Hany Armanious
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HANY ARMANIOUS Born 1962, Egypt Lives Sydney |
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2013 |
(upcoming) Roslyn Oxley9 Gallery, Sydney (upcoming), Set Down, Michael Lett Gallery, Auckland |
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2012
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The Plagiarist of My Subconscious, Southard Reid, London The Golden Thread, Monash Museum of Art, Melbourne |
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2011 |
The Golden Thread, Australian Pavilion, 54th Venice Biennale, curated by Anne Ellegood |
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2010 |
Birth of Venus, Foxy Production, New York |
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2009 |
Galleria Raucci/Santamaria, Naples Uncanny Valley, Roslyn Oxley9 Gallery, Sydney |
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2008 |
The Oracle, Contemporary Art Museum St Louis, St Louis, curated by Anthony Huberman |
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2007 |
Year of the Pig Sty, Foxy Production, New York Year of the Pig Sty, Michael Lett Gallery, Auckland, New Zealand Morphic Resonance, City Gallery Wellington, New Zealand |
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2006 |
Morphic Resonance, Institute of Modern Art, Brisbane Intelligent Design, Roslyn Oxley9 Gallery, Sydney The Frontiers Are My Prison, Michael Lett Gallery, Auckland, New Zealand |
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2005 |
Hany Armanious: Central Core Component from the Centre of the Universe, Ocular Lab Inc., Melbourne, Australia |
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2004 |
The Centre of the Universe (Central Core/Hard Core/Soft Core), Auckland Art Gallery, Auckland, New Zealand Michael Parekowhai/Hany Armanious, Michael Lett Gallery, Auckland, New Zealand The Cult, Roslyn Oxley9 Gallery, Sydney, Australia Stopping the World, Michael Lett Gallery, Auckland, New Zealand |
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2003 |
Hany Armanious, Michael Lett Gallery, Auckland, New Zealand Art Nouveau Barbeque, Roslyn Oxley9 Gallery, Sydney |
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2002 |
Selflok, Ian Potter Museum, Melbourne, Australia Space Cake, First Floor, Melbourne, Australia Datura (collaboration with Mary Teague), Sarah Cottier Gallery, Sydney |
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2001 |
neo phantom thing (collaboration with Mary Teague), Lord Mori Gallery, Los Angeles Selflok, UCLA Hammer Museum, Los Angeles, USA Selflok, Sarah Cottier Gallery, Sydney |
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2000 |
Semi-Automatic, Sarah Cottier Gallery, Sydney |
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1999 |
Sarah Cottier Gallery, Sydney |
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1997 |
Testrip, Auckland, New Zealand Thomas Taubert, Düsseldorf, Germany |
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1996 |
Sarah Cottier Gallery, Sydney CBD Gallery, Sydney Circus (Three ring), CBD Gallery, Sydney Side-On Studio, Sydney |
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1995 |
Well Water Under a Tree (collaboration with Tony Schwensen) David Pestorius Gallery, Brisbane, Australia Second Hand Political, Sarah Cottier Gallery, Sydney F.A.C., CBD Gallery, Sydney |
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1994 |
Snake Oil, Sarah Cottier Gallery, Sydney Worksheet, CBD Gallery, Sydney Self-lok, David Pestorius Gallery, Brisbane, Australia |
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1993 |
The Frontiers are my Prison, CBD Gallery, Sydney Daniel Johnstone Memorial Gallery, Cite des Arts Internationale, Paris, France |
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1992 |
Ripped in Peace, Julie Green Gallery, Sydney |
