J A N E T L A U R E N C E
BIOGRAPHY
1947 Born, Sydney
1977Ð80 Studied at The University of Sydney; Academia Belle Arte, Perugia; Alexander Mackie College, Sydney
1980 Post Graduate, New York Studio School
1981 Post Graduate Diploma, City Art Institute, Sydney
1993 Master of Fine Art, College of Fine Arts, University of New South Wales
1996Ð2005 Trustee, Art Gallery of New South Wales, Sydney
2009 Currently VAB Australian Council
Lives and works in Sydney
SOLO EXHIBITIONS
2008 Janet Laurence, Arc One Gallery, Melbourne, Victoria
Reflections on a Green World, Dusseldorf Gallery, Perth, W.A
2007 Greenhouse, BildKultur Gallery, Stuttgart, Germany
Botanical Residues/Ischaemic Land, Sherman Galleries, Sydney
Janet Laurence, Wates House, Bartlett School of Architecture, London
2006 Janet Laurence, Arc One Gallery, Melbourne
Janet Laurence, Jan Manton Gallery, Brisbane
Birdsong, Object Gallery, Sydney
Echigo-Tsumari Art Triennial, Japan
2005 Greenhouse, Sherman Galleries, Sydney
Janet Laurence: A Survey Exhibition, ANU Drill Hall Gallery, Canberra
2004 Verdant works, ARC One Gallery, Melbourne
2003 Verdant, Sherman Galleries, Sydney
Elixir, Echigo-Tsumari Triennale, Japan, permanent installation
2002 Ferment, Faculty of Art & Design Gallery, Monash University, Melbourne
Glasshouse, Sherman Galleries Hargrave, Sydney
2001 Veiling Space: Incarnations, Uniting Church, Paddington, Sydney
2000 Transpiration, Sherman Galleries Goodhope, Sydney
Muses, The Ian Potter Museum of Art, The University of Melbourne
1998 Gallery APA, Nagoya, Japan
From the Unfold Series, Michael Milburn Gallery, Brisbane
1997 Unfold, Project Space, Art Gallery of New South Wales
Serbelloni Works, Annandale Galleries, Sydney
1996 States of Matter, Michael Milburn Gallery, Brisbane
Less Stable Elements, University Gallery, Newcastle, NSW
1995 ph series, Anna Schwartz Gallery, Melbourne
1994 Lunami Gallery, Tokyo, Japan
Unfold, Gallery APA, Nagoya Japan
1993 Alchemical Works, Centre for Contemporary Art, Hamilton, New Zealand
Leslie Kreisler Gallery, New Plymouth, New Zealand
Michael Milburn Galley, Brisbane
The Measure of Light, Queensland Art Gallery, Brisbane
Selected Works, Annandale Galleries, Sydney
1992 Claybrooke Gallery, Auckland, New Zealand
City Gallery, Melbourne
1991 Seibu Gallery, Tokyo, Japan
rare, City Gallery, Melbourne
1990 Lunami Gallery, Australia-Japan exchange, Tokyo, Japan
City Gallery, Melbourne
1989 Milburn + Arte, Brisbane
Garry Anderson Gallery, Sydney
Blindspot, Ivan Dougherty Gallery, College of Fine Arts, University of New South
Wales, Sydney
Pier and Ocean, City Gallery, Melbourne
1988 Elsewhere, King Street Gallery Newtown, Sydney
From the Shadow, Canberra School of Art Gallery, Canberra
1987 Garry Anderson Gallery, Sydney
The Blind Spot on an Old Dream of Symmetry, Milburn + Arte, Brisbane
Meiosis, United Artists Gallery, Melbourne
1986 Spells of Origin, Wollongong Regional Gallery, New South Wales
1985 United Artists Gallery, Melbourne
Garry Anderson Gallery, Sydney
Life is Probably Round, Artspace, Sydney
1984 Ice Memory, Avago Gallery, Sydney
1983 Toiana, Adelaide Festival of Arts Gallery, Adelaide
The Madonna in the Stone has a Memory, University Art Gallery, The University of Melbourne, Melbourne
Memories in the Stone, Experimental Art Foundation, Adelaide
1982 Strings for Glass, Brisbane College of Art Gallery, Brisbane
Roslyn Oxley9 Gallery, Sydney
Recollections, Perc Tucker Regional Gallery, Townsville, QLD
1981 Notes from the Shore, I.C.A. Central Street, Sydney
SELECTED GROUP EXHIBITIONS
2008 50X50, Arc One Gallery, Melbourne
HEAT, RMIT University Gallery, Melbourne
Melbourne Art Fair, Victoria
Handle With Care, Adelaide Biennale, Art Gallery of S.A.
