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).
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
The Lacrima Chair, Scaf Project-Sherman Contemporary Art Foundation, Sydney, Australia
Collection + Shaun Gladwell, UNSW Galleries, UNSW Art and Design, Sydney
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
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
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
Broken Dance (Beatboxed), Art Gallery of New South Wales, Sydney, Australia
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
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
Recent Photographs, Anna Schwartz Gallery, Melbourne, Australia
Seven Year Linework, Spacex, Exeter, UK
MADDESTMAXIMVS: Planet & Stars Sequence, Australian Pavilion, 53rd Venice Biennale, Italy
Shaun Gladwell, University Art Gallery, University of California, San Diego
Double Voyage, Anna Schwartz Gallery, Melbourne, Australia
MADDESTMAXIMVS, Sherman Galleries, Sydney, Australia
In a Station of the Metro, Artspace, Sydney, Australia
Shaun Gladwell, Hallwalls Contemporary Arts Centre, Buffalo, NY, USA
Shaun Gladwell: Various Roles, Institute of Modern Art, Brisbane, Australia
MMVBREAKLESS SESSIONS, Sherman Galleries, Sydney, Australia
New Balance, Perth Institute of Contemporary Art (PICA), Perth, Australia
Silent, Ambient and Harder Remixes, Sherman Galleries, Sydney, Australia
Recent Projects, Cité Internationale des Arts, Paris, France
Cycles of Radical Will, Imperial Slacks Gallery, Sydney, Australia
2000 Kick!pping Flâneur, Artspace, Sydney, Australia
Director, Family, a chapter of the feature film, The Turning, ArenaMedia, Australia.
SELECTED GROUP EXHIBITIONS
Selfmanagement, Galleria Enrico Astuni, Bologna
Skateboarders VS Minimalism, video work commissioned for the 40th Anniversary of the Sydney Festival (2016)
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
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
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
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
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
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
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
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
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
Space for Your Future, curated by Yuko Hasegawa, Museum of Contemporary Art, Tokyo
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
Wave Front: Australian Contemporary Art Scene, Tokyo Wonder Site, Shibuya, Tokyo, Japan
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
Experimenta: Vanishing Point, Blackbox, !e Arts Centre, Melbourne; Devonport Regional Gallery,
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
Vacation: Projection Series 7, Gove$-Brewster Art Gallery, New Plymouth, NZ
Anne Landa Art Award, Art Gallery of New South Wales, Sydney
Various Rolls, PARK4DTV, Amsterdam (television broadcast)
RESFEST 2004, Australian Centre for the Moving Image, Melbourne; Dendy Opera Quays, Sydney
One Of: Festivus 04, Sherman Galleries, Sydney
Shaun Gladwell: Hikaru Sequence, Michael Le$ 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: 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
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
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
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
Works on Paper, Exchange exhibition, “e Academy of Fine Arts, Ljubljana, Slovenia
Helen Lempriere Travelling Art Scholarship exhibition, Artspace, Sydney
Indahause, Herringbone Gallery, Sydney
Helen Lempriere Travelling Art Scholarship exhibition, Artspace, Sydney
Loud, National Media Festival of Youth Culture and Arts
Hatched, Healthway National Graduate Show, Institute of Contemporary Art, Perth
Helen Lempriere Travelling Art Scholarship Exhibition, Artspace, Sydney
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
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
Museum of Contemporary Art, Sydney
Campbelltown Arts Centre, Sydney
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
Wadsworth Atheneum, USA
Corporate and private collections in Australia, Asia, the United Kingdom, Europe and the United States
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.
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.
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.
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.
Focus Art: Shaun Gladwell, Surface Asia, 03 2011.
Brook Turner, “Full Flight: From Storm Boy to Blue Sky”, Australian Financial Review, 19 May
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.
Yvonne Lammerich, “!e Cairo Biennale: Political Prescience”, Candian Art, 10 March 2011,
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://
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.
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,
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
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$on, “Art in Motion: Shaun Gladwell”, Mercedes Magazine, 01:2009.
Ashley Crawford, “Gothic candour: I am the coffin that will not be silent”, Art Monthly Australia, No. 216, Summer
Anabel Dean, “Shaun Gladwell: pataphysical man”, Sydney Alumni Magazine, Spring 2008, “e University of Sydney.
Chiara Zampe$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,
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.
