| Patricia Piccinini - Curriculum Vitae | |
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| Biography | |
| 1965 | Born Freetown, Sierra Leone |
| 1972 | Arrived in Australia |
| 1985-88 | Bachelor of Arts (Economic History), Australian National University |
| 1989-91 | Bachelor of Arts (Painting), Victorian College of the Arts |
| 1994-96 | Coordinator, The Basement Project Gallery |
| Selected Solo Exhibitions | |
| 2007 | (tiernas) Criaturas/(tender) Creatures, Artium, Vitoria-Gasteiz, Spain |
| Hug: Recent Works by Patricia Piccinini, Frye Museum, Seattle, USA | |
| Double Love Knot, Lismore Regional Gallery, Lismore, Australia | |
| Recent Work, Roger Williams Gallery, Auckland, New Zealand | |
| Hug: Recent Works by Patricia Piccinini, Des Moines Art Center, Des Moines, USA | |
| 2006 | In Another Life, Wellington City Gallery, Wellington, New Zealand |
| Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia | |
| Life Cycle, Tolarno Galleries, Melbourne, Australia | |
| 2005 | Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia |
| Nature's Little Helpers, Robert Miller Gallery, New York, USA | |
| 2004 | Sculpture, Robert Miller Gallery, New York, USA |
| We are Family, toured to Bendigo Art Gallery, Bendigo, Australia | |
| 2003 | We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy |
| We are Family, toured to Hara Museum, Tokyo, Japan | |
| Precautionary Tales, Tolarno Galleries, Melbourne , Australia | |
| Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia | |
| Love Me Love My Lump, Monash Centre and Dryphoto Gallery, Prato, Italy | |
| Call of the Wild, toured to John Curtin Gallery, Perth, Australia | |
| 2002 | Call of the Wild, Museum of Contemporary Art, Sydney, Australia |
| Retrospectology, Australian Centre for Contemporary Art, Melbourne, Australia | |
| Sandman, National Gallery of Victoria, Melbourne, Australia | |
| Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia | |
| 2001 | The Breathing Room, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan |
| Superevolution, Centro de Artes Visuales, Lima, Peru | |
| One Night Love, Tolarno Galleries, Melbourne, Australia | |
| 2000 | Swell, Artspace, Sydney, Australia |
| Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia | |
| 1999 | Protein Lattice, Republic Tower billboard, Melbourne, Australia |
| Truck Babies, Tolarno Galleries, Melbourne, Australia | |
| Plasticology, NTT InterCommunication Centre, Tokyo, Japan | |
| 1998 | Sheen, Adelaide Festival, Adelaide, Australia |
| Car Nuggets, Arts Victoria, Melbourne, Australia | |
| 1997 | Psycho, Tolarno Galleries, Melbourne, Australia |
| 1996 | Natural Beauty, The Basement Project, Melbourne, Australia |
| Your Time Starts Now..., Contemporary Art Centre of South Australia, Adelaide, Australia | |
| Your Time Starts Now..., Institute of Modern Art, Brisbane, Australia | |
| 1995 | Love Me Love My Lump, The Basement Project, Melbourne, Australia |
| TerrUrbanism, toured to The Australia Centre, Manila, Philippines | |
| 1994 | TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia |
| T.M.G.P., The Basement Project, Melbourne, Australia | |
| Indivisibles, The Basement Project, Melbourne, Australia | |
| Selected Group Exhibitions | |
| 2007 | Global Feminisms, Brooklyn Museum, New York, USA |
| Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA | |
| Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher , Wurzberg, Germany | |
| Diagnose [Kunst]: Contemporary art reflecting medicine, Kunstmuseum Ahlen, Ahlen, Germany | |
| Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands | |
| MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia | |
| Artist Makes Video: Art Rage Survey 1994-1998, Queensland College of Art, Brisbane, Australia | |
| 2006 | Redefined, Corcoran Museum of Art, Washington DC, USA |
| Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA | |
| Long Live Sculpture, The Open Air Museum for Sculpture Middelheim, Antwerp, Belgium | |
| Prism, Bridgestone Museum of Art, Tokyo, Japan | |
| Black & Blue, Robert Miller Gallery, New York, USA | |
| High Tide, Zacheta National Gallery of Art, Warsaw, Poland | |
| Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F Johnson Museum of Art Cornell University, Ithaca, USA | |
| High Tide, Contemporary Art Centre, Vilnius, Lithuania | |
