The exhibition mapped great moments in Brook Andrew’s 25-year career, and looked at the artist’s fascination with archival materials and strong interest in process that remain central to his practice.
Exhibition Dates: 3 March – 4 June 2017
Brook Andrew’s research-based practice harnesses alternate narratives to assemble new directions of understanding historical legacies of colonialism and modernist histories. Andrew’s interdisciplinary practice challenges the limitations imposed by power structures, historical amnesia, stereotyping and complicity. Interweaving Wiradjuri language, collective memory, history and culture with museum intervention, Andrew recreates powerful contemporary images of Indigenous identity.
Installation view, Brook Andrew, AHY-KON-UH-KLAS-TIK, Van Abbemuseum, Eindhoven, The Netherlands (15 September – 31 December 2017)
Installation view, Brook Andrew, In Vision of Nuance: Systems of Exposure, Wuzhen International Contemporary Art Exhibition, Wuzhen, China (March 31 – June 30 2019)
Installation view, Brook Andrew, The Right to Offend is Sacred, National Gallery of Victoria, Melbourne (3 March – 4 June 2017); Photo: Wayne Taylor
Installation view, Brook Andrew, The Right to Offend is Sacred, National Gallery of Victoria, Melbourne (3 March – 4 June 2017); Photo: Wayne Taylor
Installation view, Brook Andrew, What's Left Behind, Museum of Contemporary Art Australia, Sydney (16 March – 11 June 2018); Photo: Silversalt Photography
Installation view, Brook Andrew, WITNESS, Lyon Housemuseum, Kew, Victoria, 2014
Installation view, Brook Andrew, Horizon Line II, Musée du quai Branly – Jacques Chirac, Paris (30 June – 1 November 2020)
Installation view, Brook Andrew, The Weight of History, The Mark of Time, Cutaway, Barangaroo Reserve, Sydney (6 September – 23 September 2015)
Vallis, 2016, Linen, acrylic paint and spray, ink, foil, 250 x 300 x 5 cm
Beginning of the shape (Morphogenesis), 2016, Linen, acrylic paint and spray, ink, foil, neon, 250 x 600 x 5 cm; Triptych: 250 x 150 x 5 ; 250 x 300 x 5 ; 250 x 150 x 5 cm
Brook Andrew This Year
Roslyn Oxley9 Gallery, 2020
Brook Andrew Horizon Line II
Musée du quai Branly — Jacques Chirac, 2020
Brook Andrew The Space Between
Kochi-Muziris Biennale, India, 2018-19
Brook Andrew What's Left Behind
21st Biennale of Sydney, 2018
Brook Andrew SMASH IT
Roslyn Oxley9 Gallery, 2018
Brook Andrew AHY-KON-UH-KLAS-TIK
Van Abbemuseum, The Netherlands, 2017
Brook Andrew A Working Model of The World
University of New South Wales Galleries, Sydney, 2017
Brook Andrew The Right to Offend is Sacred
National Gallery of Victoria, Melbourne, 2017
Brook Andrew Space & Time
Roslyn Oxley9 Gallery, 2016
Group Show, Really Useful Knowledge
Museo Nacional Centro de Arte Reina Sofía, Madrid, 2015
Brook Andrew Sanctuary: Tombs of the Outcasts
Ian Potter Museum, Melbourne, 2015
Brook Andrew Evidence
Museum of Applied Arts and Sciences (MAAS), Sydney, 2015-16
Brook Andrew Intervening Time
Asia Pacific Triennial of Contemporary Art, 2015
Brook Andrew Horizon I
Royal Melbourne Institute of Technology Design Hub, Melbourne, 2015
BROOK ANDREW
Born 1970, Sydney, Australia
EDUCATION
Master of Fine Arts, Research. COFA, University of NSW, Sydney
Bachelor of Visual Arts. University of Western Sydney, Sydney
SELECTED SOLO EXHIBITIONS
This Year, Roslyn Oxley9 Gallery, Sydney
La Razza: Quiet Noise, Tolarno Galleries, Melbourne
WEAPONS FOR THE SOLDIER, Hazelhurst Arts Centre, Gymea, NSW.
Deknmal, Australian Embassy, Berlin.
The Language of Skulls, Ten Cubed, Melbourne.
SMASH IT, Roslyn Oxley9 Gallery, Sydney.
Rethinking Antipodes, Geelong Gallery, Victoria.
