PATRICIA PICCININI

Born Freetown, Sierra Leone

Arrived in Australia

Diploma in Italian Language, Universita di Firenze, Florence, Italy

Bachelor of Arts (Economic History), Australian National University, Australia

Bachelor of Arts (Painting), Victorian College of the Arts

Coordinator, The Basement Project Gallery

Part-time tutor, Victorian College of the Arts, Australia

SELECTED SOLO EXHIBITIONS

Chromatic Balance, Tolarno Galleries, Melbourne

A World of Love, Arken Museum, Copenhagen, Denmark

Patricia Picinini and Joy Hester: Through Love…, curated by Victoria Lynn, TarraWarra Museum of Art, Victoria

CURIOUS IMAGININGS, Vancouver Biennale, Patricia Hotel, Vancouver, Canada

Inter-natural, Hosfelt Gallery, San Francisco, US

The Field, Sydney Contemporary, Sydney

Patricia Piccinini: Curious Affection, Gallery of Modern Art, Brisbane, Australia

Patricia Piccinini: The Comforter, University of Michigan Museum of Art, Michigan, US

Patricia Piccinini: No fear unmingled with hope, Tolarno Galleries, Melbourne

Conscienceness, Kibla Portal, Kibla, Slovenia

The Struggle and the Dawn, Roslyn Oxley9 Gallery, Sydney, Australia

­­ComSciencia, CCBB Rio De Janiero, Rio De Janiero, Brazil

ComSciencia, CCBB Belo Horizonte, Belo Horizonte, Brazil

Alone With The Gods, Greenaway Art Gallery, Adelaide, Australia

We feel, conceive or reason, laugh or weep, Todd Hosfelt Gallery, San Francisco

Patricia Piccinini, Yu-Hsiu Museum of Art, Taiwan

ComCiência, Centro Cultural Banco do Brasil, Sao Paolo, Brazil

The Shadows Calling, Dark Mofo / Mercury Building, Hobart, Australia

Galway International Arts Festival, Black Box Theatre, Galway, Ireland

The Touch of Another, Warrnambool Art Gallery, Warrnambool

Like Us, Newcastle Art Gallery, Newcastle

I have spread my dreams under your feet, Roslyn Oxley9 Gallery, Sydney

Patricia Piccinini, Galeria Artist, Berlin

Those who dream by night, Haunch of Venison, London

There are no strangers, Tolarno Galleries, Melbourne

Once Upon a Time..., Art Gallery of South Australia, Adelaide

Hold me close to your heart, ARTER - Space for Art, Istanbul, Turkey

The Welcome Guest, Conner Contemporary Art, Washington, USA

The Fitzroy Series, Centre for Contemporary Photography, Melbourne

Beyond our kin, Roslyn Oxley9 Gallery, Sydney

Relativity, Art Gallery of Western Australia, Perth, Australia

Not as we know it, Haunch of Venison, New York

Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea

Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia

Unforced Intimacies, Tolarno Galleries, Melbourne, Australia

Patricia Piccinini, Byblos Art Gallery, Verona, Italy

Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia

Hug: Recent Work by Patricia Piccinini, Frye Art Museum, Seattle, Washington

Patricia Piccinini: The place where it actually happens, Yvon Lambert, New York

Piccinini, (survey show), Perc Tucker Regional Gallery, Queensland

The Wellspring, Tolarno Galleries, Melbourne, Australia

(tender)creatures, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain and Des Moines Art Center in Iowa, USA

Hug: Recent Work by Patricia Piccinini, Des Moines Art Centre Downtown

Recent Drawings, Roslyn Oxley9 Gallery, Sydney

Patricia Piccinini: In Another Life, City Gallery Wellington, New Zealand

Feature artist in Art Taipei 2006, Taipei, Taiwan

Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia

Nature's Little Helpers, Robert Miller Gallery, New York

Sculpture, Robert Miller Gallery, New York

We Are Family, Bendigo Art Gallery, Bendigo, Australia

Repercussions, (individual and collaborative works by Peter Hennessey and Patricia Piccinini), Greenaway Art Gallery, Adelaide

We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy (15 June - 2 November)

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

Call of the Wild, John Curtin Gallery, Curtin University of Technology, Bentley, Western Australia

Autoerotic, Roslyn Oxley9 Gallery, Sydney

Call of the Wild: Patricia Piccinini, Museum of Contemporary Art, Level 4, Sydney

Retrospectology: the world according to Patricia Piccinini, Australian Centre for Contemporary Art, Southbank, Victoria

Sandman, Project Work, National Gallery of Victoria at Federation Square, Melbourne, Australia

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

Desert Riders, Roslyn Oxley9 Gallery, Sydney
Swell, Artspace, Sydney

Protein Lattice (billboard), Republic Tower, Melbourne
Truck Babies, Tolarno Galleries, Melbourne
Plasticology, NTT ICC, Tokyo