| The Idea of the Animal, RMIT Gallery, Melbourne, Australia | |
| New to the modern: Heide's Collection 25 years on, Heide Museum of Modern Art, Melbourne, Australia | |
| Strange Cargo, Newcastle Region Art Gallery (toured), Newcastle, Australia | |
| Supercharged, Institute of Modern Art, Brisbane , Australia | |
| 2006:Contemporary Commonwealth, Australian Centre for the Moving Image, Melbourne , Australia | |
| Epic, Lismore Regional Gallery, Lismore, Australia | |
| Home Goal: Diversity in Contemporary Art from the Collection of Dr. Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia | |
| 2005 | Becoming Animal, MASS MoCA, North Adams, USA |
| Detox, Kunstnernes Hus, Oslo, Norway | |
| Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, USA | |
| I thought I knew but I was wrong, Ssamzie Space, Seoul, South Korea | |
| Almost, Robert Miller Gallery, New York, USA | |
| Living Apart Together, Odapark Venray, Venray, The Netherlands | |
| Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, Australia | |
| 2004 | Rheinschau Art Cologne Projects, Art Cologne, Cologne, Germany |
| Andererseits: die phantastik, Landesmuseum, Linz, Austria | |
| We Are the World, Chelsea Art Museum, New York, USA | |
| Brides of Frankenstein, San Jose Museum of Art, San Hose, USA | |
| Auto Fetish: The Mechanics of Desire, Newcastle Region Gallery, Newcastle, Australia | |
| Bloom: Mutation, Toxicity and the Sublime, Govette Brewster Art Gallery, New Plymouth, New Zealand | |
| I thought I knew but I was Wrong, Jamjuree Art Gallery, Pathumwan, Bangkok, Thailand | |
| Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, Australia | |
| Repercussions, Greenaway Art Gallery, Adelaide , Australia | |
| The Plot Thickens, Heidi Museum of Modern Art, Bulleen, Victoria | |
| Written with Darkness: Selected photographs from the Corrigan Collection, University of Technology Gallery, Sydney, Australia | |
| 2003 | Face Up, Hamburger Bahnhof, Berlin, Germany |
| Bienal de La Habana, Havana, Havana, Cuba | |
| Second Sight, National Gallery of Victoria, Melbourne, Australia | |
| see, here, now, The Ian Potter Museum of Art, Melbourne, Australia | |
| 2002 | Liverpool Biennale: International 2002, Tate Liverpool, Liverpool, England |
| (The world may be) fantastic: 2002 Biennale of Sydney, Object Gallery, Sydney , Australia | |
| Tech / No / Zone, Museum of Contemporary Art, Taipei, Taiwan | |
| Melodrama: Lo Excesivo en la Imaginación Posmoderna, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain | |
| Modified Terrain, Institute of Modern Art, Brisbane , Australia | |
| conVerge; where art and science meet, Art Gallery of South Australia, Adelaide, Australia | |
| Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain | |
| For Real, Wood Street Galleries, Pittsburgh, United States | |
| 2001 | 2nd Berlin biennale, Postfuhramt (Old Postal Services Building), Berlin, Germany |
| hybrid | |
| Melbourne Festival, The Australia Projects, Melbourne Zoo and RMIT Gallery, Melbourne, Australia | |
| Seeing through Landscape, Australian Centre for Photography, Sydney , Australia | |
| Desire, Royal Melbourne Institute of Technology Gallery, Melbourne, Australia | |
| 2000 | Gwangju Biennale, Gwangju City Art Museum, Gwangju, Korea |
| Song of the Earth, Museum Fridericianum, Kassel, Germany | |
| Passing Time: The Möet & Chandon Exhibition, Art Gallery of New South Wales, Sydney, Australia | |
| Terra Mirabilis: Wonderful Land, Centre for Visual Arts, Cardiff, Wales | |
| Zeitgeössische Fotokunst Aus Australien, Neuer Berliner Kunstverein, Berlin, Germany | |
| Zeitgeössische Fotokunst Aus Australien, Museum Scholß Hardenberg, Velbert, Germany | |
| Zeitgeössische Fotokunst Aus Australien, Kunstsammlungen, Chemnitz, Germany | |
| Zeitgeössische Fotokunst Aus Australien, Kulturzentrum der Stadt Stuttgart, Stuttgart, Germany | |
| Flow, National Art Gallery, Kuala Lumpur, Malaysia | |
| Bonheurs des Antipodes, Musée de Picardie, Amiens, France | |
| Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA | |
| Sporting Life, Museum of Contemporary Art, Sydney, Australia | |
| Plastic Life, Level 2, Art Gallery of New South Wales, Sydney, Australia | |
| Akihabara TV 2, Akihabara electrical stores, Tokyo, Japan | |
| 1999 | Signs of Life: Melbourne International Biennial, Telstra Exchange Building, Melbourne , Australia |