Hugo Michelle Gallery, Adelaide
Parallel Universe the Artificial Hand, Arnheim, The Netherlands
Abundant, Australian Pavilion, Venice Biennale, Object Gallery - highlights
Recovering Lives, Drill Hall Gallery, Canbera
2007 Systems of Nature, Lawrence Wilson Gallery, University of W.A.
Tokyo Studio, Plimsoll Gallery, Hobart, Tasmania
2006 We are Australians too, Casula Powerhouse Arts Centre, Sydney
A new focus on contemporary art, Art Gallery of New South Wales, Sydney
New Acquisitions 2006, Museum of Contemporary Art, Sydney
Supermodels, St Margarets Design and Architecture Festival, Sydney
2005 Bleak Epiphanies: An exhibition of small black things, Virginia Wilson Art, Sydney
Memory Station, ARC One, Melbourne
After Nature, Lake Macquarie Regional Gallery, New South Wales
2004 site: [unseen], Sherman Galleries at Depot Gallery, Sydney
2003 McClelland Survey and Award 2003, McClelland Gallery and Sculpture Park, Langwarrin, VIC
2002 2002: The Year in Art, S.H. Ervin Gallery, National Trust Centre, Sydney
O Soul O Spirit O Fire: Celebrating Fifty Years of the Blake Prize for Religious Art, Ivan Dougherty Gallery, College of Fine Arts, UNSW, Sydney
Points of View: Works from the University of Technology Sydney Collection, UTS Gallery, Sydney
Eden & the Apple of Sodom, University of South Australia Art Museum, Adelaide
2001 The Art of Transformation, Metis 2001: Wasted, Exhibitions of Science and Art, National Science Week, National Gallery of Australia, Canberra
Intersections of Art and Science, Ivan Dougherty Gallery, UNSW, Sydney
Art Chicago 2001, Chicago, US
7th NICAF: International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan
2000 Kabbala, Jewish Museum of Melbourne, Melbourne
Land, Orange Regional Gallery, Orange, NSW
1999 Art Chicago 1999, US
Home and Away, Auckland Art Gallery, Auckland, NZ
Pets, Preys and Predators, Mosman Art Gallery and Cultural Centre, Sydney and touring regional Galleries New South Wales.
CinderellaÕs Gems: Art and the Intellectual Missile, touring to Queensland, New South Wales and Victoria
1998 The Infinite Space: Woman, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, The University of Melbourne, Melbourne
Sixth Australian Contemporary Art Fair, Melbourne
1997 Global Art, Carpediem Gallery, Bangkok, Thailand
Australian Perspecta 1997: Between Art and Nature, S.H. Ervin Gallery, National Trust Centre, Sydney
Innenseite, in conjunction with Documenta X, Kassel, Germany
1996Ð97 Spirit and Place, Museum of Contemporary Art, Sydney
1996 Systems End, OXY Gallery, Osaka, Japan; Hakone Open Air Museum, Japan; Dong Ah Gallery, Seoul, Korea;
Shelfworks, Annandale Galleries, Sydney
1995 Hidden Treasures, S.H. Ervin Gallery, National Trust Centre, Sydney
Girls Girls Girls, Annandale Galleries, Sydney, and Orange Regional Gallery, Orange, NSW
Review, WomenÕs Art from the Collection, Art Gallery of New South Wales, Sydney
1994 Going Public, Annandale Galleries, Sydney
100 Years, Ivan Dougherty Gallery, College of Fine Arts, UNSW, Sydney
ARCO Art Fair, Madrid, Spain, with Annandale Galleries, Sydney
From the Observatory, Wollongong Regional Gallery, NSW, touring to Gold Coast and New South Wales regional galleries
1993 Inaugural Dobell Drawing Prize, Art Gallery of New South Wales, Sydney
Works from the Allen, Allen & Hemsley Collection, Westpac Arts Centre, Melbourne
Poetics of Immanence, Ivan Dougherty Gallery, College of Fine Arts, UNSW, touring South Australian regional galleries
1992Ð93 The Boundary Rider, 9th Biennale of Sydney, Bond Stores, Sydney
1992 In Black and White, Tin Sheds Gallery, University of Sydney
Synthesis, Art + Architecture Collaboration, Bond Stores, Sydney
CriticÕs Choice, Macquarie Galleries, Sydney
Margaret Stewart Endowment, National Gallery of Victoria, Melbourne
Above the Lake, Beneath the Sky, Benalla Art Gallery, Benalla, VIC
1991 Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney
Steam, ArtistsÕ Projects for Australian Perspecta 1991, The Coach House, The RockSydney
Primitive concepts: The four elements, Lake Macquarie Regional Gallery, NSW, touring to Maitland and Mussellbrook regional galleries, NSW
