CALLUM MORTON

Born 1965, Montreal, Canada

Lives Melbourne

EDUCATION & TEACHING

Bachelor of Architecture, RMIT, Melbourne

Bachelor of Fine Arts (Painting), Victoria College, Melbourne

Master of Fine Arts (Sculpture), RMIT, Melbourne
Lecturer in Photography, Media Arts Department, Deakin University

Visiting Instructor, Art Center College of Design, Pasadena, Los Angeles
Artist in Residence, Govett-Brewster Art Gallery, New Plymouth, New Zealand

Lecturer, Landscape Architecture, Melbourne University

Lecturer, Sculpture Department, RMIT, Melbourne

Lecturer, Victorian College of the Arts, Melbourne

Head of Fine Art, MADA, Melbourne

SELECTED SOLO EXHIBITIONS

Neighbourhood Watch, Anna Schwartz Gallery, Melbourne 

The Insides, Roslyn Oxley9 Gallery, Sydney

Evacuations, Anna Schwartz Gallery, Melbourne

Callum Morton - In Memoriam, (curated by Linda Michael) Heide Museum of Modern Art, Melbourne

Smokescreen, Anna Schwartz Gallery, Melbourne

Grotto, The Fundament Foundation, The Netherlands

Wall to Wall, Roslyn Oxley9 Gallery, Sydney

Through at this & that, Melbourne Art Fair, Anna Schwartz Gallery, Melbourne

Valhalla, Palazzo Zenobio, 52nd Venice Biennale, Venice, Italy

Tomorrowland, Perth Institute of Contemporary Art, Perth; Ballarat Fine Art Gallery; Gippsland Art Gallery, Sale; Dubbo Art Gallery, Dubbo, NSW

Dusk til Dawn, Callum Morton and David Pledger, Arts House, Meat Market, Studio B, North Melbourne

Piles, Pools and Projections, Roslyn Oxley9 Gallery, Sydney

Callum Morton: Babylonia, Bendigo Art Gallery, Bendigo

Mini Monuments, Anna Schwartz Gallery, Melbourne

Tomorrow Land: Callum Morton, Mornington Peninsula Regional Gallery, Mornington, Victoria

Babylonia, Australian Centre for Contemporary Art, Melbourne for the Melbourne Arts Festival

Tomorrow Land, Chandigarh Museum and Art Gallery, Chandigarh, India

The Situationist, Statement Stand, Art Basel Miami

The Wishing Well, Gimpel Fils, London

More Talk About Buildings & Mood, Museum of Contemporary Art, Sydney

Habitat, Ian Potter Centre, NGV Australia, National Gallery of Victoria, Melbourne

Gas and Fuel, Anna Schwartz Gallery, Melbourne
The Big Sleep, Karen Lovegrove Gallery, Los Angeles, USA

Local +/or General, Roslyn Oxley9 Gallery, Sydney

Don't Even Ask, Roslyn Oxley9 Gallery, Sydney
Malice in Blunderland, Galleri Tommy Lund, Copenhagen, Denmark

International Style, Roslyn Oxley9 Gallery, Sydney, Australia
International Style, Santa Monica Museum of Art, Los Angeles

Lockout, CBD, Sydney
Cellar, First Floor, Melbourne

Something more, Teststrip, Auckland, New Zealand
Now and then, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Strip, Karyn Lovegrove Gallery, Melbourne

Been there, Artspace, Sydney

The Heights, Karyn Lovegrove Gallery, Melbourne

Cul-de sac, 200 Gertrude Street, Melbourne
Door Door, Room 32, Regents Court Hotel, Sydney

Sanctuary, Critical Cities (Melbourne), Charles Street, Fitzroy, Melbourne
Office, Store 5, Melbourne

View, Post West, Adelaide
Critical City, Adelaide
Window, Prahran Mission Shop, Melbourne

A Dozen Real Fictions, Store 5, Maples Lane, Melbourne
A Dozen Real Fictions (no. 2), Charles William Gallery, RMIT Architecture Department, Melbourne

Tonight the Ritz, Store 5, no. 29, Maples Lane, Melbourne

GROUP EXHIBITIONS

AUSTRALIA. ANTIPODEAN STORY, Padiglione D'Arte Contemporanea, Milan

Sydney Contemporary, Sydney

Group Show, Roslyn Oxley9 Gallery, Sydney.

Today Tomorrow Yesterday, Museum of Contemporary Art, Australia

21st Century Heide: The Collection since 2000, Heide: Museum of Modern Art, Melbourne

Art Basel Hong Kong, Hong Kong

You Imagine What You Desire, 19th Biennale of Sydney, Cockatoo Island, Sydney (curated by Juliana Engberg)

Optical Mix, Australian Centre for Contemporary Art, Melbourne
Concrete, Monash University Museum of Art, Melbourne 

Conquest of space: science fiction and contemporary art, College of Fine Art Galleries, UNSW, Sydney

Australia, Royal Academy of Arts, London.

Reinventing the Wheel, Monash University Museum of Art, Melbourne.

Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Art Gallery, Rockhampton

Melbourne Now, National Gallery of Victoria, Melbourne.

I Spy: Windows and Doors in Art, Lake Macquarie City Art Gallery, Hunter Region.