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1991 |
Legacy, Julie Green Gallery, Sydney |
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1989 |
Hex, EMR Gallery, Sydney |
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2013 |
Cast Recording, Prism Gallery, Los Angeles |
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2012 |
Chinatown: the sequel, ltd Los Angeles (curated by Liv Barrett), Los Angeles, California you, your sun and shadow, Anderson Gallery, VCU arts, Virginia, USA Mutatis Mutandis, Secession,Vienna You, Your Son and Shadow, Anderson Gallery, Richmond, USA |
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2010 |
Adelaide Biennale, Before and After Science, curated by Charlotte Day and Sarah Tutton, Art Gallery of South Australia, Adelaide |
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2009 |
Tonite, Modern Institute, Glasgow Zero..., Zero Gallery, Milan Double Hemisphere, Foxy Production, New York |
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2008 |
Jesuvian Process, Elizabeth Dee Gallery, New York Noli Me Legere, Michael Lett Gallery, Auckland Ceramica, Institute of Contemporary Art, Sydney Lost and Found: An Archeology of the Present, TarraWarra Biennial, curated by Charlotte Day, Healesville, Victoria |
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2007 |
Nueva Dimension, curated by Dick Evans, Hats Plus, London Artist Makes Video, Art Rage Survey 1994-1998, Griffith University, Queensland College of Art, Brisbane Surface Wave, Foxy Production, New York 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 |
Stolen Ritual, Roslyn Oxley9 Gallery, Sydney Before the Body-Matter, Monash University Museum of Art, Melbourne Examples, Peloton, Chippendale, Sydney Busan Biennale, Korea Adventures with form in space, Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney Selekta, West Space, Melbourne Uncanny Nature, Australia Centre of Contemporary Art, Melbourne, curated by Rebecca Coates, |
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2005 |
National Sculpture Prize, National Gallery of Australia, Canberra Travelling Light, curator Deborah Ostrow, Spacement, Melbourne (1-17 December) re/thinking, bus, Melbourne The Broadway Café, Chippendale, Sydney, organized by Giles Ryder and Mathys Gerber Alien Invasion, curator George and Ron Adams, MOP Projects, Gallery + Project Space, Sydney The Centenary of Wild Beasts, MOP Projects, Project Room, Sydney, curated by Ian Geraghty, Material Girls and Boys, Deloitte, March-June 2005, curated by Barbara Flynn Where the Wild Things Are, UTS: Gallery, University of Technology, Sydney, curated by Tara D'Cruz Nobel |
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2004 |
Fantasy Island - A Block Project, Michael Lett Gallery, Auckland, New Zealand |
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2003 |
The Year in Art, S.H. Ervin Gallery, Sydney Bloom mutation, toxicity and the sublime, Govett Brewster Gallery, New Plymouth, New Zealand Islands in the Stream, Hany Armanious, Natsuho Takita, Mary Teague, Koji Ryui, Artspace, Sydney MCA Unpacked II, Museum of Contemporary Art, Sydney Citigroup Private Bank Australian Photographic Portrait Prize, Art Gallery of New South Wales, Sydney Surface Tension, BLOCK, Sydney |
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2002 |
Fieldwork: Australian Art 1968 - 2002, National Gallery of Victoria, Federation Square, Melbourne Necessary Fictions, DeChiaria Gallery, New York Line Up, The Happy Lion Gallery, Los Angeles, USA |
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2001 |
Painting: an arcane technology, Ian Potter Museum of Art, Melbourne A Century of Collecting: 1901-2001, Ivan Doherty Gallery, Sydney Necessary Invention, Artspace, Sydney |
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2000 |