Stretching the Guidelines of Glue, Künstlerhaus Bethanien, Berlin.
AAHY-KON-UH-KLAS-TIK, Van Abbemuseum, The Netherlands.
Mirror, Habitat, Fuselage & Interviews, Musée d'ethnographie de Genève, Switzerland.
Fuselage, museum intervention part of L'effet boomerang, Les arts aborigènes d'Australie.
Spin, Torlano Galleries, Melbourne.
The Right to Offend is Sacred, National Gallery of Victoria, Melbourne.
Assemblage. Galerie Nathalie Obadia, Brussels.
Musée d'ethnographie de Genève, Switzerland.
The Cell. Substation, Newport, Melbourne.
Deviant Practice: inside the depths of the unknown – a new line of interpretation, Van Abbemuseum, Holland.
The Resident and The Visitor, Quai Branly, Paris, France (Photoquai Residency Laureate).
JUMPING INTO NATION'S PARTY, Museum of Archaeology and Anthropology, Cambridge.
Space & Time, Roslyn Oxley9 Gallery, Sydney.
The Forest, Galerie Nathalie Obadia, Paris.
Nations Party. Australian Print Workshop, Melbourne.
EVIDENCE. Museum of Applied Arts and Sciences, Sydney.
Possessed. Tolarno Galleries, Melbourne.
Sanctuary: Tombs of the Outcasts. Ian Potter Museum of Art, the University of Melbourne.
De Anima. RMIT Design Hub, Melbourne.
WITNESS. Lyon Housemuseum, Melbourne.
Les trophées oubliés. Musée d’Aquitaine, Bordeaux.
Anatomie de la mémoire du corps: au delà de la Tasmanie. Galerie Nathalie Obadia, Paris.
Jumping Castle War Memorial. FeliXart Museum, Drogenbos.
52 Portraits. Tolarno Galleries, Melbourne.
Earth House. Australian representative at Australia House for the Echigo-Tsumari
Triennial. Japan.
18 Lives in Paradise. Artspace, Sydney.
Paradise. Tolarno Galleries, Melbourne.
The Cell. Sherman Contemporary Art Foundation, Sydney. Touring to the Institute of Modern Art, Brisbane, MONA FOMA Festival of Music and Art, Hobart, Perth Institute of Contemporary Arts and Govett-Brewster Art Gallery.
Danger Of Authority. Tolarno Galleries, Melbourne.
8 Months At War. DETACHED, Hobart & University of Queensland Art Museum, Brisbane.
Brook Andrew: The Island. UQ Art Museum, Brisbane.
BROOK ANDREW: THEME-PARK. AAMU. Utrecht, The Netherlands.
The Island. Museum of Archeology and Anthropology, Cambridge.
Come into the Light. Tolarno Galleries, Melbourne.
Brook Andrew: Eye to Eye. A survey exhibition curated by Monash University Museum of Art, Melbourne,
touring Australia and South/South-East Asia.
YOU'VEALWAYSWANTEDTOBEBLACK. National Gallery of Victoria, Melbourne.
Peace, The Man & Hope. Gabrielle Pizzi, Melbourne.
The unseen. Sanskriti Kendra. Delhi.
Kalar Midday. Gallery Gabrielle Pizzi, Melbourne.
the good side, the bad side, the other side. Experimental Art Foundation, Adelaide, South
Buunji nginduugir AMERICA. Artspace, Sydney.
The unseen. Sanskriti Kendra. Delhi.