Kindness/Udarta: Australia-India Cultural Exchange, RMIT Gallery, Melbourne

Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne

Adelaide Biennale, Before and After Science, curated by Charlotte Day and Sarah Tutton, Art Gallery of South Australia, Adelaide

21st Century: Art in the First Decade, Queensland Art Gallery
Hayman Collection Volume One, Horsham Regional Art Gallery

The Dwelling, ACCA, Melbourne

Stardust, The Fundament Foundation, Tilburg, The Netherlands.

Wandering Lines, Scape Biennial, Christchurch, New Zealand

Lost and Found: An Archeology of the Present, TarraWarra Biennial, curated by Charlotte Day, Healesville, Victoria

The Architects Project, Perth Festival

ARCO O8, Madrid

Revolving Doors: an exhibition in memory of Blair Trethowan, Uplands Gallery, Melbourne

The Library Project, Frankston City Library, Victoria

Cinema Paradiso, ACCA, Melbourne

DeOverkant/Downunder, Den Haag Sculpture 2007, Netherlands

The Unquiet World, Australian Centre for Contemporary Art, Melbourne

Busan Biennale, Busan, Korea

High Tide: Currents in Contemporary Australian Art, Zacheta National Gallery of Art, Warsaw, Poland and Contemporary Art Centre, Vilnius, Lithuania

Dusk Till Dawn: Callum Morton and David Pledger, Art House Meat Market, Melbourne

Avalon, collaboration with Mutlu Cerkez and Marco Fusinato, Artspace, Sydney

The 2nd Istanbul Pedestrians Exhibition curated by Fulya Erdemci and held between Tünel and Karaköy in Istanbul

If these walls could talk: Tony Clark, Callum Morton, David Noonan, Kathy Temin and Jenny Watson, Roslyn Oxley9 Gallery, Sydney

Tomorrowland, 11^th Indian Triennale, New Delhi, India

Cycle tracks will abound in utopia, Australian Centre for Contemporary Art, Melbourne

Written with Darkness, UTS Gallery, University of Technology, Sydney

Satellite cities and tabloid life, MUMA Monash University Museum of Art, Melbourne

Architypes, Ivan Dougherty Gallery, University of New South Wales, College of Fine Arts, Sydney

PUBLIC/PRIVATE Tumatanui/Tumataiti, 2nd Auckland Triennial, Auckland Art Gallery, New Zealand

Architypes, Charles H. Scott Gallery, Emily Carr Institute of Art and Design, Vancouver, Canada

Face Up: Contemporary Art from Australia, Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin

Come in: Interior Design as a Contemporary Art in Germany, Govett-Brewster Art Gallery, New Plymouth, New Zealand

Stellar, Centre of Contemporary Photography Fundraising Auction, Centre of Contemporary Photography, Melbourne

Twilight, Gimpel Fils, London

Gulliver's Travels, Perth Institute of Contemporary Art, Perth; Institute of Modern Art, Brisbane; Contemporary Art Centre of South Australia, Parkside

Architectural Allusions, Callum Morton & Edwin Zwakman, Gimpel Fils, London

Salon des refuses. Progetti di public art mai realizzati, curated by Roberto Pinto, Fondazione Bevilacqua La Masa, Venice, Italy

Fieldwork: Australian Art 1968 - 2002, National Gallery of Victoria, Federation Square, Melbourne

The Heimlich Unheimlich, RMIT University Gallery, Melbourne

People, Places and Ideas, MUMA, Melbourne

Bittersweet, Art Gallery of New South Wales, Sydney

Nocturne, Mornington Regional Art Gallery, Victoria, Australia

Gulliver's Travels, CAST Gallery, Hobart; Ivan Dougherty Gallery, Sydney; Monash University Gallery, Melbourne

The Armory Show, New York (with Gimpel Fils)

Roslyn Oxley9 Gallery - The First 20 Years, Roslyn Oxley9 Gallery, Sydney

Feature, Govett-Brewster Art Gallery, New Plymouth, New Zealand

Lyndal Walker: All New Personal Style, Modern Culture at the Gershwin Hotel, New York

The (Idea)l home Show, Gimpel Fils, London

a person looks at a work of art…, The Michael Buxton Contemporary Art Collection, Heide Museum of Modern Art, Victoria

Longevity, Ian Potter Museum, Melbourne
The Persistence of Pop, The Exhibitions Gallery, Wangaratta
The Retrieved Object, Linden, St Kilda, Melbourne
Rent, Overgaden, Copenhagen, Australian Centre for Contemporary Art, Melbourne
August 26, Elastic, Sydney
Slave Pianos: The Compromised Economy of Desire and Fear, Melbourne
Facsimile, Bendigo City Art Gallery, Bendigo, Victoria, Plimsol Gallery, Hobart, Tasmania

Live Acts.Chunky Move @ Revolver, Melbourne
Signs of Life, Melbourne International Biennial, Melbourne
Facsimile, LAC Gallery, Caracas, Venezuela
The Queen is Dead, Stills Gallery, Edinburgh, Scotland
The Persistence of Pop, Monash University Gallery, Melbourne

