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Shaun Gladwell

Biografia

Nato nel 1972 a Sidney. Vive e lavora a Londra.

 

Shaun Gladwell è fra i più riconosciuti artisti australiani, la sua pratica coinvolge criticamente l’esperienza personale e un’ampia speculazione sulla storia dell’arte e le dinamiche della cultura contemporanea attraverso performance, video, pittura, fotografia e scultura.

Il suo lavoro si sviluppa attraverso l’utilizzo di forme di espressione urbana come skateboarding, hip-hop, graffiti, BMX bike riding, break-dancing e sport estremi.

I suoi progetti video creano link tra modelli storici e la comprensione del corpo nello spazio – attraverso l’utilizzo della figura del  flâneur e di modelli culturali contemporanei come lo skateboarder, il pilota di motocross, il pilota freestyle di BMX, il graffitista e il free-runner.

 

L’investigazione delle articolazioni spaziali attraverso questi atleti, ha iniziato a riflettersi nelle strutture di costruzione del lavoro stesso con la sperimentazione di formati multicanale e specifiche architettoniche come superfici di proiezione. Inoltre, il lavoro di Gladwell sperimenta con generi di rappresentazione e concetti tradizionali o istituzionalizzati. Ad esempio, il genere del panorama romantico e la sua associazione a un concetti tradizionale come il “sublime” è consegnato a pratiche contemporanee come lo skateboarding o la break dance. Tuttavia, la sua pratica non tenta di aggiornare semplicemente o recuperare modelli tradizionali ma al contrario, i modelli tradizionali e le attuali pratiche culturali si contaminano l’un l’altro.

Ad esempio, la comunicazione popolare di tali attività culturali come il rimo registico veloce e furioso delle trasmissioni di MTV sono destabilizzate e trasformate nel lavoro di Gladwell, e vengono restituite attraverso l’uso dello slow motion e soundscape. Il risultato sono rappresentazioni poetiche, ipnotiche e meditative, che ampliano le attività rappresentate ad una più vasta gamma di significati, non immediatamente connessi con le loro fonti o con i soggetti apparenti.

 

Il suo lavoro è stato ampiamente esposto in occasione di eventi e biennali internazionali tra cui Skateboarders VS Minimalism, commissionato per il 40° Anniversario del Sydney Festival (2016); MADDESTMAXIMVS: Planet & Stars Sequence, 53rd Biennale di Venezia, Padiglione Australia (2009); Hybride-Fragmentations, Biennale d’Arte Contemporain, Douai (2015); The Floating Eye, City Pavilions Project (Sydney), 9th Shanghai Biennale, China (2012); Southern Panoramas, 17th International Contemporary Art Festival SESC_Videobrasil, Sao Paulo, Brazil (2011).

 

Il lavoro di Gladwell fa parte di importanti collezioni pubbliche e private in UK, Australia, USA, Olanda e Giappone. Fra le nuove acquisizioni  BMX Channel, Museum of Modern Art – MOMA,  New York (2016)

 

Tra le sue mostre personali più recenti: The Lacrima Chair, Scaf Project-Sherman Contemporary Art Foundation, Sydney, Australia (2015); Field Recordings. Samstag Museum of Art, Adelaide, Australia (2014); Afghanistan, Ambasciata Australiana, Washington, USA (2013); Cycles of Radical Will, De La Warr Pavilion, UK (2013); Broken Dance (Beatboxed), Art Gallery di New South Wales (Sydney, 2012).

 

Tra le mostre collettive recenti: Cosmic Love Wonder Lust: An Imperial Slacks Project, Sydney College of the Arts and Campbelltown Arts Centre (2015); Great Undoing, 54th Annale, Porec, Croatia (2014); Light Moves: Contemporary Australian Video. National Gallery of Australia, Canberra (2014); Motopoétique, Lyon Museum of Contemporary Art, France (2014); Slide (Surf and Skate), Museu de Arte do Rio, Brazil (2014); Surf-Shaping Taranaki, Puke Ariki, New Plymouth, New Zealand (2014); On Dry Land, Negev Museum of Art, Israel (2014); Australia, Royal Academy, London, UK (2013); California-Paci!c Triennial, Orange County Museum, California, USA (2013); The Last Wave, La Friche la Belle de Mai, Marseille, France (2013); Video Forever, touring exhibition, Gallery Magda Danysz, Paris; Palais de Tokyo, Paris; Museum of Lyon, Lyon; France (2013).

 

 

CV

EDUCATION

 

2002 Associate Research, Goldsmiths College, University of London, UK

2001 Master of Fine Art (Research), College of Fine Arts, University of New South Wales, Sydney, Australia

1996 Bachelor of Fine Arts (Honours First Class), Sydney College of the Arts, Australia

 

 

SELECTED SOLO EXHIBITIONS

 

2015

The Lacrima Chair, Scaf Project-Sherman Contemporary Art Foundation, Sydney, Australia

Collection + Shaun Gladwell, UNSW Galleries, UNSW Art and Design, Sydney

 

2014

Shaun Gladwell. BMX Channel, Mark Moore Gallery, California, USA

Shaun Gladwell. Field Recordings, Samstag Museum of Art, Adelaide, Australia

Shaun Gladwel. Afghanistan, Samstag Museum, University of South Australia, Adelaide

 

2013

Shaun Gladwell: Afghanistan, Australian Embassy, Washington, USA

Cycles of Radical Will, De La Warr Pavilion, UK

C.O.R.W., screening, Museum of Contemporary Art, Zagreb, Croatia

 

2012–13

Shaun Gladwell: Afghanistan, Australian War Memorial touring exhibition: Cairns Regional Gallery; Artspace Mackay; Lismore Regional Gallery; Queensland University of Technology Art Museum; Casula Powerhouse, Australia

 

2012

Broken Dance (Beatboxed), Art Gallery of New South Wales, Sydney, Australia

 

2011

Riding with Death: Redux, Anna Schwartz Gallery, Sydney, Australia

Perpetual 360° Sessions, SCHUNCK*, Heerlen, !e Netherlands

Shaun Gladwell: Matrix 162, Matrix Exhibition series, Wadsworth Atheneum, Connecticut, USA

Stereo Sequences, Australian Centre for the Moving Image, Melbourne, Australia

 

2010

Portrait of a man: alive and spinning/Dead as a skeleton dressed as a Mountie, Georgia Sherman Projects, Toronto, Canada

Art Feature, Art 41 Basel, Switzerland

MADDESTMAXIMVS: Planet & Stars Sequence, Institute of Modern Art, Brisbane, Australia

Interior Linework/Interceptor Intersection, Campbelltown Arts Centre, Sydney, Australia

 

2009

Recent Photographs, Anna Schwartz Gallery, Melbourne, Australia

Seven Year Linework, Spacex, Exeter, UK

MADDESTMAXIMVS: Planet & Stars Sequence, Australian Pavilion, 53rd Venice Biennale, Italy

 

2008

Shaun Gladwell, University Art Gallery, University of California, San Diego

Double Voyage, Anna Schwartz Gallery, Melbourne, Australia

2007

MADDESTMAXIMVS, Sherman Galleries, Sydney, Australia

In a Station of the Metro, Artspace, Sydney, Australia

 

2006

Shaun Gladwell, Hallwalls Contemporary Arts Centre, Buffalo, NY, USA

 

2005

Shaun Gladwell: Various Roles, Institute of Modern Art, Brisbane, Australia

MMVBREAKLESS SESSIONS, Sherman Galleries, Sydney, Australia

 

2004

New Balance, Perth Institute of Contemporary Art (PICA), Perth, Australia

 

2003

Silent, Ambient and Harder Remixes, Sherman Galleries, Sydney, Australia

 

2001

Recent Projects, Cité Internationale des Arts, Paris, France

Cycles of Radical Will, Imperial Slacks Gallery, Sydney, Australia

2000 Kick!pping Flâneur, Artspace, Sydney, Australia

 

FILMS

 

2013

Director, Family, a chapter of the feature film, The Turning, ArenaMedia, Australia.