SELECTED GROUP EXHIBITIONS
Who is Gazing?, curated by Christine Barthe, Musée du quai Branly, Paris, France (upcoming)
A Fair Share of Utopia, curated by Manon Braat, NEST, The Hague, The Netherlands
NIRIN, 22nd Biennale of Sydney, Sydney
52 ACTIONS, Artspace, Sydney
Weapons for the soldier, Glasshouse Port Macquarie, NSW
Australia I Black Gold, Pari, Parramatta, NSW
Love Among the Artists, curated by Laure Prouvost, Network Aalst, Aalst, Belgium
AUSTRALIA. ANTIPODEAN STORY, Padiglione D'Arte Contemporanea, Milan
Sydney Contemporary, Roslyn Oxley9 Gallery, Sydney
Now Is the Time: The Wuzhen Contemporary Art Exhibition 2019, Cultural Wuzhen Co., Ltd., curated Feng Boyi, Wang Xiaosong and Liu Gang, Hong Kong
Celebrating Culture: Contemporary Indigenous Art, Glen Eira City Council Gallery, Victoria
Honolulu Biennale 2019, Honolulu
Adelaide Festival 2019, Samstag Museum, Adelaide
Now is the Time: 2019 Wuzhen International Contemporary Art Exhibition, WuZhen China
Kochi-Muziris Biennale, Kochi, Kerala and India
Sydney Contemporary, Roslyn Oxley9 Gallery, Sydney
What's Left Behind, The 21st Biennale of Sydney, Sydney
Colony: Frontier Wars, National Gallery of Victoria, Melbourne
Defying Empire: 3rd National Indigenous Art Triennial, National Gallery of Australia, Canberra; Musuem and Art Gallery of the Northern Territory, Darwin; University of Queensland Art Museum, Brisbane; Western Plains Cultural Centre, Dubbo; Mildura Art Gallery, Victoria, Queen Victoria Museum and Art Gallery, Tasmania and Australian National Maritime Museum, Sydney
Art Basel Hong Kong, Roslyn Oxley9 Gallery, Hong Kong
Let's Play: The Art of Our Time, Bunjil Place Gallery, Melbourne
Tracks and Traces: Contemporary Australian Art, Negev Museum of Art, Be'er Sheva
Contemporary Masters - from a Private Collection, Annette Larkin Fine Art, Sydney
Erewhon, Touring with NETS Victoria, Warrnambol Art Gallery, Victoria
Mad Love, Arndt Art Agency (A3), Berlin
A Working Model of the World, UNSW Galleries, Sydney
National Indigenous Art Triennial: Defying Empire, National Gallery of Australia, Canberra
Australian Exotica, Monash Gallery of Art, Sydney
For an Image, Faster Than Light, Yinchuan Biennale, Museum of Contemporary Art (MOCA) Yinchuan, China
Sovereignty, Australian Centre for Contemporary Art, Melbourne
Erewhon, Margaret Lawrence Gallery, Melbourne
Building (Eating) Empire: Encounters. Art Basel Hong Kong. Curated by Alexie Glass-Kantor.
Antipodes. Cambridge Museum of Archeology and Anthropology. The University of Cambridge.
Soft Core, Casula Powerhouse Arts Centre, Sydney
The Wandering I/Eye, Centre for Contemporary Photography, Melbourne
Antipodean Inquiry, Yavus Gallery, Singapore
Artist and Empire. Tate Britain, London.
Global Imaginations. Museum de Lakenhal, The Netherlands.
Neverwhere. Gaia Gallery, Istanbul.
Artist Making Movement. Asian Art Biennial, National Taiwan Museum of Fine Arts.
The 8th Asia Pacific Triennial of Contemporary Art. Queensland Art Gallery and Gallery of Modern Art, Brisbane.
Dead Ringer. Perth Institute of Contemporary Art (PICA), Perth.
The Biography of Things. Australian Centre for Contemporary Art (ACCA), Melbourne.
Light Play: Ideas, Optics and Atmosphere. UQ Art Museum, The University of Queensland
Indigenous Art: Moving Backwards into the Future. The National Gallery of Victoria, Melbourne.
Wiradjuri Ngurambanggu. Murray Art Museum, Albury.
RECHARGE: the Experimenta 6th International Biennial of Media Art. National touring exhibition.
do it (Adelaide). Ongoing exhibition curated by Hans Ulrich Obrist, Anne & Gordon Samstag Museum of Art, Adelaide.
Un saber realmente útil (Really Useful Knowledge). Museo Nacional Centro de Arte, Reina,Sofia,
Madrid.
Discoveries: Art, Science & Exploration from the University of Cambridge Museums. Two Temple
Place, The Bulldog Trust, London.
Adelaide Biennial of Australian Art. Art Gallery of South Australia, Adelaide.
Vivid Memories. An Aboriginal Art History. Musée d'Aquitaine, Bordeaux.
Melbourne Now. National Gallery of Victoria, Melbourne.
in.print.out. Künstlerhaus, Vienna.
Making Change. Australian Centre for Photography, Sydney and the National Museum of China, Beijing.
I WANT CHANGE. Latrobe University Museum of Art, Melbourne.
My Country, I Still Call Australia Home: Contemporary Art from Black Australia. Gallery of Modern
Art, Brisbane.