Sheen, Project work, 1998 Adelaide Festival, Adelaide
Car Nuggets, Arts Victoria, Melbourne

Psycho, Tolarno Galleries, Melbourne

Natural Beauty, The Basement Gallery, Melbourne
Your Time Starts Now, Contemporary Art Centre of South Australia, Adelaide; Institute of Modern Art, Brisbane

Love Me Love My Lump, The Basement Project, Melbourne
TerrUrbanism, The Australia Centre, Manila, The Philippines

T.M.G.P.,The Basement Project, Melbourne
TerrUrbanism, Centre for Contemporary Photography, Melbourne
lndivisibles, The Basement Project, Melbourne

Love Story, Platform, Melbourne

All That Glistens, Temple, Melbourne

The Body DIS-corporate, Linden, Melbourne

SELECTED GROUP EXHIBITIONS

Hyperrealism Sculpture, La Boverie, Liege, Belgium (forthcoming)

Auckland Art Fair, Auckland, New Zealand (forthcoming)

Hyperrealism Sculpture, National Chiang Kai-shek Memorial Hall, Taipei, Taiwan (forthcoming)

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

Life Clings Closest, Cairns Art Gallery, QLD

The Coming World: Ecology as the New Politics 2030–2100, Garage Museum of Contemporary Art, Moscow, Russia

Broken Nature: Design Takes on Human Survival, XII Triennale di Milano, Milan, Italy

Perfection, Science Gallery Dublin, The Naughton Institute, Trinity College Dublin, Ireland

Simon Denny: Mine, Museum of Old and New Art, Hobart

Obsession: Devil in the detail, Mornington Peninsula Regional Gallery, Victoria

Auto-Didactic: The Juxtapoz School, Petersen automotive museum, Los Angeles, US

PERFECTION: Part Experiment / Part Exhibition, Melbourne School of Design, The University of Melbourne

Mirror Mirror, Paul Robeson Galleries, Newark, US

Sydney Contemporary, Roslyn Oxley9 Gallery, Sydney

The Public Body .03, Artspace, Sydney

Spring 1883, Roslyn Oxley9 Gallery, Melbourne

Frankenstein's Birthday Party, Hosfelt Gallery, San Francisco, America

Hyper Real, National Gallery of Australia, Canberra; Kunsthalle Tübingen, Germany; Heydar Aliyev Center, Baku, Azerbaijan

Hyperrealism Sculpture, Kunsthal Rotterdam, Netherlands

The shape of things to come, Buxton Contemporary, Melbourne, Australia

Soft Core, Shepparton Art Museum, Victoria

Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide

Let's Play: The Art of Our Time, Bunjil Place Gallery, Melbourne, Australia

Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, Australia

Gosh, Is it alive?, Arken Museum of Modern Art, Ishoj, Denmark

Momentum 9 Biennial 'Alienation', PunktO Galleri 15, Moss, Norway

Revival, National Museum of Women in the Arts, Washington, USA

Beyond Belief: the Sublime in Contemporary Art, Bathurst Regional Art Gallery, Bathurst, Australia

Mad Love, Arndt Art Agency, Berlin, Germany

ON THE ORIGIN OF ART, Museum of Old and New Art, Tasmania

Common Ground, National Gallery of Victoria, Melbourne
The Universe of Art, Mori Art Museum, Tokyo, Japan

Hyperrealist Sculpture 1973-2016, Museum Bilbao, Spain

Weird and Wonderful: From the Olbricht Collection, Folkwang Museum, Essen, Germany

Cornucopia, Shepparton Art Museum, Shepparton, NSW

Australian Exotica, Monash Gallery of Art, Melbourne

New Romance: Art and the posthuman, Museum of Contemporary Art, Sydney, Australia

Soft Core, Casual Powerhouse Arts Centre, Sydney, Australia

Speed, Murray Art Museum, Albury, Australia
The New Romance, National Museum of Contemporary Art, Seoul, South Korea

Beautiful Beast, The New York Academy of Art, New York, USA
Super Natural, National Museum of Women in the Arts, Washington, USA

Materia Prima, LABoral Centro De Arte, Gijon, Spain

The Post-Photographic Condition, Le Mois De La Photo a Montreal, Montreal, Canada

Symbiotica, University of Western Australia, Perth, Australia

Beautiful Beast, The New York Academy of Art, New York, USA

Queensize : Female Artists from the Olbricht Collection, me Collectors Room, Berlin, Germany

Menagerie, Australian Centre for Contemporary Art, Melbourne, Australia, curated by Juliana Engberg

Dark Heart, 2014 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (curated by Nick Mitzevich)

PULSE: Reflections on the body, Canberra Museum and Gallery, Canberra

In the flesh, National Portrait Gallery, Canberra

How to tell the future from the past, Haunch of Venison, New York, USA

Nature of the Beast, The New Art Gallery, Walsall, England  

The Wandering: Moving images from the MCA Collection, MCA, Sydney.