 

 

SELECTED GROUP EXHIBITIONS

 

2016

Selfmanagement, Galleria Enrico Astuni, Bologna

Skateboarders VS Minimalism, video work commissioned for the 40th Anniversary of the Sydney Festival (2016)

 

2015

Archibald Prize exhibition, Art Gallery of New South Wales, Sydney

Cosmic Love Wonder Lust: An Imperial Slacks Project, Sydney College of the Arts and Campbelltown Arts Centre

Hybride-Fragmentations, Biennale d’Arte Contemporain, Douai

Freies Museum in Bülowstrasse 90, Berlin-Schöneberg

 

2014

Great Undoing, 54th Annale curated by Branka Bencic, Annale, Porec, Croatia

Light Moves: Contemporary Australian Video. National Gallery of Australia, Canberra

In the midst of the Breakers. The Collection Museum, Lincolnshire, U.K.

Conflict: Contemporary Responses to War. UQ Art Museum, Australia.

Motopoétique, Lyon Museum of Contemporary Art, France

Slide (Surf and Skate), Museu de Arte do Rio, Brazil

On Dry Land, Negev Museum of Art, Israel

Buildering: Misbehaving the City, Contemporary Arts Center, Cincinnati, Ohio, USA

 

2013

Australia, Royal Academy, London, UK

California-Paci!c Triennial, curated by Dan Cameron, Orange County Museum, California, USA

The Last Wave, curated by Richard Leydier, La Friche la Belle de Mai, Marseille, France

Video Forever, curated by Barbara Polla, touring exhibition, Gallery Magda Danysz, Paris; Palais de Tokyo, Paris; Museum of Lyon, Lyon; France

Poetic Ironic, curated by Ferhat OÅNzgür, CDA Projects and Moiz Zilberman Gallery, Istanbul

The Mind, curated by Ihor Holubizky, McMaster University Art Gallery, Hamilton, Canada

Walking Sideways, Institute of Contemporary Arts, London, UK

2012–2013

Passing Time, touring exhibition, Cecile and Ezra Zilkha Gallery, Wesleyan Univesity, Middletown, Connecticut; Robert E. Peeler Art Center, De Pauw University, Greencastle, Indiana; Salina Art Center, Salina, Kansas; Bakalar and Paine Galleries, MassArt, Boston, Massachuse%s, USA

 

2012

The Floating Eye, City Pavilions Project (Sydney), 9th Shanghai Biennale, China

Between Form and Movements, Galleria Enrico Astuni, Bologna, Italy

Video/Choreo, University of Hawaii Art Gallery, Honolulu, USA

Beyond Likeness: Contemporary Portraits, Lawrence Wilson Art Gallery, University of Western Australia

On Apology, Wattis Institute, San Francisco, USA

PARALLEL COLLISIONS: 2012 Adelaide Biennial of Australian Art, Art Gallery of South Australia

Curator’s Egg Altera Pars, Anthony Reynolds Gallery, London, UK

SHOW TIME: Choreography in Contemporary Art, glHoltegaard, Copenhagen, Denmark

Drawn to the Line – Peter Fay Collection, Goulburn Regional Art Gallery, Australia

The Power of Doubt, curated by Hou Hanru, Guangdong Times Museum, China

 

2011

Meditation, Trance, Mendes Wood, Sao Paulo, Brazil

Southern Panoramas, 17th International Contemporary Art Festival SESC_Videobrasil, Sao Paulo, Brazil

CITIES: visionary places, Torrance Art Museum, Los Angeles, USA

Art Platform, Los Angeles, USA

The Power of Doubt, curated by Hou Hanru, Museo Colecciones ICO, Madrid, Spain

Höhenrausch 2, Lu$sprünge & Wasserspiele / Leaping in the Air & Making a Big Splash, OK Centre, Linz, Austria.

Paradise Lost, Istanbul Museum of Art, Turkey

The Armory Show, Anna Schwartz Gallery, New York, USA

Unleashed: The Rise of Australian Street Art, Redcliffe Gallery, Queensland, Australia

South by Southeast: Australasian Video Art, Tokyo Metropolitan Museum of Photography, Japan

Hors Pistes, Centre Georges Pompidou, Paris, France

The ‘-scape’ in Escape, Netwerk/ centrum voor hedendaagse kunst, Aalst, Belgium

 

2010

Cairo Biennial, Egypt

Creative Time Summit, Cooper Union, New York, USA

Street and Studio. From Basquiat to Séripop, Kunsthalle Wien, Austria

Adaptation, Power Plant, Toronto, Canada

Cars & Bikes, Galerie Analix Forever, Geneva, Switzerland

ABBARCADABARA, The First Mardin Biennial, Turkey

TWMA Contemporary 2010, TarraWarra Museum of Art, Victoria, Australia

Manimal, Herzliya Museum of Contemporary Art, Israel

The Rise of Rad – The Infuence of the Urethane Revolution, Torrance Art Museum, California, USA

Fully Booked, Arts Project Australia, Melbourne, Australia

Reflection, DNA Galerie, Berlin, Germany

Remote Viewing, Arts Santa Monica, Barcelona, Spain

The Armory Show, Anna Schwartz Gallery, New York, USA

 

2009

ERROR #14: Into the Light, Royal Museum of Fine Arts, Antwerp, Belgium

The Best of Loop: Remote Viewing. Taking the Pulse of the Next Generation of Video and Film Art, curated by Paul Young, Paci&c Design Centre, Los Angeles, USA

What I think about when I think about dancing, Campbelltown Arts Centre, Sydney

Modern Physics, Te Tuhi Centre for the Arts, New Zealand

INTO THE LIGHT 2009, KMS’, Leopold De Waelplaats, Antwerpen, MuH’, Leuvenstraat 32, Antwerpen

FLUX-S, Strijp-S, Eindhoven, “e Netherlands

Video Swell, Art Gallery of New South Wales, Sydney

The Trill of the Heights, OK Centre, Linz, Austria

Nam Bang!, Casula Powerhouse Arts Centre, Sydney

RISING TIDE: Film and Video Works &om the MCA Collection, Sydney, curated by Dr Stephanie Hanor and Rachel Kent, Museum of Contemporary Art, San Diego, USA.

