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Philip Wolfhagen – Curriculum Vitae (July 2010) |
|
| Biography | |
| 1963 | Born in Tasmania. Lives and works in Longford, Tasmania |
| 1987 | Bachelor of Fine Arts, Centre for the Arts, the University of Tasmania, Hobart |
| 1990 | Graduate Diploma of Visual Arts, Sydney College of the Arts, University of Sydney |
| 1990–95 | Lived and worked in Sydney |
| Currently lives and works in Tasmania | |
|
Solo Exhibitions |
|
| 2010 | The Extended Journey, Bett Gallery Hobart |
| 2009 | Journey to the Source, Dominik Mersch Gallery, Sydney |
| Out of the Garden, Philip Bacon Gallery, Brisbane, QLD | |
| 2007 | Vapour Trails, Embassy of Australia, Washington DC, USA |
| New Deliriums, Christine Abrahams Gallery, Melbourne | |
| 2006 |
Luminary
Traces,
Bett Gallery Hobart,
Hobart, TAS |
| Night Visions, Sherman Galleries, Sydney, NSW | |
| 2005 | Night Beacons, Christine Abrahams Gallery, Melbourne, VIC |
| 2004 |
The
Inner Edge, Sherman Galleries, Sydney, NSW |
| The Inner Edge, Academy Gallery, School of Visual and Performing Arts, University of Tasmania, Launceston, TAS | |
| Noctiluca, Bett Gallery Hobart, Hobart, TAS | |
| Archipelago, Queen Victoria Museum and Art Gallery at Inveresk, Launceston, TAS | |
| 2003 | Archipelago, Queen Victoria Museum and Art Gallery at Inveresk,
Launceston, TAS |
| Shifting light, Christine Abrahams Gallery, Melbourne, VIC | |
| 2002 | high ground, Sherman Galleries Goodhope, Sydney, NSW |
| 2001 | Winter Journeys, Christine Abrahams Gallery, Melbourne, VIC |
| 2000 |
converging
planes, Sherman Galleries, Sydney, NSW |
| Liawenee Exploration, Bett Gallery Hobart, Hobart, TAS | |
| 1999 | Cross Sections, Christine Abrahams Gallery, Melbourne, VIC |
| 1998 | Surface Tension, Sherman Galleries, Sydney, NSW |
| 1997 | Six
Level Seas and Four Recollections,
Dick Bett Gallery,
Hobart, TAS |
| Plateaux, Chapman Gallery, Canberra, ACT | |
| 1996 | Illuminations, Sherman Galleries Goodhope, Sydney, NSW |
| 1995 | Vanishing Points, Dick Bett Gallery, Hobart, TAS |
| 1994 | Passages, Sherman Galleries, Sydney, NSW |
| 1993 | Elevations, Devonport Gallery and Arts Centre, Devonport, TAS; Dick Bett Gallery, Hobart, TAS |
| 1992 | Illusory Fields, Series 2, Dick Bett Gallery, Hobart, TAS |
| 1991 | Illusory Fields, Syme Dodson Gallery, Sydney, NSW |
| 1990 | The Stages of a Delirium, Syme Dodson Gallery, Sydney, NSW |
| The Path of Least Resistance, Salamanca Place Gallery (Bett Gallery), Hobart, TAS | |
|
Selected Group Exhibitions |
|
| 2010 | Curious Colony: A twenty first century Wunderkammer, Newcastle Region Art Gallery |
| Archibald, Wynne & Sulman Prize, Art Gallery of NSW, Sydney | |
| 2009 | Four Tasmanian Painters – Burns, Keeling, Wastell & Wolfhagen, Holmes à Court Gallery Perth, WA |
| New Gallery Artists, Karen Woodbury Gallery, Melbourne | |
| Archibald, Wynne & Sulman Prize, Art Gallery of NSW, Sydney, NSW | |
| 2008 | Archibald, Wynne & Sulman Prize, Art Gallery of NSW, Sydney, NSW |
| Time and Place: Selected works from the TarraWarra Museum of Art collection, TarraWarra Museum of Art, VIC | |
| The Green Zone, Academy Gallery, University of Tasmania, TAS | |
| Contemporaneous; Australian Contemporary Painting 1, Wangaratta Exhibitions Gallery, Wangaratta, VIC | |
| 2007 |
Wonderful World, The Anne & Gordon Samstag Museum of Art, Adelaide |
| Archibald, Wynne & Sulman Prize, Art Gallery of NSW, Sydney, NSW | |
| 2006/07 | From an Island South, Asia Link Touring Exhibition; Lahore, Pakistan; Kuala Lumpur, Malaysia and Bangkok, Thailand |
| 2006 |
Australia
and
Constable, National Gallery of Australia, Canberra, ACT |
| Senses of Place: Art in Tasmania, 1970-2005, Plimsoll Gallery, Hobart, TAS | |
