Né en 1970 à Sydney, Australie. Vit et travaille à Melbourne.
FORMATION
1998-99 Master of Fine Arts, Research. COFA, University of NSW, Sydney
1990-93 Bachelor of Visual Arts. University of Western Sydney, Sydney
EXPOSITIONS PERSONNELLES
2013 52 Portraits. Tolarno Galleries, Melbourne. Australie
Jumping Castle War Memorial, FeliXartMuseum, Dragenbos, Belgique
Galerie Nathalie Obadia, Paris
2012 Earth House. Australian representative at Australia House for the Echigo-Tsumari Triennial. Japon
Warang, Museum of Contemporary Art, Sydney, Australie
Travelling Colony, Sydney Festival and Carriageworks, Sydney, Australie
NO NAME STATION, Gertrude Contemporary Art Space, Melbourne, Australie
2010-11 The Cell. Sherman Contemporary Art Foundation, Sydney. Touring to the IMA Brisbane, MONA FOMA Festival of Music and Art, Hobart, PICA, Perth, Australie, et Govett-Brewster Art Gallery, New Zealand. Australie
2009 Danger Of Authority. Tolarno Galleries, Melbourne.
8 Months At War. DETACHED, Hobart & University of Queensland Art Museum, Brisbane. Australie.
Brook Andrew: The Island. UQ Art Museum, Brisbane.
2008 BROOK ANDREW: THEME-PARK. AAMU. Pays-Bas
The Island. Museum of Archeology and Anthropology, Cambridge, Royaume-Unis
2007 Come into the Light. Tolarno Galleries, Melbourne
Brook Andrew: Eye to Eye. Commissariat : Monash University Museum of Art, Melbourne, exposition montrée ensuite en Australie et dans le sud/sud est de l’Asie.
2006 YOU’VEALWAYSWANTEDTOBEBLACK. National Gallery of Victoria, Melbourne, Australie
2005 Peace, The Man & Hope. Gabrielle Pizzi, Melbourne.
2001 the good side, the bad side, the other side. Experimental Art Foundation, Adelaide, Australie.
Buunji nginduugir AMERICA. Artspace, Sydney. Australie
The unseen. Sanskriti Kendra. Delhi, Inde
EXPOSITIONS COLLECTIVES
2014 Adelaide Biennal of Australian Art. Art Gallery of South Australia
Melbourne Now. National Gallery of Victoria, Australie.
2013/14 Mémoires vives, Une histoire de l’art aborigène, Musée d’ Aquitaine, Bordeaux, France.
2013 in.print.out. Künstlerhaus, Vienne.
DEBIL DEBIL. Anna Schwartz Gallery, Sydney.
Making Change. Australian Centre for Photography, Sydney and the National Museum of China, Beijing.
I WANT CHANGE. Latrobe University Museum of Art, Melbourne.
2012 The Floating Eye. Sydney Pavilion, at the 9th Shanghai Biennale. Chine
Negotiating this world: Contemporary Australian Art. National Gallery of Victoria. Australie
Luminous World – Contemporary Art from the Westfarmers collection. Art Gallery of Western Australia.
Variable Truth. Gallery 4A, Sydney.
Made to Last: The Conservation of Art. Regional tour includes Latrobe Regional Gallery, Warrnambool Art Gallery, Wangaratta Art Gallery and Art Gallery of Ballarat, Victoria. National Exhibitions Touring Support (NETS) Victoria.
Message Stick: Indigenous Identity in Urban Australia. Department of Foreign Affairs and Trade international tour. An Artbank exhibition toured by Museums & Galleries NSW.
2011 TELL ME TELL ME: AUSTRALIAN AND KOREAN ART 1976–2011. MCA, Sydney, Australie, et MOCA, Seoul, Corée du Sud
From Blank Pages. Artspace Pool, Seoul. Corée du Sud
Burn What You Cannot Steal. Gallery Nova. Zagreb
Looking at Looking: The Photographic Gaze. NGV International, Melbourne. Australie
Text (as) Image. Level 17 Artspace, Victoria University, Melbourne.
10 Ways to Look at the Past. NGV, Melbourne. Australie
An Archival Impulse. Plimsoll Gallery, Hobart.
2010 17th Biennale of Sydney. Curated by David Elliot, Sydney.Australie
21st Century: Art in the First Decade. Gallery of Modern Art, Brisbane. Australie
No Name Station. Gertrude Contemporary, Melbourne, Australie, et Iberia Centre of Contemporary Art, Beijing, Chine.