CODE SHARE: 5 continents, 10 biennales, 20 artists, curated by Simon Rees, Contemporary Art Centre Vilnius (CAC), Lithuania

 

2008

I/Illegitimate, curated by Fernando Oliva, Museum of Image and Sound, Sao Paulo, Brazil

Artissima, Anna Schwartz Gallery, Turin, Italy

Figuring Landscapes, touring, ArtSway, New Forest; Tate Modern, London; Showroom, Sheffield; Chapter Arts, Cardiff; Brighton Cinemateque; Bureau, Salford; Dundee Contemporary Arts; Vivid, Birmingham;

Hull Short Film Festival; FACT Liverpool; Gallery of Modern Art, Brisbane.

Taipei Biennial, curated by Manray Hsu & Vasif Kortun, Taipei Fine Arts Museum, Taiwan

Wandering, curated by Sean Hu, Taipei, Taiwan

Beck’s Fusions, Caul&eld Park, Manchester, UK

Revolutions – forms that turn, 2008 Biennale of Sydney, curated by Carolyn Christov-Bakargiev, Australia

URB08, Kiasma Museum of Contemporary Art Tenth-Anniversary program, Helsinki, Finland

Summer Exhibition, Gallery 8, curated by Tracey Emin, Royal Academy of Art, London

Zombie Surfers, curated by Richard Priestly, cell project space, London, UK

Australian!, Casula Powerhouse Arts Centre, Sydney, Australia

Screenings, Artist as Performer: Part II, Haunch of Venison, London

Biennale Cuvée, OK Center, Linz, Autria

 

2007–08

Space for Your Future, curated by Yuko Hasegawa, Museum of Contemporary Art, Tokyo

 

2007

Living the City, curator Jan Schuijren, Platform 21, Amsterdam, !e Netherlands

SHIFT: festival for electronic arts, Shaulager, Basel, Switzerland

Southern Panoramas, 16th International Electronic Art Festival, VIDEOB)SIL, São Paulo, Brazil

Bicycle Club, curator Magda Kardasz, Kordegarda Gallery, Zacheta National Gallery, Warsaw, Poland

The Hague Sculpture 2007: DE OVER’NT / DOWN UNDER, Den Haag, !e Netherlands

Flâneur, Raid Projects, Los Angeles

Think with the senses, feel with the mind – art in the present tense, 52nd International Art Exhibition, curator Robert Storr, La Biennale di Venezia, Italy

Como Vivir Juntos, Selección 27a, Bienal de São Paulo, Museo de Arte Contemporáneo, Santiago, Chile

MUTE: Storm Sequence, curators Lina Selander and Marianne Zamecznik, Bastard, Oslo, Norway

Les Rencontres Internationales, Babylon Movie “eatre, Berlin, Germany

Collezione #2, curator Stephen Hepworth, Brancolini Grimaldi Arte Contemporanea, Rome, Italy

Streetworks: Inside Outside Yokohama, curator David Broker, Asialink Touring Project, Chulalongkom Art

Centre, Bangkok, Thailand; Valentine Willies, Kuala Lumpur, Malaysia; Substation, Singapore

 

2006–07

Wave Front: Australian Contemporary Art Scene, Tokyo Wonder Site, Shibuya, Tokyo, Japan

 

2006

Les Rencontres Internationales, Centre Georges Pompidou, Paris, France

Experimenta Vanishing Point, touring to Contemporary Art Services TAS; Devonport Regional Gallery, TAS;

Newcastle Region Art Gallery, NSW; “e Bakery, Perth, WA; Art Gallery of South Australia, Adelaide;

Ipswich Art Gallery, QLD

27th Bienal de São Paulo: How to Live Together, São Paulo, Brazil

Busan Biennale 2006: Everywhere, Busan Museum of Modern Art, Busan, South Korea

Experimenta: Under the Radar, touring exhibition, Institute of Contemporary Art, London, UK, and

Foundation for Art and Creative Technology, Liverpool, United Kingdom

Where Angels Tread, Contemporary Art Centre of South Australia (CACSA), Adelaide

Play: Portraiture + Performance in Video Art &om Australia + New Zealand, Adam Art Gallery Te Pataka Toi,Victoria University of Wellington, Wellington, New Zealand

Plus Factors, Australian Centre for Contemporary Art (ACCA), Melbourne

Tunnel Vision, Greed and Stupidity: Artists, Cartoonists and Planners Review Concrete Politics in Sydney, The Cross Art Projects, Sydney

High Tide: New Currents in Art &om Australia and New Zealand, Zacheta National Gallery of Art, Warsaw, Poland; Contemporary Art Centre (CAC), Vilnius, Lithuania

Family First, !e Physics Room, Christchurch, New Zealand

 

2005–06

Experimenta: Vanishing Point, Blackbox, !e Arts Centre, Melbourne; Devonport Regional Gallery,

Tasmania

 

2005

Shaun Gladwell: Storm Sequence, Milton Keynes Gallery, UK

Yokohama 2005 International Triennale of Contemporary Art: Art Circus (Jumping &om the Ordinary), Yokohama, Japan

MCA Collection: New Acquisitions in Context, Museum of Contemporary Art, Sydney

C-town Bling, Campbelltown Arts Centre, Sydney

Art Connexions, Goethe Institut exhibition, touring to Kuala Lumpur, Manila, Sydney, Jakarta, Hanoi and Melbourne

Space Invaders, Museum Kunsthaus Baselland, Basel, Switzerland

New Acquisitions, Gove$-Brewster Art Gallery, New Plymouth, NZ

Breathing Space, !e Physics Room, Contemporary Art Project Space, Christchurch, NZ

“ird International Film and Video Festival, Museum of New Art, Detroit, US

Not Worried: New Australian Art, LA Raid Projects Gallery, Los Angeles, US

 

2004–05

Vacation: Projection Series 7, Gove$-Brewster Art Gallery, New Plymouth, NZ

Anne Landa Art Award, Art Gallery of New South Wales, Sydney

 

2004

Various Rolls, PARK4DTV, Amsterdam (television broadcast)

RESFEST 2004, Australian Centre for the Moving Image, Melbourne; Dendy Opera Quays, Sydney

One Of: Festivus 04, Sherman Galleries, Sydney

Shaun Gladwell: Hikaru Sequence, Michael Le$ Gallery, Auckland, NZ

Terra Alterius: “e Land of Another, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney

Gridlock: Cities, structures, spaces, Gove$-Brewster Art Gallery, New Plymouth, NZ

re: source, Gallery 6, Art in General, New York, NY

Flicker, Socrates Sculpture Park, Long Island City, New York, NY

Surrealestate, YYZ Artists’ outlet, Toronto, Canada

I thought I knew but I was wrong: New Video Art &om Australia, Australian Centre for the Moving Image,

Melbourne; Nanyang Academy of Fine Arts Gallery, Singapore; Jamjuree Gallery, Chulalongkom

University, Bangkok, !ailand; Beijing Millennium Monument, Beijing, China; Ssamzie Space, Seoul, South Korea

2004: Australian Culture Now, Australian Centre for the Moving Image and “e Ian Po$er Centre: NGVAustralia, Melbourne