| Salon, curated by Catherine Wolfhagen, Bett Gallery Hobart, Hobart, TAS | |
| 2005 | Rhapsody 21C: Tasmanian Contemporary Art, Academy Gallery, University of Tasmania, Launceston, TAS |
| 2004-05 | Great Escapes, Lake Macquarie City Art Gallery, NSW |
| 2004 | Frank Saxby
Acquisitions,
Manning Regional Art Gallery, Taree, NSW |
| Tidal, Devonport Regional Gallery, TAS | |
| 2003 | Depth of Field,
Shepparton Art Gallery, Shepparton, VIC |
| Depth of Field, Monash University Museum of Art, Melbourne, VIC | |
| Painting Tasmanian Landscape, Plimsoll Gallery, University of Tasmania, Hobart, TAS | |
| 2002 | Extreme Landscapes (with Philip Hughes), Sherman Galleries Hargrave, Sydney, NSW |
| 2001 |
Redlands
Westpac Art Prize,
(first prize), Mosman Art Gallery, Sydney, NSW |
| Five Painters, Sherman Galleries Goodhope, Sydney, NSWAspects of Tasmanian Art, Queen Victoria Museum and Art Gallery at Inveresk, Launceston, TAS | |
| Aspects of Tasmanian Art, Queen Victoria Museum and Art Gallery at Inveresk, Launceston | |
| Between Phenomena - The Panorama in Tasmania, Plimsoll Gallery, Hobart, TAS | |
| Poets and Painters, Bett Gallery Hobart, Hobart, TAS | |
| 2000 |
Through the
Landscape,
Queen Victoria Museum & Art Gallery, Launceston, TAS |
| Uncommon World: Aspects of Contemporary Australian Art, National Gallery of Australia, Canberra, ACT | |
| 1999 | distance, Sherman Galleries Hargrave, Sydney,NSW |
| 1998 |
1998
Redlands Westpac Art Prize,
Sydney, NSW |
| Contemporary Australian Art from the Tamar Collection, Queen Victoria Museum & Art Gallery, Launceston, TAS | |
| Leading the Way: 1997–98 Acquisitions Exhibition, Newcastle Region Art Gallery, NSW | |
| 1997 |
Australian
Perspecta: Between Art and Nature,
Temple
of Earth Memories, S.H. Ervin Gallery,
Sydney, NSW |
| Moët & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane; national tour | |
| ANON, Sherman Galleries Goodhope, Sydney, NSW | |
| Site and Sensibility: A Selection from the Artbank Collection, S.H. Ervin Gallery, Sydney, NSW | |
| The Horizon Line, King Street Gallery, Sydney, NSW | |
| 1996–98 | Flagging the Republic, Sherman Galleries Goodhope, Sydney; regional gallery tour |
| 1996 |
Moët & Chandon
Touring Exhibition, National Gallery of Victoria, Melbourne; national tour |
| 1995-96 | Blundstone Contemporary Art Award, Queen Victoria Museum & Art Gallery, Launceston, TAS; Penrith Regional Art Gallery, NSW; Waverley City Gallery, Melbourne, VIC |
| 1995 |
The Artist's
Garden,
National Gallery of Australia, Canberra, ACT |
| Windows on Australia I, Australian Embassy, Tokyo, Japan | |
| Figure/Ground, Dick Bett Gallery, Hobart, TAS | |
| Salon des Refusés, S.H. Ervin Gallery, Sydney, NSW | |
| Storehouse, Long Gallery, Salamanca Place, Hobart, TAS | |
| Hidden Treasures; Art in Corporate Collections, S.H. Ervin Gallery, Sydney, NSW | |
| Group Show, Sherman Galleries Goodhope, Sydney, NSW | |
| 1994 |
Salon des Refusés,
S.H. Ervin Gallery, Sydney, NSW |
| Rommix, ROM Gallery, Sydney, NSW | |
| 1992 |
Festival of
Fisher’s Ghost Award,
(first prize), Campbelltown City Art Gallery, NSW |
| Seven, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney, NSW | |
| Salon des Refusés, S.H. Ervin Gallery, Sydney, NSW | |
| 1991 | Microcosm, Garry Anderson Gallery, Sydney, NSW |
| 1989 |
The October Show,
Queen Victoria Museum & Art Gallery, Launceston, TAS |
| Genius Loci: Spirit of Place, Plimsoll Gallery, Hobart; RMIT, Melbourne, VIC | |
| 1988 |
Thinly Veiled
Threats,
Chameleon Contemporary Art Space,
Hobart,
TAS |
| 12th International Print Biennale, Biuro Wystaw Artystycznych, Cracow, Poland | |
| Fragments of False Houses, Pomeroy Purdy Gallery, London, UK | |
