, `S & D at NGVA,' Art Monthly Australia no. 157, March 2003, p. 27 - 32
Natalie King, `Art round up: Melbourne,' Art Monthly Australia no. 157, March, p. 14 - 16
Andrew Frost, `Patricia Piccinini: 50 Most Collectable Artists,' Australian Art Collector, Issue 23, January - March
Chloe Kinsman, `Patricia Piccinini, interview,' Tema Celeste, no. 98, pp. 58-61
Wilfredo Lam, `Patricia Piccinini,' Havana Biennale 2003, exh. cat., Centre for Contemporary Art, Havana, p. 180, 340-341
Amanda Crowley-McDonald, `Creative Encounters: The Art/Science of Collaboration,' Sarai Reader, February, p. 227-235
Linda Michael, Love Me Love My Lump: Patricia Piccinini Photographs, exh. brochure, Monash University Museum of Art, Melbourne
Bernard Smith, `Patricia Piccinini,' Two Centuries of Australian art, Thames & Hudson, Victoria, p.162
Artist profile, Sunday, Channel 9MSN, 16 February
Andrew Block, `Arts: Bizarre Beasts,' Qantas, no. 115, January, p. 61
Peter Hill, `The artists and her offspring,' Sydney Morning Herald (Spectrum), Jan 25-26
Benjamin Genocchio, `Genetically modified sculpture,' Weekend Australian, Jan 11-12 [Arts] p. R21
Chris Boyd, `Visions of a strange new world,' Weekend Australian Financial Review (After Hours), 4 Jan
`Face up to Australian Art' (Hamburger Bahnhof, bis 4. Januar 2003), http://www.schwarzau.de/ausstellungen/berlin.htm |
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2002 |
Kim Toffoletti, `Patricia Piccinini - lumps and stem cells,' eyeline #50, Summer 2002/2003, p. 47 John McPhee, `City Life: De Sydney à Melbourne,' Paris Photo Magazine International, no. 22, Septembre/Octobre 2002, p. 124 - 131
Cynthia Troup, `'Converge' Adelaide Biennial of Australian Art 2002,' Art Gallery of South Australia, Art & Australia, vol. 40, no. 2, Summer 2002, p. 240-2 Rachel Kent, `Patricia Piccinini,' Tech/No/Zone: Contemporary Media Art, exh. cat., Museum of Contemporary Art Taipei, Taiwan, p. 115 - 123
2nd Sight Australian Photography in the National Gallery of Victoria, exh. cat., National Gallery of Victoria, Melbourne, p. 114,115
Charles Green, `Patricia Piccinini', Artforum, No. 9, May 2002, p. 194
Daniel Palmer, `Patricia Piccinini', Frieze, Contemporary Art and Culture, Issue 65, pg. 93-94, March
Paco Barragan, `Patricia Piccinini: The Art to come', Subastas Siglo XXI, pg 236, 2002
M. A. Greenstein, `Arte o Bano del sol', Lapiz, pg 135, 179/180, 2002
Jacqueline Millner, `Love in the Time of Intelligent Machines', Artlink, Vol 21 no 4, p 42-47, 2002 Alex Gawronski, `Crazy Worlds, Now and Then…,' Broadsheet, vol 31, no. 3, September, October and November 2002, p. 21 Joanna Mendelssohn, `Sydney: (the world may be) fantastic,' Tema Celeste (news & around), no. 92, July - August, pp. 106, 107
Daniel Palmer, `A Surrealist Party Tape,' Critical Interventions - Biennale of Sydney 2002, Artspace Visual Arts Centre, Sydney Courtney Kidd, `(The world may be) fantastic!,' State of the Arts, May - August Hannah Fink, `Fabulous: (The world may be) Fantastic - 2002 Biennale of Sydney,' Art Monthly Australia, July Andrew Frost, `Sydney Biennale: a - z definitive guide,' Australian Style, May Bruce James, `Why the Biennale is a bit of a miracle,' Sydney Morning Herald, Friday, May 17, p. 13 |
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2001 |