1990 Handy Art, Lunami Gallery, Tokyo, Japan
Tokyo Connection, Heineken Village Gallery, Tokyo, Japan
Abstraction, Art Gallery of New South Wales, Sydney
Osmosis, Garry Anderson Gallery, Sydney
1989 Eastern States/Western States, Beach Gallery, Perth
1988 Abstraction by degree, Milburn + Arte, Brisbane
200 Years of Australian Drawing, Australian National University Drill Hall Gallery, Canberra
DirectorÕs Choice, Royal Melbourne Institute of Technology, Melbourne
Intimate Drawing, Coventry Gallery, Sydney
The Great Australian Exhibition, The Bicentennial Travelling Exhibition, NSW
1987 Tutti Frutti, Milan Art Fair, Italy
The Art of Collage, Holdsworth Contemporary Gallery, Sydney
Nature and Technology, Sanctuary Cove, QLD
Abstract, King Street Gallery Newtown, Sydney
1986 Coincidence of Location, First Draft Gallery, Sydney
Vessels of Meaning, Scholarie Arts Council Gallery, New York City, US
Oz Drawing Now, Holdsworth Contemporary Gallery, Sydney
1985 A Contemporary Australian Art, Warwick Arts Trust London, UK
ISOL Ð Australia, Venice, Italy
AUSTRALIANA, Belgrade, Yugoslavia
Australian Perspecta 1985, Art Gallery of New South Wales, Sydney
1984 Surface and Image, Crafts Council Gallery, Sydney, and Lewers Bequest and Penrith Regional Art Gallery, NSW
26 Characters, Fringe Festival, Old Lion Factory, Adelaide
1983 S.C.H.E.M.A. Gallery, Florence, Italy
1982 ZONA Australia, Florence, Italy
1981 Students Gallery (now Mori Gallery), Sydney
MEDIA
2005 The Life World, a film by Richard Mordaunt, Coolamon Films, ABC Television
2004 ABC TV, In Conversation: Janet Laurence, Sunday Afternoon, 20 June,
2.50 pm, interviewed by Andrew Mackenzie
2000 ABC Radio National, Janet Laurence in conversation with Robin Williams, 10 August
ABC TV, Setting the Stage, a film on the Homebush Bay Artworks, Richard Mordaunt, Coolamon Films
ABC TV, Janet Laurence: Muses the Artist in the museum, The Ian Potter Museum of Art, The Arts Show, Monday 13 August
ABC TV, In Conversation: Janet Laurence, Andrea Stretton, 10 August
1994 Faces of the Museum, Museum of Sydney, Sydney, film, April
1994 ABC TV, Tomb of the Unknown Soldier, The Arts Review
1993 Tomb of the Unknown Soldier, ABC Review, Canberra, November
Synthesis: Artist/architect collaboration, SBS Eat Carpet, August
1983 Deakin University, video, August
AWARDS
1999 NAWIC Award for Art in the Built Environment (for 49 Veils)
1996 The Alice Art Prize
1995 The Royal Australian Institute of Architects ÔLloyd Rees Award for Urban DesignÕ for First Government House Place, Sydney, in collaboration with Fiona Foley and Denton Corker Marshall Architects
1994 The Kedumba Drawing Award, NSW
1991 Perc Tucker Gallery Invitation Prize, Townsville, QLD
1988 Newcastle Invitation Purchase Painting, NSW
1987 Maitland Painting Prize, NSW
Lake Macquarie Art Prize, NSW
Pring Prize, Art Gallery of New South Wales, Sydney
1986 WoollahraÐWaverley Art Prize, Sydney
1985 Camden Painting Prize, NSW
1984 Campbelltown Drawing Purchase, NSW
1982 Gold Coast City Art Purchase Award, QLD
Women in the Arts Painting Prize, Sydney
PROJECTS
2006 The Artificial Land, International Exchange Program, Hogeschool voor de Kunsten (HKU) and the Aboriginal
Art Museum, Utrecht, The Netherlands
PUBLIC COMMISSIONS
2008 The Sound of Green, Department of Forestry, ACT
2007 The Memory of Lived Spaces, Changi T3 Airport Terminal, Singapore
2006 Waterveil, CH2 Building for Melbourne City Council
2004 Verdant Veil, Changi Airport, Singapore
2003 The Breath We Share, The Sidney Myer Commemorative Sculpture,
Australian War Memorial, Hyde Park, London, in collaboration with Tonkin Zulaikha Greer Architects,
Elixir, permanent installation for Echigo-Tsumari Art Triennial, Japan
The Green Between, Promenade Hotel, Melbourne
2002 Translucidus, commission for Qantas Lounge, Sydney International Airport
2001 Ciphers: Stations of the Cross, artwork for the Australian Catholic University Chapel, Melbourne, collaboration with Julie Rrap
2000 Stilled Lives, collection showcases, permanent display, Melbourne Museum, Carlton Gardens, Victoria