Carnival. Lake Macquarie City Art Gallery, N.S.W. Australie
2010 GRAND NORD GRAND SUD Artistes inuit et aborigines. Musée de L’Abbaye de Daoulas en partenariat avec le Musée des Confluences, Lyon, France
Curious Colony, a twenty first century Wunderkammer. Newcastle Regional Art Gallery, NSW. Australie.
100 Years: Highlights from The University of Queensland Art Collection, Brisbane. Australie.
Stick it! Collage in Australian art. National Gallery of Victoria. Melbourne. Australie.
2009 The Exotic Human. Other cultures as amusement. Teylers Museum, Haarlem, Holland, and Museum Dr. Guislain, Ghent, Belgique.
2008 typical! Clichés of Jews and Others. The Jewish Museum, Berlin, Jewish Museum, Vienne, et Spertus Institute, Chicago. États-Unis
Half Light – Portraits of Black Australia. Art Gallery of NSW, Sydney. Australie.
Lost & Found: an Archeology of the Present. TarraWarra Biennial. TarraWarra Museum of Art, Victoria. Australie.
2007 DE OVERKANT/DOWN-UNDER: Stichting Den Haag Sculptuur. Den Haag. Pays-Bas.
The story of Australian printmaking 1801–2005. National Gallery of Australia. Canberra. Australie.
Alfred Metraux : From fieldwork to Human Rights. Smithsonian Institute. National Museum of Natural History. Washington D.C. États-Unis.
PRISM: CONTEMPORARY AUSTRALIAN ART. Bridgestone Museum of Art, Ishibashi Foundation. Tokyo, Japon.
TRANS VERSA. Museo de Arte Contemporáneo, Santiago, Chili.
2006 Light Sensitive. Contemporary Australian Photography from the Loti Smorgon Fund. National Gallery of Victoria, Australie.
Points of View: Australian Photography 1985-95. Art Gallery of NSW. Sydney, Australie.
HIGH TIDE: currents in contemporary Australasian art. National Gallery of Art, Warszawa, Pologne, et Contemporary Art Centre, Vilnius, Lithuanie.
SATELLITE06. Yangshupu Rd. Pavilion. Shanghai, China: A Shanghai Biennale satellite event. Chine.
The Adelaide Biennial of Australia 2006: 21st Century Modern. Art Gallery of South Australia.
2005 Black on White. Centre for Contemporary Photography. Melbourne, Australie.
The Butterfly Effect. Australian Museum. The Sydney Festival. Sydney, Australie.
2004 Colour Power. National Gallery of Victoria. Victoria, Australie
2004 Australian Culture Now. Australian Centre for the Moving Image and the National Gallery of Victoria. Victoria, Australie
Our Place: Indigenous Australian now. Cultural Olympiad Program, Athène, Grèce.
Images: Photo’s by Aboriginal Artists. Aboriginal Art Museum, Utrecht, Pays-Bas.
Aboriginal Art: Spirit & Vision. Sammlung-Essl, Vienne, Autriche.
2003 Australian Photographic Portrait Prize. Art Gallery of NSW, Sydney, Australie.
New View: Indigenous Photographic Perspectives. Monash Gallery of Art. National touring exhibition. Melbourne, Australie.
2000 Blondies and Brownies . Torch gallery. Amsterdam, Pays-Bas.
4th Nouméa Biennale d'Art Contemporian. Nouméa -Pacifique. Tjibaou Cultural Centre. Nouvelle Calédonie
Orbital. Experimenta Media Arts at The Lux Centre for Film, London, UK, & Centre for Contemporary Photography., Melbourne, Australie.
COLLECTIONS PUBLIQUES
National Museum of Contemporary Art, Seoul, Corée du Sud.
National Gallery of Australia, Canberra.
Art Gallery of Western Australia, Perth.
National Portrait Gallery, Canberra.
Art Gallery of New South Wales, Sydney.
Museum of Contemporary Art, Circular Quay, Sydney.
National Gallery of Victoria, Melbourne.
Queensland Art Gallery, Brisbane.
Art Gallery of South Australia, Adelaide.
ARTBANK, Australie.
The Vizard Foundation Collection, Melbourne.
BHP Billiton Collection
Darling Collection
Flinders University Museum
Benalla Art Gallery, Victoria.
Museum Victoria, Melbourne.
Monash Gallery of Art, Melbourne.
Northern Territory University Art Collection, Darwin.
University of Wollongong Art Collection
Griffith University Art Collection, Brisbane.