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

Fairytales, Monsters and the Genetic Imagination, Glenbow Museum, Calgary, Canada, Winnipeg Art Gallery, Manitoba, Canada and The Frist Center for the Visual Arts, Nashville, Tennesse, USA

Louise Bourgeois, Heide Museum of Modern Art, Melbourne, Australia

Concepts of Life in Contemporary Sculpture, Georg Kolb Museum, Berlin, Germany

The Observer, Haunch of Venison, London

Sculpture is Everything, Queensland Art Gallery / Gallery of Modern Art (GOMA), Brisbane

Blue: Matter, Mood, and Melancholy, 21c Museum Hotel, Louisville, USA

ANIMAL/HUMAN, University of Queensland Art Museum, Brisbane

Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Mornington.

The Future’s Not What It Used To Be, Newlyn Art Gallery, Newlyn, Cornwall

Inspiring Artists: Recipients of the Pat Corrigan Artists’ Grant, Maitland Regional Art Gallery, Maitland

The Freeze, Maroondah Art Gallery, Melbourne, Australia

Nature vs Nurture, FaMa Gallery, Verona, Italy

Confounding: Contemporary Photography, National Gallery of Victoria, Melbourne, Australia

Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia

Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan

Our Origins, Museum of Contemporary Photography at Columbia, Chicago, USA

Boundaries Obscured, Haunch of Venison, New York

Power of Making, Victoria & Albert Museum, London, UK

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

Imagining the Future, RMIT Gallery, Melbourne

Double Vision, McClelland Gallery and Sculpture Park, Langwarrin, Victoria

The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada

Kaldor Public Art Projects 'Move: The Exhibition', Gallery Of Modern Art, Brisbane, Australia

Medicine and Art, Mori Art Museum, Tokyo, Japan

2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan

Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands

Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany

Niet Normaal: Difference on Display, Beurs Van Berlage, Amsterdam, The Netherlands Colliding Worlds, Samstag Museum, Adelaide, Australia

Reframing Darwin: evolution and art in Australia, Ian Potter Museum of Art, The University of Melbourne, Melbourne

Figuring Landscapes, Tate Modern, London; Ivan Dougherty Gallery, Sydney

Rising Tide: Film and Video Works from the MCA Collection, Sydney, Museum of Contemporary Art San Diego

In the Land of Retinal Delights, Laguna Art Museum, California

Neo Goth: Back in Black, The Art Museum, University of Queensland, curated by Alison Kubler

The Stranger, Yvon Lambert New York, USA

'The Gathering,' Art Film, Art 39 Basel, Switzerland

Global Feminisms, Brooklyn Museum, New York, USA

Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher, Wurzberg, Germany

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

Supercharged: the car in contemporary culture, IMA touring show - 24Hr Art, Bathurst Regional Art Gallery, Pinnacles Gallery

Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA

Artist Makes Video, Art Rage Survey 1994-1998, Griffith University, Queensland College of Art, Brisbane

Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands; MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia

Becoming Animal, MassMOCA, North Adams, USA, 29 May 2005 - 1 Feb 2006

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

Uneasy Nature, Weatherspoon Art Museum, The University of North Carolina at Greensboro

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

Oh! My deer!, Feast of Mind, Buffet of Art XVIII, Fubon Art Foundation, Taipei, Taiwan

Prism, Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan

The Idea of the Animal, RMIT Gallery, Melbourne, Victoria

Black & Blue, Robert Miller Gallery, New York, USA

Figure It Out, Hudson Valley Centre for Contemporary Art, Peekskill

Group Show, Roslyn Oxley9 Gallery, Sydney

The Subjective Figure, Robert Miller Gallery, New York

C'town Bling, Campbelltown Arts Centre, NSW, Australia

Drawing Centre, Newcastle Region Art Gallery, NSW

Perception, The Daryl Hewson Photographic Collection, Queensland Centre for Photography, Bulimba, QLD, Australia

Almost, Robert Miller Gallery, New York, USA

Adelaide Biennial of Australian Art: Contemporary Photo-media, Art Gallery of South Australia, Adelaide, South Australia

Auto Fetish: The Mechanics of Desire, Newcastle Region Art Gallery, Newcastle, New South Wales

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

The Plot Thickens: Narratives in Australian Art, A Heide Museum of Modern Art Travelling Art Exhibition, Melbourne, Australia

Repercussions: Individual and Collaborative Works by Peter Hennessey and Patricia Piccinini, Greenaway Art Gallery, Adelaide