Everybody Knows. Care of Space d'arte contemporanea and gallery, Openspace, Milan, Italy
Strolling: the art of arcades, boulevards, barricades, publicity, Museum of Modern Art at Heide, Melbourne
Every Other Day, Roslyn Oxley 9 Gallery, Sydney
Snapshot, First Floor, Melbourne
Proscenium, Artspace, Auckland, New Zealand
Rough Trade, Plimsol Gallery Centre For the Arts, Hobart, Tasmania

Rough Trade, The Tanks, Cairns, Australia
Seppelt Contemporary Art Award, Museum of Contemporary Art, Sydney
Power Corruption and Lies, Institute of Modern Art, Brisbane
World Speak Dumb, Karyn Lovegrove Gallery, Melbourne
Art <=> Advertising, Robert Lindsay Gallery, Melbourne

Power Corruption and Lies / New Order Factory Records 1981, Plotz Gallery, Brisbane
The Expanded Field (with Danius Kesminas and Anna Nervegna), 200 Gertrude St, Melbourne
S.W.I.M. 2 Fund Raiser, Project Space, RMIT Building 94
Ruins in Reverse. RMIT Gallery, Melbourne
Technology Compost (with Damp), organised by Geoff Lowe, Adelaide Festival, Adelaide

Perspectives: 200 Gertrude Street 1985-1995, 200 Gertrude Street, Melbourne
The Object of Existence, Australian Centre for Contemporary Art, Melbourne
Monash University Art Prize, Monash University Gallery, Melbourne
Suddenly, collaboration with Kathy Temin, The Building 40 Project, RMIT, Melbourne
Lyndal Walker and Callum Morton, First Floor, Melbourne
Australian Perspecta, Art Gallery of New South Wales, Sydney
Videonnale # 6, Bonn, Germany

Slide, 200 Gertrude Street, Melbourne
Projection: Filming the Body, The Basement Project, Melbourne
Passage: Spatial Interventions, Monash University Gallery, Melbourne
Loop: Part One - A Critical Cities Project, Longford Cinema, Melbourne
The Exact Moment, A Critical Cities Project, Melbourne

Store 5 Fundraiser, Maples Lane, Melbourne

S.W.I.M. Fund Raiser, Linden Gallery, Melbourne
Sight Regained: Fred Hollows Fund Raiser, Westpac Gallery, Arts Centre, Melbourne

#100, Store 5, Maples Lane, Melbourne
Magasin 5, Cannibal Pierce Galerie Australienne, Paris, France
March On! (#2) (collaboration with Rose Nolan), Store 5, Melbourne
S.W.I.M Fund Raiser, Linden Gallery, Melbourne

W.T. Rawleigh Building, Northcote, Melbourne
Duet, Collaboration with Kathy Temin, Store 5, no 62, Melbourne

Where Art Ends, Nature Begins, Store 5, # 62, Melbourne
# 31, A3-20, Store 5, Melbourne
#11, A3-10, Store 5, Melbourne

COMMISSIONS

Come Away With Me to the End of the World, Malthouse Theatre, Melbourne and Samuel Beckett Theatre, Dublin

Aarhus 2017, Aarhus, Denmark

Endgame, Melbourne Theatre Company (MTC)

Monument Park, NewQuay Promenade, Docklands

Set design for Other Desert Cities, Melbourne Theatre Company, Melbourne

Silverscreen, Monash University Museum of Art, Melbourne

Grotto, pavilion for De Oude Warande, Fundament Foundation, Netherlands

Hotel, Connect East, Eastlink Freeway, Melbourne.

Valhalla, Palazzo Zenobio, 52nd Venice Biennale, Venice

BIBLIOGRAPHY

Ben Neutze, ‘A giant Trump head has popped up in Sydney’, Time Out Sydney, 31 August 2018

Susan Gibb, 'Australia,' Art Asia Pacific Almanac 2015, Volume X, pp 95-8

Amita Kirpalani, 'Engaging Critically, Intensively and Persistently: Callum Morton', Art and Australia, Issue 51 No.4, 2014, pp. 496-500

Stephanie Convery, “Feature : Callum Morton”, Inside MTC, February 20 2013

Amanda Woodward, 'Art Under 5k', Australian Art Collector, pp 106

Stuart Harrison, 'Callum Morton: the Real and the Virtual Together', AR 125: Architecture and the Arts, 2012

Helen Hughes, 'Aestheticising Architecture / Architecturalising Aesthetics: Callum Morton and Bianca Hester'. Discipline # 2. Autumn

Doug Hall, “The Best of Contemporary Australian Art”, The Monthly, October 2012

Raymond Gill, 'Leaders of the pack: the artists who matter', The Sunday Age-Extra, November 13, pp16-17

Charlotte Day, 'MUMA on the move', Art & Australia, Issue 48 No. 2, pp. 252-255

Ken Scarlett, 'No stopping on the freeway!', Australian Art Review, August-October, 2008, pp. 34-36

Charlotte Day, Lost and Found: An Archeology of the Present, exh.cat., TarraWarra Museum of Art

Current, Contemporary Art from Australia and New Zealand, Art and Australia (eds.), Sydney, p220

