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Peter Atkins - Curriculum Vitae (July 2005) |
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| Biography | |
| 1963 | Born, Murrurundi, NSW |
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1983–84 |
Art Certificate, Newcastle, NSW |
| 1985 | National Art School, Sydney |
| Currently lives and works in Melbourne | |
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Solo Exhibitions |
|
| 2005 |
The connected world, Greenaway Gallery, Adelaide |
| 2004 | The world around me, Sherman Galleries, Sydney |
| 2003 |
Big Paintings 1990–2003, survey exhibition, Lake Macquarie City Art
Gallery, New South Wales; Latrobe Regional Gallery, Morwell, Victoria Paperform, Tolarno Galleries, Melbourne |
| 2002 |
lo-tech, Sherman Galleries Goodhope, Sydney Simple Pleasures, Greenaway Art Gallery, Adelaide |
| 2001 |
Handmade, Tolarno Galleries, Melbourne Materiality, Sherman Galleries Hargrave, Sydney |
| 2000 |
Accumulation, Sherman Galleries Goodhope, Sydney Paintings and Works on Paper, Sherman Galleries Hargrave, Sydney Live From Brunswick, Greenaway Art Gallery, Adelaide |
| 1999 | Polyrhythm, Tolarno Galleries, Melbourne |
| 1998 |
Greenaway Art Gallery, Adelaide Soft Edge, Sherman Galleries Goodhope, Sydney |
| 1997 | Urban Artefacts, Ipswich Regional Gallery, Queensland |
| 1996 |
Greenaway Art Gallery, Adelaide Sherman Galleries Goodhope, Sydney |
| 1995 |
Sherman Galleries Goodhope, Sydney APA Gallery, Nagoya, Japan Tolarno Galleries, Melbourne |
| 1994–95 |
World Journal, VIII Triennale–India 1994, curator Annette Larkin,
Lalit Kala Akademi New Delhi, awarded Gold Medal; Australian Embassy, Jakarta, Indonesia; Lawrence Wilson Gallery, Perth; Drill Hall Gallery, Canberra; Waverley City Gallery, Melbourne; Manly Art Gallery and Museum, Sydney; New England Regional Art Museum, NSW; Ipswich Regional Gallery, Queensland; Benalla Art Gallery, Victoria; University Gallery, Launceston |
| 1993 | Tolarno Galleries, Melbourne |
| 1991 |
Tolarno Galleries, Melbourne Garry Anderson Gallery, Sydney |
| 1990 | Galerie Cannible Pierce, Paris |
| 1989 | Garry Anderson Gallery, Sydney |
| 1988 | Garry Anderson Gallery, Sydney |
| 1987 |
Garry
Anderson Gallery, Sydney Galerie Cannible Pierce, Paris New South Wales House Gallery, London |
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Group Exhibitions |
|
| 2004 |
Rubbish: Recycling as Art, Global Arts Link, Ipswich, QLD, 16–23 May 0ne 0f Sherman galleries , Sydney The year in art national trust, Sydney Geelong contemporary art prize Geelong art gallery Melbourne art fair 2004 royal exhibition building, Melbourne |
| 2003 |
Festivus, Sherman Galleries, Sydney New Acquisitions, Newcastle Region Art Gallery, NSW The Barcelona Studio: Fragments of a Brief History, Plimsoll Gallery, University of Tasmania, Hobart ARCO International Contemporary Art Fair, Madrid, Spain MCA Unpacked II, Museum of Contemporary Art, Sydney Home Sweet Home: Works from the Peter Fay Collection, National Gallery of Australia, Canberra A Small Private Eye, Horsham Regional Art Gallery, Victoria Barcelona Studio: Fragments of a Brief History, Plimsoll Gallery, University of Tasmania, Hobart |
| 2002 |
Group Exhibition, Sherman Galleries Goodhope, Sydney Dressing and Dreaming, Sherman Galleries Hargrave, Sydney The Art of Collecting, Newcastle Region Art Gallery, NSW The Shape of Air (Flat), curator Heather B. Swann, Bett Gallery, Hobart |
| 2001 |