Verso Süd, Palazzo Dorio Pamphilly, Valmonte, curated by Franz West GOLD!, Sarah Cottier Gallery, Sydney Moet et Chandon Fellows Exhibition, Art Gallery of New South Wales, Sydney Drive, Govett-Brewster Art Gallery, New Plymouth, New Zealand Plastika, Govett-Brewster Art Gallery, New Plymouth, New Zealand |
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1999 |
The Queen is Dead, Stills Gallery, Edinburgh, Scotland Opening Exhibition, Sarah Cottier Gallery, Sydney Home and away, Auckland Art Gallery, Auckland, New Zealand |
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1998 |
Moet and Chandon Touring Art Prize (1998 Fellow), National Gallery of Australia, Canberra and touring all state galleries EAT!, Museum of Contemporary Art, Sydney |
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1997 |
On Dialogue, Haus am Waldsee, Berlin, Germany Child Bride, Artspace, Auckland, New Zealand Contempora 5, National Gallery of Victoria, Melbourne |
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1996 |
Raindrops on Roses, Sarah Cottier Gallery, Sydney Unpainting, David Pestorius Gallery, Brisbane 33 1/3, Armanious, Cerkez, Dashper, Gordon, Canberra Contemporary Art Space, Canberra Occular, Pendulum, Sydney, curated by Trevor Smith Rapport: Eight Artists from Singapore & Australia, Singapore Art Museum, Singapore: Monash University Gallery, Melbourne Flagging the Republic, Sherman Galleries Goodhope, Sydney |
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1995 |
Volatile Colonies, Johannesburg Biennale, Museumafrica, Johannesburg, South Africa Smells Like Vinyl, Roger Merians Gallery, New York, USA Discovering the Feminine?, David Pestorius Gallery, Brisbane |
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1994 |
Virtual Reality, Australian National Gallery, Canberra Localities of Desire, Museum of Contemporary Art, Sydney Paperwork, Sarah Cottier Gallery, Sydney White, Sarah Cottier Gallery, Sydney Jeden Tag, Christine Konig, Vienna, Austria Aussemblage, Auckland City Gallery, Auckland, New Zealand |
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1993 |
Scrounge Time, Plimsoll Gallery, Centre for the Arts, Hobart, Tasmania Plastic Fantastic, Museum of Contemporary Art, Sydney Aperto, curated by Achille Bonito Oliva, Venice Biennale, Venice, Italy, 1993 Luminaries, Monash University Gallery, Melbourne Soaked, Institute of Modern Art, Brisbane Monster Field, Ivan Doherty Gallery, Sydney Shirthead, Mori Annexe, Sydney Adams, KUNST, Sydney Wit's End, Museum of Contemporary Art, Sydney (catalogue) |
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1992 |
The Boundary Rider, 9th Sydney Biennale, Sydney First Group Show, Black, Sydney 3D, 200 Gertrude Street, Melbourne |
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1991 |
1991 Australian Perspecta, Art Gallery of New South Wales, Sydney |
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1989 |
Fresh Art, S.H. Ervin Gallery, Sydney |
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SELECTED BIBLIOGRAPHY |
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2012 |
Anna Davis, `Hany Armanious', MCA Sculpture Series, (Sydney: MCA, 2012) |
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2011 |
Roberta Smith, `Artists Decorate Palazzos and Vice Versa', The New York Times, June 8 2011 Sebastian Smee, “Vanity Case: Sebastian Smee on the 54th Venice Biennale”, The Monthly, July 2011 Anne Ellegood (ed.), Hany Armanious - The Golden Thread, exh. cat. Australian Pavilion at the 54th International Art Exhibition, La Biennale di Venezia, Australia Council for the Arts, 2011, pp.152 Oliver Krischer, “Plundering the Uncanny Valley, Hany Armanious”, Art Asia Pacific, No. 73, May/June 2011, pp. 120-129 Max Delany, 'Reflections on ILLUMInations-The 54th Venice Biennale', Art and Australia, Issue 49 No. 1, pp34-37 |
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2010 |