Andrew Mackenzie, ‘Broken Homes’, Broadsheet, June 2007, pp 85 -87

Marco Marcon, ‘The Grand Tour 2007,’ Eyeline, Number 64, pp24-28

Sebastian Smee, ‘Venice Biennale,’ Artistprofile, Spring 2007, pp61-62

Daniel Palmer, ‘Venice Biennale: Asia and Australasia,’ Frieze, Issue 109, September 2007, p133

Callum Morton, 2007 Venice Biennale Project, Art & Australia, Winter 2007

Stuart Koop and Callum Morton, U3 Venice Biennale Australia 2007, Melbourne University Press, 2007, pp. 108-153

‘Venice Biennale 2007, Callum Morton’s Valhalla’, TATE ETC. http://www.tate.org.uk/tateetc/news/venice2007/callummorton.htm, 07/2007

Richard Dorment, ‘The best Venice for years,’ The Telegraph, 12/06/2007, http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/06/12/babiennale112.xml 

‘Australian Pavilion – Callum Morton,’ E-Flux, 03/12/07, http://www.e-flux.com/displayshow.php?file=message_1173475464.txt

Sheehy, Brett, ‘Callum Morton’ in Finalists in Arts and Entertainment for The Bulletin’s ‘Smart 100: Australia’s Best and Brightest’, The Bulletin, June 26, 2007, p.50

Megan Backhouse, ‘Finding space on a crowded canvas,’ The Age, June 16, http://www.theage.com.au/news/arts/finding-space-on-a-crowded-canvas/2007/06/14/1181414461988.html

John McDonald, ‘Festival of False Gods,’ Sydney Morning Herald, June 16 – 17, p.17

Sebastian Smee, ‘Visions of Life and Death in Venice,’ The Australian, 9 June, http://www.theaustralian.news.com.au/story/0,20867,21873561-16947,00.html

Sebastian Smee, ‘Aussie Artist takes his Valhalla to Venice’, The Australian, Friday June 8, 2007 p.7

Andrew Frost, ‘Callum Morton’, Australian Art Collector: 50 Most Collectable Artists 2007, Issue 39, January – March 2007, pp. 146 – 147

Megan Backhouse, ‘An imagining of the Taliban at work in Toorak’, Sydney Morning Herald, 7 March, p. 16

Jane Ryan, ‘Interview with Callum Morton,’ The Australian Financial Review Magazine, 23 February, p. 22

Robert Bevan, 'art & events,' Vogue Living Australia, January/February 2007, pp. 69 - 72

The Unquiet World, exh. cat., Australian Centre for Contemporary Art, Melbourne

Emily Dunn, 'Tent embassy goes global as Venice sees Australia in three dimensions', The Sydney Morning Herald, Wednesday, May 24, 2006 p. 15

High Tide: new currents in art from Australia and New Zealand, exh. cat., Contemporary Art Centre, Vilnius and Poland, Warsaw

Anthony Gardner, ‘Babylonia’, Commentary in Broadsheet, Vol. 34, No. 4, Dec. 2005 – Feb. 2006 p. 244

Katrina Strickland, ‘The Face: Meeting Artist Callum Morton’, The Weekend Australian, October 1-2, 2005 p. R3

Margaret Marsh, Michele Watts and Craig Malyon A.R.T. 2 practice, Oxford University Press, Melbourne 2005, p. 210-12

Engberg, Juliana, ‘The Body in the Box: Callum Morton and James Angus’, Art and Australia, Vol. 42, No. 4, 2005, pp. 580 - 587

Callum Morton, Stuart Koop and Vikram Prakash, Lalit Kala Akademi, ‘Tomorrow Land, 11^th Triennale India’, 2005

Gallerie d’Art & Co, ‘A Bocca Aperte: In Australia ‘’arte riesce a togliere il fiato,’’

Andrew Frost, ‘Gunslinger Shots: Le Corbusier,’ state of the arts, Jan-Mar 05, pg 102

Maxilmillien de Lafayette, ‘Art Today: People and Events - The XIth Triennale of India: an International Art Treasure,’ Art & Style Magazine

Suneet Chopra, ‘Lessons from the Dehli Triennale,’ The Financial Express (India), Sunday, January 23

‘New Delhi’s Art Triennale builds bridges between nations of the world,’ Channel News Asia, 23 January, http://fecolumnists.expressindia.com/print.php?content_id=80463

Australian artist exhibits images inspired by Le Corbusier’s architectural designs for Chandigarh, news release, Australian High Commission New Delhi, 13 January

Aditi Tandon, ‘Morton’s prints bring irony alive in city’s space alive,’ Chandigarh Tribune, (India), Wednesday, January 12

‘To ‘Tomorrow Land’ and beyond,’ Arts Hub Australia, http://www.artshub.com.au, January 12

‘Callum Morton takes Tomorrow Land to the 11^th Indian Triennale,’ Australia Council Media Releases, 11 January, http://ozco.gov.au/news_and_hot_topics/media_releases/

Aditi Tandon, ‘Artist uses cinema to revisit Chandigarh’s architectural complexity,’ Tribune News Service, Chandigarh, India, January 9

Juliana Engberg, Babylonia, exh. cat. Australian Centre for Contemporary Art, Melbourne

Anthony Downey, ‘Callum Morton,’ Flash Art, London Eye, Nov-Dec 04, No 239, p. 73