In the Shadow, Olympic Park, Homebush Bay, Sydney
1999 Picture the Dark Face of the River, Department of Environment, Canberra
Veil of Trees, Sydney Sculpture Walk, Art Gallery Road, The Domain, Sydney, collaboration with Jisuk Han
1998 49 Veils, windows for the Central Synagogue, Bondi, collaboration with Jisuk Han
1997 Australian Exhibition Space, Olympic Museum, Lausanne, Switzerland, collaboration with Jisuk Han
1995 Chronicle IÐIV, Herald and Weekly Times Building, Southbank, Melbourne
1994 Edge of the Trees, Museum of Sydney, sculptural installation, collaboration with Fiona Foley
1993 Tomb of the Unknown Soldier, Canberra, collaboration with Tonkin Zulaikha Architects
1992 Itoki Building, The Ginza, Tokyo, Japan
1987 MND Scientific Research Laboratories, Sydney
RESIDENCIES AND GRANTS
2008 Visiting Fellow COFA University of NSW
2006 Churchill Fellowship
2003 Visual Arts/Crafts Board New Work Grant
2002 Visiting Fellow, Queensland College of Art, Queensland University
Artist-in-residence, Monash University, Faculty of Art and Design
2000 McGeorge Fellowship, The University of Melbourne
1997 Rockefeller Foundation (residency), Bellagio, Italy
1996Ð98 Australia Council two-year Fellowship
1996 Newcastle University Artist-in-residence
1992 Visual Arts/Craft Board Fellowship Grant
1989 Artist Development Grant, Visual Arts/Craft Board
1988 Studio Grant, Tokyo, Japan
Canberra School of Art (residency), ACT
1987 Canberra School of Art (residency), ACT
Visual Arts Board Project Grant
Visual Arts Board Travel Grant, Paretaio, Italy
Bennington College (residency), Vermont, US
COLLECTIONS
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Queensland Art Gallery, Brisbane
Australian War Memorial, Canberra
Commonwealth Law Court, Brisbane
Supreme Court of Queensland, Brisbane
New Parliament House Collection, Canberra
Griffith University Collection, Brisbane
Lincoln Institute, Victoria
QCA University, Brisbane
University of New England, Northern Rivers, New South Wales
University of Newcastle, New South Wales
University of New South Wales, Sydney
University of Southern Queensland, Toowoomba Campus
University of Technology, Sydney
University of Western Australia, Perth
The Kedumba Blue Mountains Grammar School, New South Wales
Campbelltown Regional Gallery, New South Wales
Gold Coast Regional Gallery, Queensland
Lake Macquarie Regional Gallery, New South Wales
Muswellbrook Regional Gallery, New South Wales
Newcastle Regional Art Gallery, New South Wales
New England Regional Art Museum, New South Wales
Artbank Australia Collection
Faber-Castell Collection Australia
Herald and Weekly Times, Melbourne
Macquarie Bank Collection, Melbourne
Chartwell Collection, Auckland, New Zealand
APA Collection, Nagoya, Japan
Itoki Collection, Tokyo, Japan
S.C.H.E.M.A. Collection, Florence, Italy
Seibu Collection, Tokyo, Japan
World Bank Collection, Washington
Private collections worldwide
SELECTED BIBLIOGRAPHY
Books
Armstrong, Helen, Shifting meaning: Multicultural SydneyÕs public realm, in City Mossop, Elizabeth & Walton P. (eds), Spaces, Art and Design, Craftsman House, Sydney, 2001.
Bingham-Hall, Patrick, Olympic Architecture Building Sydney 2000, The Watermark Press, Sydney, 1999.
Dysart, Dinah (ed.), Edge of the Trees: A Sculptural Installation by Janet Laurence and Fiona Foley, Historic Houses Trust of New South Wales, Sydney, 2000.
Emmett, Peter, Janet Laurence, Craftsman House, Sydney, 1988.
Geczy, Adam & Genocchio, Benjamin (eds), What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, 2001.
Heathcote, Christopher, McCaughey, Patrick & Thomas, Sarah, Encounters with Australian Modern Art, Macmillan Art Publishing, Victoria, 2008
Johnson, Chris & Bingham-Hall, Patrick, Celebrating Sydney 2000: 100 Legacies, Pesaro Publishing, Australia, 2000.
Kirby, Sandra, Sightlines: Women Art and Feminist Perspectives in Australia, Craftsman House, Sydney, 1992.
Kronenberg, Simeon, Fugitive realities: Towards the construction of a glasshouse, Janet Laurence: Glasshouse, Sherman Galleries, Sydney, 2001.
Mcintyre, Arthur, Contemporary Australian Drawing, Boolarong Publications, Brisbane, 1988.