Kevin McGarry, `Asked and answered / Hany Armanious', New York Times Culture blog: http://tmagazine.blogs.nytimes.com/2010/12/06/asked-answered-hany-armanious/, 6 December Francesco Stocchi, `Hany Armanious, Compulsive Beauty' Art & Australia, Vol 47, no. 3 Autumn 2010, pp488 - 495 Andrew Taylor, `It's summer…100 years ago', The Sun Herald, December 12, 2010, pp. 38 Reuben Keehan. 'Ass-Kicking Formalism', Art & Australia, Issue 48 No. 2, pp. 336-341 |
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Adam Fulton, `Digging the dirt all the way from Leichhardt to Venice biennale' Sydney Morning Herald, Arts and Entertainment, feb 19, 2010 p. 9 |
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2009 |
Adam Jasper, `Hany Armanious: Unreality Bites', Art World, Issue 8, April/May 2009, pp74-80 |
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2008 |
Current, Contemporary Art from Australia and New Zealand, Art and Australia (eds.), Sydney, p48 Charlotte Day, Lost and Found: An Archeology of the Present, exh.cat., TarraWarra Museum of Art |
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2007 |
Adam Jasper, `Hany Armanious, pragmatic metaphysics, painstaking copies and infinite pedestals,' Frieze, issue 114, April 2008, p.154 `Year of the Pig Sty,' The Archivist, http://whatswhat-whoswho.blogspot.com/2007/11/year-of-pig-sty.html, November 13, 2007 Roberta Smith, `Art in Review - Hany Armanious, Year of the Pig Sty.' The New York Times, November 23, 2007 Debra Jenks, `Mudruckers and Mudslingers on 27th St.' Chelsea Now, 26 October - 1 November 2007: 23 James Wagner, `Hany Armanious at Foxy Production,' Jameswagner.com, 21 October 2007 Miranda Wallace, `The Illusionist', eyeline, No. 63, Winter 2007 pp. 21-25 Alison Kubler, `Hany Armanious: Morphic resonance in Brisbane,' Art Monthly Australia, July 2007, Number 201, pp. 9 - 12 Heather Galbraith, `Hany Armanious: Morphic Resonance,' City Gallery Newsletter, Wellington, Winter 2007 Hany Armanious: Morphic Resonance, exh. cat. Institute of Modern Art, Brisbane Ashley Crawford, `Hany Armanious,' Australian Art Collector: 50 Most Collectable Artists 2007, Issue 39, January - March 2007, p. 150 |
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2006 |
Before the Body-Matter, exh. cat., Monash University Museum of Art, Melbourne Jacqueline Millner, `Review of Adventures with Form in Space: The Fourth Balnaves Foundation Sculpture Project', Eyeline, no. 62, Summer 2006/2007, p. 62 Palmer, Daniel, `Looking Back: Retrospectives,' Frieze, mo. 104, December - January 2007, p. 132 Ashley Crawford, Preview of `Uncanny Nature,' The Age, Sunday, September 3rd, 2006 Dougal Phillips, Review of `Adventures in Form and Space, Balnaves Foundation Sculpture Project 2006,' Art and Australia, Vol. 44, No. 2, Summer 2006, p. 280 Morphic Resonance, Institute of Modern Art, exh. cat., 2006 Andrew Frost, `In the heart of the wood', Australian Art Collector, Issue 38, October - December 2006, pp. 154 - 163 Sebastian Smee, `dot complimentary', The Weekend Australian, September 9 - 10, 2006, pp. 18 - 19 John Mc Donald, `Lights, action, entertainment', Review of Adventures with Form in Space: The Fourth Balnaves Foundation Sculpture Project, in Spectrum, The Sydney Morning Herald, September 9-10, 2006, pp. 16-17 Rebecca Coates, `Hany Armanious' in Uncanny Nature, exhibition catalogue, Australia Centre of Contemporary Art, Melbourne Selekta exhibition catalogue, West Space, Melbourne Jason Markou, `Hany Armanious', Adventures with form in space, Balnaves Foundation Sculpture project, exhibition catalogue, Art Gallery of New South Wales, Sydney Review of Intelligent Design, The Art Life, http://www.artlife.blogspot.com/ Diana Simmonds, `Two artists showcase latest work', Inside Entertainment, The Sunday Telegraph, June 18, 2006 p. 3 Sunanda Creagh, review of Totemistical and Intelligent Design, `Open Gallery', The Sydney Morning Herald, June 10-11 2006 p. 16 Betsy Brennan, `The Alchemist', Vogue Living, January/February 2006 pp. 85 - 86 |