| A Window Inside Outside, Gwangju City Art Museum, Gwangju, Korea | |
| Probe, Australian Embassy, Beijing, China | |
| The Liquid Medium:Video Art, Queensland Art Gallery, Brisbane, Australia | |
| ARTificial Life, Artspace, Auckland, New Zealand | |
| Akihabara TV, Akihabara electrical stores, Tokyo, Japan | |
| The Persistence of Pop, Monash University Gallery, Melbourne, Australia | |
| Signature Works, Australian Centre for Photography, Sydney, Australia | |
| Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan | |
| Byte Me, Bendigo Art Gallery, Bendigo, Victoria | |
| Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia | |
| 1998 | Up the Road: Contemporary Artists out of the VCA, Australian Centre for Contemporary Art, Melbourne, Australia |
| Metamorphosis, Mornington Peninsula Regional Art Gallery, Victoria, Australia | |
| Hype: Fashion, Art and Advertising, RMIT Gallery, Melbourne, Australia | |
| 1997 | Natural Selection (Australian Perspecta 1997), Museum of Contemporary Art, Sydney, Australia |
| Art=Advertising, Robert Lindsay Gallery, Melbourne, Australia | |
| Lawyers, Guns and Money, Experimental Art Foundation, Adelaide, Australia | |
| Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan | |
| Fotofeis, Gallery of Modern Art, Glasgow, Scotland | |
| Nothing Natural, Plimsoll Gallery, Hobart, Australia | |
| Nothing Natural, Latrobe Regional Gallery, Morewll, Australia | |
| Wild Kingdom, Institute of Modern Art, Brisbane, Australia | |
| Techne, Perth Institute of Contemporary Arts, Perth , Australia | |
| 1996 | Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney, Australia |
| Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria, Australia | |
| Perception & Perspective, National Gallery of Victoria, Melbourne, Australia | |
| Nothing Natural, The Basement Project, Melbourne, Australia | |
| Möet & Chandon Touring Exhibition, National Gallery of Victoria, Melbourne, Australia | |
| Möet & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane, Australia | |
| Möet & Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide, Australia | |
| Möet & Chandon Touring Exhibition, Art Gallery of New South Wales, Sydney, Australia | |
| Cyber Cultures, Performance Space, Sydney, Australia | |
| Alternative Realities tour, Pacific Cultural Centre, Taipei, Taiwan | |
| Alternative Realities tour, Tamsui Centre of Arre, Tamsui, Taiwan | |
| Alternative Realities tour, Mountain Art Gallary, Kaohsiung, Taiwan | |
| Alternative Realities tour, Karnataka Chitrakala Parishath Gallery, Bangalore, India | |
| Alternative Realities tour, Government Museum & Art Gallery, Chandigarh, India | |
| 1995 | Alternative Realities, Ian Potter Gallery, University of Melbourne, Melbourne, Australia |
| Alternative Realities tour, University of Science and Technology, Hong Kong, China | |
| Alternative Realities tour, Zhu Qizhan Gallery, Shanghai, China | |
| Alternative Realities tour, Wang Fun Art Gallery, Beijing, China | |
| Alternative Realities tour, Gallery Artbeam, Seoul, Korea | |
| Technothelylogia: Technology for and by Women, Monash University Gallery, Melbourne, Australia | |
| Since the Accident, The Basement Gallery, Melbourne, Australia | |
| Our Parents' Children, National Gallery of Victoria, Melbourne, Australia | |
| A Gathering of Shades, Temple Studio, Melbourne, Australia | |
| Fleshly Worn, ASA Gallery, Aukland, New Zealand | |
| Ada's Spawn, New Media Network, Melbourne, Australia | |
| Plastiche (Curator), The Basement Project, Melbourne, Australia | |
| Critical Mass, Arts Victoria Gallery, Melbourne, Australia | |
| 1993 | City Screens, Melbourne International Festival, Melbourne, Australia |
| Deliquescence, 200 Gertrude Street, Melbourne, Australia | |
| 1992 | Deliquescence, Canberra Contemporary Art Space, Canberra, Australia |
| Deliquescence, First Draft Gallery, Sydney, Australia | |
| Selected Bibliography | |
| 2008 | Haraway, Donna , When Species Meet, University of Minnesota Press, 2008, pp. 287-292, 387 |
| 2007 | Fernandez Orgaz, Laura, (Tiernas) Criaturas, Artium, 2007 |
| Haraway, Donna , Speculative Fabulations for Technoculture's Generations: Taking Care of Unexpected Country, (Tiernas) Criatures, 2007 | |
| Alderton, Steven, Patricia Piccinini: Double Love Knot (exhibition catalogue), Lismore Regional Gallery, 2007 | |