Five Painters, Sherman Galleries Goodhope, Sydney A Century of Collecting 1901–2001, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney Hermanns Art Award, Sherman Galleries Hargrave, Sydney and regional galleries tour Well Connected: Dobell and Company, Lake Macquarie City Art Gallery, NSW Contemporary Benefactors Auction, Art Gallery of New South Wales, Sydney |
| 2000 | Uncommon World: Aspects of Contemporary Australian Art, National Gallery of Australia, Canberra |
| 1999 |
Fashion & art, Gallery 4A, Sydney Five Continents and One City, curator Gao Minglu, Mexico City Gallery, Mexico ARCO International Contemporary Art Fair, Madrid, Spain Global Arts Link, Ipswich Regional Gallery, Queensland National Works on Paper, Mornington Peninsula Regional Gallery, Victoria Sixth Australian Contemporary Art Fair, Melbourne |
| 1998 |
Redlands Westpac Art Prize,
Sydney The Mecenat Collection, Sherman Galleries Goodhope and Hargrave, Sydney Sets and Series, Tolarno Galleries, Melbourne ‘Something…’ , Sherman Galleries Goodhope, Sydney |
| 1997 |
Anon, Sherman Galleries Goodhope, Sydney The Crate Show, Sherman Galleries Goodhope, Sydney Tokyo International Art Festival, Tokyo Za Moca Foundation Works on Paper, Tokyo Sydney Fundraiser Exhibition, Gallery 4A, Sydney Contemporary Benefactors Auction, Art Gallery of New South Wales, Sydney |
| 1996–98 | Flagging the Republic, Sherman Galleries, Sydney and regional galleries tour |
| 1996–97 | Systems End: Contemporary Art in Australia, curators William Wright and Takeshi Kanazawa, OXY Gallery, Osaka; Hakone Open-Air Museum, Tokyo; Dong-Ah Gallery, Seoul; Kaohsiung Fine Arts Museum, Taiwan |
| 1996 |
Moët et Chandon Touring Exhibition, touring Australian state
galleries Contemporary Benefactors Collection, Art Gallery of New South Wales, Sydney |
| 1995 |
Moët et Chandon Touring Exhibition, touring Australian state
galleries Nippon International Contemporary Art Fair, Yokohama Windows on Australia I, Australian Embassy, Tokyo The Loti and Victor Smorgon Gift of Contemporary Australian Art, Museum of Contemporary Art, Sydney International Works on Paper Fair, Sydney |
| 1994 | Two Weeks, Tolarno Galleries, Melbourne |
| 1992 |
Third Australian Contemporary Art Fair, Melbourne Moët et Chandon Touring Exhibition, touring Australian state galleries |
| 1991 |
Over East, Lawrence Wilson Art Gallery, Perth Il sud del mondo/The other side of the world, Masala, Italy; then touring France and the United States Microcosm, Garry Anderson Gallery, Sydney |
| 1990 |
Moët et Chandon Touring Exhibition, touring Australian state
galleries Second Australian Contemporary Art Fair, Melbourne Working up to Yellow, Campbelltown City Bicentennial Art Gallery, NSW |
| 1989 | Australian Perspecta 1989, Art Gallery of New South Wales, Sydney |
| 1988 |
First Australian Contemporary Art Fair, Melbourne Shards of Consciousness, Galerie Cannible Pierce, Paris |
| 1987 | Here and There, Monash University Gallery, Melbourne |
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Collections |
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National Gallery of Australia, Canberra |
|
| Art Gallery of New South Wales, Sydney | |
| Art Gallery of Western Australia, Perth | |
| Museum of Contemporary Art, Sydney | |
| National Gallery of Victoria, Melbourne | |
| Queensland Art Gallery, Brisbane | |
| Benalla Art Gallery, Victoria | |
| Muswellbrook Regional Gallery, NSW | |
| Newcastle Region Art Gallery, NSW | |
| New England Regional Art Museum, NSW | |
| Chartwell Collection, Waikato Museum of Art & History, Hamilton, New Zealand | |
| Shell Company of Australia | |
| Allen, Allen & Hemsley, Sydney | |
| Pat Corrigan Collection | |
| Peter Fay Collection | |
