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| Fiona Foley |
| ( Australia ) |
Born 20 March 1964
Artist, activist, curator and writer, Fiona Foley stands at the forefront of cultural-political discourse in Australia. Standing witness to a history of trauma, invasion and dispossession, her sculptural installations and photographs are sometimes angry, sometimes satirical, often humorous, always political. A descendant of the Badtjala people who were forcibly removed from the island of Thoorgine (Fraser Island) at the turn of the twentieth century, Foley engages fearlessly with the reclaiming of historical narratives, and of the land itself
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Fiona Foley
| Individual Shows |
| 2008 |
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Sea of Love, Andrew Baker Art Dealer, Brisbane |
| 2007 |
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No Shades of White, The Kluge-Ruhe Aboriginal Art Collection, The University of Virginia, Charlottesville, Virginia, USA |
| 2006 |
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Strange Fruit, October Gallery, London |
| 2006 |
| Red Ochre Me, Casula Powerhouse Arts Centre, Sydney |
| 2005 |
| No Shades of White, Andrew Baker Art Dealer, Brisbane. |
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| Habitus–Habitat, Hervey Bay Regional Gallery, Queensland |
| 2004 |
| Bring It On a.k.a. HHH, International Studio and Curatorial Program (ISCP), New York, USA |
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Beyond the Sea, Presentation Convent, Carlow, Ireland. |
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| Wandering, Niagara Galleries, Melbourne |
| | | Fiona Foley, Karen Brown Gallery, Darwin |
| 2003 | | Samsara, Andrew Baker Art Dealer, Brisbane |
| | | Red Ochre Me, Queensland College of Art Griffith University, Brisbane |
| 2002 | | Wild Times Call, Roslyn Oxley9 Gallery, Sydney |
| | | Them There Bones, New Land Gallery, Adelaide |
| 2001 |
| Pir’ri-Mangrove, Queensland Art Gallery, Brisbane |
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Falling Tide—Kung Dhu’marami, Redback Art Gallery, Brisbane |
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Fiona Foley, Niagara Gallery, Melbourne, Australia |
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River of Corn, Contemporary Art Museum, University of South Florida, Tampa, USA |
| 2000-02 |
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Invisible Voices, Bundaberg Arts Centre, Bundaberg (touring); Yarrabah Museum; The Tanks,
Cairns |
| 1998 |
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Living With The Wind, Roslyn Oxley9 Gallery, Sydney |
| 1997 |
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Dulingbara—People of the Nautilus Shell, Hervey Bay Regional Gallery |
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Dulingbara—People of the Nautilus Shell, Savode Gallery, Brisbane |
| 1996 |
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Museo de Arte Contemporáneo, Santiago de Chile; Banco BHN, La Paz, Bolivia |
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Wun’Duman, Roslyn Oxley9 Gallery, Sydney |
| 1995 |
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Exotica Under the Microscope, Institute of Modern Art, Brisbane |
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Land Deal—Velvet Waters, Savode Gallery, Brisbane |
| 1994 |
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Fiona Foley, Roslyn Oxley9 Gallery, Sydney |
| 1993 |
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Lick My Black Art, Australian Centre for Contemporary Art, Melbourne. |
| 1992 |
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Roslyn Oxley9 Gallery, Sydney |
| 1991 |
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By Land and Sea I Leave Ephemeral Spirit, Roslyn Oxley9 Gallery, Sydney |
| 1989 |
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A Three Legged Dog Day, Maningrida Arts & Craft, N.T. |
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A Three Legged Dog Day, Roslyn Oxley9 Gallery, Sydney |
| 1988 |
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Roslyn Oxley9 Gallery, Sydney |
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My Fishing Line Is Still In The Ocean, Griffith University, Queensland |
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| Selected Group Shows |
| 2008 |
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Repeat that again!: The serial impulse in art since the ‘sixties, The University of Queensland Art Museum, Brisbane |
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Depth of field: Contemporary photography from The University of Queensland Art Collection, The University of Queensland Art Museum, Brisbane |
| 2007 |
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Global Feminisms: New Directions in Contemporary Art, Brooklyn Museum, New York, USA |
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No Laughing Matter, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA |
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Fifteen Years of Urban Art Projects, QUT Art Museum, Brisbane |
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The Betty Quelhurst Gift, QUT Art Museum, Brisbane |
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Sunshine State: Smart State, Campbelltown Arts Centre, Sydney |
