Fiona Macdonald: Curriculum Vitae: June 2014
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Academic History:
PhD (Monash University)
MA (RMIT University)
Graduate Diploma of Fine Art (Victorian College of the Arts, University of Melbourne)

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Current Projects:
MEANS AS MEANS, Solo exhibition. Margaret Lawrence Gallery, Melbourne, 2014.
AUSTRALIAN STUDIES, Collaborative project with Spiros Panigirakis.
"Nancy Holt's Points of View", for Staging the Land, (Cambridge: Cambridge Scholars Publishing (forthcoming 2013)).
ONE MILLION DOTS, Artist Book, (Melbourne).
Access restricted, artist’s book with Alex Martinis Roe and Thérèse Mastroiacovo, (SURPLLUS: Melbourne (forthcoming) 2015).
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Solo Exhibitions & Screenings:
Means as Means, 2014. Margaret Lawrence Gallery, Melbourne.
AUSTRALIAN STUDIES, 2014. Collaborative exhibition with Spiros Panigirakis, Cross Art Projects, Sydney.
Still Gratuitous, 2011. Light Projects, Melbourne.
Access restricted, 2010. Collaborative exhibition with Thérèse Mastroiacovo, Light Projects, Melbourne.
Remake II: What Happens in Halifax Returns to Halifax, 2010. Khyber Contemporary Art Institute, Halifax, CA
Index Project (renovated), 2009. Open Space, Victoria, CA
The Remake Projects, 2009. Faculty Gallery, Art & Design, Monash University.
(Re)Points of View, 2008. Optica: centre for contemporary art, Montréal, Canada.
Genera, 2008. Ocular Lab, Melbourne.
Ahh Ahh, 2006. ‘The Other Gallery’ Banff Centre for the Arts, Canada.
BONE. 2005. CLUBSproject, Melbourne.
Artists in Production, 2004. A+D Gallery, Chicago, USA. Curated by Debra Riley Parr.
Museum Emotions, 2003-04. Australian Centre for the Moving Image and the Museum of Contemporary Art, Sydney, Australia; Freewaves. Los Angeles, USA. 2006.
Gratuitous, 2002. Penthouse & Pavement, Melbourne.
Second Nature, 2001. Monash University Museum of Art, Melbourne, Australia.
BLACK SQUARE. 1998. Colonial Gallery of Tasmanian Museum & Art Gallery; Gold Vaults of the Treasury Building Melbourne, Australia.
Ideological Landscapes, 1998. Screened at: Università degli Studi Roma Tre, 2004; Gene Siskel Film Centre, Chicago USA 2003: Rencontres Cinematographiques 1999; 35th International Festival of New Cinema, Italy; Ankara Film Festival, Turkey 1999; Essenbee Film Festival, Austria 1999; Philadelphia International Film Festival, 1999; 30th Canadian International Film Festival; St. Kilda Film Festival, Australia.
Glade, 1994. Solo exhibition, commissioned by Juliana Engberg, Australian Centre for Contemporary Art.
An Untitled Illustration, 1991. Australian Centre for Contemporary Art.
Hidden/Modern, 1990. Store 5, Melbourne.
Honi soit qui mal y pense, 1988. Gertrude Contemporary Artspaces; Australian Centre for Photography; Institute of Modern Art, Brisbane.
Thank You Jesus, 1985. George Paton Gallery, Melbourne; Institute of Modern Art, Brisbane.

Curated/Group Exhibitions:
BENGLIS 73-74, curated by Geoff Newton, Neon Parc, Sutton Projects and TCB, Melbourne, 2014
Decisions, curated by Nikos Pantazopolous, Project Space/Spare Room, Melbourne, 2013.
Community & Context, 2013. Curated by Marian Crawford, MADA Gallery, Melbourne.
APPOINTMENTS, 2012. Curated by Spiros Panigirakis, SarahScoutpresents, Melbourne.
Power To The People: Contemporary Conceptualism, 2011. Curated by Hannah Mathews, Australian Centre for Contemporary Art (Melbourne International Festival 2011).
Collected Collaborations, 2011. With Redrawing Collective: Thérèse Mastroiacovo; Ben. Harper; Spiros Panigirakis; Alex Martinis Roe. MUMA, Melbourne.
Ultra-Neon, 2011. Light Projects, Melbourne.
Bureau de change, 2008. Exhibition of works by artists produced during residencies at the Banff Centre for the Arts, 1972-2007. Curated by Sylvie Gilbert and Helga Pakasaar for the Walter Phillips Gallery, Canada.
Redrawing, 2008, RMIT Project Space, Melbourne, CAST (Contemporary Art Services Tasmania), Hobart. With Redrawing Collective; Bronwyn Clark-Coolee; Ben. Harper; Spiros Panigirakis; Thérèse Mastroiacovo.
PX, 2007. Curated by Leonhard Emmerling & Jan Bryant. St. Paul St. Gallery, Auckland, NZ.
Interior Design, 2006. Curated by Marie-Jeanne Hoffner, Alliance Française Gallery, Melbourne.
Re: thinking, 2005. Curated by Tristan Koenig & Damiano Bertoli, BUS, Melbourne.
Store 5 is … 2005. Anna Schwartz Gallery, Melbourne. Curated by Deborah Hennessey. Retrospective exhibition of artist’s group ‘Store 5’.
Orifice, 2003. Curated by Juliana Engberg, Australian Centre for Contemporary Art, (Melbourne International Festival 2003).
Queer Crossing, 1997. Curated by Craig Judd, Ivan Dougherty Gallery, University of NSW.
Photography is Dead! Long Live Photography! 1996. Curated by Linda Michael, Museum of Contemporary Art, Sydney.
“Loop”, video program, curated by Callum Morton, Next Wave Festival, Melbourne, 1994.
Rock Film, 1992. Experimenta ‘92, biennial video festival, Melbourne, and Centre for Contemporary Photography, Melbourne.
The Angelic Space, 1992. Curated by Juliana Engberg, Monash University Museum of Art.
Twenty Contemporary Photographers, 1991. Curated by Isobel Crombie, National Gallery of Victoria & Art Gallery of New South Wales.
The First Biennial of Australian Art, 1991. Art Gallery of South Australia.
Defective Models, 1991. Curated by Jenepher Duncan, Monash University Museum of Art.
Perspecta ‘89, Curated by Tony Bond & Victoria Lynn. Art Gallery of New South Wales.
Annotations, 1989. Curated by Rose Lang. Gertrude Contemporary Artspaces, Melbourne.
Recent Australian Video Art, 1988. Curated by Gary Warner (Australian Film Commission), Ars Electronica, Linz, Austria & ISEA, Utrecht, Netherlands.
Twelve Artists, 1988. University of Melbourne Museum of Art.
The Melbourne Stage, 1986. Curated by Martyn Jolly, Australian Centre for Photography.
Four Melbourne Artists, 1986. Curated by Denise Robinson, Institute of Modern Art, Brisbane.