| Derwent Collection, Tasmania | |
| Artbank | |
| Numerous private collections throughout Australia, New Zealand, Asia, and Europe | |
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Awards, Residencies and Commissions |
|
| 2003 |
Commission for the Crown Promenade Hotel foyer, Melbourne |
| 2002 | New work grant, awarded by the Australia Council |
| 2001–02 | Artist in residence, Lake Macquarie City Art Gallery, NSW |
| 2001 | Artist in residence, Bundanon, NSW |
| Artist in residence, Mt Scopus College, Melbourne | |
| 1998 | Barcelona Studio Residency, awarded by the Australia Council |
| 1994 | Awarded Gold Medal, VIII Triennale–India 1994, New Delhi |
| 1992 | Project Grant, awarded by the Australia Council |
| 1991 | Muswellbrook Open Art Prize, NSW |
| 1989 | Sir William Dobell Art Foundation Prize, Art Gallery of New South Wales, Sydney |
| 1987 | Artist in residence, Dr Denise Hickey Studio, Cité International des Arts, Paris |
| Artist in residence, The British School, Rome, August–September | |
| 1986 | Dyason Bequest, Art Gallery of New South Wales, Sydney |
| 1985 | New South Wales Travelling Art Scholarship (two years) |
| 1984 | Maitland Student Art Prize, NSW |
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Selected Bibliography |
|
|
Elaine Merkus, Here and There, exhibition catalogue, Monash University Gallery, Melbourne, 1987 |
|
| Terry Smith, ‘No simple way to find the Australia in Australian art’, Times on Sunday, Sydney, 8 November 1987 | |
| Ken Shepherd, Peter Atkins: Poetic Painter of the Essential, exhibition catalogue, Galerie Cannible Pierce, Paris, 1987 | |
| Elwyn Lynn, ‘From the sublime to the meticulous’, Weekend Australian, 24 September 1988 | |
| Ken Shepherd, ‘The way of the spirit in paint’, Australian Perspecta 1989, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1989 | |
| Elwyn Lynn, ‘The individual in perspective’, Weekend Australian, 10–11 June 1989 | |
| Christopher Allen, ‘Word as image in a language of art’, Sydney Morning Herald, 16 June 1989 | |
| Elwyn Lynn, ‘Intimacy and nature’, Weekend Australian, 18 June 1989 | |
| Elwyn Lynn, ‘Sir William Dobell Art Prize – Art Gallery of New South Wales’, Weekend Australian, 11–12 November 1989 | |
| Frances Lindsay, Introduction, Moët et Chandon Touring Exhibition, exhibition catalogue, Melbourne, 1990 | |
| Amanda Meade, ‘Profile: Peter Atkins, painter’, City Life Magazine, Sydney & Melbourne, February 1990 | |
| Ken Shepherd, Peter Atkins – New Work, exhibition catalogue, Galerie Cannible Pierce, Paris, 1990 | |
| Jo Saurin, ‘Reward of sensual pleasure’, Sydney Morning Herald, 22 March 1991 | |
| Elwyn Lynn, ‘Abstract angles with exuberant edges...’, Weekend Australian, 16–17 March 1991 | |
| Jonathan Turner, ‘Who are the artists to watch’, Artnews, New York City, April 1991 | |
| Ken Shepherd,Il sud del mondo/The other side of the world, exhibition catalogue, Masala, Italy, 1991 | |
| Alsion Carroll, Introduction, Moët et Chandon Touring Exhibition, exhibition catalogue, Melbourne, 1992 | |
| Felicity Fenner, ‘Moët loses its sparkle’, Sydney Morning Herald, 11 July 1992 | |
| Peter Timms, ‘Painting by numbers – Melbourne report', Art & Australia, vol. 29, no. 2, summer 1992 | |
| Daniel Thomas, ‘Australia made by art’, introductory essay, Third Australian Contemporary Art Fair, exhibition catalogue, Melbourne, October 1992 | |
| Christopher Heathcote, ‘Keeping the faith in the miraculous power of a prize’, Age, 13 August 1993 | |
| Robert Rooney, ‘Exploiters of exotica’, Weekend Australian, 21–22 August 1993 | |