Stuart Koop, Vikram Prakash and Callum Morton, Tomorrow Land, exh. cat., 11^th Indian Triennale, New Delhi, India

Georgina Safe, ‘Where icons meet irony,’ The Australian, Monday August 2, 2004, p.7 (Arts)

‘Callum Morton parks new work at 11^th Indian Triennale,’ Australia Council:News + Hot Topics, Media Releases, 26 July’ http://www.ozco.gov.au/news_and_hot_topics/media_releases/callum_morton_parks_new_work_at_11th_indian_triennale/

Stephen Naylor, ‘Public/Private - Tumatanui/Tumataiti, The 2nd Auckland Triennial,’ Art Monthly Australia, # 170, June 2004, p. 16 – 18

‘Recent Exhibitions Selected by Max Delany: Callum Morton Oh Brigitte, 2001 - Anna Schwartz Gallery,’ Art & Australia, Vol. 41 No. 4, Winter 2004, p. 601

Claudia Wahjudi, ‘Face up – Xeitgenösshiche Kunst aus Australien,’ Austellungen, Kunstforum International, Bd. 168, 01/02/2004

Karen Burns, ‘About Face,’ Monument, no. 58, January 2004, p. 38, 39

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, p. 14, 15

Ed. Annette Larkin, ‘Artists of the 21^st Millenium: Callum Morton,’ Art Market Report, Issue 11, Autumn, p.22

Bridget Crone, ‘Face Up: Contemporary Australian Art in Berlin,’ Art & Australia, vol. 41, no. 3, Autumn 2004, p. 386, 387

Felicity Fenner, ‘Callum Morton at the Museum of Contemporary Art,’ Art and America, March, p140.

Susan Best, ‘Sound and Light Humour: Callum Morton’s art practice uses humour to interrogate questions of function and architecture,’ Architecture Australia, Jan-Feb

Stuart Koop, More Talk About Buildings & Mood, exh. cat., Museum of Contemporary Art, Sydney

Astrid Mania, ‘Strike a Pose: Australia Gives Good Face at Berlin’s Hamburger Bahnhoff,’ Broadsheet, Vol 32 # 4, p15-16

Patricia Anderson, ‘The secret life of houses - Callum Morton: More Talk about Buildings and Mood,’ The Australian, 20 December

Richard Grayson, ‘The Downside up Show,’ Broadsheet, vol. 32, no. 4, 2/2003 – 12/2004 

Martin Herbert, Frieze Art Fair: Yearbook 2003 –2004, Frieze Art Fair

Dr. Janet McKenzie, ‘FACE UP,’ Studio International, UK, 4 December

Gloria Vallese, ‘Face up. L’arte Australiana va forte,’ Arte, Italy, December 2003, p.177, 178

Glenda Boriani, ‘artsaustralia berlin 03,’ tema celeste, (1), No.100, November/December

Andrew Frost, Australian Art Collector, Issue #27, p. 92

B.R. Berlin: Opération séduction, L’oeil, Dezember 2003

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 2003

‘Face Up: Contemporary Australian Art,’ review, Flash Art, October, vol. 36, no. 232, p. 46

Caroline Meagher, ‘Bridging the gap,’ State of the Arts, Oct – Dec 2003, p. 86

Lenny Ann Low, ‘Miniaturisation with mischief demands a detailed look,’ Sydney Morning Herald, Wednesday, October 29, p. 16

Susan Shineberg, ‘In the jaws of Berlin’s Great Whites, a taste of Australia,’ The Age, Saturday, 4 October, 2003, p. 9 (News)

Philip Brophy, ‘The City is a Sewer,’ Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, 2003, p. 125

Nicholas Hubicki, ‘Callum Morton,’ Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, 2003, p. 126, 127

Stephanie Green, ‘Review: Gulliver’s Travels, Perth Institute of Contemporary Arts,’ Object, no. 43, p. 89

Stuart Koop, ‘Callum Morton: More Talk about Buildings and Mood,’ Art Matters, Museum of Contemporary Art Members’ Newsletter, MCA, Sydney, Australia, Spring 2003

Ashley Crawford, ‘Sculptor’s Rich Pickings,’ The Age, Sept 15, A3, p11

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, 2003, p. 45 – 51

Stuart Koop, ‘Same As It Ever Was: photography 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, 2003, p. 40 - 44

Julian Engberg, ‘Loop-back: New Australian Art to Berlin,’ Artlink, vol. 23 no. 3, p. 24 - 29

Andrew MacKenzie, ‘Messing with Mies,’ Broadsheet, vol. 32, no. 3, September – November, p. 24, 25

Margaret Plant, ‘The Journey from Field to Fieldwork 1968 – 2003,’ Eyeline # 51, Autumn – Winter, 2003, p. 44 – 46

Pat Nourse, ‘Spatial Relations: Callum Morton’s art injects humanity into modernist architecture’s cold white boxes,’ Black + White #69, 2003, p. 10

Edward Colless, ‘Callum Morton: Interior World,’ Australian Art Collector, issue 25, July – September, p.46 - 49

Ashley Crawford, ‘Melbourne Gothic,’ Australian Art Collector, issue 24, April – June, p.86 – 89