Maloon, Terence, Janet Laurence: Periodic Table Works, Potstill Press, Sydney, 1994.
Meskimmon, Marsha, Women Making History, Subjectivity, Aesthetics, Routledge, London & New York, 2003.
Murray Cree, Laura, Awesome! Australian Art for Contemporary Kids, Craftsman House, Sydney, 2002.
Rendell, Jane, Art to Architecture: A Place Between, IB Tauris, London & New York, 2005.
Tawa, Michael, 49 Veils: Windows in the New Central Synagogue, Central Synagogue, Waste Publishing, Sydney, 1998.
EXHIBITION CATALOGUES (listed in chronological order)
Judith Blackall, ÔThe essential remainsÕ, Toiana, Adelaide Festival of the Arts Gallery, Adelaide, June 1983.
Author?, ÔTitleÕ, The Madonna in the Stone has a Memory, University Art Gallery, The University of Melbourne, 1983.
Peter Emmett, ÔSurface and imageÕ, Surface and Image, Crafts Council Gallery, Sydney, and Lewers Bequest and Penrith Regional Art Gallery, New South Wales, March 1984.
Stephanie Britton, Ô26 CharactersÕ, 26 Characters, The Fringe Centre, Adelaide Festival, Adelaide, March 1984.
John Macdonald, ÔLife is probably roundÕ, Life is Probably Round, Artspace, Sydney, April 1985.
Ursula Prunster, ÔSouvenirs from the maidens of ThraceÕ, Perspecta Survey of Contemporary Art, Art Gallery of New South Wales, Sydney, November 1985.
Peter Haynes, ÔFrom the shadowÕ, From the Shadow, Canberra School of Art Gallery, Canberra, October 1988.
Terence Maloon, ÔMeiosisÕ, Meiosis, United Artists Gallery, Melbourne, October 1988.
Fay Brauer, ÔThe language of installation: Janet LaurenceÕ, Blindspot, Ivan Dougherty Gallery, University of New South Wales, Sydney, April 1989.
Victoria Lynn, ÔAbstractionÕ, Abstraction, Art Gallery of New South Wales, Sydney, May 1990.
Euan Macdonald, ÔOsmosisÕ, Osmosis, Garry Anderson Gallery, Sydney, July 1990.
Anthony Bond, ÔJanet LaurenceÕ, Janet Laurence, Seibu Gallery, Tokyo, January 1991.
Janet Laurence, ArtistÕs statement, Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney, August 1991.
Janet Laurence, ArtistÕs statement, Primitive Concepts: The Four Elements, Lake Macquarie City Art Gallery, Aug 1991.
Brigitte Carcenac, Steam: ArtistsÕ Projects for Australian Perspecta 1991, Art Gallery of NSW Sydney, Aug 1991.
Bill Seaman, ÔLines of thoughtÕ, Janet Laurence: The Measure of Light, Queensland Art Gallery, Brisbane, JulyÐAug 1993.
Anna Johnson, ÔThe unconscious and the molecularÕ, Anna Schwartz Gallery Melbourne, October 1995.
Susan Best, ÔUnfoldingÕ, Unfold, Level 2, AGNSW Contemporary Projects, Sydney, 1997.
Deborah Hart, ÔTemple of earth memoriesÕ, Australian Perspecta 1997: Between Art and Nature, S.H. Ervin Gallery, National Trust Centre, Sydney, 1997.
Hamdi el Attar, Innenseite (in conjunction with Documenta X), Kassel, Germany, June 1997.
Rachel Kent, ÔMinimalism past and presentÕ, The Infinite Space: Women, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, The University of Melbourne, 1998.
Rachel Kent, ÔMuses Ð Janet Laurence: Artist in the museumÕ, The Ian Potter Museum of Art, The University of Melbourne, June 2000.
Rachel Kent, Janet Laurence: Transpiration, Transpiration, Sherman Galleries, Sydney, 25 August 2000.
Deborah Hart, The art of transformation, Metis 2001: Wasted, Exhibitions of Science and Art, National Gallery of Australia, Canberra, May 2001.
Janet Laurence & Rod Pattenden, Veiling Space, Eastside Arts, Sydney, 2001.
George Alexander, Janet Laurence and the unquiet museum, Eden & the Apple of Sodom, University of South Australia Art Museum, Adelaide, March 2002.
Adrian Parr, Ferment: Janet Laurence, Ferment, Faculty of Art & Design Gallery, Monash University, Melbourne, September 2002.
Sally Couacaud, Janet Laurence: The glasshouse effect, Janet Laurence, Sherman Galleries, Sydney, 2005.
Rachel Kent, Changing topographies: The environmental art of Janet Laurence, ANU Drill Hall Gallery, Canberra, 19 August Ð 21 September 2005.
Michael Tawa, Verdant green, ANU Drill Hall Gallery, Canberra, 19 August Ð 21 September 2005.