X-Mas Stockings, Roslyn Oxley9 Gallery, Sydney

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

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

Bienale de la Hababa, Havana, Cuba

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

Flagship: Australian Art in the National Gallery of Victoria, 1790 - 2000, The Ian Potter Centre, National Gallery of Victoria Bloom mutation, toxicity and the sublime, Govett Brewster Gallery, New Plymouth, New Zealand (to February 2004)

See here now, Vizard Foundation Art Collection of the 1990s, Ian Potter Museum of Art, University of Melbourne, Melbourne

Liverpool Biennale International 2002, Liverpool Tate, Liverpool, United Kingdom

(the world may be) fantastic, Biennale of Sydney, Sydney, Australia

Tech/No/Zone, Museum of Contemporary Art, Taipei, Taiwan

Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain

Melodrama: Lo Excesivo en la Imaginacion Posmoderna, Artium, Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain

For Real, Wood Street Galleries, Pittsburgh, USA

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

The First Twenty Years: Roslyn Oxley9 Gallery, Roslyn Oxley9 Gallery, Sydney

2^nd Sight Australian Photography in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, to 2003

Screen Life: Film Screening Programme, Govettt-Brewster Art Gallery

Seeing Through Landscape, Australian Centre for Photography, Sydney
Desire, RMIT Gallery, Royal Melbourne Institute of Technology, Melbourne hybrid<life>forms, Netherlands Media Art Institute, The Netherlands

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
2nd Berlin Biennale for Contemporary Art, Kunst-Werke +Postfuhrant Berlin, Germany
low-down, Monash University Gallery, Monash University, Melbourne
Panel Work, Galeria Municipal Pancho Fierro, Municipalidad Metropolitana de Lima, Peru

Songs of the Earth, Museum Fridericianum, Kassel, Germany

Bonheur des Antipodes, Musée de Picardie, Amiens, France

Kwangju Biennial, Kwangju, Korea

Sporting Life, Museum of Contemporary Art, Sydney

Plastic Life (with Christopher Langton), Level 2 Project, Art Gallery of New South Wales, Sydney

Flow, National Gallery, Kuala Lumpur, Malaysia

Akihabura TV 2, Akihabura electrical stores, Tokyo, Japan

Terra Mirabilis, Centre for Visual Arts, Cardiff, Wales

Passing Time: Moët & Chandon, curator Victoria Lynn, The Art Gallery of New South Wales, Sydney

Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA

Posthuman Bodies, Casula Powerhouse Arts Centre, Sydney

All Stars 2000, Roslyn Oxley9 Gallery, Sydney

Melbourne International Biennial: Signs of Life, Melbourne

Probe, curator Linda Wallace, Australian Embassy, Beijing, China
Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan
A Window, Inside and Outside, Kwangju City Art Museum, Korea
Akihabura TV, Akihabura electrical stores, Tokyo, Japan
ARTificial Life, Artspace, Auckland, New Zealand
Signature Works, Australian Centre for Photography, Sydney
The Liquid Medium: Video Art, Queensland Art Gallery, Brisbane
Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia
Byte me, Bendigo Art Gallery, Bendigo, Australia
The Persistence of Pop, Monash University Gallery, Melbourne

Up the Road, ACCA, Melbourne
New Acquisitions, National Gallery of Victoria, Melbourne
Sets and Series, Tolarno Galleries, Melbourne
ARCO - 98, (Madrid Art Fair), Greenaway Art Gallery, Adelaide
Hype, RMIT Gallery, Melbourne
Metamorphosis, Mornington Peninsula Gallery, Victoria

Wild Kingdom, Institute of Modern Art, Brisbane
Fotofeis, Gallery of Modern Art, Glasgow, Scotland
Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Japan
Australian Perspecta, Museum of Contemporary Art, Sydney
Lawyers, Guns and Money, Experimental Art Foundation, Adelaide
Art = Advertising, Robert Lindsay Gallery, Melbourne
Nothing Natural, Plimsoll Gallery, Hobart; Latrobe Regional Gallery, Victoria
Techne, P.I.C.A., Perth

Basement, Stripp, Auckland, New Zealand
Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria
Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney
Nothing Natural, The Basement Gallery, Melbourne
Perception & Perspective, National Gallery of Victoria, Melbourne
Alternative Realities, Tamsui; Taiwan; India
Moët & Chandon, Touring Exhibition, Melbourne; Sydney; Brisbane; Adelaide
Cyber Cultures, Performance Space, Sydney

Alternative Realities, Hong Kong; Melbourne; China; Korea; Taiwan;
Technothelylogia, Monash University Gallery, Melbourne
Ada's Spawn, New Media Network, Melbourne
Our Parents' Children, Access Space, NGV, Melbourne
Fleshly Worn, ASA Gallery, New Zealand
A Gathering of Shades: Seven recent images of death in Melbourne, Temple Studio, Melbourne
Since the accident, The Basement Gallery, Melbourne