| Hickson, Patricia, Hug or Run?, Hug: Recent Work By Patricia Piccinini, 2007 | |
| Rosenberg, Randy, Art in Action: Nature, Creativity and Our Collective Future, The Natural World Museum, 2007 | |
| Heartney, Eleanor, Worldwide Women, Art in America, June/July 2007, pp. 155-165 | |
| Armstrong, Carol, C a r o l A r m s t r o n g o n G l o b a l F e m i n i s m s a n d W A C K ! , Artforum International, MonMon/AprApr/20072007, pp. 360-362 | |
| Were, Virginia, A Matter of Transformation, ArTnews New Zealand, Summer 2007, p. 60-62 | |
| Israel, Glenis, Essential Art, Jacaranda, 2007, pp. 202-206 | |
| Wallis, Geoffrey, E y e t o i : T h e S e l f i n R e c e n t A r t , Ballarat Fine Art Gallery, 2007, p.90 | |
| Smith, Royce W., Hug: Recent Work by Patricia Piccinini, Review, SatSat/MarMar/20072007, pp. 42-45 | |
| Astrapellou, Marilena, Dear Scooter: Patricia Piccinini's Auto Art, Intersection, Spring 2007, p. 26 | |
| de Rooij, Marie Jeanne, Down Under: The Hague Sculpture 07 (exhibition catalogue), Veenman Publishers, 2007, pp. 76-80 | |
| Artundo, N, Science in Person, El Correo Espanol El Pueblo Vasco, October 4th, 2007, Cover, p. 77 | |
| Crespo, Txema G., Piccinini Bordering the Limits of Nature, El Pais, October 4th, 2007, p. 37 | |
| Lloyd, Tim, The Canvas Economy, The Advertiser Review, Sept.1, 2007, p. 1, 6,7 | |
| Macgregor, Elizabeth Ann, MCA Collection: New Acquisitions (exhibition catalogue), Museum of Contemporary Art, Sydney, 2007, p. 20 | |
| Ostbye, Guri Lorentzen, Barn + Kunst = Danning, Gorilo Forlag, Oslo, Norway, 2007, pp. 148-149 | |
| Toffoletti, Kim, Cyborgs and Barbie Dolls: Feminism, Popular Culture and the Posthuman Body, I.B. Tauris and Co. Ltd, 2007, pp. 133-159 | |
| 2006 | Bugden, Emma (ed), Patricia Piccinini: In Another Life (exhibition catalogue), City Gallery Wellington, 2006 |
| Brennan, Stella, Border Patrol, In Another Life, 2006, pp. 6-9 | |
| Winship, Ingrid, Genetics in a Genome Era, In Another Life, 2006, pp. 14-15 | |
| Weyns, Sara, Long Live Sculpture, Middelheim Museum, Antwerp, 2006, p. 13, pp.52-55 | |
| Setsuko, Nakamura, Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, 2006, pp 71-77 | |
| Doll, Nancy, Uneasy Nature, Weatherspoon Art Museum, 2006, pp. 42-47 | |
| Kardasz, Magda and Rees, Simon, High Tide: New Currents in art from Australia and New Zealand, Zacheta National Gallery of Art, Warsaw, 2006, pp. 79-80, 216 | |
| Larson, Kay, Beautiful Mutants, Art News, 37287, pp. 106-109 | |
| Boucher, Brian, Patricia Piccinini at Robert Miller, Art in America, 37287, p. 128 | |
| McRae, Vanessa, Supercharged: The Car in Contemporary Culture, Institute of Modern Art, Brisbane | |
| Green, Charles, 2006: Contemporary Commonwealth, National Gallery of Victoria, Melbourne, 2006, pp.98-101 | |
| Geczy, Adam and Genocchio, Benjamin, What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, 2006, pp. 301-305 | |
| Crombie, Isobel, Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, National Gallery of Victoria, Melbourne, 2006, pp. 14, 110, plate 10 | |
| Reena, Jana, Review of Patricia Piccinini: Nature's Little Helpers at Robert Miller Gallery, tema celeste contemporary art, no. 113, p. 85 | |
| York, Hong Cing-fong Hsiao, Artist of the Year / Asia Live, Art Taipei, 2006, 2006, Cover, first 10 pages. | |
| Slade, Lisa, Strange Cargo (exhibition catalogue), Newcastle Region Art Gallery, 2006, p. 6, 8, 13, 52,53 | |
| Davies, Suzanne, The Idea of the Animal (exhibition catalogue), RMIT Gallery, 2006 | |
| Tucker, Anne, Endangered Species: Patricia Piccinini and the Human Condition, Juxtapoz, February, pp. 72-77 | |
| Riley, Jan, Patricia Piccinini, Sculpture Magazine, Vol 25, No 7, September 2006, p. 75 | |
| Smith, Jason, Epic (exhibition catalogue), Lismore Regional Gallery, 2006, cover, p.5 | |
| Perram, Richard, Home Goal (Exhibition catalogue), Bathurst Regional Art Gallery, 2006 | |
| Lippert-Rasmussen, Kasper & Balling, Gert, Det Menneskelige Eksperiment, Museum Tusculanums Forlag, 2006, p. 233 | |
| 2005 | Miller, Christopher, Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, 2005 |
| Kent, Rachel, Nature is as Nature Does: Patricia Piccinini's Super-Natural Creations, Nature's Little Helpers, 2005 | |
| Havilah, Lisa, C'town Bling, Campbelltown Arts Centre, 2005 | |