Megan Backhouse, ‘A model artist,’ The Age, Saturday, 31 May, 2003

Stuart Koop, ‘Fieldwork: Australian Art 1968 – 2002,’ Broadsheet, vol. 32, no. 1, March, April, May, p.8 - 11

Natalie King, ‘Art round up: Melbourne,’ Art Monthly Australia no. 157, March 2003, p.14 – 16

Stuart Koop, ‘Groundhog Day,’ Callum Morton: Habitat, exh. cat., Ian Potter Centre: NGV Australia, Melbourne

Daniel Palmer, ‘Callum Morton,’ Frieze, Issue 72, Jan – Feb 2003, p. 106

Davina Jackson, ‘21^st Century House-Museum,’ Australian Art Collector (Collector Profile: Yueji & Corbett Lyon), Issue 23, Jan – Mar 2003, p. 44 - 47

Stephanie Radok, ‘The Point of Knowing,’ in Samstag Scholarship, exh. cat., University of South Australia, 2003

http://www.vceart.com/artists/morton/index.html

‘Face up to Australian Art’ (Hamburger Bahnhof, bis 4. Januar 2003), http://www.schwarzau.de/ausstellungen/berlin.htm

Dominque Angeloro, ‘If it’s rockin’’, The Sydney Morning Herald, November, 14-20, 2003, p.26

Juliana Engberg, The Heimlich Unhemlich, exh. cat., Melbourne Festival Visual Arts Programme

Simon Rees, 'Bittersweet' at the Art Gallery of New South Wales,' ArtText, no. 78 Fall 2002, p. 90, 91

Wayne Tunnicliffe Bittersweet, exh. cat., Art Gallery of New South Wales

Linda Michael, People, Places and Ideas, exh. cat., MUMA, Melbourne

Nicolas Hubicki, 'Conning Icons,' Architectural Review Australia, Spring 2002, p. 20, 21

Sylvia Katz, 'Learning from Callum Morton,' Arbitare 420, September 2002, p. 122

Stuart Koop, Gulliver's Travels, exh. cat., CAST Gallery, touring exhibtions

Stuart Koop Crudelia ? Anno 11 nr.1 - Gennalo -Marzo 2001
Greg Burke, Feature - art, life & cinema, exh. cat., Govett-Brewster Art Gallery, New Zealand

Stuart Koop International Style, Monument #41, 2001, p. 94 -97

Larissa Hjorth, 'Mortgage,' Broadsheet Vol 29 no 4. Dec 2000. p.16

D.J.Huppatz, 'Rent,' Like # 13. Summer 2000, p 61 - 62

Callum Morton, The Retrieved Object, exh. cat., Linden Gallery, Melbourne

Monument, 'Not the Musical,' Monument #36, June/July, 2000, p.30

Dawn Fulcher and Max Andrews, 'Rent,' Contemporary Visual Arts, Issue 29, 2000, p. 84

Briony Rhodes Facsimile, Eyeline, # 42, Autumn/Winter 2000

Stuart Koop & Charlotte Day Rent, special Issue of øjeblikket as exh. cat., May

Charles Green, 'Callum Morton', Artforum, March, p. 140

Modern Institute Melbourne, Glasgow, Edinburgh, exh. cat. Cultural exchange project

Max Delany, ‘Raising the Dead, An Interview with Callum Morton,’ Like Art Magazine, No 10, Summer 1999, p. 20-25

Clayton Campbell, ‘Callum Morton, Santa Monica Museum of Art,’ Flash Art International, Vol.xxx11 no 208, October 1999, p117

Daniel Palmer, ‘Signs of Life, Melbourne International Biennial,’ Frieze, #48, Oct 1999, p100-101

Stuart Koop, ‘Signs of Life, Melbourne International Biennial,’ Art /Text #67, p86

Susan Stewart, ‘Art and the Experience of Time,’ Like, No 9, Winter 1999

Stuart Koop, ‘What’s In the Box ?,’ catalogue essay in Mixed Business, The Work of Callum Morton

Juliana Engberg, Signs of Life, exh. cat., Melbourne International Biennial

Elisabeth Mahoney, ‘The Queen is Dead,’ Untitled #19

Nicky Bird, ‘Hot in the City, The Queen is Dead, Where the Wild Roses Grow,’ Art Monthly, UK, March

Peter Timms, ‘Pop reveals its simple powers of persistence,’ The Age, 24th March, p19

Zara Stanhope, The Persistence of Pop, Works from the Monash University Collection

Karen Burns, ‘Urban Unease: The Work of Callum Morton,’ Backlogue, Vol 3.