|
Commissions, Grants and Prizes |
|
| 2007 | Winner, Wynne Prize, Art Gallery of NSW, Sydney, NSW |
| 2001 |
Winner, Redlands Westpac Art Prize, Sydney, NSW |
| Awarded the Centenary Medal, for contribution made to the Arts | |
| 1998 | Commonwealth Law Courts, Melbourne, VIC |
| 1997 | Royal Women’s Hospital, Sydney, NSW |
| 1996 | Illuminations, Australia Council, VACB Project Grant |
| 1995 | Sydney Grammar School Fellowship in Art, Sydney, NSW |
| 1993 |
Elevations, Australia Council, VACB Project Grant |
| 1990 | Art for Public Buildings Scheme, Tasmanian Arts Advisory Board, Hobart Project for Murray High School, Unknown Landscapes, Queenstown, TAS |
|
Collections |
|
|
National Gallery of Australia, Canberra |
|
| Parliament House Art Collection, Canberra | |
| Art Gallery of South Australia, Adelaide | |
| Art Gallery of New South Wales, Sydney | |
| National Gallery of Victoria, Melbourne | |
| TarraWarra Museum of Art, Victoria | |
| Queen Victoria Museum and Art Gallery, Launceston | |
| Tasmanian Museum and Art Gallery, Hobart | |
| Campbelltown City Bicentennial Art Gallery, NSW | |
| Devonport Gallery & Arts Centre, TAS | |
| Newcastle Region Art Gallery, Newcastle | |
| Powerhouse Museum, Sydney | |
| Castlemaine Art Gallery, Victoria | |
| New England Regional Art Museum | |
| University of Tasmania, Hobart | |
| University of Technology, Sydney | |
| Muzeum Narodowe W Warsawie, Poland | |
| Artbank | |
| Derwent Collection, TAS | |
| Esk Collection, TAS | |
| Macquarie Bank, Sydney, Melbourne and London | |
| Pat Corrigan Collection, Australia | |
| Sydney Grammar School, Sydney | |
| Private Collections Australia, New Zealand, Japan, UK, Canada and USA | |
|
Selected Bibliography |
|
| Miriam Kelly, Philip Wolfhagen Autumn equinox; the loss of the sun, Artonview, Issue 61 Autumn 2010, National Gallery of Australia | |
| Christopher Allen, ‘The Big Picture’, The Weekend Australian, May 1-2, 2010 | |
| Christopher Heathcote, Patrick McCaughey, Sarah Thomas, Encounters with Australian Modern Art, Hermann Editeurs, Paris France, 2008 | |
| Peter Timms, Gatecrashing the sublime, Artlink Vol 28 No 2, 2008 | |
| John McDonald, Studio: Australian Painters on the Nature of Creativity, R. Ian Lloyd Productions. 2007 | |
| Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986-2006, Craftsman House, Melbourne, 2006 | |
| Anne Gray. ‘Australia and Constable’, catalogue essay, Constable: Impressions of Land Sea and Sky, NGA, March 2006 | |
| Peter Timms, Philip Wolfhagen (a Tasmanian Monograph presented through Arts Tasmania), Craftsman House, Melbourne 2005 | |
| Malcolm Bywaters, Rhapsody 21C: Tasmanian Contemporary Art, exhibition catalogue, Academy Gallery, University of Tasmania, 2 – 27 May 2005 | |
| Gillian Serisier, ‘The art of collectives’, Australian Art Market Report, no. 14, December 2004 – February 2005, pp.30–32 | |
| ‘Philip Wolfhagen’, Artlink, vol.24, no.3, 2004, p.93 | |
| Terry Ingram, 'Feeding feeding at show’, Saleroom, Australian Financial Review, 12 August 2004, p.20 | |
| David Hansen, 'Philip Wolfhagen', Art & Australia , vol.42, no.1, spring 2004, pp.90–95 | |
| Maria Rae, ‘Gallery director in love with history’, Examiner News, 12 June 2004, p.? | |
| Philip Wolfhagen, Noctiluca, artist’s statement, Bett Gallery Hobart, May–June 2004 | |
| Laura Murray Cree, ‘Beauty and hidden agendas’, State of the Arts, July–September 2003, pp.80–82 | |
| Susan McCulloch, ‘An earthy masterpiece’, Weekend Australian, 19–20 April 2003 | |
| Bridget Arkless, Philip Wolfhagen: Archipelago, exhibition catalogue, Queen Victoria Museum and Art Gallery at Inveresk, February 2003 | |
| Benjamin Genocchio, ‘Residues of space’, Weekend Australian, 29–30 June 2002 | |