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2005 |
Jason Markou, Turns in Arabba exhibition catalogue, Michael Lett Gallery, Auckland Julie Gough, `Art in Review for 2005', Art in Australia, Vol. 43, No. 2, Summer 2005 p. 276 Alex McDonald, Where the Wild Things Are, 25 May 2005, www.stateart.com.au/sota/reviews/default.asp?fid=3497 John Daly-Peoples, `Eyeing the follies of insipid world culture,' Fine Arts, National Business Review, 21 January 2005, p. 42 Andrew Clifford, `Cosmic campground,' The New Zealand Herald, 19 January 2005, p. 6 Tessa Laird, `Thank you for recycling,' New Zealand Listener, 28 January 2005, p. 50 About Town, The Guide, Sunday Star Times, New Zealand, January 16th 2005 Jane Davidson and Robert Leonard, `Hany Armanious,' Gallery News, Auckland Art Gallery, Nov-Feb 04-05 Hany Armanious, `Hany Armanious' catalogue essay, National Sculpture Prize and Exhibition, 2005 p. 14 |
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2004 |
Peter Hill, `Free installations,' Sydney Morning Herald (Spectrum), July 17-18, pp. 8-9 Anthony Byrt, `Art is a bunny rabbit,' Listener, March 27 2004, p. 62 Anthony Byrt, `The Creepy Contemporary Sublime,' Broadsheet, Feb-May, vol. 33 no. 1, pp. 53 - 55 Bloom mutation, toxicity and the sublime, exh. cat, Govett Brewster Gallery, New Plymouth, New Zealand, curated by Gregory Burke |
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2003 |
Simon Rees, `Hany Armanious at Roslyn Oxley9 Gallery,' Flash Art, vol. 36, no. 232, October 2003, p. 48 Michael Desmond, `Hany Armanious,' Broadsheet, vol. 32, no. 3, September - November, p. 35 Chris Piper, `Strange Magic,' Silver Limbo, Issue 1, p. 30 Peter Hill, `Zero Hour,' Sydney Morning Herald, Weekend Edition `Spectrum,' 2-3 August, 2003, pp. 12 - 13 Dominque Angeloro, `Down the rabbit hole,' Sydney Morning Herald (Metro), July 25 - 31, 2003, p. 26 Margaret Plant, `The Journey from Field to Fieldwork 1968 - 2003,' eyeline # 51, Autumn - Winter, 2003, pp. 44 - 46 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, pp. 594 - 601 Mark Titmarsh, `Time and Tide: Decadal Shifts in Australian contemporary art,' Art Monthly Australia #160, June, pp. 16 - 19 Stuart Koop, “Fieldwork: Australian Art 1968 - 2002, Broadsheet, vol. 32, no. 1, March, April, May, pp. 8 - 11 Daniel Thomas, “S & D at NGVA,” Art Monthly Australia no. 157, March 2003, pp. 27 - 32 |
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2002 |
Charles Green, `Into the 1990s: the decay of postmodernism,' Fieldwork: Australian Art 1968 - 2002, exh. cat., National Gallery of Victoria, Federation Square, Melbourne (November 2002 to February 2003), pp. 100 - 111 Alex Gowronski, `Dividing Lines', Broadsheet - Contemporary Visual Arts + Culture Newspaper, vol 31, no. 1, March - May, p. 25 Andrew Frost, `Mea Culpa,' Australian Style, January, p. 28 |
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2001 |
Eve Sullivan, `Hany Armanious: Prostrated offerings from a twentieth-century alchemist,' Art & Australia, vol. 39, no. 2, pp. 230 - 31 Selflok, Fergus Armstrong and Amanda Rowell, catalogue essay, UCLA Hammer Museum, Los Angeles `Hany Armanious Interview,' UCLA Hammer Museum, http://www.hammer.ucla.edu/exhibits/hanyarmaniousinterview.htm Courtney Kidd, `Elfin Magic,' Sydney Morning Herald, 11 July Natalie King and Bala Starr, `Suspended Animation,' Painting: an arcane technology, exh. cat., Ian Potter Museum of Art, Melbourne Lara Travis, `Off with the pixies,' Like Art Magazine, no. 14 Lara Travis, `Hot Prospects,' Vogue Australia, February Courtney Kidd, `Romance within barbarism,' Sydney Morning Herald, Wednesday, Jul 11 |
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2000 |
