Brook Andrew

Brook Andrew is an Australian conceptually driven artist who challenges cultural and historical perception, using installation, text and image to comment on local and global issues regarding race, consumerism and history. Apart from drawing inspiration from public media and found archival collections, Andrew travels nationally and internationally to work with communities and museum collections and display to comment and create new work reflecting objects, concepts and local thought.

His work with archival material has created debate and new thought surrounding contemporary philosophies regarding memory, its conceptual and visual potency linking local with international histories… Brook Andrew’s art challenges the limitations imposed by power structures, historical amnesia, stereotyping and complicity. (Laura Murray Cree, Brook Andrew in ‘Artist Profile’. pp 50–59. Issue 11, 2010. Sydney. Australia.)

Andrew has currently completed a new commission mountain home – dhirrayn ngurang for the Echigo-Tsumari Triennial, Japan, for the new Australia House. He created Jumping Castle War Memorial for the 2010 Biennale of Sydney that was inspired by his research in museums and theme parks: particularly the collection of the Musee Des Confluence, Lyon and his exhibition THEME PARK at AAMU, The Netherlands in 2008–09. Andrew has also received a number of commissions including a portrait of Professor Marcia Langton for the National Portrait Gallery, Canberra, and a large-scale inflatable work The Cell commissioned by the Sherman Contemporary Art Foundation, Sydney, which toured Australia and New Zealand through 2010-11. In 2012, Andrew contributed a significant permanent, public artwork for the Museum of Contemporary Art Australia new building in Sydney, titled Warrang, and will also curate an exhibition Taboo also at the Museum of Contemporary Art.

Andrew’s practice also reveals that while we often think of globalization as homogenizing cultures and meanings, individual perspectives remain diverse…it is refusal to be didactic that underscores his maturity. (Rawling, A. Brook Andrew: Archives of the Invisible in 'Art Asia Pacific'. Issue 69 May/June 2010. New York. USA.)

Andrew was recently awarded a Sidney Myer Fellowship and has also been the recipient of the Australia Council ISCP residency, NYC 2008–09, South Project at Museo de Arte Contemporáneo residency, Santiago 2006, Australia Council for the Arts Fellowship 2001. Publications include Future Images 2010, Theme Park 2008, Current: Contemporary Art from Australia and New Zealand 2008, Eye to Eye 2007 and Hope and Peace 2005.


1998-99 Master of Fine Arts, Research. COFA, University of NSW, Sydney 1990-93 Bachelor of Visual Arts. University of Western Sydney, Nepean, Sydney


2012 Earth House. Australia House, Echigo-Tsumari Triennial. Japan. 2011 18 Lives in Paradise. Artspace, Sydney. Australia. Paradise. Tolarno Galleries, Melbourne. Australia. 2010-11 The Cell. Sherman Contemporary Art Foundation, Sydney. Touring to the IMA Brisbane, MONA FOMA Festival of Music and Art, Hobart, PICA, Perth, Australia, and Govett-Brewster Art Gallery, New Zealand. Australia. 2009 Danger Of Authority. Tolarno Galleries, Melbourne. 8 Months At War. DETACHED, Hobart & University of Queensland Art Museum, Brisbane. Australia. Brook Andrew: The Island. UQ Art Museum, Brisbane. 2008 BROOK ANDREW: THEME-PARK. AAMU. The Netherlands. The Island. Museum of Archeology and Anthropology, Cambridge, UK. 2007 Come into the Light. Tolarno Galleries, Melbourne. Brook Andrew: Eye to Eye. A survey exhibition curated by Monash University Museum of Art, Melbourne, touring Australian and south/south-east Asia. 2006 YOU’VEALWAYSWANTEDTOBEBLACK. National Gallery of Victoria, Melbourne, Australia. 2005 Peace, The Man & Hope. Gabrielle Pizzi, Melbourne. 2004 Kalar Midday series and Emu. Gallery Gabrielle Pizzi, Melbourne. 2001 the good side, the bad side, the other side. Experimental Art Foundation, Adelaide, South Australia. Buunji nginduugir AMERICA. Artspace, Sydney. Australia. The unseen. Sanskriti Kendra. Delhi, India. 1999 contention series. Contemporary Art Centre of S.A. Inc. Adelaide, Australia. 1996 Dispersed Treasures. Royal Albert Memorial Museum, Exeter, UK.