Rachel Kent, ‘Strolling,’ Art and Text, #64, p93-94

David Cross, ‘Strolling: The art of arcades, boulevards, barricades, publicity,’ LIKE, #7, Summer, p. 46-47

Clayton Campbell, ‘LA’s Bergamot Station Arts Center’, Object Magazine, p. 50-1

'Everybody Knows,' Artfan #8

Max Delany, 'Strolling: the art of arcades, boulevards, barricades, publicity,' exh. cat., Museum of Modern Art at Heide

Adam Geczy, 'Not so fine art,' Art Monthly #112, August

Stuart Koop, ‘Three Quarter Time,’ interview with Callum Morton from Seppelt Contempoary Art Award catalogue, MCA

Giovanni Intra, now and then, exh. cat., Govett-Brewster Art Gallery, New Zealand

Rex Butler, ‘Slow Apocalypse,’ in Power, Corruption and Lies, exh. cat., IMA, Brisbane

Lara Travis, ‘World Speak Dumb,’ LIKE, #2

Deborah Hennessy, ‘Art Lover’s Lost Highway,’ Broadsheet, Vol 26, # 2, Winter =

World Speak Dumb, exh. cat., Karyn Lovegrove Gallery

Christopher Chapman, ‘Sculpture Snapshots,’ Photofile, #99

Evan Maloney, ‘Consuming Art,’ Art Monthly, #99

Mark Pennings, ‘Bright Shiny and New,’ art<=> advertising, catalogue essay

Simon Cooper, 'The expanded field,' LIKE #1

Stuart Koop, interviewing Callum Morton, Been There, exh. cat., Artspace, Sydney, November

David Cross, 'The expanded field,' Art and Text, # 55

Robert Schubert, 'Ruins in reverse,' Art and Text, # 55

Natalie King, 'Building 40 Project,' Art and Australia, vol 33, no 4

Susan Fereday, Ruins in reverse, exh. cat., RMIT Gallery

Carolyn Barnes, Perspectives, An Historical Perspective, exh. cat., 200 Gertrude Street

Claire Williamson, Object of Existence, exh. cat., ACCA

Max Delany, Callum Morton: Belvedere, Australian Perspecta 95, exh. cat., Art Gallery of New South Wales

Alex Pittendrigh & Mutlu Çerkez, Callum Morton and Lyndal Walker

Judy Annear, 'The Making of Australian Perspecta,' Art Monthly, no 75

Natalie King, 'Hothouse Varieties,' Art & Asia Pacific, vol 2, no 2

Stuart Koop, 'Real Model World,' Art & Text, no 52, pp 36-38

Circular #3, February

Sandra Bridie, ‘The Exact Moment,’ Critical Cities, Melbourne

Natalie King, Passage: Spatial Interventions, exh. cat., Monash University Gallery, May

Sandra Bridie, ‘Introduction to Critical Cities,’ Critical Cities, March

Artfan #2 Office

M. Holden, Cul-de-sac, exh. cat., 200 Gertrude Street, June

E. Pierini, ‘Passage: Spatial Interventions,’ Broadsheet, vol 23, no 2, Winter

Marie Sierra-Hughes, ‘Cul-de-Sac,’ Agenda, # 38, September

F. Coleman, ‘Passage,’ Agenda, # 38, September

M. Holden, ‘Loop: Part One,’ Agenda, #38, September

Artfan #3/4, ‘Loop: Part One,’ Melbourne, no 3/4

H. Smorgan, ‘Loop: Part One,’ Photofile, # 43

Chris McAuliffe, ‘Next Wave Festival,’ Art and Australia, vol 32, no 2

T. Mathieson, ‘More Next Wave Festival,’ Art and Australia, vol 32, no 2

F. Coleman, ‘Next Wave Festival,’ Art &Text, # 49

Nicholas Baume, ‘Room 32,’ Art &Text, #50

Kirsten Thompson Charles William Gallery Review, Transition # 36/37, 1991

NEWSPAPER REVIEWS

Megan Backhouse, ‘Artist commissioned’, March, www.theage.com.au

Murata Yuko, ‘Architypes’, http://www.realtokyo.co.jp/english/ May

Robert Nelson, ‘Cycle Tracks Will Abound in Utopia,’ The Age, Sept 1

Elizabeth Farrelly, ‘All the world’s a designer stage,’ Sydney Morning Herald (Metropolitan), Tuesday, 20 January, p. 13

Susan Shineberg, 'In the jaws of Berlin's Great Whites, a taste of Australia,' The Age, 4 October

Susan Shineberg, 'Triumph in the teeth of adversity,' The Sydney Morning Herald, 6 October

Von Thomas Joerdens, 'Poppig und gefährlich,' Oranienburger Generalanzeiger, 7 October

Patricia Anderson, 'The Secret Life of Houses,' The Australian, Saturday, 20 December

Lenny Ann Low, 'Miniaturisation with mischief demands detailed look,' Sydney Morning Herald, Metropolitan, Wednesday, October 29, p. 16

Shirley Apthorp, 'Urban work smashes cliches: Berlin is set to experience the cutting edge of Australian art,' The Australian, Tuesday, 30 September 2003, p. 15

Peter Hill, 'Made to measure', Review in Spectrum, The Sydney Morning Herald, December 13-14, 2003, pp. 10 - 11

Robert Nelson, 'Viewers take ride back into the future,' The Age, Sat. 30 November, p. 29

John Mangan, 'Party time for an art gallery with a split,' The Age, November 25, 2002, p. 3

Gabriella Coslovich, 'Gas and Fuel towers are back, in miniature and on site,' The Age, November 23, 2002, p. 6

Megan Backhouse, 'Callum Morton, cooking with gas,' The Age, October 2, 2002, p. 6 (The Culture)