Candice Bruce, Silent spring: The visual art of Janet Laurence, Greenhouse, Jan Manton Gallery, Brisbane, 2006.
Victoria Lynn, Handle With Care, Adelaide Biennale Catalogue, 2008.
ARTICLES/REVIEWS (listed in chronological order)
Ashton Fischer, New Horizons, Pol Magazine, May 1981.
Susanna Short, The ebb and flow of painting by numbers, Sydney Morning Herald, December 1981.
Neville Weston, In the galleries: Adelaide, Advertiser, June 1983.
Pamela Zepplin, Interview with Janet Laurence, CAS Magazine, Adelaide, November 1983.
Illustration, Domus, no. 640, June 1984.
Illustration, Domus, no. 644, November 1984.
Terence Maloon, Scattered pieces come together, Sydney Morning Herald, April 1985.
J. Fischer, Paraphrases of emergent meanings, S.E.L.F., May 1985.
Pierre Restany, Domus Australian Magazine, July 1985.
B. O. Achilles & J. Isol Blackall, Domus Australian Magazine, July 1985.
M. Spens, At the Warwick Arts Trust, Studio International, September 1985.
Jacques Delaruelle, Janet Laurence at Artspace, Art Press, Paris, September 1985.
Elizabeth Cross, Life is probably round, Art Network, October 1985.
Judith Blackall, Australiana Belgrade, Yugoslavia, October 1985.
Terence Maloon, Landscapes emit a hum of energy, Sydney Morning Herald, 6 November 1985.
M. Stewart, Creative symbiosis, Good Weekend, Sydney Morning Herald, April 1986.
C. Moore, The darker side of the great divide, Sydney Morning Herald, April 1987.
M. Stewart, Playing down the line, Express, April 1987.
Fay Brauer, From the one into the other, Art Monthly, July 1987.
John Macdonald, Hold for VDT training, Artscribe, September 1987.
P. Woodcock, Boomtime for Dreamtime, Courier Mail, Brisbane, October 1987.
Gary Catalano, The ordinary among the extraordinary, Age, Melbourne, November 1987, p. 14.
Sonia Barron, A total experience, Canberra Times, October 1988.
Christopher Allen, Opening the pores to the riches of nature, Sydney Morning Herald, April 1989.
Elwyn Lynn, Surviving the sisterhood, Australian, April 1989.
Jacques Delaruelle, On a few mindscapes, Sydney Review, May 1989.
Christopher Allen, Art and nature, Art Monthly, May 1989.
Peter Haynes, Impressions: Janet Laurence, Art and Australia, vol. 26, no. 4, winter 1989, pp. 607Ð09.
Arthur Mcintyre, Janet Laurence gets order out of chaos, Age, Melbourne, June 1989.
Gary Catalano, The primal world of paper in LaurenceÕs art, Age, Melbourne, July 1989.
Virginia Milson, Artists in the forest, Art Monthly, no. 22, July 1989, p. 1.
Christopher Heathcote, Commentaries, Art Monthly, August 1989.
E. Butel, Natural order, Vogue Living, June 1990.
Reproduction abstraction, GhÐMagazine, June 1990.
Reproduction observations, GhÐMagazine, July 1990.
Diane Losche, Osmosis and irony, Art Monthly, October 1990.
P. Fray, Reverse call to middle Australia, Sydney Morning Herald, 1991.
Christopher Heathcote, An artistÕs work can vary with time, Age, Melbourne, June 1991.
Mark Pennings, Rare Janet Laurence, Agenda, September 1991
D. Jones-Evans, Art/architecture exhibitions, Architecture in Australia,
B. Ludeman, They will call butter yellow, Eyeline, October 1991.
Jenny Towndrow, Synthesis, Architecture Bulletin, December 1992.
Christopher Heathcote, Poetic works that bypass new theories, Age, Melbourne, 1992.
D. Jones-Evans, Synthesis, Architecture in Australia, January 1993.
Nicholas Baume, Synthetic syntheses: Collaborations between artists and architects, Art and Australia, vol. 30, no. 3, autumn, 1993, pp. 326Ð28.
Anne Lim, A resting place awaits the Unknown Soldier, Australian, November 1993.
S. Smith, Janet LaurenceÕs dynamic, Courier Mail, Brisbane, August 1993.
Terence Maloon, The alchemy of Janet Laurence, Art and Australia, vol. 31, no. 4, Winter 1994, pp. 500Ð05.
Andrew Nimmo, Art in the public realm: Edge of the Trees, Art Monthly, 1994.
B. Watson, Building on rare harmony, Sydney Morning Herald, 28 June 1994.
G. Nalder, Matter and surface in Janet LaurenceÕs installation, Eyeline, no. 25, Spring 1994.
Robert Nelson, Science, art and fridge magnets, Age, Melbourne, 20 October 1994.