| Mitzevich, Nick, Newcastle Region Art Gallery: Highlights from the Collection, Newcastle Region Art Gallery, 2005, p. 63 | |
| Delany, Max, Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, 2005, pp. 50-51 | |
| Wilson, Beth, Brand X Art, Chronogram, 37011 | |
| Glueck, Grace, The line between species shifts and a show explores and move, The New York Times, 44773 | |
| Genocchio, Benjamin, Images of Reality, In Three Dimensions, The New York Times, 44712 | |
| Glover, Michael, Masters of the dark arts, The Times, 45930 | |
| Smee, Sebastian, Nature's Little Helpers make tasty omelette, The Australian | |
| Tofts, Darren, Interzone: Media Arts in Australia, Craftsman House, 2005, pp. 98-101 | |
| Welschen, Fred, Living Apart Together (exhibition catalogue), Odapark Venray, 2005 | |
| Nowotny, Helga, Unersattliche Neugier: Innovation in einer fragilen Zukunft, Die Deutsche Bibbliothek, 2005, Cover | |
| Savie, Chris, Untitled article, Adbusters, 2005 | |
| 2004 | Rees, Simon, Adelaide Biennial of Australian Art exhibition catalogue, AGSA, 2004 |
| Patricia Piccinini: We are Family, BT, Vol. 56, no. 845, pp 15-17 | |
| Bec, Luis, The Demonstrous, Monsters, Ghosts and Aliens: The politics of representation in the digital era, F. Javier Pascual, Madrid, 2004, p 60 | |
| Bourke, Gregory, Bloom: Mutation,Toxicity and the Sublime (exhibition catalogue), Govett Brewster Art Gallery, 2004 | |
| Crisp, Lyndall, Freaks of Nature, Financial Review Weekend, 29-30 May 2004, p. 35 | |
| Israel, Glenis, Senior Artwise 2: Visual Arts 11-12, Jacaranda, 2004, pp. 193-201 | |
| Eisenmann-Klein, Marita, Reconstruction and updating in plastic surgery in 'UmBauhaus: Updating Modernism', Jovis Verlag, Berlin, 2004, p. 56 | |
| Glass, Alexie & Tutton, Sarah, I thought I knew but I was wrong: New video art from Australia (exhibition catalogue), Asialink / ACMI, Melbourne, 2004 | |
| Gibson, Ross, Written with Darkness (exhibition catalogue), University of Technology, Sydney | |
| Lovelace, Carey, Flesh & Feminism, Ms., Spring 2004, pp. 65-69 | |
| Palmer, Daniel, Medium Without a Memory: Australian Video Art in 'I thought I knew but I was wrong', Asialink / ACMI, Melbourne, 2004 | |
| Piccinini, Patricia, We are Family Lecture, Hara Museum Review, No 64, Spring 2004, pp. 6-7 | |
| Plant, Simon, Art Breaking, Herald Sun Weekend, 36653, pp.6-7 | |
| Rhodes, Kate, Patricia Piccinini's Desert Rider (Mountain), Art Bulletin of Victoria, Australia, No 44, 2004, pp. 90-91 | |
| Villaca, Nizia, The Multiplication of Bodies in Artistic Communication in 'Metacorpos' (exhibition catalogue), Paco das Artes,Brasil, 2004, pp 56-7, 64-5, 100, 142 | |
| Anderson, Karen, Monstrorum Historia: Biotech and Teriomorphism, Cluster, No. 4, 2004, pp. 144-151 | |
| Vielhaber, Christiane, Junge Kunst ruckt nach vorn, Das Kunst Magazin, Vol. 11, 2004, p. 209 | |
| 2003 | Wertheim, Margaret & Christine, Teratology in 'Patricia Piccinini: We Are Family' (Linda Michael, Ed), Australia Council, 2003 |
| Smith, Jason, Patricia Piccinini: Sandman (exhibition catalogue), National Gallery of Victoria, Melbourne, 2003 | |
| Antony, Rachael, We Are Family: Art by Patricia Piccinini, The Big Issue, no. 179, 9-24 June 2003, p. 11 | |
| Block, Andrew, Arts: Bizarre Beasts, Qantas, no. 115, January 2003, p. 61 | |
| Boyd, Chris, Visions of a Strange New World, The Weekend Australian Financial Review | |
| Clifford, Andrew, Attack of the Clones, The Sunday Star Times, New Zealand, December 28 2003, p. 22 | |
| Crawford, Ashley, Patricia Piccinini in 'see here now, Vizard Foundation Art Collection of the 1990s' (exhibition catalogue), The Ian Potter Museum of Art, Melbourne, 2003, pp. 108-109 | |
| Eccles, Jeremy, For the Love of Her Art, The Canberra Times, 36303, pp. 6-7 | |
| Fortescue, Elisabeth, Meeting a boy who isn't there, The Daily Telegraph, 36388, p. 34 | |
| Foster, Alasdair, Interview: Patricia Piccinini, Photofile, no. 68, April 2003, pp. 18-23 | |
| Glass, Alexie, Patricia Piccinini, res, March-April 2003, p. 43 | |
| Kinsman, Chloe, Patricia Piccinini (interview), tema celeste contemporary art, no. 98, pp. 58-61 | |
| Patricia Piccinini in 'Havana Biennale 2003' (exhibition catalogue) , Centre for Contemporary Art, Havana, 2003, pp. 180, 340-341 | |
| Lynn, Victoria, Patricia Piccinini in 'Face Up: Contemporary Art from Australia' (exhibition catalogue), Kantz, Berlin, Germany, 2003 | |