University of Western Sydney
Monash University Museum of Art, Victoria.
La Trobe University Art Museum
RÉCOMPENCES
2013 Georges Mora Foundation Fellowship. En collaboration avec Trent Walter. State Library of Victoria, Australie.
2012-13 Sidney Myer Creative Fellowship
2011 Echigo-Tsumari Art Triennale, Japan: International Program, Cultural
Exchange.
Arts Victoria.
2008-09 ISCP residency NYC. Visual Arts Board, Australia Council.
2006 New Work. VACB. Australia Council.
2005 Peoples Choice. Josephine Ulrick and Win Schubert Photography Award. Gold Coast. Queensland.
2004 Recipient, Works on Paper. Telstra National ATSI Art Award. Northern Territory.
2002 Feature Film Development Grant. Australian Film Commission.
Research Grant. College of Fine Arts, University of NSW. Sydney.
2001 Fellowship. Australia Council for the Arts.
2000 Professional Development Grant. Australia Council.
RÉSIDENCES ET COMISSARIATS
2012 Commissaire TABOO. Museum of Contemporary Art Australia, Sydney.
2011-12 Honorary Fellow. Centre for Cultural Materials Conservation. The University of Melbourne. http://www.culturalconservation.unimelb.edu.au/
2008 ISCP residency NYC. Visual Arts Board, Australia Council for the Arts.
2006 South Project. TRANS VERSA. Museum of Contemporary Arts, Galeria Metropolitana and Centro Cultural Matucana 100, Santiago, Chili.
Contemporary Art Centre, Vilnius, Lithuanie.
2005-06 Honorary Fellow. School of Anthropology, Geography and Environment Studies. University of Melbourne.
2005 Sydney College of the Arts, University of NSW. Sydney.
2002 Intersections. University of Hawaii, School of Art. Hawaii.
Bundanon Trust. Nowra. Australie.
00-01 Sanskriti Kendra. New Dehli, India. Asialink Residency.
2000 Gasworks and Goldsmith College, London University, Londres.
PUBLICATIONS
TABOO. Museum of Contemporary Art, Sydney. 2013.
Wayne Tunnicliffe et al, Brook Andrew The Cell, Sherman Contemporary Art Foundation,
Sydney & Institute of Modern Art, Brisbane, 2010.
Trent Walter (ed.), Brook Andrew Theme Park, Museum of contemporary Aboriginal Art,
Utrecht, The Netherlands, 2008.
Marcia Langton, Brook Andrew Hope & Peace, Gallery Gabrielle Pizzi, Melbourne, 2005.
PRESSE
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
Hoffman, A. Taboo in ‘ARTFORUM’. 2013. http://artforum.com/talkback/id=71004
Akel, J. Taboo. In ‘ARTFORUM’, 2013. http://artforum.com/archive/id=38879
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, Print Council of
Australia, Melbourne, 2011, pp 16-18.
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, No4. 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.
‘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.
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 inAustralia,
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 tha Land Speak: Aboriginal Subalterns & Garrulous Visuality in
‘KNOWLEDGE+DIALOGUE+EXCHANGE remapping cultural globalisms 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. Pge 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:
http://www.realtimearts.net/rt54/nicholls.html
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.
Brook Andrew's Intervening Time 2015 takes the form of an intervention into the Queensland Art Gallery's Australian art collection. Referencing the chevron pattern that Wiradjuri people paint on their skin, or carve into trees, Andrew recreates the design on the galleries' walls. Existing as a background against which the collection is then rehung, the pattern decisively asserts its presence in the narratives that form Australian history with regard to its landscape, culture and people. It places an Aboriginal body as central and foundational to such narratives and builds a more layered, complex conversation concerning the encounters between indigenous and settler cultures. Andrew's 2012 work TIME, a suite of six large-scale screenprints on canvas that draws on archival images, is installed among the Aust...
La Galerie Nathalie Obadia est très heureuse de présenter Anatomie d'un record du corps : au-delà de la Tasmanie, à l'occasion de sa première collaboration avec l'artiste australien Brook Andrew. Pour sa première exposition dans une galerie européenne, Brook Andrew propose ici une sculpture comme un corps dynamique entouré de cinquante-deux portraits d'inconnus issus d'une société dont la différence en a fait des fétiches exotiques.
Brook Andrew a grandi en Australie, et l'arrière-plan culturel que lui ont transmis ses parents - d'origines celtes et aborigènes - l'a progressivement amené à exhumer l'héritage souvent invisible des société...