The Floating Eye. Sydney Pavilion, the 9th Shanghai Biennale.
Negotiating this world: Contemporary Australian Art. National Gallery of Victoria, Melbourne.
Luminous World - Contemporary Art from the Westfarmers collection. National touring exhibition, Art Gallery of Western Australia.
TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976-2011. Museum of Contemporary Art,
Sydney, and the National Museum of Modern and Contemporary Art, Seoul.
From Blank Pages. Artspace Pool, Seoul.
Burn What You Cannot Steal. Gallery Nova, Zagreb.
Looking at Looking: The Photographic Gaze. National Gallery of Victoria, Melbourne.
10 Ways to Look at the Past. National Gallery of Victoria, Melbourne.
17th Biennale of Sydney. Curated by David Elliot, Sydney.
21st Century: Art in the First Decade. Gallery of Modern Art, Brisbane.
No Name Station. Gertrude Contemporary, Melbourne and Iberia Centre of Contemporary Art, Beijing.
GRAND NORD GRAND SUD Artistes inuit et aborigines. Musée de L’Abbaye de Daoulas in co-production
with Musée des Confluences, Lyon.
100 Years: Highlights from The University of Queensland Art Collection, Brisbane.
Stick it! Collage in Australian art. National Gallery of Victoria, Melbourne.
The Exotic Human. Other cultures as amusement. Teylers Museum, Haarlem, and Museum Dr. Guislain, Ghent.
typical! Clichés of Jews and Others. The Jewish Museum, Berlin, Jewish Museum, Vienna and Spertus
Institute, Chicago.
Half Light – Portraits of Black Australia. Art Gallery of New South Wales, Sydney.
Lost & Found: an Archeology of the Present. TarraWarra Biennial, TarraWarra Museum of Art, Victoria.
DE OVERKANT/DOWN-UNDER: Stichting Den Haag Sculptuur. Den Haag.
The story of Australian printmaking 1801–2005. National Gallery of Australia, Canberra.
Alfred Metraux : From fieldwork to Human Rights. Smithsonian Institute, National Museum of Natural History, Washington D.C.
PRISM: CONTEMPORARY AUSTRALIAN ART. Bridgestone Museum of Art, Ishibashi Foundation, Tokyo.
TRANS VERSA. Museo de Arte Contemporáneo, Santiago.
Light Sensitive. Contemporary Australian Photography from the Loti Smorgon Fund. National Gallery of
Victoria, Melbourne.
Points of View: Australian Photography 1985-95. Art Gallery of New South Wales, Sydney.
HIGH TIDE: currents in contemporary Australasian art. National Gallery of Art, Warsaw and Contemporary
Art Centre, Vilnius.
SATELLITE06. Yangshupu Rd, Pavilion, Shanghai: A Shanghai Biennale satellite event, Shanghai.
The Adelaide Biennial of Australia 2006: 21st Century Modern. Art Gallery of South Australia.
Black on White. Centre for Contemporary Photography, Melbourne.
The Butterfly Effect. Australian Museum for The Sydney Festival.
Colour Power. National Gallery of Victoria. Victoria.
2004 Australian Culture Now. Australian Centre for the Moving Image and the National Gallery of Victoria. Melbourne.
Spirit & Vision. Sammlung-Essl, Vienna.
Australian Photographic Portrait Prize. Art Gallery of NSW, Sydney.
New View: Indigenous Photographic Perspectives. Monash Gallery of Art. National touring exhibition.
Border Panic. Performance Space, Sydney, Australia.
Blondies and Brownies . Torch gallery. Amsterdam.
4th Nouméa Biennale d'Art Contemporian. Nouméa -Pacifique. Tjibaou Cultural Centre. New Caledonia.
Orbital. Experimenta Media Arts at The Lux Centre for Film, London, UK, & Centre for Contemporary Photography, Melbourne.