Plastiche, (Curator), The Basement Project, Melbourne
Critical Mass, Arts Victoria Gallery, Melbourne

City Screens, Melbourne International Festival, Melbourne
Deliquescence, 200 Gertrude Street Gallery, Melbourne, Canberra Contemporary Art Space, Canberra

Deliquescence, First Draft West, Sydney

Heretical Gestures at the Birth of Enlightenment, Swanston Street Gallery, Melbourne
Recent works and Collaborations, Charles Williams Gallery, Melbourne

COLLECTIONS

21C Museum, Kentucky, USA

Art Gallery of New South Wales, Sydney, Australia

Art Gallery of South Australia

Artbank, Sydney, Australia

Bendigo Art Gallery, Victoria, Australia

Griffith University, Queensland, Australia

Middelheim Museum, Antwerp, Belgium

Monash University, Victoria, Australia

National Gallery of Australia, Canberra, Australia

National Gallery of Victoria, Melbourne, Australia

National Museum of Women in the Arts, Washington DC, USA

Newcastle Region Art Gallery, New South Wales, Australia

Parliament House, Canberra, Australia

Phoenix Art Museum, Arizona, USA

Queensland Art Gallery, Brisbane, Australia

The University of Melbourne, Victoria, Australia

The Vehbi Koc Foundation, Istanbul, Turkey

Thomas Olbricht Collection, Berlin, Germany

Waverley City Gallery, Melbourne, Australia

Weatherspoon Art Museum, North Carolina, USA

COMMISSIONS

Skyewhalepapa, National Gallery of Australia, Canberra.

The Skywhale, Canberra Centenary, Canberra.

Inflorescence, 50 Margaret Street, CBD, Sydney

Sunset, UBS, Melbourne

Caldera, Masonic Centre, 66 Goulburn St, Sydney.

Audi Australia Showroom

SELECTED BIBLIOGRAPHY

Niki Burnside, 'The Skywhale hot air balloon is breeding. Canberra, meet Skywhalepapa', ABC News, 20 November 2019

Varia Karipoff, 'Patricia Piccinini and Joy Hester- Through Love…', Art Guide, 11 January 2019

Clarissa Sebag-Montefiore, The Skywhale Returns to Australia's Skies, and Its Creator Braces for Impact, The New York Times, 17 October, 2018

Janet Smith, In Curious Imaginings, Patricia Piccinini's beautiful mutants engage unexpected empathy, The Georgia Straight, 12 September 2018

Lucy Lau, Patricia Piccinini's creepy and curiously lifelike sculptures make themselves at home in Vancouver, The Georgia Straight, 11 September 2018

Linda Morris, Field of 'flowers' marks the frontier of science and nature, The Sydney Morning Herald, 26 June 2018

Natalie King, Patricia Piccinini in Conversation, OCULA, 22 June 2018

Donna Lu, Patricia Piccinini's changing nature, The Saturday Paper, 9 June 2018

Jane O'Sullivan, Doing it for the kids - the tiny revolution in our art museums, ArtsHub, 25 May 2018

Tess Marider, Curiouser and Curisouser - Patricia Picinini at GOMA, Art Monthly Australia, issue 307, May 2018

Alison Kubler, A Higher Love, Vault, issue 21, Feb-April 2018, pp. 54-59

Alison Kubler, Curious Affection, Art Collector, issue 83 Jan - March 2018, page 30 - 33

HyperReal, exh. Catalogue, Otto Letze and Jaklyn Babington, National Gallery of Australia

Kon Gouriotis, Patricia Piccinini, Artist Profile, issue 40, pp. 56 - 65

Jane O'Sullivan, Why Australian artists find it so hard to get international recognition Financial Review 25 Feb, 2015

Craig Judd, The shadows calling: Patricia Piccinini and Peter Hennessey, Eyeline Magazine, Number 84

Malene Breusch Hansen, Researchers Wildest Tools, Bonnier Publications Int, 2016, p. 93

Thomas Macho, Das Schwein, Agora 42, Jul-2016, pp. 43-48

Jane O'Sullivan, Beyond the Border, Australian Financial Review, March, 2016, pp. 54-59

Joan Fontcuberta, The Post-Photographic Condition, Kerber Photo Art, 2016, pp. 122-127

Rachel Kent, 'World-in-a-world, 'The Shadows Calling' at Detached', Art monthly Australia, Issue 284, October 2015

Aidan Dunne, 'Strange evolution, meet the weird relatives', The Irish Times, 15 July 2015

Loma Siggins, 'Galway International Arts Festival opens for public', The Irish Times, 13 July 2015

Debbie Culbertson, 'Heading to Dark Mofo? Don't live in #FOMO,' Sydney Morning Herald, 19 June 2015

Sonia Uranishi, 'Thirty top Australian artists selected for UQ self-portrait,' UQ News, 11 June 2015