Philip Kent, Opening the tomb: Tomb of the Unknown Soldier, Photofile, November 1994.
John Macdonald, Sculpture gives edge to reconciliation, Sydney Morning Herald, 31 January 1995.
Jenny Towndrow, Public art and architecture, Sydney Review, May 1995.
Anne Susskind, A path through a forest of pillars, Sydney Morning Herald, 3 July 1995.
Andrew Nimmo, The Edge of the Trees, Architecture Bulletin, September 1995.
Nicholas Thomas, From Phillip to Phillip Street, Art and Australia, vol. 33, no. 1, spring 1995, pp. 38Ð39.
Philip Kent & Caroline Butler-Bowden, Servants of the site, Architecture of Australia, September Ð October 1995.
Benjamin Genocchio, The Edge of the Trees, Agenda, October 1995.
M. Rumbold, Alumni success in the art world, Alumni Papers, University of New South Wales, Sydney.
A. Craig, Janet Laurence, Monument, no.12, 1996.
Graham Foreman, Australian Speakers: Janet Laurence, Monument, issue12, 1996.
Michael Ostwold, (Re)-membering Janet LaurenceÕs work, Transition, University of Newcastle, NSW, 1997.
Anne Susskind, Windows of enlightenment, Sydney Morning Herald, 1997.
L. Stanford, Enlightened memories, Sydney Morning Herald, 1997.
Alex Selenitch, Memory matter, Ume Magazine, April 1997.
Sebastian Smee, Hang 10 Ð SydneyÕs best art, Sydney Morning Herald, June 1997.
Sebastian Smee, Cool for catalysts, Metro, Sydney Morning Herald, July 1997.
Benjamin Genocchio, Postcards from the edge, Third Text, July 1997.
Anne Susskind, Cast in stone, a memorial to lost treasures, Sydney Morning Herald, 28 August 1997.
Sebastian Smee, Merit and madness in the big ticket items, Financial Review, October 1997.
Sue Best, The Nature of Things, Realtime, 20 August 1997.
Wayne Tunnicliffe, Janet Laurence: Unfold, Look 23, Art Gallery of New South Wales, Sydney, October 1997.
Paul McGillick, Unfold, Monument, 21 November 1997.
Angela Bennie, $7.5M Public Art Program to liven up Games sites, Sydney Morning Herald, 9 December 1997.
M. Kearney, Collaborations of artists and architect, Architecture Bulletin, March 1998.
Bruce James, Sculptured windows, Sydney Morning Herald, 7 July 1998.
P. Barker, Raw silk, Sydney Morning Herald, 16 July 1998.
Jennifer Taylor, Modern workshop, Architecture Australia, JulyÐAugust 1998.
Bruce James, Work in progress, The Gallerie, Sydney Morning Herald, 11 August 1998.
Anne Susskind, Creating a bridge over troubled water, Sydney Morning Herald, 1998.
Courtney Kidd, Public art in Sydney: Olympian heights or more of the same?, Artlink, vol. 18, no. 2, 1998.
Peter Ward, Out of the ashes, Australian, 21 August 1998.
D. Clark, Act of faith, Belle Corporate Design, SpringÐSummer 1998.
J. Hare Constructive behaviour, Vive, Spring 1998.
Peter Ward, A touch of glass, Design and Architecture, October 1998.
Paul McGillick, Prize and prejudice, Elle, March 1999, pp. 94Ð97.
Russell Millard, Lightning visit worth $40,000, Advertiser, 29 March, 1999.
Visy Board Art Prize, The Leader, 31 March 1999.
Adam Dutkiewicz, Democratic success, Advertiser, 14 April 1999.
Anne Susskind, Private places, public spaces, Bulletin, 4 May 1999, pp. 114Ð16.
Anne Susskind, Boulevard of brokered dreams, Australian Magazine, 19Ð20 June, 1999, pp. 18Ð25.
Sebastian Smee, You call that art?, Sydney Morning Herald, 26 June1999, pp. 1, 4.
Tempe McGowan, 3 Australian Women exploring the landscape, Sculpture (United States), Sept 1999, pp. 38Ð43.
Robin Usher, The stuffed that dreams are made of, Age, Melbourne, August 1999.
Paul McGillick, Material matters: The art of Janet Laurence, Monument, December 1999 Ð January 2000, pp.72Ð75.
Rosanna De Lisle, Heart of glass, Belle, AprilÐMay 2000, pp.119Ð123.
J. Wright, Heart of glass, Belle, April 2000, pp. 118Ð23.
Animal instinct, Review, Age, Melbourne, 29 June 2000.
Museum through the looking glass, Sunday Age, Melbourne, 2000.