SELECTED BIBLIOGRAPHY
Brook Andrew, Jessica Neath, Corina Marino, Jock Gilbert, Christine Phillips, Carroll Go-Sam, 'Representation, Remembrance and the Memorial', Landscape, issue 161, pp. 34 – 38
Andrew Stephens, '”Should we cover it up”' Brook Andrew dares us to confront a troubled past', Sydney Morning Herald, Feb 8 2019
Andrew Stephens, 'Dispatches - A Bigger Playground,' Art Monthly, issue 309, August 2018, pp. 8
Brook Andrew and Dr Jessica Neath, 'Bringing international perspectives to Frontier War research,' Arts Hub, 27 July 2018
Jane O'Sullivan, '21st Beinnale of Sydney, Superposition - Equilibrium and Engagement,' Flash Art, no. 320, Vol. 51, May 2018, pp. 104
Elizabeth Fortescue, 'Sydney beinnale appoints its first indigenous Australian artistic director', The Art Newspaper, 21 June 2018
Claire Selvin, 'Brook Andrew Picked as Artistic Director of the 2020 Biennale of Sydney', Artnews, 19 June 2018
Ben Neutze, 'Brook Andrew is the Biennale of Sydney's next artistic director,' Time Out, 21 June 2018
Nick Galvin, 'Biennale boss takes new tack,' The Sydney Morning Herald, Wednesday June 20 2018, pp. 12 - 13
Ashleigh Wilson, 'City to be artist's biggest canvas yet in Biennale of Sydney 2020,' The Australian, 20 June 2018
Brook Andrew appointed Artistic Director of 22nd Biennale of Sydney 2020', Arts Hub, 19 June 2018
Saskia Wichert, 'Interview - Stretching the Guidelines of Glue,' Art Berlin, April 2018
'Artist of the Month - April with Brook Andrew,' Curating the Contemporary, 12 April 2018
Susan Acret, 'A Conversation with Brook Andrew,' Ocula, 17 April 2018
Millie Thwaites 'The Right to Offend is Sacred', Boradsheet, 2018
Will Cox, In the Artist's Studio: Brook Andrew, Broadsheet Melbourne, 13 April 2017
Janet Mckenzie, Brook Andrew: 'I was challenged to unwind the histories that were told to me because I didn't believe them', Studio International, 18 April 2017
Brook Andrew: The Right to Offend is Sacred, National Gallery of Victoria, Melbourne
Gina Fairley, 'The Right to Offend is Sacred', ArtsHub Australia
Brook Andrew, Katie Dyer et al, EVIDENCE. Museum of Applied Arts and Sciences (Formerly Powerhouse Publishing) Sydney, 2015.
Brook Andrew, Dr Vincent Alessi, Elina Spilia et al, Sanctuary: Tombs of the Outcasts. Ian Potter Museum of Art, the University of Melbourne. 2015.
Khadija von Zinnenburg Carroll. Art in the Time of Colony. Ashgate. 2014.
Barrett, J., & Millner, J. Djamu Gallery, 1999-2000, A Project of the Australian Museum. In 'Australian Artists in the Contemporary Museum.' Ashgate. 2014.
Cumpston, N. Highlights: Aboriginal and Torres Strait Islander Collection. Published by Art Gallery of South Australia. 2014.
Prior, D. WITNESS at the Lyon Housemuseum in 'ARTICHOKE: Australia's interiors and design magazine'. Issue 48, Sept-Nov 2014. Architecture Media Pty Ltd, Melbourne.
Brook Andrew, Marcia Langton et al, TABOO. Museum of Contemporary Art, Sydney. 2013.
Anderson, I. Re-assembling the trophies and curios of Colonialism & The Silent Terror & Papastergiadis, N.
Brook Andrew: Counterpoints and Harmonics. Published by Tolarno Galleries for the occasion of 52 Portraits by Brook Andrew. 2013. http://archive.tolarnogalleries.com
52 Portraits by Brook Andrew in 'PLANET ART: The Best Art From Around the World, June 2013'. BLOUIN ARTINFO. June 2013: http://www.blouinartinfo.com/news/story/921794/planet-art-the-best-art-from-around-the-world-june-2013
Sydney in 'Top 5 Shanghai Biennale Art Pavilions by Global Cities From Detroit to Tehran'. BLOUIN ARTINFO. January 11, 2013: http://www.blouinartinfo.com/visual-arts/article/855852-tales-from-the-cities-top-5-city-pavilions-at-the-shanghai
Hoffman, A. Taboo in 'ARTFORUM'. 2013. http://artforum.com/talkback/id=71004
Akel, J. Taboo. In 'ARTFORUM', 2013. http://artforum.com/archive/id=38879
Gellatly, K (ed.) '101 Contemporary Australian Artists'. National Gallery of Victoria, Australia. 2012. pp 7, 20 & 21.