City Views, Museum of Brisbane, Brisbane

Interlace, Performance Space, Sydney, and Contemporary Art Services, Hobart, TAS

Shaun Gladwell: Storm Sequence, Newcastle Region Art Gallery; 24Hr Art, Darwin

MIX-ED: Diverse Practice and Geography, Sherman Galleries, Sydney

Muppet Talent Time, Espace SD, Beirut, Lebanon

JJ Allin breaks the window, InSight Gallery, Hobart

Beam Me Up, ANU School of Art Gallery, Canberra

Concrete 000 – Shaun Gladwell and TV Moore, Experimental Art Foundation, Adelaide

Suburban Edge, Australian Centre for Photography, Sydney

Disappearance, X-ray Contemporary Art Museum, Beijing, China

outTakeout, !e Physics Room, Christchurch, NZ

Work Rest Play (Escape), Imperial Slacks Collaborative Project, Artspace, Sydney

Do Not Tumble Dry, BIN5 Gallery, Sydney

 

2003

2003: The Year in Art, S.H. Ervin Gallery, National Trust Centre, Sydney

Exhibit 001, Ols&Co Gallery, London, UK

Home Sweet Home: Works &om the Peter Fay Collection, National Gallery of Australia, Canberra

Sport, Powerhouse Museum, Sydney

Primavera: Exhibition of Young Australian Artists, Museum of Contemporary Art, Sydney

Balance of Power, LA Raid Projects, Los Angeles, US

Chewing the Phat, Phatspace, Sydney

Project Video Art catalogue #4, TBC Gallery, Melbourne

Picturing Paradise, Mori Gallery, Sydney

 

2002

Portobello Film Festival, Westbourne Studios, London, UK

Festivus, Sherman Galleries, Sydney

RCA Secret, Royal College of Art, London, UK

The Mind is a Horse, Bloomberg Space, London, UK

Still Time, 200 Gertrude Street, Melbourne

Randomize Video Festival, Sovi Art Centre, London, touring exhibition

Video Program, Biennale of Sydney, Art Gallery of New South Wales, Sydney

Octopus 3, Gertrude Contemporary Art Space, Melbourne

Positive Overkill, Imperial Slacks Gallery, Sydney

Serial Sevens, Imperial Slacks Gallery, Sydney

Godzilla vs Skateboarders, Dunlop Art Gallery, Regina, Canada; Art Gallery of Southwestern Manitoba, Canada

 

2001

Compressions/Covers, Boutwell Draper Gallery, Sydney

New Releases, Gallery 4A, Asia-Australia Arts Centre, Sydney

Imperial Alliance, Imperial Slacks Gallery, Sydney

Period, Blau Grau, Sydney

Serial Sevens, Imperial Slacks Gallery, Sydney

 

2000

Desire, Sir Hermann Black Gallery, University of Sydney, Sydney

Australian Painters at the Millennium, Imperial Slacks Gallery, Sydney

Not Quite Right, Grey Ma$er, Glebe, Sydney

SKULLS R US, with David Griggs, Lisa Salmon and Emma Price, 370 Bourke Street, Surry Hills, Sydney

An Appointment with Reality, Sir Hermann Black Gallery, University of Sydney, Sydney

 

1999

Works on Paper, Exchange exhibition, “e Academy of Fine Arts, Ljubljana, Slovenia

Helen Lempriere Travelling Art Scholarship exhibition, Artspace, Sydney

 

1998

Indahause, Herringbone Gallery, Sydney

Helen Lempriere Travelling Art Scholarship exhibition, Artspace, Sydney

Loud, National Media Festival of Youth Culture and Arts

 

1997

Hatched, Healthway National Graduate Show, Institute of Contemporary Art, Perth

Helen Lempriere Travelling Art Scholarship Exhibition, Artspace, Sydney

 

1996

Resisting Blackmail, Kinesis, Leichhardt, Sydney

NSW Travelling Art Scholarship, College of Fine Arts, University of New South Wales, Sydney

 

AWARDS, RESIDENCIES, COMMISSIONS

2012 New Work Grant, Australia Council for the Arts

2010 AIR Antwerpen, residency

New Work Grant, Australia Council for the Arts

2007 Australian Film Commission, travel grant VideoBrasil

2006 Tokyo Wonder Site, residency, Shibuya, Tokyo

Fellowship, Australia Council for the Arts

2005 Experimenta ‘New Visions’ Commission for emerging artists

Woolloomooloo Night, commissioned for the Anne Landa Art Award, Art Gallery of New South Wales, Sydney

2002 Australia Council for the Arts, New Work Grant

National Association for the Visual Arts, Pat Corrigan Artists’ Grant

National Association for the Visual Arts, Marketing Grant Scheme for NSW Artists

Liverpool City Art Prize, First Prize for work under $1000

2001–02 Anne & Gordon Samstag International Visual Arts Scholarship

2000 Australia Council Development Grant and Residency, Cité Internationale des Arts, Paris

Awarded University of New South Wales Union Art Competition (First place, two-dimensional category)

1997 Awarded Willoughby City Art Prize (First place, student category)

Studio Residency, Artspace, Sydney

Australian Postgraduate Award, University of New South Wales

1996 Awarded Sydney University Art Competition (First place), Sir Hermann Black Gallery, University of Sydney

National Association for the Visual Arts, Marketing Grant Scheme for New South Wales Artists

 

COLLECTIONS

National Gallery of Australia, Canberra

Art Gallery of New South Wales, Sydney

Museum of Contemporary Art, Sydney

Artbank, Australia

Campbelltown Arts Centre, Sydney

Macquarie Bank

Museum of Contemporary Art, Tokyo

SCHUNCK, Heerlen, !e Netherlands

University of Technology, Sydney

!e University of Sydney

Gove%-Brewster Art Gallery, New Plymouth, NZ

University of Queensland, Brisbane

National Gallery of Victoria, Australia

!e Progressive Art Collection, USA

VideoBrasil, Brazil

Wadsworth Atheneum, USA

Corporate and private collections in Australia, Asia, the United Kingdom, Europe and the United States

 

 

SELECTED BIBLIOGRAPHY

 

2013

Shaun Gladwell, Cycles of Radical Will, De La Warr Pavilion, 2013.

Cate McQuaid ,“What’s up in Boston-area art galleries”, Boston Globe, 29 January 2013.

 

2012

Warwick Heywood, “Shaun Gladwell’s Afghanistan portraits”, Art Monthly, 251: July 2012, pp. 8 – 10.

Adam Jasper, “Shaun Gladwell,” Flash Art International, Vol. XLV, No. 282, January–February 2012, p. 143.

Eleanor Nairne, “Review: “e Curator’s Egg, Anthony Reynolds Gallery, London”, Frieze, May 2012, p. 244.

Richard Dorment, “Museum of Contemporary Art in Sydney: can you guess where the next big thing will be?”, Telegraph UK, 25 April, 2012.

 

2011

Shaun Gladwell, Perpetual 360° Sessions, SCHUNCK*, 2011.

Michael Young, “RIDING WITH DEATH: REDUX – SHAUN GLADWELL”, Art Asia Paci(c, web review, November

Elizabeth Fortescue, “Adrenalin of urban ballet”, $e Telegraph, 27 October, 2011.

Steve Meacham, “Catching a creative wave”, Spectrum magazine cover story, Sydney Morning Herald, 8–9 October 2011.