'Southbank contemporary,' Art Monthly Australia, March 2015, Number 277, p. 10

Jacqueline Millner, 'Patricia Piccinini Mysterious matter', Art And, Issue 52.1, 2014, pp.136-143

Sara Sweet, 'Patricia Piccinini: Like Us', Artist Profile, Issue 30, 2015

Andrew Stephens, 'Patricia Piccinini straddles the line between delight and discomfort', Sydney Morning Herald, 10 April 2015

Debbie Cuthbertson, 'Skywhale creator Patricia Piccinini wins national art prize,' The Age, 17 July 2014

Sasha Grishin, 'Pulse-Reflections on the body review,' Canberra Times, 12 December 2014

Darryn King, 'Patricia Piccinini', Time Out Sydney, 7 February 2013, http://www.au.timeout.com/sydney/art/events/33849/patricia-piccinini

Giovanni Aloi, Patricia Piccinini at Haunch of Venison, White Hot Magazine, February 2013, http://whitehotmagazine.com/articles/2013-patricia-piccinini-haunch-venison/2709

Andrew Taylor, “Leaving the comfort zone of the familiar”, SMH - Arts, March 6^th, 2013, pp 41. http://www.smh.com.au/entertainment/art-and-design/leaving-the-comfort-zone-of-the-familiar-20130305-2fivv.html

Hayley Morgan, 'Patricia Piccinini - I have spread my dreams under your feet', The Thousands.com, March 7 2013 http://thethousands.com.au/sydney/look/patricia-piccinini-i-have-spread-my-dreams-under-your-feet

artsHub, 'Taking Art Intelligence in tablet form', artsHub.com, March 4 2013, http://au.artshub.com/au/newsprint.aspx?listingId=194431

Jacqueline Millner, “Motion Blur - Jacqueline Millner and Patricia Piccinini in conversation”, Sturgeon, Issue 1, 2013, pp. 74-79

Amanda Woodward, 'Art Under 5k', Australian Art Collector, pp 107

Rachel Kent, 'Fast Forward; accelerated evolution', MCA Collection Volume One, (Sydney: MCA, 2012) pp392-402

Kelly Gellatly, 101 Contemporary Australian Artists, National Gallery of Victoria, 2012, p. 170-171
Marc Wellmann, BIOS Concepts of Life in Contemporary Sculpture, George Kolbe Museum, 2012, Cover, pp. 82-85
Bild I Skolan, En Ingang I Samtidskonsten, Swedish Teachers Union, Jan, 2012, p. 26-27
Scala, Mark W., Fairy Tales, Monsters and the Genetic Imagination (Exhibition Catalogue), Vanderbuilt University Press, Sept, 2012
Ewen McDonald, MCA Collection. Volume One, Museum of Contemporary Art, Sydney, March, 2012
RMIT Gallery, Imagining the Future (exhibition catalogue), RMIT Gallery, Melbourne, Jan, 2012, p. 50-51
Harrington, Zoe, Sculpture and the Enemies, Sculp & Enemies.com.au, Jan-March, 2012, p. 14-23
JD Talasek, Rick Welch, Kevin Finneran, Visual Culture and Evolution, an Online Symposium, University of Maryland, USA, 2012, p. 188-189
Helen McDonald, Nearly Beloved, Patricia Piccinini, Piper Press, 2011
Tony Ellwood, Ten Years of Contemporary Art. The James C Sourris AM Collection, Queensland Art Gallery, 2011, p. 138

Wendy Walker, 'Disturbing stories for our times', The Australian, April 20, 2011, pp 14

Katrina Strickland, 'Neither fish nor fowl,' The Weekend Australian Financial Review, April 2-3, 2011, pp36-37

Singapore Art Museum, Video, an Art, a History 1965 - 2010, Singapore Art Museum, 2011, p. 88, 91, 93

Jane Messenger, Once Upon A Time (Exhibition Catalogue), Art Gallery of South Australia, 2011

Millner, Jacqueline, Conceptual Beauty, Artspace, Sydney, 2009, pp. 16-22, 106

Robertson, Jean and McDaniel, Craig, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2010, pp. 264-266

Jacqueline Millner, “Patricia Piccinini: Love in the age of intelligent machines” in Conceptual Beauty (Sydney: Artspace, 2010) pp16-22

Andrew Taylor, 'Piccinini opens door to hot Carthona curry', The Sun Herald, November 14, 2010, pp35

Alicia Wood, 'Modern and beyond realistic', The Sun Herald, November 7, 2010, pp 34

Lee Kwang-Suk, The Art and Cultural Politics of Cyber Avant-gardes, Thomson Publications, 2010, pp. 379-385

Juliana Engberg, Relativity (exhibition catalogue), Art Gallery of Western Australia, 2010

Stadeus, Geert, and Snoeck, Patrick, Patricia Piccinini, Snoecks 2010, 2010, pp. 210-223