Rex Butler, `Hany Armanious,' Artext, no. 68, Feb - Apr `The Hot Seat: The Artist and his Critic,' Arts Today with Michael Cathcart, ABC Radio National, Friday 10 November Benjamin Genocchio, `From shock to schlock,' The Weekend Australian, Edition 1, Saturday 28 October, p. R19 William McAloon, `At the Wheel,' Listener, March 25, pp. 36 - 7 Greg Bourke and Hanna Scott, Drive catalogue essay, Govett-Brewster Gallery, New Zealand Megan Dunn, `Auto Art,' Identity Edward Colless, `Hany Armanious,' Like Art Magazine, no. 11, pp. 50 - 1 Hanna Scott, `At the gallery,' 25.07.00 (journal source not known) `The Subterranean Hany Armanious,' Vogue #2, p. 74 |
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1999 |
Moet & Chandon, Hany Armanious, Printed in France by Graphi Imprimeur - Rodez, Published by Moet & Chandon Australian Art Foundation, Epernay France William McAloon, Home and away: contemporary Australian and New Zealand art from the Chartwell Collection, Auckland Art Gallery, 1999, p. 102-3, 132 |
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1998 |
Michael Fitzgerald, `Shifting Views,' Time Magazine, Oct 19, p. 76 - 8 Benjamin Genocchio, `Snake Charmer,' Broadsheet vol. 27, no. 3 Karen Pakula, `Funny? Moi?,' HQ, no. 59, July/August, p. 106 - 110 Susan Mooney, Wentworth Courier, Wednesday, Apr 1, p. 55 Giles Auty, `Too much fizz,' Weekend Australian, March 28-29, p. 25 John McDonald, `Laughing all the way to the Left Bank,' Sydney Morning Herald, Friday, Mar 20, pp. 10 -11 Catherine Taylor, `Moët comes of age,' The Australian, Wednesday, Mar 18 Bruce James, Arts Today, 18 March Brook Turner, `A touch of snake oil uncorks Möet prize,' Australian Financial Review, Wednesday March 18 Angela Bennie, `Artist Hany Armanious has last laugh with a snake oil joke,' Sydney Morning Herald, Wednesday, Mar 18 |
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1997 |
Michael Wardell, Moet et Chandon Touring Exhibition, catalogue essay, p. 10 D.J. Huppatz, `Contempora 5 Art Prize', Globe E-Site, Issue 5 Andrew McNamara, `Unpainting,' Art & Australia, vol. 35 no 1 Natalie King, Rapport, catalogue essay Trevor Smith, 33 1/3 catalogue essay, August Donald Williams and Colin Simpson, Art Now: Contemporary Art Post 1970, Book 2 Child Bride, Artspace, http://www.artspace.org.nz/shows/97_1.html |
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1996 |
Rex Butler, An Uncertain Smile: Australian Art in the `90s, Artspace Visual Arts, Sydney, p.102 - 105 Trevor Smith, 33 1/3, exh. cat., Canberra Contemporary Art Space, Canberra Donald Williams and Colin Simpson, `Hany Armanious,' Art Now: Contemporary Art Post - 1970 (Book 2), McGraw Hill Book Company Australia Pty Limited, Sydney, p. 185 - 188 Giles Auty, `Emblems that flag,' Weekend Australian, Feb 3-4 Sebastian Smee, `Flagging Passions,' Sydney Morning Herald (Metro), Feb 9-15, p. 23 (Arts) Brook Turner, `The New Medicis,' Sydney Morning Herald, Aug 9-10 Anna Johnson, `Art Beat,' Sydney Morning Herald, Friday, Apr 12 |
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1995 |
Jeff Gibson, `Theory or Therapy,' Flash Art, Nov-Dec Judith Pascal, `Hany Armanious,' Virtual Reality, catalogue essay, National Gallery of Australia Edward Colless, `Selflok,' Well Water Under a Tree, exh. cat., David Pestorius Gallery, Brisbane Edward Colless, `Mr Big: Hany Armanious,' The Error of My Ways, Institute of Modern Art, Brisbane, pp. 206 - 209 Toni Ross, `Inescapability of Sexual Difference,' (review of Discovering the Feminine?, David Pestorius Gallery), eyeline, 28 Spring Bruce James, `Wheat, wood and world weariness,' The Age, Wednesday, 2 Aug, p. 20 Felicity Fenner, `Icons and idolisers,' Sydney Morning Herald (Arts), Friday, Jul 21, p. 15 |
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1994 |