Peter Hennessey, `Patricia Piccinini, Installations,' What is Installation?, Power Publications, p.301 Images, `Patricia Piccinini', Postwest, vol. 19, 2001, p. 36 Ashley Crawford, `Contemporary Australian Art, an odd creature from down under,' Art & Australia, vol. 37 no. 2, 2001, p. 2 ARCO Susan McCulloch-Uehlin, `Virtual Visions', The Australian (Arts), 27 October, 2001, p. 9 Caroline Webb, `Young Collectables,' The Age, 26 May 2001, p. 1(Today) Lara Travis, `Vivid Vehicles of Delight for lovers of one night,' The Age, 27 October 2001, p. 22, 27 Michael Hutak, `Perfect Planet, Professionally Reproduced,' Australian Art Collector, Issue 18, Oct 2001, p. 65 Rebecca Lancashire, `Piccinini's monsters,' The Age, 26 May 2001, p. 3 (Extra)
Helen McDonald, Erotic Ambiguities, The Female Nude in Art, Routledge, London, England |
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2000 |
Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini, essays by Juliana Engberg, Hiroo Yamagata and Edward Colless, published by Drome, Melbourne
Bruce James, `I'll have what she's having,' The Sydney Morning Herald, February 2, 2000, p.12 Arts
Frank Hoffman, `Report from Kwangju; Monoculture and its Discontents', Art in America, pg 74, November
Kim Hong-hee, Kwangju Biennial, Flash Art, pg 100, Summer
Benjamin Genocchio, `Reality check via plastic bimbo,' The Weekend Australian, pg 18 review, 5 August
Jacqueline Millner, `Afterward: perspective on perspecta', Uncertain Ground exh. cat., pg 161-192 , AGNSW
Mike Leggett, `Patricia Piccinini', Photofile, pg 8-11 , August no.60
Julian Scarff, `Probe', Art Asia Pacific, pg 28-30, Issue 27 |
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1999 |
Edward Colless, `Patricia Piccinini,' Art and Text, no. 66, Aug - Oct 1999,p. 79,80
Artist Page, Visionaire 30: THE GAME, New York Kerry Taylor, `Artist's infatuation with a baby Beast,' The Age, 15 March 1999, p.7 News
Peter Hennessey, `Plastic Realist,' in PhotoFiles, ed. Blair French, Power Publications, Sydney, 1999, p. 247 |
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1998 |
Vikki Riley, `Machine Translations & Other Digital Heresies,' Photofile, #53, April 1998 |
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1997 |
Peter Hennessey, `Plastic Realist,' Photo file, Nov, 1997 |
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1996 |
Jackie Cooper, `Natural Born Artist,' The Weekend Australian, Dec 1 |
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1995 |
`Inside Out: An interview with Patricia Piccinini,' Aedon Dec |
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1994 |
Chris Gregory, `Indivisibles,' Eyeline, Spring
Nicola Teffer, `Body with organs,' Photofile #42, June |
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1993 |
Sonia Barren, `Pushing the Limits of Acceptability,' The Canberra Times, February 17 |
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1991 |
Rosemary Hawker, `Heretical Gestures at the Birth of Enlightenment,' eyeline #15 |
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(tender)creatures, exh. cat., with essays by Laura Fernandez Orgaz, Donna Haraway and Patricia Piccinini, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain Jason Smith, Sandman: Patricia Piccinini, Macquarie Bank Contemporary Projects Gallery, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 2002 Juliana Engberg, Retrospectology: the world according to Patricia Piccinini, Australian Centre for Contemporary Art, Southbank, Victoria, 2002 Call of the Wild: Patricia Piccinini, Level 4, Museum of Contemporary Art, Sydney
Juliana Engberg, Signs of Life, Melbourne International Biennial, City of Melbourne, 1999 |