Bodeker, Katja and Hammer, Carmen, Wunderforschung, Nicolai, 2010, pp. 52-53

The Revival of Empty Spaces, Patricia Piccinini, Monthly Art Magazine, Mar-2010, pp. 72-77

Maura Reilly, Curating Transnational Feminisms, Feminist Studies Magazine, Spring 2010, p.161

Kyoung-Han Hong, Art in Post, Public Art, Feb-2010, pp. 142-143

Kyoung-Han Hong, Patricia Piccinini (interview), Public Art, Mar-2010, p. 177

Chrudzimska-Uhera, Katarzyna, Niepewna przysztosc Rzezby: Patricia Piccinini, Lamus, Jul-1909, pp. 62-67

John Clark, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, 2009, p.38

Mori Art Museum, Medicine and Art: Imagining a future for Life and Love, Mori Art Museum, Tokyo, 2009, pp. 228-229

Helena Grehan, Performance, Ethics and Spectatorship in a Global Age, Palgrave Macmillan, 2009, pp. 8, 140, 142-3, 162-7, 187, 189

Edward Colless, “Evolution's monstrous encounters”, The Australian, 2 April, 2009, pp.8

Katrina Strickland, “Tasmania's modern take”, The Australian Financial Review, April 9-13, 2009, p. 56

Clark, John, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, Dec-2008, p.38

Talia Linz, Patricia Piccinini: On Survival, Art and Australia 47:1, (Spring 2009) pp. 43-44

Current, Contemporary Art from Australia and New Zealand, Art and Australia (eds.), Sydney, p256

Richard Jinman, 'A loveable lump in the lap of luxury', The Sydney Morning Herald, November 12, 2008, pp. 3

(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

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

Christine Nicholls, 'Prism-Contemporary Art in Australia', Prism; Contemporary Australian Art Exhibition Cat, Bridgestone Museum of Art, Tokyo, Japan, pp 134-146

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

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, 24^th 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 21^st 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

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, 50^th 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, 40^th 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

Kim Toffoletti, 'Patricia Piccinini - lumps and stem cells,' eyeline #50, Summer 2002/2003, p. 47

John McPhee, 'City Life: De Sydney àMelbourne,' 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

2^nd 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

Jane Albert, 'Grace Notes,' The Australian (Arts), Friday, August 16, 2002, p. 18

Peter Hill, 'Weird Science,' Sydney Morning Herald (Metro), August 30 - September 5, p. 26

Anne Loxley, 'Nuggets of wisdom for a wild world,' Sydney Morning Herald (Metropolitan), Wednesday, August 28 p. 14

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

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

Linda Michael, exh. cat., Patricia Piccinini: One Night Love, Tolarno Galleries, Melbourne

Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini, essays by Juliana Engberg, Hiroo Yamagata and Edward Colless, published by Drome, Melbourne

Plastic Life, exh. cat., essay by Jacqueline Millner, Art Gallery of New South Wales, Sydney

Mark Pennings, 'Patricia Piccinini: Enchantment, technoscience and desire,' Art & Australia, vol. 37 no. 4, pp. 556-565

Bruce James, 'I'll have what she's having,' The Sydney Morning Herald, February 2, 2000, p.12 Arts

'Australia's 50 Most Collectable Artists,' Australian Art Collector, issue 11, January 2000, p. 84

Akiko Miki, 'Very New Art 2000 - 100 Artists,' BTArt Magazine Tokyo, January 2000, p. 188,189,

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

Edward Colless, 'Patricia Piccinini,' Art and Text, no. 66, Aug - Oct 1999,p. 79,80

Artist Page, Visionaire 30: THE GAME, New York

Clare Williamson, 'Digitalis Australis,' History of Photography, pg 107-113, #2 Volume 23 Summer

Image, 'Cop an earful of that rat!,' The Age, 21 May 1999, p. 5 News

Minoru Hatanaka, 'Plasticology,' InterCommunication, p. 189, #29 Summer

Anna Clabburn, 'Baby Trucks dump on mass consumption,' The Age, 17 March 1999, p. 17 Arts

Jenny Sinclair, 'Oh Baby, it's a truck!' The Age, 16 March 1999, p. 2 IT

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

Andrew Frost, 'Australia's 50 Most Collectable Artists,' Australian Art Collector, #7, 1999

Andrew Bogle, 'The exhibition that wasn't,' Urbis, #2, 1999

Vikki Riley, 'Machine Translations & Other Digital Heresies,' Photofile, #53, April 1998