Rex Butler, `[White', Art & Australia, Winter Felicity Fenner, `Proud lineage of innovation,' Sydney Morning Herald (Arts), Friday, Dec. 2, p. 16 Elwyn Lynn, `Solemn search for the soul,' Australian Weekend Review, Nov 26-27, p. 10 Martijn Van Niewenhuyzen, `Hany Armanious,' Flash Art (International Edition), November Edward Colless, `White', Art & Text no. 48 Felicity Fenner, `On a provocative paper-chase,' Sydney Morning Herald (Arts), Friday, Oct. 14 Eve Sullivan, `Hany Armanious,' Agenda, no. 36, May, p. 27 Felicity Fenner, `A genre beyond grunge,' Sydney Morning Herald, 26 May Felicity Fenner, `Nostalgia and jelly delights,' Sydney Morning Herald, 1994 Elwyn Lynn, `Transfixed by a slippery character,' Australian Weekend Review, March 12-13 Felicity Fenner, `Double entente and a debut in white,' Sydney Morning Herald, February 5 Felicity Fenner, `Veil of prejudice lifts at last,' Sydney Morning Herald, Saturday, January 1 |
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1993 |
Jeff Gibson, `Avant-Grunge,' Art+Text, no. 45, pp. 23 - 25 Jeff Gibson, `The Good, the Bad, and the Abstract,' Art & Text, no. 44, January Kay Campbell, `Out of Humour,' Wit's End, exh. cat., Museum of Contemporary Art, Sydney Janet Hawley, `Shape of the new,' Good Weekend: Sydney Morning Herald Magazine, June 12, pp. 18 - 22 Pamela Hansford, `Wit's End: The Comic Spirit & Contemporary Art,' Wit's End, exh. cat., Barberism Edward Colless, `Hany Armanious, Mr Big,' exh. cat., Aperto section, Venice Biennale Rex Butler, `To Express the Object,' Monster Field, ex. cat., Barberism Andrew Renton, `Hany Armanious,' Flash Art Aperto'93 catalogue, Venice Biennale, p. 234 Andrew Renton, `Punti Cardinale dell'arte,' exh. cat., Venice Biennale Anthony Bond, `Hany Armanious: Australia,' The Boundary Rider: 9th Biennale of Sydney, The Biennale of Sydney Ltd., Sydney, pp. 48 - 49 Peter Hill, `The frozen cow show,' The Bulletin, July 13, p. 82 `Hany Armanious's Mr Big at the Venice Biennale,' Sydney Morning Herald, June 30 Felicity Fenner, `Mr Big upstaged by bisected cow,' Sydney Morning Herald, June 30, (Arts) p. 22 Edward Colless and David McDowell, Scrounge Time, exh. cat., Plimsoll Gallery, Tasmania Anne Loxley, `Rococo Rubbish: The Art of Hany Armanious,' Art + Australia, vol. 31 #1, Spring, pp. 84 - 88 |
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1992 |
Jeff Gibson, `Hany Armanious,' Art & Text no. 43, September, p. 70 |
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1991 |
Pamela Hansford, `Hany Armanious,' Australian Perspecta 1991, exh. cat., Art Gallery of New South Wales, Sydney, p. 30 - 31 |
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Art Gallery of New South Wales, Sydney National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Queensland Art Gallery, Brisbane Museum of Contemporary Art, Sydney Ipswich Art Gallery, Queensland Newcastle Regional Gallery Monash University Gallery, Melbourne Tasmanian Museum and Art Gallery Auckland City Gallery, New Zealand Dakis Joannou Foundation, Athens Museum of Contemporary Art, San Diego, USA Hammer Museum, Los Angeles, USA |
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AWARDS & RESIDENCIES |
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2005 |
Shortlisted for National Sculpture Prize, National Gallery of Australia |
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2004 |
Artist in residence, Elam School of Fine Arts International Arts Residency Programme, Auckland |
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2002 |
Australia Council, Green Street, New York |
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1998 |
Moet et Chandon Fellow |
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1997 |
Finalist, Contempora5 |
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1993 |
Australia Council, Los Angeles Studio |
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COMMISSIONS |
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2012 |
Museum of Contemporary Art, Sydney sculpture terrace |
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