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The Unusual Suspects III, Andrew Baker Art Dealer, Brisbane |
| 2006 |
| Bangu Yilbara: Works from the MCA Collection, Museum of Contemporary Art, Sydney |
| 2004 |
| Cultural Copy, UCLA Fowler Museum of Cultural History, Los Angeles, USA |
| | | Out of Country, Gallery 1601, The Embassy of Australia, Washington DC, USA |
| 2003 |
| The American Effect, Whitney Museum of American Art, New York |
| 2002-05 |
| Native Title Business: Contemporary Indigenous Art, Queensland Museum, Brisbane (touring
Nationally) |
| 2002 |
| The Queensland/Berlin Indigenous Art Exhibition, Ludwig Erhard Haus, Berlin, Germany |
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| Meridian: Focus on contemporary Australian art, Museum of Contemporary Art, Sydney |
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| Far From Home, Andrew Baker Art Dealer, Brisbane |
| 2001 |
| Central Queensland Art Purchase, The Rockhampton Art Gallery Trust |
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| MCA Unpacked, Museum of Contemporary Art, Sydney |
| 2000 |
| Aboriginal Art in Modern Worlds, Hermitage Museum, St Petersburg, Russia; National Gallery of
Australia, Canberra, Australia |
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| Bonheurs des Antipodes, Musée de Picardie, Amiens, France |
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| Echigo-Tsumari Art Triennial, Niigata Prefecture, Japan |
| 1999 |
| Claiming Title, Carleton & St Olaf Colleges, Northfield, Minnesota; Laurence University,
Wisconsin; Samuel Dorswky Museum, SUNY New Paltz, New York, USA |
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| Isintu: Ceremony, Identity and Community, South African National Gallery, Cape Town |
| 1998 |
| Enjoin, Manila, The Philippines |
| 1997 |
| In Place (Out of Time), The Museum of Moden Art, Oxford, U.K. |
| | | Sense, Centre for Contemporary Photography, Melbourne, Whanki Museum, Korea |
| 1996 |
| Containers ‘96, Adelaide Festival of the Arts, Adelaide, Copenhagen, Denmark |
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| The Eye of the Storm, National Gallery of Modern Art, New Delhi, India |
| 1995 |
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Island to Island, Cheju Pre-Biennale, Korea |
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| Palindrome, Xchanges Gallery, Victoria, British Columbia, Canada |
| 1993 |
| Wiyana/Perisferia (Periphery), satellite event of the 9th Biennale of Sydney, Boomalli |
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| Aboriginal Artists Co-operative at the Performance Space, Sydney & New South Wales tour |
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| Dream Time, Vigado Gallery, Budapest, Hungary |
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| Aratjara, Kunstsammlung Nordrhein-Westfalen,Düsseldorf, Germany; Hayward Gallery, London,
UK; Louisiana Art Museum, Humlebæk, Denmark; National Gallery of Victoria, Melbourne |
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| Urban Aboriginal Art, Jan Weiss Gallery, New York |
| 1992 |
| Crossroads—Towards a New Reality, National Museum of Modern Art, Kyoto & National Museum
of Modern Art, Tokyo, Japan |
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| New Traks, Old Land, Massachusetts College of Art, Boston & USA tour |
| 1991 |
| Who’s Sorry Now, Institute of Modern Art, Brisbane |
| Prizes/Awards |
| 2003 | | Gallery Australian Art Competition |
| 1991 | | Lloyd Rees Award for Outstanding Urban Design |
| Collections |
| British Museum, London |
| Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA |
| National Gallery of Australia, Canberra |
| Australian National Museum, Canberra |
| Australian National Maritime Museum, Sydney |
| Parliament House Collection, Canberra |
| Art Gallery of New South Wales, Sydney |
| Art Gallery of South Australia, Adelaide |
| National Gallery of Victoria, Melbourne |
| Queensland Art Gallery, Brisbane |
| Artbank, Sydney |
| The Kluge-Ruhe Aboriginal Art Collection of The University of Virginia, Charlottesville, Virginia, USA |
| Museum of Contemporary Art, Sydney |
| Gold Coast Art Gallery, Bundall |
| Hervey Bay City Council, Queensland |
| Darling Downs Institute of Education, Toowoomba |
| Flinders University Collection, Adelaide |
| Griffith University, Brisbane |
| Queensland University of Technology, Brisbane |
| Grant Samuel Collection of Contemporary Art |
| Robert Holmes a Court Collection, Perth |
| The Macquarie Bank Collection, Sydney |
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| Selected Bibliography |
| 2004 |
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Haebich, Anna. Fiona Foley—Unsafe Sex, Spirit & Vision: Aboriginal Art, Kunst der Gegenwart,
Sammlung Essl, Klosterneuburg/Wien, Austria. |
| 2001 |
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Benjamin Genocchio, Fiona Foley: Solitaire, Piper Press, Sydney, Australia |
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Helen McDonald, Erotic Ambiguities, The Female Nude in Art, Routledge,
London, England |
| 2000 |
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Olu Oguibe, Fiona Foley, Fresh Cream, Phaidon Press |
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