Juliana Engberg, “20 Australian Masterpieces Since 2000″, “e Monthly, October 2011.

Michelle Bosma, “Draaien om je as in Schunck”, dinsdag, 13 September 2011.

Martha Schwendener, “Spanning the Globe, and Melding Cultures”, “e New York Times, August 7, 2011, page CT8 of the New York edition.

Shaun Gladwell, Stereo Sequences, Australian Centre for the Moving Image & Schwartz Media Pty Ltd, Australia, 2011.

Hou Hanru, El poder de la duda/”e Power of Doubt, La Fabrica Editorial, Madrid, Spain, 2011.

Shaun Gladwell, Patricia Hickson, Matrix 162, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 2011.

Paolo Colombo and Levent Çalıkoğlu, Paradise Lost, Istanbul Modern, Turkey, 2011.

John Pyper, “Matrix 162- Shaun Gladwell”, Daily Serving, 7 July, 2011.

Roger Catlin, “Gladwell’s Visions of the Outback”, “e Hartford Courant, “ursday June 9, 2011.

Gabriella Coslovich, “A skater’s guide to the galaxy”, Sydney Morning Herald, 4 June 2011.

Kate Kingsmill, “Shaun Gladwell: Stereo Sequences at ACMI”, Broadsheet Melbourne, June 2011.

“Shaun Gladwell: Stereo Sequences”, Beat Magazine, June 2011.

www.beat.com.au/arts/shaun-gladwellstereosequences.

Michael Hamad, “Shaun Gladwell’s Videos at the Wadsworth Atheneum Museum of Art’s MATRIX Gallery in Hartford”, Hartford Advocate, 1 June 2011.

Sebastian Smee, Critic’s Picks, Boston Globe, 22 May 2011.

“Museo Colecciones ICO Opens “e Power of Doubt, an Exhibition Curated by the In*uential Hou Hanru”, Art Daily, June 2011.

www.artdaily.org/index.asp?int_sec=2&int_new=47899.

Focus Art: Shaun Gladwell, Surface Asia, 03 2011.

Brook Turner, “Full Flight: From Storm Boy to Blue Sky”, Australian Financial Review, 19 May

 

2011

Peter Robb on Shaun Gladwell, “Lessons in Unlearning”, $e Monthly, May 2011, pp. 60–63.

Elizabeth Fortescue, “Swapping the Australian outback for London streetscapes”, $e Art Newspaper, 5 April 2011.

 

2010

Yvonne Lammerich, “!e Cairo Biennale: Political Prescience”, Candian Art, 10 March 2011,

www.canadianart.ca/online/reviews/2011/03/10/cairo_biennale.

Aileen Burns, “Adaptation: Between Species”, Art in America, 30/06/2010, www.artinamericamagazine.com/reviews/adaptation-between-species.

Murray White, “Power Plant engages our animal instincts”, July 15 2010, thestar.com.

Sky Goodden, “Adaptation: Interspecies Investigations”, Canadian Art, July 8 2010, www.canadianart.ca/online/reviews/2010/07/08/adaptation.

R.M. Vaughan, “If we could talk to the animals”, $e Globe and Mail, Saturday July 3, 2010.

Vanessa Nicholas, “Shaun Gladwell: Of Mad Max and Mounties,” www.canadianart.ca, September 16, 2010.

Sky Gooden, “Shaun Gladwell”, Canadian Art, Fall 2010.

Heather White, “Who’s “at Man? Shaun Gladwell at Georgia Scherman Projects,” www.artsync.ca, September 20, 2010.

“Art and War”, Incubate, College of Fine Arts, University of New South Wales, Issue 4, 2009/2010.

Frances Stewart, “Glance into a mirror of war”, Canberra Times, 15 August, 2010.

“If we could talk to the Animals”, Review, $e Globe and Mail, 3 July, 2010.

$e Big Issue, No. 359, “Toasty Tales &ction special – LiteraryMinded”, Australia, 2010.

Diana Streak, “Video art gives us a heads-up on con*ict”, Canberra Times, 9 July, 2010.

Catherine Keenan, “Artist goes to war armed with handycam”, Sydney Morning Herald, 9 July, 2010.

Dominique Angeloro, “One for the road warrior”, Metro Art, Sydney Morning Herald, 16 April, 2010.

Joel Draper, “Shaun Gladwell: Interior Linework/Interceptor Intersection”, Concrete Playground, April 2010. h$p://

concreteplayground.com.au/event/2739/shaun-gladwell-interior-linework-interceptor-inter.htm

Adam Fulton, “A,er the Afghan ba$le&elds, Gladwell eyes Europe”, Sydney Morning Herald, 26 March, 2010.

Elizabeth Fortescue, “Desert Landscape in Oil”, Daily Telegraph, 22 March 2010.

Philippe Combres, “L’Homme A La Moto”, Blast Magazine, Ete, 2010.

Shaun Gladwell, Interior Linework/Interceptor Intersection, Campbelltown Arts Centre, Australia, 2010.

Adam Fulton, “A,er the Afghan Ba$le&elds Gladwell Eyes Europe”, Sydney Morning Herald, 26 March 2010.

 

2009

Kit Wise, “Future spaces in contemporary Australian art: “e law of proximity, overexposure and the city”, Continuum:

Journal of Media & Cultural Studies, Vol. 23, No. 6, December 2009, pp. 937–954.

Saffina Rana, “Into the Light”, Flanders Today, 2 December, 2009.

Elizabeth Fortescue, “Shaun Gladwell sets off for Afghanistan as Australia’s official war artist”, $e Art Newspaper, No. 207,

November 2009.

Mark Calderwood, “Art in Motion”, Maserati Magazine, Australia and New Zealand, Summer 2009.

Adam Fulton, “From city skateboarders to the military in Afghanistan”, Sydney Morning Herald, 1 October, 2009.

Cherie Prosser, “Art in the &eld: an interview with Shaun Gladwell, official war artist for the Australian War Memorial”,

World of Antiques and Art, 2009.

Lynn Macritchie, “Melancholy Giardini: “e National Pavilions”, Art in America, September 2009.

Richard Grayson, “An other Australian: the Australian Pavilion in Venice, Broadsheet, Vol, 38.3, September–October

2009.

Bruce Millar, “Australia takes images of outback and Mad Max to Venice”, $e Art Newspaper, Vol. XVIII, No. 203, June

2009, UK, p. 46.

“Shaun Gladwell’s Sydney-to-Venice express”, Artworld International, Issue 6, August/Sept 2008, UK.

Roderick Conway Morris, “Dispatch from Venice”, Spectator UK, 10 June 2009.

Page 6 of 10

Richard Dorment, “Venice Biennale 2009: Behind the mask”, Telegraph UK, 8 June 2009.

Richard Dorment, “Venice Biennale 2009: Prize collector’s leap of faith”, Telegraph UK, 8 June 2009.

Ihor Holubizky, “Shaun Gladwell: the deep madness of…”, Broadsheet, Vol. 38.2, June–Augusr 2009.

Katrina Strickland, “Video artist’s star shines in Venice”, Australian Financial Review, 20 May 2008.

“Shaun Gladwell”, Adam & Eve Magazine, Issue 2, March/April/May 2009.