Lydon, J. Out of Sight and Out of Mind? in 'The Flash of Recognition: Photography and the Emergence of Indigenous Rights'. Monash University Press, Australia, 2012, pp 280-282.
'Finch, M. Looking at Looking: The Photographic Gaze, National Gallery of Victoria, Melbourne, 2011, pp 14-15.
Forster, S. Brook Andrew and Trent Walter, IMPRINT, Vol. 46, No. 3. Pp 16-18. Print Council of Australia, Melbourne. 2011.
Wayne Tunnicliffe et al, Brook Andrew The Cell, Sherman Contemporary Art Foundation, Sydney & Institute of
Modern Art, Brisbane, 2010.
Garneau, D. & Farmer, M Little Distance Between Us, Fuse Vol. 33, No. 4, Artons Publishing,
Canada, 2010, p. 32.
Gardner, A. Brook Andrew: Sensation and Sensory Politics in `Art & Australia'. Volume 47, No 4. 2010. Pgs 668-675.
Elliot, D. From Captain Cook to Cap'n Hook…and give me that old time religion, in 'The Beauty of Distance: Songs of Survival in a Precarious Age'. 17th Biennale of Sydney & Thames and Hudson Australia. 2010. Pgs 44-56.
Andrew, B. Remember How We See The Island in Allen, Harry (ed.) Australia: William Blandowski's Illustrated Encyclopedia of Aboriginal Australia, Aboriginal Studies Press, pp. 165-8.
Rawling, A. Brook Andrew: Archives of the Invisible in 'Art Asia Pacific'. Issue 69 May/June 2010. New York. Pgs 110-117.
Murry-Cree, L. Brook Andrew in `Artist Profile'. Issue 11, 2010. Next Media, Australia. Pgs 50-59.
Cresci, M (Ed). 'Future Images'. 24 ORE Motta Cultura srl, Milano. 2009. Pgs 26-27.
Riphagen, M. Theme Park: A Rollercoaster Ride in Art Monthly Australia. #221 July, 2009. Pgs 28-31
Trent Walter (ed.), Brook Andrew Theme Park, AAMU, Utrecht, The Netherlands, 2008.
'Current: Contemporary Art from Australia and New Zealand'. Edited by Art & Australia. 2008. Pgs 40-43.
Nicholls, C. Signs for the Times, in 'Monument: Architecture and Design. The Light Issue'. Text Pacific Publishing, Vol. 88, December 08/January 09. Pgs 44-46.
Thomas, N. 'Blow-up: Brook Andrew and the anthropological archive'. Catalogue essay. Museum of Archaeology and Anthropology, University of Cambridge. 2008
Johnston, R. Lost & Found: An Archeology of the Present in `un Magazine. Vol.2 Issue 2, 2008.Pgs 58-59.
Papastergiadis, N. Crossed Territories in 'Brook Andrew: EYE TO EYE. Monash University Museum of Art. Melbourne, 2007.
Corkhill, E. In Sights/Arts: Aboriginal art on top at Down Under Exhibition. International Herald
Tribune: The New York Times, The Asahi Shimbun.
Nicholls, C. Transcending The Culture of Sheep, in `Asian Art News'. Asian Art Press, Hong Kong. Vol 16 No. 4. July/August 2006.
Marcia Langton, Brook Andrew Hope & Peace, Gallery Gabrielle Pizzi, Melbourne, 2005.
Minter, P. (ed.). Telling Our Own Stories: Peter Minter Talks to Artist Brook Andrew, in ‘BLAK TIMES. Meanjin: New Writing in Australia’. Vol. 65. No.1. 2005.
Annie, E. Coombes (ed). ‘Rethinking Settler Colonialism: history and memory in Australia, Canada, Aotearoa New Zealand and South Africa.’ Manchester University Press, 2005.
Craswell, P. Brook Andrew: Hope & Peace, in ‘Artlink: Ecology, Everyone’s Business’. South Australia. Vol. 25. No.4. 2005.
Langton, M. Making the Land Speak: Aboriginal Subalterns & Garrulous Visuality in ‘KNOWLEDGE+DIALOGUE+EXCHANGE remapping cultural globalism from the south’. N. Tsoutas (ed). Artspace visual Arts Centre, Sydney. 2005. Pgs 115-135.