| Michael Hutak, ‘Young at art: The new painters’, Sydney Morning Herald, 1 January 1994 | |
| Oz Arts, issue 9, January 1994 | |
| Annette Larkin & Peter Timms, Peter Atkins ‘World Journal’, exhibition catalogue, VIII Triennale-India 1994, Australian Exhibitions Touring Agency, Melbourne, 1993 | |
| Annette Larkin, ‘Peter Atkins’, Eighth Triennale India 1994, exhibition catalogue, Lalit Kala Akademi, New Delhi, India, 1994 | |
| Suneet Chopra, ‘Confronting the global village’, Hindustan Times, 29 January 1994 | |
| Suneet Chopra, ‘Building bridges and breaking them’, Hindustan Times, 12 February 1994 | |
| Carmel Dwyer, ‘A journey built on obsession’, Sydney Morning Herald, 14 February 1994 | |
| K. I. Kaul, ‘A subtle and meaningful fare’, Statesman, 8 March 1994 | |
| Anjali Sircar, ‘A comment on superficial realities?’, The Hindu, 13 March 1994 | |
| Geeti Sen, ‘Art: Triennale’, The Week, 20 March 1994 | |
| Annette Larkin, ‘Peter Atkins’, Craft Arts International, March–May 1994 | |
| Fenella Souter, ‘Peter Atkins, painter’, HQ Magazine, March–April 1994 | |
| Michele Helmrich, ‘VIII Indian Triennale – Peter Atkins’, Art & Text, vol. 48, 1994 | |
| Isana Murti, ‘Crisis in the house of art’, Asian Art News, vol. 4, no. 4, July–August 1994 | |
| Terry Ingram, ‘What to watch in 1995’, Australian Financial Review, 29 December 1994 | |
| John McDonald, ‘Around the world in holiday snaps’, Sydney Morning Herald, 18 February 1995 | |
| Terry Ingram, ‘Art and antique trade goes to Asia’, Australian Financial Review, 6 July 1995 | |
| Elwyn Lynn, ‘Double vision’, Australian, 17 February 1995 | |
| Donald Williams, In Our Own Image: The Story of Australian Art, 3rd edn, McGraw Hill, Sydney, 1995 | |
| Miriam Cosic, ‘To all foreigners: We have art as well as outback’, Sydney Morning Herald, 28 October 1995 | |
| Art Monthly, (cover image), Dec–Feb 1995 | |
| Peter Ward, ‘State of the arts. What’s hot in 1996’, Weekend Magazine, Australian, 6–7 January 1996 | |
| Chris Ashton, ‘Australian contemporary art’, QANTAS Spirit, March–April 1996 | |
| Anna Johnson, ‘Art beat’, Sydney Morning Herald, 5 April 1996 | |
| Chris Ashton, ‘Off again, on again’, Bulletin, 16 April 1996 | |
| ‘Sherman to Asia’, Asian Art News, May–June 1996 | |
| Neilton Clarke, ‘Beginning at the end’, Daily Yomiuri, 7 June 1996 | |
| T. J. McGuire, ‘Down under Asia’, Asahi Evening News, 27 June 1996 | |
| ‘Probe into an original landscape of multicultural society’, Yomiuri Shimbun Newspaper, 19 July 1996 | |
| Tamaki Hara, ‘Probe into the present contemporary art in the southern hemisphere’, Maihichi Gravure-Amuse, no. 14, 24 July 1996 | |
| Akihiko Takami, ‘Compounding Australian identity’ (review of Systems End), Bijutsu-Techo, August 1996 | |
| Donald Williams & Colin Simpson, Art Now: Contemporary Art Post-1970, Book 2,McGraw Hill, Sydney, 1996 | |
| Felicity Fenner, catalogue essay, Sherman Galleries Goodhope, Sydney, 1996 | |
| Anna Johnson, ‘Art’s new wave’, Good Weekend, Sydney Morning Herald, 26 April 1997 | |
| ‘Exhibit eh? How selling art to Asia raised eyebrows in Sydney’, Metro, Sydney Morning Herald, 16–22 May 1997 | |
| Anna Johnson, ‘In vogue – essentials’, Vogue Australia, May 1997 | |
| Sebastian Smee, ‘Hung, drawn and courted’, Sydney Morning Herald, May 1997 | |
| Timothy Morrell, ‘Art objects’, catalogue essay, Urban Artefacts, Ipswich Regional Gallery, Queensland, 1997 | |
| Antonia Williams, ‘Family matters’, Sydney Morning Herald, 7 August 1997 | |
| Bruce James, ‘Galleries’, Sydney Morning Herald, 22 August 1999 | |
| Joyce Morgan, ‘Yen for the big league’, Sydney Morning Herald, 31 October 1997 | |