Robert Nelson, The Age, Saturday, September 28, 2002

Benjamin Genocchio, 'Twitchy escapist impulses,' The Weekend Australian, May 4-5

Susan McCulloch-Vehlin, 'Lunar Dreaming,' Weekend Australian, Saturday, April 20

Holly Myers, 'An intimate trip to dreamland,' LA Times, February 5

Benjamin Genocchio, 'Building on lurid fantasies,' The Weekend Australian, 12-13 January

Robert Nelson, 'Seeing is Believing,' The Age, Friday November 24

Robert Nelson, 'Someone Elses Home is Where this Art is,' Sunday Age, September 3

Megan Backhouse, 'Hybrid Forms under the Spotlight,' The Age, Wednesday, 26 July, p.7

Alison Barclay, '2020 visionaries, Who will be the leading Australian artist of the future?' Herald Sun, Saturday, January 8, p.104

William Wilson, 'Oversized Comments on Society, Success,' Los Angeles Times, July 22

Yasmin Monsalve, 'La cultura de la copia ilega desde Australia,' El Universal, July

Edgar Alfonzo-Sierra, 'Facsimile: Australia en copias,' El Nacional, June 30

Bruce James, 'Hitting the Poor Snail on the Head', The Sydney Morning Herald, June 19, p.13

Joanna Murray-Smith, 'The Freedom to Pursue the Art of the Matter,' The Age, 13 June

Anna Clabburn, 'Plentiful Life Signs,' The Age, June 9

Robert Rooney, 'A little chaos, but definite life signs,' The Australian, Sunday, May

Peter Timms, 'Biennale plays it safe,' The Age, May

Ashley Crawford, 'Signs of Strife,' The Age, May 8

Peter Timms, 'Pop reveals its simple powers of persistence,' The Age, March 24

Anna Clabburn, 'Three strolling artists lead the way at MOMA,' The Age, Nov 11

Sebastian Smee, Sydney Morning Herald, Sept 29

Myfawny Warhurst, 'Strolling Along,' The Age, Saturday Extra, Oct 24

Robert Rooney, 'Everyday is deja vu Day in Suburbia,' The Australian, Oct 16

TJ McNamara, 'Neo-Romantic Revival,' Art Monthly

Peter Hill, 'Moonlighting for Jacks of All Trades,' The Australian, March 6

Adrian Martin, Art Collector

Susan McCulloch, ‘Architectural bent puts Morton in the frame,’ The Australian, Nov 21

Giles Auty, ‘But Who Picked the Jury ?,’ The Weekend Australian, Nov 15-16

Bruce James Galleries, Sydney Morning Herald, Nov 14

Rebecca Lancashire, ‘When is an art prize not an art prize ?,’ The Age, July 16

Angela Bennie, ‘A Toast to final five,’ The Sydney Morning Herald, July15

Mark Birch, ‘ New artist-in-residence is closer to deciding New Plymouth Project,’ Daily News, New Plymouth, June 27

Robert Rooney, ‘Art-Advertising,’ The Australian, March

Anna Johnson, ‘Young At Art,’ Good Weekend, April 26

Bruce James, Sydney Morning Herald, Nov

Robert Rooney, '….Expanded Field,' The Australian, Melbourne, 24 May

Robert Nelson, 'Fire in a Prestigious Underbelly,' The Age, Melbourne, 15 May

Robyn Mckenzie, 'Balcony Sculpture,' The Age, Melbourne, 25 October

Robert Rooney, 'Melbourne Art,' The Australian, Melbourne, 17 October

Bruce James, 'Perspecta exhibition a hybrid exploration,' The Age, Melbourne, 10 February

Elwyn Lynn, 'Framed witnesses defend Perspecta,' The Australian, Melbourne,10 February

VIDEO ART

Callum Morton Four Works, video document

Twister, For Live Acts with Shelley Lassica, Chunky Moves Performances at Revolver

The Expanded Field, video documentation

Loop: Part One

PAGE ART

Artfan #8, Everybody Knows, 1998
Practice #3, Artist Pages, 1998

Artfan #7, Rock On, Guest Editor.1998

Circular # 6, September, 1997

Artfan #5, Cover, Autumn 1995

Agenda #35, Cover, 1993
Circular #1, May, 1993
Circular #2, October 1993
Agenda #13/14, Artists Page: Artists Wallpaper Supplement

PRIZES

Seppelt Contemporary Art Award
Monash University Inaugural Art Awards, 1995

GRANTS

Samstag Scholarship, University of South Australia

New Work Grant, Arts Victoria

New Work Grant, Arts Victoria

Professional development grant, Arts 21, Arts Victoria

New Work Grant, Australia Council

New Work Grant, Australia Council

COLLECTIONS

Art Gallery of New South Wales, Sydney

National Gallery of Victoria, Melbourne

Art Gallery of Western Australia, Perth

Queensland Art Gallery / Gallery of Modern Art, Brisbane

Auckland Art Gallery, New Zealand

Museum of Old and New Art (MONA), Tasmania

Monash University Gallery, Melbourne

Corbett and Yueji Lyon Collection

Ferriers, Sydney

Goldman Sachs JB Were

Artbank

Minter Ellison

The Michael Buxton Collection

MONA Collection

Private Collections locally and internationally