Shaun Gladwell, MADDESTMAXIMVS: Planet & Stars Sequence, Schwartz City, 2009.

Rowena Stre$on, “Art in motion: Shaun Gladwell”, Mercedes Magazine, 01-2009.

Ben Bertoldi, “Watch this space (invader), Oyster: World Fashion, Issue 77, p. 30.

Brendan Shanahan, “Performance Anxiety”, cover story, ‘Extra’, Sun Herald, March 22, 2009.

Prue Gibson, “Shaun Gladwell”, Artist Pro(le, Issue 6, pp. 72–73.

Rowena Stre$on, “Art in Motion: Shaun Gladwell”, Mercedes Magazine, 01:2009.

 

2008

Ashley Crawford, “Gothic candour: I am the coffin that will not be silent”, Art Monthly Australia, No. 216, Summer

Issue, 2008.

Anabel Dean, “Shaun Gladwell: pataphysical man”, Sydney Alumni Magazine, Spring 2008, “e University of Sydney.

Chiara Zampe$i, “La carica dei trentenni”, Il Sole, 2 November 2008, No. 303.

Carolyn Christov-Bakargiev, 2008 Biennale of Sydney, Revolutions – forms that turn, “ames and Hudson, Australia, 2008.

“Shaun Gladwell’s Sydney-to-Venice express”, Shaun Gladwell on Maddestmaximvs and Storm Sequence, Artworld UK,

August/September 2008.

Ben Bertoldi, “Watch “is Space (Invader)”, Oyster, Issue 77, p. 30.

David Barre$, “Zombie Surfers”, Art Monthly UK, June 2008, No. 317.

Sarah Crompton, “Royal Academy Summer Exhibition: the critics’ view”, Telegraph UK, 10 June 2008.

Tracey Emin, “Tracey Emin on curating Gallery 8 of the Summer Exhibition”, ” Magazine, Issue No. 99, Summer 2008.

Reuben Keehan, “Shaun Gladwell’s moving pictures”, Art & Australia, Volume 45, No. 4, 2008, p. 650.

Tracey Emin, Art and Music Magazine, Issue No. 1, Spring 2008, pp. 24–25.

Daniel Palmer, “Shaun Gladwel”, review, Frieze, Issue 114, April 2008, p. 185.

Gina Fairly, “Shaun Gladwell: Mortis Ex Machina”, Art Asia Paci(c, No. 57, March/April 2008, pp. 116–119.

Robert Storr, “Venice Revisited. Robert Storr responds to his critics”, in ‘Le$ers’, Artforum, January, 2008, pp. 48-60.

 

2007

Rex Butler, “Sprezzatura”, catalogue essay, MADDESTMAXIMVS, Sherman Galleries, Sydney, 2007.

Blair French (ed.), Shaun Gladwell: Video Work, Artspace, Sydney, 2007

Louise Schwartzkoff, ‘Slow moves in Bondi aid artist’s fast ride to success’, Sydney Morning Herald, 20 September 2007

www.smh.com.au/news/arts/slow-moves-in-bondi-aid-artists-fast-ride-to-success/

2007/09/18/1189881514625.html#>

Elizabeth Fortescue, ‘Exhibition to create storm’, Daily Telegraph, 19 September 2007

www.dailytelegraph.news.com.au/?from=ni_story>

‘Video killed the still art star’, News (image), Wentworth Courier, 5 September 2007, p. 23

Jo Bosben, ‘Shaun Gladwell: Middle man’, COFA, issue 19, Alumni Edition, September 2007, pp. 56–57

D.T., Whispering Gallery, Art AsiaPaci(c, no. 55, September–October 2007, p. 99

Marcia E. Vetrocq, “”e Venice Biennale, all’ americana”, Art in America, September 2007, pp. 136-147, 179.

Olu Oguibe, ‘An Artist’s Biennial’, Frieze, Issue 109, September 2007, pp. 135.

Andrew Maerkle, ‘52nd Venice Biennale and documenta 12’ (review), Art AsiaPaci(c, no. 55, September–October 2007, p.

176

Daniel Palmer, ‘Australia at the Venice Biennale: Disaster and other impressions’, Art & Australia, vol. 45, no. 1, spring

2007, pp. 30–31

Jane Somerville, ‘Art in the present tense: Look goes to the 52nd Venice Biennale’, Look, Art Gallery of New South Wales,

September 2007, pp. 28–31

Josh Gardiner, ‘Hanging tough: Shaun Gladwell’, Dazed, vol. 1, no. 3, September 2007, p. 136

Tim Groenendyk, ‘Wet wheels’, Inpress, September 2007, p. 75

Melissa Hart, ‘Interactive playground’, Artnotes, Art Monthly Australia, issue 203, September 2007, p. 51

Gabriella Coslovich, ‘$1.86m sale paints rosier picture for National Trust’ <www.theage.com.au/news/entertainment/

186m-sale-paints-rosier-picture-for-national-trust/2007/08/28/1188067040024.html#>

Katrina Strickland, ‘Records set for live artists’, Arts, Australian Financial Review, 30 August 2007, p. 25

‘In a Station of the Metro’, Artspace, 28 August 2007, p. 1

Fiona Sco$-Norman, ‘Fun time back in play’, Arts, Australian, 27 August 2007, p. 8

Richard Brewster, ‘Art market booms while stocks shake’, Age, 25 August 2007, p. 22

Gabriella Coslovich, ‘Storm makes waves in art world as video goes under the hammer’, News, Age, 25 August 2007, p. 11

Andrew Stephens, ‘Cup day with a difference’, Age, 25 August 2007, p. 17

Katrina Strickland, ‘Bids will shed light on video art market’, Australian Financial Review, 2 August 2007, p. 50

Terry Ingram, ‘Video star storms Venice, Australian Financial Review, 5 July 2007, p. 21

Carmel Dwyer, ‘Collector: Dick Quan’, Australian Art Collector, issue 41, July–September 2007, pp. 182–87

Peter Hill, ‘What’s in store?’, Interview with Gene Sherman, Upfront, Australian Art Collector, issue 41, July–September

2007, pp. 100–01

Nicolas Ostlind, ‘Asian artists echo biennale director’s themes’, Japan Times, 22 June 2007 <h$p://

search.japantimes.co.jp/print/fa20070621a1.html>

Sebastian Smee, ‘Finding depths in shallow waters, Visual Art, Weekend Australian, 16–17 June 2007, pp. 18–19

Megan Backhouse, ‘Finding space on a crowded canvas’, “e Critics, Age, 16 June 2007, p. 19

Sarah Milroy, ‘How art can be the counterpoint to a super&cial CNN world’, $e Globe and Mail (Canada), 16 June 2007,

pp. R6–7

Mark Clintberg, ‘Venice’, Akimbo blog, 14 June 2007

www.akimbo.com/blog.asp>

Richard Dorment, ‘”e best Venice for years’, Telegraph UK; ‘”e best of the Biennale’, Picture Gallery, Telegraph UK, 12

June 2007

www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/06/12/babiennale112.xml&page=2>

Terry Ingram, ‘Who’s who of art lovers head to Venice Biennale’, Weekend Australian Financial Review, 9–10 June 2007, p. 3

Sebastian Smee, ‘Visions of life and death’, Inquirer, Weekend Australian, 9–10 June 2007, p. 27

Stefano Bucci, ‘Qui sventola la bandiera americana’, Corriere Della Sera, Italy, 9 June 2007, p. 40

Megan Backhouse, ‘Se$ing Storr by the art, not marketing’, Arts & Culture, Age, 9 June 2007, p. 23

Sebastian Smee, ‘Aussie artist takes his Valhalla to Venice’, “e Nation, Australian, 8 June 2007, p. 7

Katrina Strickland, ‘Biennale bound’, Australian Financial Review Magazine, June 2007, p. 16

Russell Storer (in conversation with Sally Breen), ‘Ten[d]ancy at Elizabeth Bay House’, Eyeline, no. 63, winter 2007, pp.