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
Elizabeth Fortescue, ‘Exhibition to create storm’, Daily Telegraph, 19 September 2007
‘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.
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, ‘$1.86m sale paints rosier picture for National Trust’ <www.theage.com.au/news/entertainment/
Katrina Strickland, ‘Records set for live artists’, Arts, Australian Financial Review, 30 August 2007, p. 25
‘In a Station of the Metro’, Artspace, 28 August 2007, p. 1
Fiona Sco$-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://
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’, $e Globe and Mail (Canada), 16 June 2007,
Mark Clintberg, ‘Venice’, Akimbo blog, 14 June 2007
Richard Dorment, ‘”e best Venice for years’, Telegraph UK; ‘”e best of the Biennale’, Picture Gallery, Telegraph UK, 12
Terry Ingram, ‘Who’s who of art lovers head to Venice Biennale’, Weekend Australian Financial Review, 9–10 June 2007, p. 3
Sebastian Smee, ‘Visions of life and death’, Inquirer, Weekend Australian, 9–10 June 2007, p. 27
Stefano Bucci, ‘Qui sventola la bandiera americana’, Corriere Della Sera, Italy, 9 June 2007, p. 40
Megan Backhouse, ‘Se$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.
Daniel Baumann, ‘Shaun Gladwell, ‘Public space, translation and beauty’, Art & Australia, vol. 44, no. 4, winter 2007, pp.
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
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
Sabine Schaschl-Cooper (ed.), Space Invaders: A discussion about painting, space and its hybrids, JRP Ringier Kunstverlag AG,
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
Rosemary Sorensen, ‘Word junk clu$ers ride’, Courier Mail, Brisbane, 2 April 2005, p. 9
Don Gordon-Brown, ‘Get your skates on’, Independent, Brisbane, vol. 5, no 6, 24 March 2005, p. 1
‘!e ride of his life’, Brisbane News, 24 March 2005, pp. 17–18
Peter Hill, ‘State of original cine’, Spectrum, Sydney Morning Herald, 8–9 January 2005, p. 16.
Liz van den Nieuwenhof, ‘Hello: Shaun Gladwell’, Weekend Australian Magazine, 8–9 January 2005, p. 9
Sebastine Smee, ‘Video gaga’, Weekend Australian, 18–19 December 2004 pp. R18–19
Daniel Palmer, ‘Australian culture now’, Art & Australia, vol. 42, no. 2, summer 2004, pp. 196–7
Mark Gomes, ‘Shaun Gladwell’, Australian Art Collector, January–March 2005, p. 90
Penny Craswell, ‘Shaun Gladwell’, Broadsheet, December 2004 – February 2005, p. 34
Ibor Holubizky, ‘Gridlock’, Broadsheet, December 2004 – February 2005, p. 55
Howard Tanner, ‘Art in the new corporate environment’, Australian Art Market Report, no. 14, December 2004–February
2005, pp. 18, 19
‘Shaun Gladwell’, review (Sad and Lonely), Photo(le, no. 73, summer 2004, pp. 73, 75
Sebastian Smee, ‘Don’t fence me in’, Review, Weekend Australian, 6–7 November 2004, pp. 18–19
Wayne Tunnicliffe, ‘Anne Landa Award: A living, changing memorial for a vivid arts supporter’, Look, November 2004,
Edward Colless, ‘Warp speed’, Australian Art Collector, issue 30, October–December 2004, pp. 84–9
Peter Hill, ‘Time travellers’, Spectrum, Sydney Morning Herald, 18 August 2004, pp. 21–2
Stewart Hawkins, ‘Mixed-Ed: Diverse Practice and Geography’, Photo(le, no. 72, spring 2004, p. 77
Linda Michael, ‘2004: Australia culture now in Melbourne’, Art Monthly Australia, no. 172, August 2004, pp. 25–9
Alex McDonald, ‘Zeitgeist’, State of the Arts e-mail newsle$er, 5 August 2004
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,
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
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
Charlo%e Day, Octopus “ree, exhibition catalogue, 200 Gertrude Street, Melbourne, 2002
Jack Anderson, ‘At the Galleries’, Leader Post, (Canada), 2002, p. 179
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
Felicity Fenner, ‘Undiscovered: Uncovering Australia’s rising art stars’, Australian Art Collector, issue 16, April–June 2001,
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