Tempe McGowan, Public art and the Sydney Olympics, Sculpture (United States), JulyÐAugust 2000, pp. 44Ð49.
Susan Best, Immersion and distraction: The environmental works of Janet Laurence, Art and Australia, vol. 38, no. 1, Spring, 2000, pp. 84Ð91.
Colin Martin, (Review of Ian Potter Museum exh), The Lancet, UK, 2000.
Courtney Kidd, Shop affront, Sydney Morning Herald, 21 March 2001.
Felicity Fenner, Report from Sydney II: Ground work, Art in America, no. 5, May 2001.
Elizabeth Farrelly, From foyer to forest: A sensual experience, Sydney Morning Herald, 17 July 2001.
Anne Loxley, Foiled in the search for spirituality, Sydney Morning Herald, 19 November 2001.
Victoria Hynes, Holy grails, Metro, Sydney Morning Herald, 14Ð20 December 2001.
John Macdonald, Off the wall, Sydney Morning Herald, 16Ð17 February 2002.
Adrian Parr, Veiling space, Architectural Review, Autumn 2002.
Anthony Bond, Eclecticism: Through the distorting lens of distance, Points of View: University of Technology Sydney Art Collection, UTS, Sydney, 2002, pp. 50Ð51.
Joanna Mendelssohn, Janet Laurence at Sherman Galleries, tema celeste, MayÐJune 2002.
Jim Moss, Sotweed and other factors, Broadsheet, vol. 31, no. 2, JuneÐAugust 2002.
Kiersten Fishburn, Janet Laurence, Artlink, vol. 22, no. 2, 2002.
Adrain Lahoud, Departure lounge É, Architecture Australia, NovemberÐDecember 2002.
Betsy Brennan, Reinventing nature, Vogue Living, December 2000 Ð January 2003.
Janet Hawley, The new Kelly gang, Good Weekend, Sydney Morning Herald, 1 March 2003, pp. 38Ð39.
Janet Laurence, Space and memory: A meditation on memorials and monuments, Architecture Australia, vol. 92, no. 5, SeptemberÐOctober 2003, pp. 48Ð55.
Paul Walker, Australian War Memorial, Architecture Australia, vol. 92, no. 5, SeptemberÐOctober 2003, pp. 56Ð57.
Steve Meacham, A little piece of England forever ours, Sydney Morning Herald, 14 October 2003.
Michael Reid, A form guide to the best in sculpture, Wealth, Australian, Wednesday, 26 November 2003, p. 14.
Felicity Fenner, Made in memory, Monument, no. 59, FebruaryÐMarch, 2004, pp. 18Ð19.
William Tozer, Drawn from memory, Monument, no. 59, FebruaryÐMarch, 2004, pp. 70Ð75.
Richard Wolfe, From a town called Alice, Urbis, (London), autumn 2004, pp. 44Ð45.
Penny Webb, Verdant works, Arts, Age, Melbourne, 24 May 2004.
Sally Couacaud, 2003 Echigo-Tsumari Triennial, Art and Australia, vol. 41, no. 4, Winter 2004, pp. 535Ð37.
Martyn Hook, House edge, Crown Promenade, Southbank, Melbourne, Monument, no. 61, JuneÐJuly 2004, pp. 22Ð26.
Freya Lombardo, Verdant works, Artichoke, no. 8, vol. 2, 2004, pp.110Ð13.
Colin Martin, Under English skies: The Australian War Memorial in London, Art and Australia, vol. 42, no. 1, Spring 2004, pp. 58Ð59.
Sally Couacaud, Hidden treasures, Art and Australia, vol. 42, no. 2, Summer 2004, pp. 281Ð85.
Deirdre Macken, Unfinished business, Australian Financial Review Magazine,
December 2005, pp. 16Ð24.
Howard Tanner, Art in the new corporate environment, Australian Art Market Report, no. 14, December 2004 Ð February 2005, pp. 18Ð19.
Felicity Fenner, Sydney and Melbourne: Janet Laurence at Sherman Galleries and ARC One, Art in America, January 2005, p. 135.
Jennifer Taylor, Artist + Environment: Janet Laurence and the healing of place, Art and Architecture, S-Lab Space Laboratory for Architectural Research and Design, Images Publishing Group, Mulgrave, VIC, 2005, pp. 42Ð45.
Janet Hawley, Hangings in the boardroom, Good Weekend, Sydney Morning Herald, 5 February 2005, pp. 18Ð24.
Marie Geissler, Principles of uncertainty, Craft Arts International, no. 65, 2005, pp. 49Ð53.
Victoria Hynes and Annemarie Lopez, ÔThe Apprentice: Janet Laurence and Sarah Smuts-KennedyÕ, the(sydney)magazine, Sydney Morning Herald, issue 29, September 2005, p. 56.
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