16–20

Daniel Baumann, ‘Shaun Gladwell, ‘Public space, translation and beauty’, Art & Australia, vol. 44, no. 4, winter 2007, pp.

570–75

Andrew Maerkle, ‘”e cook, the curator, the bike & the festivals: Venice, Kassel, Münster’, Art Asia Paci(c no. 53, May–

June 2007, pp. 98–101

Lindsay Harris, ‘Shaun Gladwell’, catalogue essay, 52nd International Exhibition of the Venice Biennale, ‘”ink with the senses,

feel with the mind – art in the present tense’, Marsilio, Italy, 2007, pp. 122–125

Katrina Strickland, ‘Venice to experience dreamtime’, Australian Financial Review, 27 April 2007, p. 7

Katrina Strickland, ‘Venice club: Patrons boost biennale budget’, Australian Financial Review, 26 April 2007, p. 43

Hannah Mathews, ‘It’s that time again – Hatched @ PICA’, Artnotes WA, Art Monthly Australia, no. 198, April 2007, p. 49

Clara Iaccarino, ‘Venice, here come six of the best’, Arts & Entertainment, Sydney Morning Herald, 7 March 2007, p. 16

Gillian Serisier, ‘How to pick a winner?’, Australian Art Market Report, issue 23, autumn 2007, pp. 28–30

Terry Ingram, ‘Venice invitees’, Australian Financial Review, 1 March 2007, p. 26

Megan Backhouse, ‘Aussie numbers up for Biennale, Mixed Media, Age, Melbourne, 21 February 2007, p. 19

‘Shaun Gladwell’, 50 Most Collectable Artists, Australian Art Collector, issue 39, January–March 2007, pp. 126–7

Claire Todd-Miller, ‘Australian street art comes inside’, Bangkok Post, www.bangkokpost.com, 9 February 2007

 

2006

Gillian Serisier, ‘Acquisitions by the public galleries an important guide to “what to buy”’, Australian Art Market Report, no.

22, summer 2006–07, pp. 20–22

‘Artnews 2006: Australian art on the international scene’, Art & Australia, vol. 44, no. 2, summer 2006, p. 210

Carmel Dwyer, ‘Relaxed and con#dent’, Australian Art Collector, issue 38, October–December 2006, pp. 189–193

John McDonald, ‘Asian tiger’s sleeker self’ (Gwangju Biennale; Busan Biennale), Arts & Entertainment, Sydney Morning

Herald, 7–8 October 2006, pp. 16–17

Sebastian Smee, ‘Not one of Pavlov’s dogs’, Visual Arts, Weekend Australian, 7–8 October 2006, pp. 18–19

Sunanda Creagh, ‘Cashed up, thanks to some radical moves’, Sydney Morning Herald, 29 August 2006, p. 12

Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Cra,sman House, Melbourne, 2006

Sebastian Smee, ‘Tiers of in*uence’, Arts, Weekend Australian, 22–23 April 2006, pp. R18–19

Terry Ingram, ‘Photo proofs give negative results’, Smart Money, Weekend Australian Financial Review, 18–19 February

2006, p. 40

Gillian Serisier, ‘Video art’, Australian Art Market Report, issue 19, Autumn 2006 pp. 26–27

2005

Sabine Schaschl-Cooper (ed.), Space Invaders: A discussion about painting, space and its hybrids, JRP Ringier Kunstverlag AG,

Zurich, 2005

Terry Ingram, ‘”e new heart of art beats strong’, Australian Financial Review, 22 December 2005, pp. 44–5

Sabine Schaschi-Cooper, ‘Painting, space and hybrids’, Broadsheet, vol. 34, no. 3, September 2005, pp. 160–61

’10 Artists to Watch’, Australian House and Garden, p. 77

Mark Pennings, ‘Out of place, out of time, out of mind: Shaun Gladwell’s aesthetic explorations’, eyeline, no. 58, spring

2005, pp. 16–17

Greg Burke, ‘Moving image: “e most popular art form’, Artlines, vol. 2, winter 2005, pp. 24–7

John Kaldor, Gallery, Art & Australia, vol. 42, no. 4, winter 2005, pp. 589, 571

Eve Sullivan, ‘Anne Landa Award’, Art & Australia, vol. 42, no. 4, winter 2005, p. 599

Sebastian Smee, ‘Capturing the community’, Weekend Australian, 16–17 July 2005, p. R18

Dominique Angeloro, ‘Bling it on’, Metro, Sydney Morning Herald, 15 – 21 July 2005, p. 22

Tracey Clement, Critic’s Picks, Sydney Morning Herald, 15 – 21 July 2005, p. 23

‘Shaun Gladwell’, Michael Reid, Sydney Morning Herald, June–July 2005, p. 8

Katrina Strickland, ‘Art as an investment’, Weekend Australian, 9–10 July 2005, p. R23

Brendan Lee (compiler), ‘Your top ten video artists’, Photo(le, no. 74, winter 2005, pp. 62–4

Andrew Frost, ‘What’s so fashionable?’, Photo(le, no. 74, winter 2005, pp. 26–7

Stewart Hawkins, ‘Anne Landa Award’, Photo(le, no. 74, winter 2005, pp. 69

Julianne Pierce, ‘Ba$le of the brands’, Photo(le, no. 74, winter 2005, pp. 42–5

‘Shaun Gladwell’, Art World, July 2005

‘Shaun Gladwell and Sco$ Redford’, boxoffice, the(sydney)magazine, June 2005, p. 101

Victoria Hynes, ‘Ctown Bling’, the(sydney)nagazine, June 2005, p. 100

Janne Ryan, ‘”e rise of video art’, Weekend Australian Financial Review, 21–22 May 2005, pp. 31–2

Michael Reid, ‘Shaun Gladwell’, “e Art Oracle, Sydney Morning Herald, 14–15 May 2005, p. 13

Alice Cavanagh, ‘Shaun Gladwell: Artist’, Monster Children, no. 8, autumn 2005. p. 72

Joanna Taylor, ‘Centre City? It’s a beauty’, ?, 18 May 2005

‘Shaun Gladwell’, ARTCO, Tokyo, May 2005

www.artouch.com>

Rosemary Sorensen, ‘Word junk clu$ers ride’, Courier Mail, Brisbane, 2 April 2005, p. 9

Don Gordon-Brown, ‘Get your skates on’, Independent, Brisbane, vol. 5, no 6, 24 March 2005, p. 1

‘!e ride of his life’, Brisbane News, 24 March 2005, pp. 17–18

Peter Hill, ‘State of original cine’, Spectrum, Sydney Morning Herald, 8–9 January 2005, p. 16.