Adam Geczy, 'Australian Perspecta,' Eyeline, #35 Summer, 1998

Peter Hennessey, 'Plastic Realist,' Photo file, Nov, 1997

Hisashi Uemura, 'LUMP,' Gap Magazine, Oct

Philippa Burne, 'Up the Garden Path,' HQ Magazine, no. 54, Sept

Cover, Meanjin, no. 1

Cover, Art Monthly, no.99, May

Evan Maloney, 'Consuming Art,' Art Monthly, no.99 May

Anna Johnson, 'Young at Art,' Good Weekend, April 26

Robert Rooney, 'Arts on Friday- Art=Advertising,' The Australian, March 14

Jackie Cooper, 'Natural Born Artist,' The Weekend Australian, Dec 1

Mark Pennings, 'Your Time Starts Now...,' eyeline, Summer

Robert McFarlane, 'Looking to the Future,' Sydney Morning Herald, Aug 28

Peter Hill, 'Cameras, lies and photographic exhibits,' The Bulletin, Sept 17

Zara Stanhope, 'Mapping the Code,' Mesh #8/9, Autumn

Ann Morrison, 'Virtual Initiatives,' Mesh #8/9, Autumn

Anna Clabburn, 'There's something in Nothing Natural,' Mesh #8/9 Autumn

Cover, Photofile, August

Robert Schubert, 'Fetal Futures,' Art and Text, #54, May

Robert Rooney, 'Melbourne Art,' The Australian, 24th May

Stuart Honeysett, `Computer art a child of invention,' The Australian, May 14

Cover, BEAT Magazine

Interview, Creatures of the Spotlight, JJJ Radio

Interview, Imagine, SBS TV

Robert Rooney, `Moët and Chandon Touring Exhibition,' The Australian, Feb 23

Kristin Owen and Simon Plant, `Bubbly prospects,' Herald Sun, Feb 9

'Inside Out: An interview with Patricia Piccinini,' Aedon Dec

Image, CT#10,

Ross Moore, 'Digital Wombs, Male Phantasms and Female Embodiment,' Mesh 6

Ross Moore, 'Gook girls, monstrous chimeras and the new technology,' Real Time 8

Robyn McKenzie, 'Hi-tech art flows into the mainstream,' The Age, July 26

Thom Cookes, 'Multimedia spawns art,' The Age, 12 July

Interview, Review (ABC TV) 26 June

Cover, Art Almanac, June

Tom Gibson, 'Patricia Piccinini,' Art and Text, #50 Jan

Chris Gregory, 'Indivisibles,' Eyeline, Spring

Anne Marsh, 'City Theme Rules,' Herald Sun, May 17

Nicola Teffer, 'Body with organs,' Photofile #42, June

Rohan Storey, 'The City Screen,' Monument, vol 1 no 2

Sonia Barren, 'Pushing the Limits of Acceptability,' The Canberra Times, February 17

Images published in Agenda #28, Summer 1992/3

Rosemary Hawker, 'Heretical Gestures at the Birth of Enlightenment,' eyeline #15

Kerstin Thompson, 'Charles Williams Gallery,' Transition #36/37, Summer

Mathew Jones, 'The Body Dis-Corporate,' Agenda #20/21, November

CATALOGUES

Peter McKay, Elizabeth Finkel, Rosi Braidotti and China Miéville, Patricia Piccinini: Curious Affection, Queensland Art Gallery | Gallery of Modern Art, 2018

(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

Kim Sun-hee, ‘Inside and outside the window,’ A window, Inside and Outside, Kwangju City Art Museum, 1999

Zara Stanhope, ‘The Persistence of Pop,’ The Persistence of Pop, Monash University Gallery, 1999

Peter Hennessey, ‘Sheen, Sacred and Profane,’ Adelaide Festival, 1998

Gareth Sansom, ‘The Long and Winding Road,’ Up the Road, Australian Centre for Contemporary Art

Judy Annear, ‘Nominator’s Comment,’ The 2nd International Photo-Biennale

Tokyo Metropolitan Museum of Photography, 1997

Patricia Piccinini, ‘Protein Lattice,’ Lawyers Guns & Money, Experimental Art Foundation, 1997

Mark Pennings, Art=Advertising, Focus 3, Robert Lindsay Gallery, 1997

Rachel Kent, ‘Alternative Realities,’ Alternative Realities, The Ian Potter Gallery, 1995

Zara Stanhope, ‘Technothelylogia; technology of and by Women,’ Tehnothelylogia, Monash University Gallery, 1995

AWARDS

Progressive Business Award, Victorian Premier Award (2005)

Australia Council, New Media Fellowship (2000)
Arts Victoria, Arts Development grant (1999)
Australia Council, Residency Japan (1998)
Australia Council, Project grant (1997)
Arts 21, International Cultural Exchange Program (1997)
A.F.C., Project grant (1996)
Arts Victoria, Project grant (1996)
C.A.T., Digital Imaging Award, (1995)
VCA, Christopher James Blyth Memorial Award (1991)
VCA, Theodore Urbach Award (1989 & 1990)