| McDonald Crowley, Amanda, Creative Encounters: The Art/Science of Collaboration, Sarai Reader, 36191, pp. 227-235 | |
| Michael, Linda, Patricia Piccinini: Still life with Stem Cells in 'Monash University Collection: Three Decades of Collecting', Monash University Museum of Art, Melbourne, 2003, p. 113 | |
| Michael, Linda, Love Me Love My Lump: Patricia Piccinini Photographs (exhibition catalogue), Monash University Museum of Art, Melbourne, 2003 | |
| Smith, Bernard, Patricia Piccinini in 'Two Centuries of Australian Art', Thames and Hudson, Victoria, 2003, p.162 | |
| Carroll, Alison, Sun Gazing: The Australia-Japan Art Exhibitions Touring program 2002-2004, The Asialink Centre, The University of Melbourne, 2004 | |
| McAuliffe, Chris, and Harvey, Sue, see here now: Visard Foundation Art Collection of the 1990s, Thames and Hudson, Victoria, 2003, pp. 108-109 | |
| Strickland, Katrina, Mother Love, The Weekend Australian, 2-4 May 2003, pp. 14-17 | |
| Woodcock, Ben, Freak Show, State of the Arts, pp. 89-90 | |
| Fitzgerald, Michael, Driving out Demons, Time (Pacific), 36340, pp. 62-64. | |
| Genocchio, Benjamin, Genetically Modified Sculpture, The Australian, 11-12 January 2003, Review p. 21 | |
| Genocchio, Benjamin, Piccinini and friends carve out a name in Venice, The Australian, 14-15 June 2003, p. 3 | |
| Gill, Raymond, Family Values, The Age, 36323, A3 p. 12 | |
| Hill, Peter, The Artist & Her Offspring, The Sydney Morning Herald, 25-26 January 2003, Spectrum pp. 6-7 | |
| Hutak, Michael, The Far-out Pavilion, The Bulletin, 36334, p. 75 | |
| Ingram, Terry, Happy as a pig in Venice: Piccinini parties to celebrate success, The Australian Financial Review, 36336, p. 43 | |
| Lethbridge, Brett, Beauty Beyond Bizarre, The Courier-Mail, 36324, p. 30 | |
| Naylor, Stephen, Feeling the heat at the 50th Venice Biennale, Art Monthly Australia, no. 161, July 2003, pp. 34-39 | |
| Nelson, Robert, 'Clever Technology, Serious Questions', The Age, 36163, Arts p. 17 | |
| Rees, Simon, Patricia Piccinini at ACCA, Flash Art, May-June 2003, p. 84 | |
| Turner, Jonathan, Alien Nation, ARTnews, vol. 102, no. 8, September 2003, p. 107 | |
| Lindinger, Verlag and Schmid, Uncompromising Mindset, Kunst Jahr 2003, 2003, p. 26, 28 | |
| 2002 | Kent, Rachel (ed), Call of the Wild: Patricia Piccinini (exhibition catalogue), Museum of Contemporary Art, Sydney, 2002 |
| Engberg, Juliana, Patricia Piccinini in '(The world may be) fantastic' Ewen McDonald (ed.) (exhibition catalogue), Biennale of Sydney, 2002 | |
| Rowell, Amanda, Autoerotic (exhibition catalogue), Roslyn Oxley9 Gallery, Sydney, 2002 | |
| Engberg, Juliana, Retrospectology: The World According to Patricia Piccinini (exhibition catalogue), ACCA, Melbourne, 2002 | |
| Smith, Jason, Sandman: Patricia Piccinini (exhibition catalogue), National Gallery of Victoria, Melbourne, 2002 | |
| Barragan, Paco, Patricia Piccinini in 'El Arte Que Viene (The Art to Come)', Subastas Siglo, Madrid, 2002, p. 236 | |
| Faulkner, Jane, Patricia in Wonderland, The Age, 36125, p. 13 | |
| Foster, Alasdair, Patricia Piccinini in 'Blink: 100 photographers 010 curators 010 writers', London: Phaidon Press, 2002, pp. 300-304 | |
| Greenstein, M. A., Arte o Baño del sol, Lapiz, no. 179/180, 2002, p. 136 | |
| McLean, Sandra, When Push Becomes Shove, The Courier Mail, 36002, p. 2 | |
| Michael, Linda, Love Me Love My Lump, The Diplomat, December 2002 - January 2003, pp. 45-46 | |
| Millner, Jacqueline, Love in the Time of Intelligent Machines, Artlink, Vol 21 no 4, 2002, p. 42-47 | |
| Palmer, Daniel, Patricia Piccinini, Frieze: Contemporary Art and Culture, Issue 65, 2002, p. 93-94 | |
| Papastergiadis, Nikos, One Night Love, Object, no. 39, pp. 50-52 | |
| Piccinini, Patricia, Life in the Media Landscape in 'Prefiguring Cyberculture: An Intellectual History', Power Publications, University of Sydney, 2002, p. 202-203_ | |
| Bennet, Oliver, The quality of Mersey: Liverpool Biennale/International 2002, The Observer, UK, 35322 | |
| Green, Charles, Patricia Piccinini, Artforum, 35915, p. 194 | |
| Hill, Peter, Weird Science, The Sydney Morning Herald, 30 August-5 September 2002, Metro p. 26 | |
| Hynes, Victoria, Driven, The Sydney Morning Herald, 24-30 May 2002 | |
| McLean, Sandra, When Push Becomes Shove, The Courier Mail, 36002, p. 2 | |