Liz van den Nieuwenhof, ‘Hello: Shaun Gladwell’, Weekend Australian Magazine, 8–9 January 2005, p. 9

Sebastine Smee, ‘Video gaga’, Weekend Australian, 18–19 December 2004 pp. R18–19

Daniel Palmer, ‘Australian culture now’, Art & Australia, vol. 42, no. 2, summer 2004, pp. 196–7

Mark Gomes, ‘Shaun Gladwell’, Australian Art Collector, January–March 2005, p. 90

Penny Craswell, ‘Shaun Gladwell’, Broadsheet, December 2004 – February 2005, p. 34

Ibor Holubizky, ‘Gridlock’, Broadsheet, December 2004 – February 2005, p. 55

Howard Tanner, ‘Art in the new corporate environment’, Australian Art Market Report, no. 14, December 2004–February

2005, pp. 18, 19

 

2004

‘Shaun Gladwell’, review (Sad and Lonely), Photo(le, no. 73, summer 2004, pp. 73, 75

Sebastian Smee, ‘Don’t fence me in’, Review, Weekend Australian, 6–7 November 2004, pp. 18–19

Wayne Tunnicliffe, ‘Anne Landa Award: A living, changing memorial for a vivid arts supporter’, Look, November 2004,

pp. 14–16

Edward Colless, ‘Warp speed’, Australian Art Collector, issue 30, October–December 2004, pp. 84–9

Peter Hill, ‘Time travellers’, Spectrum, Sydney Morning Herald, 18 August 2004, pp. 21–2

Stewart Hawkins, ‘Mixed-Ed: Diverse Practice and Geography’, Photo(le, no. 72, spring 2004, p. 77

Linda Michael, ‘2004: Australia culture now in Melbourne’, Art Monthly Australia, no. 172, August 2004, pp. 25–9

Alex McDonald, ‘Zeitgeist’, State of the Arts e-mail newsle$er, 5 August 2004

www.stateart.com.au/sota/reviews/default.asp?&d=2828

Rosalie Higson, ‘Flash forward’, Arts, Weekend Australian, 31 July – 1 August 2004, pp. 18–19

John McDonald, ‘“Yoof” wins: Looking for uncool culture’, Australian Financial Review, 22 July 2004, p. 43

Oyster, World Fashion, issue 52, June–July 2004, p. 55

Edward Colless, ‘Present tense: 2004 Australian Culture Now’, Weekend Australian, 17–18 July 2004, pp. 18–19

Michael Libucha, Editorial, City Search, Brisbane, 22 June 2004, pp. 1–2

Dominique Angeloro, ‘Interlace’, Critic’s Pick, Metro, Sydney Morning Herald, 12–13 June 2004, p. 27

Alexie Glass, I thought I knew but I was wrong: New Video Art &om Australia, exhibition catalogue, ACMI, Melbourne, 2004

Russell Smith, Crypto-Realism, Art Monthly Australia, no. 168, April 2004

Simon Blond, ‘Hopeful disaster’, Weekend Extra, West Australian, 28 February 2004, p. 13

Sarah Grant, ‘Treasures on TV’, Sunday Telegraph, 18 April 2004, p. 22

Peter Hill, ‘All in a blur of colour and speed’, Spectrum, Sydney Morning Herald, 9–11 April 2004, pp. 8–9

Andrew Frost, ‘”e next generation’, Australian Art Collector, issue 28, April–June 2004, pp. 114–7

Sally Breen, ‘Remixes for a new[ish] millennium’, catalogue essay, Perth Institute of Contemporary Art (PICA), Perth,

2004

Tracey Clements, review, Primavera 2003, Artlink, vol. 24, no. 1, 2004, p. 87

Laura Murray Cree, ‘Small is beautiful’, State of the Arts, January–March 2004, pp. 79–81

Andrew Frost, ’50 of Australia’s most collectable artists’, Australian Art Collector, issue 27, January–March 2004, p. 86

Peter Hill, ‘Charitable acts’, Spectrum, Sydney Morning Herald, 10 January 2004, pp. 10–11

Anthony Kiendl and Iain Borden, Godzilla vs Skateboarders, Dunlop Art Gallery, Canada, ISBN 0920085-93-8

2003

Clara Iaccarino, ‘Skater rolls on to art list’, Sun-Herald, 14 December 2003, p. 48

Laura Murray Cree, ‘Shaun Gladwell’, Young Guns, State of the Arts, October–December 2003, p. 69

Maria Bilske, ‘Shaun Gladwell: Silent, ambient + harder remixes’, Broadsheet, vol. 32, no. 3, September–November 2003

Joanna Mendelssohn, ‘Shaun Gladwell’, Artlink, vol. 23, no. 3, 2003

Dominique Angeloro, ‘Espresso yourself’, Metro, Sydney Morning Herald, 19–25 September 2003, p. 26

Maria Bilske, ‘Shaun Gladwell: Silent, ambient + harder remixes’, Broadsheet, September–November 2003

Lenny Ann Low, ‘Hot in the city, skating across genres’, Sydney Morning Herald, 6 August 2003

Russell Smith, ‘Outside the context’, Muse, Canberra, no. 243, November 2003

Gallery, Art & Australia, vol. 41, no. 2, summer 2003, p. 286

Blair French, ‘Video goes big time’ RealTime, August–September, no. 56, p. 37

John Cruthers, ‘Peter Fay: A life in art’, Art & Australia, vol. 40, no. 4, 2003, p. 639

Peter Hill, ‘Pick and mix’, Spectrum, Sydney Morning Herald, 12–13 July 2003, p. 13

Lenny Ann Low, ‘”ings we do for fun’, Sydney Morning Herald, 5–6 July 2003

Dominique Angeloro, ‘Skate expectations’, Metro, Sydney Morning Herald, 10 July 2003, p. 26

2002

Charlo%e Day, Octopus “ree, exhibition catalogue, 200 Gertrude Street, Melbourne, 2002

Jack Anderson, ‘At the Galleries’, Leader Post, (Canada), 2002, p. 179

2001

Kit Messaham-Muir, ‘David Griggs and Shaun Gladwell’, Eyeline, no. 46, spring 2001

Simon Rees, ‘Review’, Flash Art International, no. 220, October 2001, p. 110

Iain Borden, Skateboarding and the City: Architecture and the Body, Berg, Oxford, 2001

Mix: contemporary Culture magazine, review, p. 21

Kit Messaham-Muir, ‘Kick)ipping Flâneur’, Kerb: Journal of Landscape Architecture, issue 9, Royal Melbourne Institute of

Technology, 2001

Felicity Fenner, ‘Undiscovered: Uncovering Australia’s rising art stars’, Australian Art Collector, issue 16, April–June 2001,

p. 76

 

2000

Alexi Glass, Skate expectations’, Sydney Morning Herald, 20 October 2000, p. 26

Kit Messaham-Muir, ‘Practices of the city and the Kick)ipping Flâneur’, catalogue essay, Artspace, Sydney, 2000

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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