| Sebastian Smee, ‘Looking, looking ...’, Metro, Sydney Morning Herald, 24–30 April 1998 | |
| Bruce James, ‘Galleries: Inspired by the everyday’, Sydney Morning Herald, 2 May 1998 | |
| Margaret Moore, ‘Soft edge’, catalogue essay, Sherman Galleries Goodhope, Sydney, 1998 | |
| Timothy Morrell, ‘Art and the everyday’, catalogue essay, Exploring Culture and Community for the 21st Century, Global Arts Link, Ipswich, Queensland, 1999 | |
| Sebastian Smee, ‘Raising the bar’, Sydney Morning Herald, 11 May 1999 | |
| Sebastian Smee, ‘Fandom creates its own comfort zone’, Sydney Morning Herald, 17 April 2000 | |
| ‘A load of old rubbish’, express/arts, Sunday Telegraph, 2 April 2000 | |
| Margaret Meagher, ‘Highly prized’, The Eye, 6–19 April 2000 | |
| Simeon Kronenberg, ‘Documenting aesthetic responses’, Accumulation, catalogue essay, Sherman Galleries Goodhope, Sydney, February 2000 | |
| ‘The old becomes the stock of the new’, Australian, 19 May 2000 | |
| Paco Barragan, ‘El arte que viene. Con el riesgo por delante’, Subastas, October 2000 | |
| Elena Taylor, Uncommon World: Aspects of Contemporary Australian Art, catalogue essay, National Gallery of Australia, Canberra, 15 July – 22 October 2000 | |
| Look Magazine, Art Gallery of New South Wales, Sydney, February 2001 | |
| Nick Waterlow, ‘A century of collecting 1901–2001’, catalogue essay, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney, 29 March – 28 April 2001 | |
| Meryl Ryan, ‘The journey’, catalogue essay, Well Connected: Dobell and Company, Lake Macquarie City Art Gallery, 12 May – 17 June 2001 | |
| Max McLean, Handmade, catalogue essay, Tolarno Galleries, Melbourne, August 2001 | |
| Donald Williams, In Our Own Image – the Story of Australian Art, (4th edn), McGraw Hill, Sydney, 2002 | |
| Peter Timms, The Shape of Air (Flat), catalogue essay, Bett Gallery Hobart, Tasmania 2002 | |
| Laura Murray Cree, Awesome! Australian Art for Contemporary Kids, Craftsman House, Sydney, 2002 | |
| Annette Larkin, ‘Contemporary art’, Australian Art Market Report, p. 10, issue 4, winter 2002 | |
| Jill Stowell, ‘Chance-found works back home’, Newcastle Herald, 12 January 2002 | |
| Anne Susskind, ‘Wear in the world’, Bulletin, 16 April 2002 | |
| Deborah Hart, ‘Peter Atkins: Finding beauty in the everyday’, Art & Australia (cover image), vol. 39, no. 4, winter 2002, pp. 568–77 | |
| ‘Look what I found’, State of the Arts, November 2002 | |
| Elena Taylor, Australian Art in the National Gallery of Australia, Thames and Hudson, Melbourne, 2002, p. 424 | |
| Paco Barragan, ‘El arte que viene – The art to come’, Subastas, 2002, pp. 32–3 | |
| Maria Bilske, ‘Most collectible artists’, Australian Art Collector, issue 23, January 2003, p.52 | |
| Wendy Walker, ARCO Madrid, catalogue essay, Greenaway Art Gallery, Adelaide, 2003 | |
| Daniel Thomas, ‘Tender buttons’, catalogue essay, Peter Atkins 1990-2003, Lake Macquarie City Art Gallery, 2003 | |
| Bruce Armstrong, ‘Why birds?’, MCA Unpacked 2, exhibition catalogue, Museum of Contemporary Art, Sydney, 2003, pp. 8–9 | |
| Max McLean, ‘ Paper forms’, Paper form, catalogue essay, Tolarno Galleries, Melbourne, November 2003 | |
| Jonathan Holmes and Maria Kunda, The Barcelona Studio: Fragments of a Brief History, exhibition catalogue, Plimsoll Gallery, University of Tasmania, Hobart, 2003, pp.18, 33 | |
| Jill Stowell, ‘Small curios at large’, Newcastle Herald, 11 October 2003 | |
| Andrew Frost, ‘Peter Atkins’, Australian Art Collector , issue 28, April–June, p.184 | |
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