| Millner, Jacqueline, Storytelling, Eyeline, no. 49, Spring 2002, pp. 30-32 | |
| Toffoletti, Kim, Patricia Piccinini; Lumps and Stem Cells, Eyeline, no. 50, Summer 2002/2003, p. 47 | |
| 2001 | Michael, Linda, One Night Love (exhibition catalogue), Tolarno Galleries, Melbourne |
| Hennessey, Peter, Patricia Piccinini: Installations in 'What is Installation? An Anthology of Writings on Australian Installation Art', Power Publications, Sydney, 2001, p. 301 | |
| Hutak, Michael, Perfect Planet, Professionally Reproduced, Australian Art Collector, Issue 18, October 2001, p. 65 | |
| McDonald, Helen, Erotic Ambiguities: The Female Nude in Art, Routledge, London, 2001, pp. 200-204 | |
| Crawford, Ashley, Contemporary Australian Art, An Odd Creature from Down Under, Art and Australia ARCO insert, Vol 37, no. 2, 2001, p. 2 | |
| Lancashire, Rebecca, Piccinini's Monsters, The Age, 35575, Extra p. 3 | |
| McCulloch-Uehlin, Susan, Virtual Visions, The Australian, 35729, Arts p. 9 | |
| Travis, Lara, Vivid Vehicles of Delight for Lovers of One Night, The Age, 35729, p. 22 | |
| Webb, Caroline, Young Collectables, The Age, 35575, Today p. 1 | |
| 2000 | Engberg, Juliana, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 |
| Colless, Edward, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 | |
| Yamagata, Hiroo, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 | |
| Leggett, Mike, Patricia Piccinini, Photofile, no. 60, August 2000, p. 8-11 | |
| Miki, Akiko, Very New Art 2000: 100 Artists, BT Art Magazine, vol. 52, no. 782, January 2000, p. 188-189 | |
| Millner, Jacqueline, Afterword: Perspective on Perspecta in Martin Thomas (ed.) 'uncertain ground', Art Gallery of New South Wales, Sydney, 2000, p. 170 | |
| Pennings, Mark, Enchantment, Technoscience and Desire, Art and Australia, vol. 37, no. 4, 2000, pp. 556-565 | |
| Murphy, Bernice, Patricia Piccinini in Zeitgeössische Fotokunst Aus Australien, Braus im Wachter Verlag, Heidleberg, Germany, 2000, pp. 26-31 | |
| Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 11, January 2000, p. 84 | |
| Genocchio, Benjamin, Reality Check via Plastic Bimbo, The Weekend Australian, 35281, Review p. 18 | |
| Hoffman, Frank, Report from Kwangju: Monoculture and its Discontents, Art in America, 35369, p. 74 | |
| Hong-Hee, Kim, Kwangju Biennial, Flash Art, Summer 2000, p. 100 | |
| James, Bruce, I'll have what she's having, The Sydney Morning Herald, 35096, Arts p. 12 | |
| Scarff, Julian, Probe, Art Asia Pacific, Issue 27, 2000, pp. 28-30 | |
| 1999 | Engberg, Juliana, Essay in 'Signs of Life: Melbourne International Biennial' (exhibition catalogue), City of Melbourne, 1999 |
| Hatanaka, Minoru, Plasticology, InterCommunication, no. 29, Summer 1999, p. 189 | |
| Stanhope, Zara, The Persistence of Pop (exhibition catalogue), Monash University Gallery, Melbourne, 1999 | |
| Sun-Hee, Kim, A Window Inside Outside (exhibition catalogue), Gwangju City Art Museum, Korea, 1999 | |
| Williamson, Clare, Digitalis Australis, History of Photography, no. 2, vol. 23, Summer 1999, pp. 107-113 | |
| Clabburn, Anna, Baby Trucks Dump on Mass Consumption, The Age, 34774, Arts p. 17 | |
| Colless, Edward, Patricia Piccinini, Art + Text, no. 66, October 1999, p. 79-80 | |
| Frost, Andrew, Australia' s 50 Most Collectable Artists, Australian Art Collector, no. 7, 1999, p. 50 | |
| Sinclair, Jenny, Oh Baby, It's a Truck! , The Age, 34773, IT p. 2 | |
| Taylor, Kerry, Artist's Infatuation with a Baby Beast, The Age, 34772, News p. 7 | |
| 1998 | Hennessey, Peter, Essay in 'Sacred and Profane' (exhibition catalogue), 1998 Adelaide Festival Visual Arts Program, 1998 |
| Sansom, Gareth, The Long and Winding Road in 'Up the Road: Contemporary Artists out of the Victorian College of the Arts', ACCA, Melbourne, 1998 | |
| Geczy, Adam, Australian Perspecta, Eyeline, no. 35, Summer, 1998, p. 40 | |
| Riley, Vikki, Machine Translations & Other Digital Heresies, Photofile, no. 53, April 1998, pp. 58-61 | |
| 1997 | Pennings, Mark, Art = Advertising (exhibition catalogue), Robert Lindsay Gallery, Melbourne, 1997 |
| Hennessey, Peter, Plastic Realist in Blair French (ed.) 'Photo Files: An Australian Photography Reader', Power Institute and ACP, Sydney, 1999, pp. 247-254 | |
| Burne, Philippa, Up the Garden Path, HQ Magazine, no. 54, Sept 1997, p. 23 | |