‘Macquarie Atlas of Indigenous Australia: culture and society through time’. Macquarie Dictionary, Macquarie University, NSW. 2005. Pg 85.
Spilia, E. Blakatak in ‘un Magazine’. Issue 6 Summer 2005. Pgs 16 – 19.
Report from Australia: Down Under No More, in ‘Art in America’. Brant Art Publications, New York. April 2005. Pgs 77-85.
Langton, M. (2005). HIGH EXCELLENT TECHNICAL FLAVOUR, in ‘Brook Andrew : Hope & Peace’. Gallery Gabrielle Pizzi and Brook Andrew. Melbourne, 2005.
Jolly, M. (2005). Image and Imagination, in ‘Le Mois de la Photo à Montréal’, Canada. McGill-Queen's University Press, 2005.
People Like Us – ‘Griffith REVIEW’, Issue 8. Griffith University, Australia. 2005.
Newall, M. Brook Andrew, in 'Photofile'. No 71, Winter 2004. Page 69.
Crawford, A. Brook Andrew, in 'Australian Art Collector'. Issue 27, Jan-March 2004. Page 171.
Nicholls, C. Brook Andrew: Seriously playful, in 'Real Time + Onscreen'. April-May, 03. No. 54.
Thomas, D. S&D at NGV in 'Art Monthly Australia'. June 2003.
Chapman, C. Brook Andrew: Never make decisions based on fear, in 'Art in Australia'. Vol. 40/3 March, 2003. Pgs 446-453.
BIG Magazine. Issue 44. Australia, 2002
Fenner, F. Ground Work, in 'Art in America'. May, 2001.
Loxley, A. Back from the Sidelines in 'Art & Australia'.Vol 39, No.1 2001. Pp 63-65.
'The Oxford Companion to Aboriginal Art and Culture'. Oxford University Press. 2000.
Leggett, M. (ed). 'Tekhne: Photofile', Australian Centre for Photography. Issue 60, August, 2000.
I SPLIT YOUR GAZE, ‘Totem & Taboo Issue, LOG Illustrated', Spring 1999: EIGHT, New Zealand.
Venice Biennale Supplement, in 'Flash Art'. Pge. 53. May/June, 1999.
Sutton, P. 48th Venice Biennale: Arkley's burbs surprise, in 'The Age'. 15th June, 1999.
Barragán, P. Imágenes Aborígenes, in 'El Periodico del Arte, Exposiciones'. P.17. France. No. 22. Mayo de 1999.
Green, C. Constructed in the Field of the Other, in 'Art/text' no. 65, May/July, 1999.
Coatsworth, W. Brook Andrew and Rea: bLAK bABE(Z) & kWEER kAT(Z). 'Eyeline'. Issue No. 36. Pge. 38. Autumn/Winter. 1998.
PUBLIC COLLECTIONS
National Museum of Contemporary Art, Seoul, South Korea.
National Gallery of Australia, Canberra. Australia.
Art Gallery of Western Australia, Perth. Australia.
National Portrait Gallery, Canberra. Australia.
Art Gallery of New South Wales, Sydney. Australia.
Museum of Contemporary Art, Sydney. Australia.
National Gallery of Victoria, Melbourne. Australia.
Queensland Art Gallery, Brisbane. Australia.
Art Gallery of South Australia, Adelaide. Australia.
ARTBANK, Australia.
The Vizard Foundation Collection, Melbourne. Australia.
BHP Billiton Collection Australia.
Darling Collection Australia.
Flinders University Museum. Australia.
Benalla Art Gallery, Victoria. Australia.
Museum Victoria, Melbourne. Australia.
Monash Gallery of Art, Melbourne. Australia.
Northern Territory University Art Collection, Darwin. Australia.
University of Wollongong Art Collection Australia.
Griffith University Art Collection, Brisbane. Australia.
University of Western Sydney. Australia.
Monash University Museum of Art, Victoria. Australia.
La Trobe University Art Museum. Australia.
The University of Melbourne. Australia.
Local and international private collections.
COMMISSIONS, PRESENTATIONS, RESIDENCIES, FELLOWSHIPS & CURATORIAL PROJECTS
22nd Biennale of Sydney, curated by Brook Andrew, Sydney
RR.Memorial Forum, visual art research project, Australian Research Council Indigenous Discovery Program, hosted by Monash University's Faculty of Art, Design and Architecture
Smithsonian Artist Research Fellowship, National Museum of Natural History, Smithsonian Institution, Washington, United States
Residency at Kunstlerhaus Bethanien, Berlin, Germany
Present Elsewhere, Collaborative project with the Asia Art Archive, Hong Kong
Asialink Artist Residency, Sa Sa Projects, Phnom Penh, Cambodia
ARC project: Representation, Remembrance and the Memorial, Federal Government Australian
Research Council.