| Michael Hutak, ‘Australia’s 50 Most Collectable Artists’, Australian Art Collector, issue 15, 2001 | |
| Dinah Dysart & Jackie Dunn, Artbank: Australian Art in Public Places, Artbank, 2001 | |
| Robert Nelson, ‘The “death of painting” a little premature’, Age, 22 September 2001 | |
| Peter Clarke, ‘Picture perfect’, Country Style, June 2001 | |
| Georgia Warner, ‘Critics put Tassie artist in elite club’, Mercury, 16 January 2001 | |
| Deborah Hart, ‘Uncommon world’, artonview, issue 23, spring 2000 | |
| Bruce Roberts, ‘A fish-like boat in a water-like landscape’, Island magazine, winter 2000 | |
| Laura Murray Cree & Nevill Drury (eds), Australian Painting Now, Craftsman House, Sydney, 1999 | |
| ‘Waxing lyrical in Tasmania’, Australian Art Collector, issue 8, April–June 1999, pp.24, 26 | |
| Susan McCulloch, ‘Guy Abrahams: Dealer in optimism’ Australian Art Collector, issue 7, 1999 | |
| Joanna Mendelssohn, ‘Liquid landscapes from the island state’, Australian, 12 June 1998 | |
| Nevill Drury, Surface Tension, catalogue essay, Sherman Galleries, Sydney, 1998 | |
| Deborah Hart, ‘Temple of Earth Memories’, catalogue essay, Australian Perspecta: Between Art and Nature, 1997 | |
| Sebastian Smee, ‘180 degrees of separation’, Metro, Sydney Morning Herald, 20–26 June 1997 | |
| Victoria Hammond, 'Landscape and memory in Tasmania', Art & Australia, vol 34, no.2, summer 1996, pp.210–219 | |
| Victoria Hammond, 'Painting the spirit of place', 40° South, no.5, December 1996 | |
| Giles Auty, 'Southern sojourn', Australian, 26–27 October 1996 | |
| John McDonald, 'Becoming what one is', Sydney Morning Herald, 26 October 1996 | |
| Amanda Meade, 'It starts with a message', Australian, 18 October 1996 | |
| John McDonald, 'Peaks of inspiration', Sydney Morning Herald, 4 May 1996 | |
| Colin Simpson, 'Challenging winners – to corner cutters', Bulletin, 27 February 1996 | |
| Marie Geissler, ‘Banking on art’, Qantas Club Magazine, February 1996, pp.40–43 | |
| Giles Auty, 'Sparkle of sweet success', Australian, 17–18 February 1996 | |
|
Victoria Hammond, Brushing the Dark, exhibition catalogue, Contemporary Art Services Tasmania, touring exhibition, January 1996 |
|
| David Hansen, 'My dog, your car, our art collection', Art Monthly Australia, July 1995 | |
| Bronwyn Watson, 'Treasures from the corporate world', Sydney Morning Herald, 3 January 1995 | |
| Felicity Fenner, 'Sublime horizons', Sydney Morning Herald, 8 July 1994 | |
| Courtney Kidd, 'Landscape as metaphor in the art of Philip Wolfhagen', Contemporary Art Tasmania Magazine, issue no.5, 1994 | |
| Richard Stanford, 'Heightening the senses', Elevations, catalogue essay, Devonport Gallery and Arts Centre, September 1993 | |
| Christopher Allen, 'Seven at Ivan Dougherty Gallery', Asian Art News, September–October 1992 | |
| Nick Waterlow, Seven, exhibition catalogue, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney, 1992 | |
| Jacques Delaruelle, 'Small is beautiful', Sydney Review, January–February 1992 | |
| Jacques Delaruelle, 'In search of the modern soul', Sydney Review, November 1991 | |
| Elwyn Lynn, 'Into the landscape of space exploration', Weekend Australian, 12–13 October 1991 | |
| Elwyn Lynn, 'Idol worship at the altar of abstraction', Weekend Australian, 27–28 October 1990 | |
| David McDowell, 'Hobart: Philip Wolfhagen at Salamanca Place Gallery', Art & Text, no.36, 1990 | |
| Nick Waterlow, Genius Loci: Spirit of Place, exhibition catalogue, Centre for the Arts, University of Tasmania, Hobart, 1989 | |
|
go to | Philip's page | Port Phillip Collection (members only) | Valley Collection (members only) |
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