| Johnson, Anna, Young at Art, Good Weekend, April 26, 1997, p. 36 | |
| Uemura, Hisashi, LUMP, Gap Magazine, October, 1997, pp. 105-107 | |
| Maloney, Evan, Consuming Art, Art Monthly, no. 99, May 1997, p. 17 | |
| Rooney, Robert, Arts on Friday: Art=Advertising, The Australian, 34041, p. 12 | |
| 1996 | Hennessey, Peter and Gregory, Chris, Patricia Piccinini: Your Time Starts Now... (exhibition brochure), Contemporary Art Centre of South Australia, 1996 |
| Schubert, Robert, Patricia Piccinini: Fetal Futures, Art + Text, no. 54, May 1996, pp. 33-35 | |
| Clabburn, Anna, There's Something in Nothing Natural, Mesh, no. 8/9, Autumn 1996, pp. 27-28 | |
| Cooper, Jackie, Natural Born Artist, The Australian, 33938, p.36 | |
| Hill, Peter, Cameras, Lies and Photographic Exhibits, The Bulletin, 33863, p. 100 | |
| Honeysett, Stuart, Computer Art a Child of Invention, The Australian, 33737, p. 7 | |
| McFarlane, Robert, Looking to the Future, The Sydney Morning Herald, 33843, p. 11 | |
| Owen, Kristin and Simon Plant, Bubbly Prospects, Herald Sun, 33642, p. 33 | |
| Pennings, Mark, Patricia Piccinini: Your Time Starts Now..., Eyeline, Summer 1996, p. 34 | |
| Rooney, Robert, Melbourne Art, The Australian, 33747, p. 18 | |
| Rooney, Robert, Möet & Chandon Touring Exhibition, The Australian, 33656, p. 13 | |
| Stanhope, Zara, Mapping the Code: Artists Conceiving Data-bodies, Mesh, no. 8/9, Autumn 1996, pp. 16-17 | |
| 1995 | Kent, Rachel, Alternative Realities: Australian Artists Working with Technology (exhibition catalogue), Ian Potter Gallery, University of Melbourne, 1995 |
| Latham, Mary Ann, Inside Out: An Interview with Patricia Piccinini, Aedon, 33572 | |
| Stanhope, Zara, Technothelylogia: Technology of and by Women (exhibition catalogue), Monash University Gallery, Melbourne, 1995 | |
| Cookes, Thomas, Multimedia Spawns Art, The Age, 33430, p. 21 | |
| Gibson, Tom, Patricia Piccinini, Art + Text, no. 50, January 1995, p. 66 | |
| McKenzie, Robyn, Hi-Tech Art Flows into the Mainstream, The Age, 33444, p. 23 | |
| 1994 | Hennessey, Peter, Patricia Piccinini: Indivisibles (exhibition brochure), The Basement Project, Melbourne, 1994 |
| Gregory, Chris, Indivisibles, Eyeline, Spring 1994, pp. 42-43 | |
| Marsh, Anne, City Theme Rules, Herald Sun, 33009, p. 47 | |
| Storey, Rohan, The City Screen, Monument, vol. 1 no. 2, 1994, p. 64 | |
| Teffer, Nicola, Body with Organs, Photofile, no. 42, June 1994, pp. 6-7 | |
| 1993 | Barren, Sonia, Pushing the Limits of Acceptability, The Canberra Times, 32555, p. 25 |
| 1991 | Hawker, Rosemary, Heretical Gestures at the Birth of Enlightenment, Eyeline, no. 15, 1991, pp. 16-20 |
| Jones, Mathew, The Body Dis-corporate: Patricia Piccinini, Agenda, no. 20/21, November 1991, p. 18 | |
| Thompson, Kerstin, Charles Williams Gallery, Transition, no. 36/37, Summer 1991, pp. 172-17 | |
| Selected Awards | |
| 2006 | New York Residency, Australia Council |
| 2002 | International Cultural Exchange Program, Arts Victoria |
| 2000 | New Media Fellowship, Australia Council |
| 1999 | Arts Development grant, Arts Victoria |
| 1998 | Tokyo Residency, Australia Council |
| 1997 | Project Grant, Australia Council |
| International Cultural Exchange Program, Arts Victoria | |
| 1996 | Project Grant, Arts Victoria |
| 1991 | Christopher James Blyth Memorial Award, Victorian College of the Arts |
| 1990 | Theodore Urbach Award, Victorian College of the Arts |
| 1989 | Theodore Urbach Award, Victorian College of the Arts |
| Selected Public Collections | |
| Pheonix Art Museum, Arizona, USA | |
| Middelheim Museum, Antwerp, Belgium | |
| 21C Museum, Louisville, Kentucky, USA | |
| National Gallery of Australia, Canberra, Australia | |
| National Gallery of Victoria, Melbourne, Australia | |
| Art Gallery of New South Wales, Sydney, Australia | |
| Queensland Art Gallery, Brisbane, Australia | |
| Art Gallery of South Australia, Adelaide, Australia | |
| Monash University, Victoria, Australia | |
| Newcatle Region Art Gallery, New South Wales, Australia | |
| The University of Melbourne, Victoria, Australia | |
| Griffith University, Queensland, Australia | |
| Waverley City Gallery, Melbourne, Australia | |
| Bendigo Art Gallery, Victoria, Australia | |
| Parliament House, Canberra, Australia | |
| Artbank, Australia | |
This document was created Thu, 28 Aug 2008 13:09:13 -0400 | |