Standing By Tunnerminnerwait and Maulboyheenner, Collaboration with Trent Walker, City of
Melbourne.
Photography Residencies Laureate, musée du quai Branly, Paris, France.
Les Récollets. Hosted by the City of Paris and Institut Francis.
Centre Intermondes, La Rochelle, France.
In Motion, Rhodes Peninsula Public Art Commission, City of Canada Bay, Sydney.
Presenter. Artist and Empire: New Dynamics, 1780-now. 24-26 November, Tate Britain, London.
Presenter. Indigenous Photographic Histories in New Zealand, Australia and the Pacific. 5 November,
National Library of New Zealand, Wellington.
Presenter. How Global can Museums be? CIMAM (International Committee for Museums and Collections of Modern Art) 2015 Annual Conference. 7-9 November, Tokyo, Japan.
The Weight of History, The Mark of Time commissioned by the Barangaroo Delivery Authority as part of the Welcome Celebrations, September, Sydney.
Presenter. Civic Actions - Artists' Practices Beyond the Museum. C3West in association with Information and Cultural Exchange Parramatta and Parramatta City Council. September, Sydney.
Presenter. Curating Lively Objects: Post-disciplinary perspectives on media art exhibition. August 9-12, The Banff Centre, Canada.
Residency at Cambridge University, United Kingdom for ANTIPODES: The Expedition. The Expression. The Exhibition. The Australian Print Workshop.
Presenter. Crossing Boundaries: Personal Lives and Global Histories. April 23-24, Center for Advanced Study in the Behavioral Sciences (CASBS), Stanford University, U.S.A.
SMUDGE. Collaboration with Phillip Adams BalletLab. RMIT Design Hub
Curator/Artist invigilator of The Native Institute, Blacktown Art Centre, Western Sydney.
Catching Breath. Australian Tapestry Workshop's Embassy Project. Commissioned by the Department of
Foreign Affairs and Trade.
Curator of TABOO. Museum of Contemporary Art Australia, Sydney. 19 Dec 2012 - 24 Feb 2013.
Honorary Fellow. Centre for Cultural Materials Conservation. The University of Melbourne. http://www.culturalconservation.unimelb.edu.au/
ISCP residency NYC. Visual Arts Board, Australia Council for the Arts.
South Project. TRANS VERSA. Museum of Contemporary Arts, Galeria Metropolitana and Centro Cultural
Matucana 100, Santiago, Chile.
Contemporary Art Centre, Vilnius, Lithuania.
Honorary Fellow. School of Anthropology, Geography and Environment Studies. University of Melbourne.
Sydney College of the Arts, University of NSW. Sydney.
Intersections. University of Hawaii, School of Art. Hawaii.
Bundanon Trust. Nowra. Australia.
Sanskriti Kendra. New Dehli, India. Asialink Residency.
Gasworks and Goldsmith College, London University, London.
SELECTED GRANTS AND AWARDS
2018 Advance Global Australian Awards (the Arts category).
Australian Research Council (ARC) Grant, Australia.
VicArts Creative Development, Creative Victoria.
Project Grant, Australia Council for the Arts.
Indigenous Professional Development Grant, Creative Victoria.
Professional Development Grant. Australia Council for the Arts.
Georges Mora Foundation Fellowship. In collaboration with Trent Walter. State Library of Victoria.
Sidney Myer Creative Fellowship
Echigo-Tsumari Art Triennale, Japan: International Program, Cultural Exchange. Arts Victoria.
ISCP residency NYC. Visual Arts Board, Australia Council.
New Work. VACB. Australia Council.
Peoples Choice. Josephine Ulrick and Win Schubert Photography Award. Gold Coast. Queensland.
Recipient, Works on Paper. Telstra National ATSI Art Award. Northern Territory
Feature Film Development Grant. Australian Film Commission.
Research Grant. College of Fine Arts, University of NSW. Sydney.
Fellowship. Australia Council for the Arts.
Professional Development Grant. Australia Council.
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