2012 The Floating Eye. Sydney Pavilion, at the 9th Shanghai Biennale. China. Negotiating this world: Contemporary Australian Art. National Gallery of Victoria. 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, Australia, and MOCA, Seoul, South Korea. From Blank Pages. Artspace Pool, Seoul. South Korea. Burn What You Cannot Steal. Gallery Nova. Zagreb. Looking at Looking: The Photographic Gaze. NGV International, Melbourne. Australia. Text (as) Image. Level 17 Artspace, Victoria University, Melbourne. 10 Ways to Look at the Past. NGV, Melbourne. Australia. An Archival Impulse. Plimsoll Gallery, Hobart.

2010 17th Biennale of Sydney. Curated by David Elliot, Sydney.Australia. 21st Century: Art in the First Decade. Gallery of Modern Art, Brisbane. Australia. No Name Station. Gertrude Contemporary, Melbourne, Australia, and Iberia Centre of Contemporary Art, Beijing, China. Carnival. Lake Macquarie City Art Gallery, N.S.W. Australia.

2010 GRAND NORD GRAND SUD Artistes inuit et aborigines. Musée de L’Abbaye de Daoulas in co-production with Musée des Confluences, Lyon, France. Curious Colony, a twenty first century Wunderkammer. Newcastle Regional Art Gallery, NSW. Australia. 100 Years: Highlights from The University of Queensland Art Collection, Brisbane. Australia. Stick it! Collage in Australian art. National Gallery of Victoria. Melbourne.Australia.

2009 The Exotic Human. Other cultures as amusement. Teylers Museum, Haarlem, Holland, and Museum Dr. Guislain, Ghent, Belgium.

2008 typical! Clichés of Jews and Others. The Jewish Museum, Berlin, Jewish Museum, Vienna, and Spertus Institute, Chicago. United States of America. Half Light – Portraits of Black Australia. Art Gallery of NSW, Sydney. Australia. Lost & Found: an Archeology of the Present. TarraWarra Biennial. TarraWarra Museum of Art, Victoria. Australia.

2007 DE OVERKANT/DOWN-UNDER: Stichting Den Haag Sculptuur. Den Haag. The Netherlands. The story of Australian printmaking 1801–2005. National Gallery of Australia. Canberra. Australia. Alfred Metraux : From fieldwork to Human Rights. Smithsonian Institute. National Museum of Natural History. Washington D.C. United States of America. PRISM: CONTEMPORARY AUSTRALIAN ART. Bridgestone Museum of Art, Ishibashi Foundation. Tokyo, Japan. TRANS VERSA. Museo de Arte Contemporáneo, Santiago, Chile.

2006 Light Sensitive. Contemporary Australian Photography from the Loti Smorgon Fund. National Gallery of Victoria, Australia. Points of View: Australian Photography 1985-95. Art Gallery of NSW. Sydney, Australia. HIGH TIDE: currents in contemporary Australasian art. National Gallery of Art, Warszawa, Poland, and Contemporary Art Centre, Vilnius, Lithuania. SATELLITE06. Yangshupu Rd. Pavilion. Shanghai, China: A Shanghai Biennale satellite event. China. The Adelaide Biennial of Australia 2006: 21st Century Modern. Art Gallery of South Australia.

2005 Black on White. Centre for Contemporary Photography. Melbourne, Australia. The Butterfly Effect. Australian Museum. The Sydney Festival. Sydney, Australia.

2004 Colour Power. National Gallery of Victoria. Victoria, Australia. 2004 Australian Culture Now. Australian Centre for the Moving Image and the National Gallery of Victoria. Victoria, Australia. Our Place: Indigenous Australian now. Cultural Olympiad Program, Athens, Greece. Images: Photo’s by Aboriginal Artists. Aboriginal Art Museum, Utrecht, The Netherlands. Aboriginal Art: Spirit & Vision. Sammlung-Essl, Vienna, Austria. 2003 Australian Photographic Portrait Prize. Art Gallery of NSW, Sydney, Australia. New View: Indigenous Photographic Perspectives. Monash Gallery of Art. National touring exhibition. Melbourne, Australia. 2002 Border Panic. Performance Space, Sydney, Australia. 2000 Blondies and Brownies . Torch gallery. Amsterdam, The Netherlands. 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, Australia.


National Museum of Contemporary Art, Seoul, South Korea. 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, Australia. 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

International and National private collections


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.


2011-12 Honorary Fellow. Centre for Cultural Materials Conservation. The University of Melbourne. 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, Chile. Contemporary Art Centre, Vilnius, Lithuania. 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. Australia. 00-01 Sanskriti Kendra. New Dehli, India. Asialink Residency. 2000 Gasworks and Goldsmith College, London University, London.


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.


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, 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. ‘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 8/January 9. 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 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 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: 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'. 15 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.

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