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Residencies:
Re)Points of View: Why Montréal, video work for Contemporary Conceptualism at the Australian Centre for Contemporary Art, produced during research residency, Montréal, 2010.
NSCAD University, Halifax, visiting artist research residency, 2010.
Journal of Artist’s Books and Faculty of Art + Design, Columbia College, visiting research residency, 2010.
Index Project, Solo exhibition and residency 2009, at Open Space, Victoria CA.
The Future of Idea Art, international residency. Banff Centre for the Arts, Canada. 2006. Funded by the Inter-Arts Fund of the Australia Council and Postgraduate Travel Grant (Monash University) 2006.
(Un)Conditional Archeology, collaborative residency with Sandy Amerio and Los Angeles curator Annie Shaw, at 18th Street Arts Centre, Santa Monica USA. 2005. Funded by 18th Street Arts Centre and the French Ministry of Foreign Affairs & Ministry of Culture.
Artists in Production, visiting artist residency by invitation of the Faculty of Art + Design, Columbia College, Chicago USA. 2003.
Australia Council Los Angeles Studio Residency. 18th Street Arts Centre, Santa Monica USA. 2003.
Artists Development Grant, Visual Arts Board, Australia Council.
Studio 8, visiting artist residency, Gertrude Contemporary Art Spaces, 1989.

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Grants:
New Work Grant, Visual Arts Fund, Australia Council for the Arts, 2007.
Artist Development Grant, Intermedia Arts Fund, Australia Council for the Arts, 2006.
Artists Development Grant, Visual Arts Fund, Australia Council for the Arts, 2003.
Artists Development Grant, Intermedia Arts Fund, Australia Council for the Arts, 2000.
Australian Film Commission, Production Funding, 1994.
Australian Film Commission New Image Research Funding,1988.
New Work Grant, Visual Arts Fund, Australia Council for the Arts, 1988.

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Collections:
Art Gallery of New South Wales; Australian National Gallery; National Gallery of Victoria; Monash University Museum of Art Collection; University of Melbourne Museum of Art Collection; Victorian College of the Arts Collection; Roslyn Oxley9 Collection; Private Collections (Australia, Canada, Italy, USA); Sydney College of the Arts, University of Sydney.

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Papers/Symposia/Artist Talks/Guest Lectures:
"Non-Non: the temporisation of differance in the art works of Eva Hesse," paper for Derrida Today conference, New York, 2014.
"Protocol as difference: critical difference as conceptualism in the works of Thérèse Mastroiacovo and Fiona Macdonald", paper for AAANZ conference, together<>apart, Sydney, 2012.
"Nancy Holt's Points of View", paper for Staging the Land conference, University of Avignon and Haunch of Venison, June 2012.
“Protocol as difference: inter-generational relations of conceptual art," paper for Traffic: Conceptual Art 1965-1980, conference, University of Toronto, November 2010. “Protocol as difference”: graduate seminar NSCAD University, (2010).
“No relation”, for symposium Thematic Correlations for Art Researchers, Faculty of Art & Design, Monash, with The Institute of Cultural Studies. University of the Arts. Zurich, Switzerland, 2009
CURATING ART RESEARCH, Faculty of Art & Design, Monash University 2008. Symposium with Redrawing Collective on collaborative curatorial projects. Redrawing: Project Space, RMIT University, and CAST, Hobart (with Spiros Panigirakis) (2008).
“The Hole in the Bucket: the micro-institutions of conceptual art”, for symposium Artists Talk!, in conjunction with The Future of Idea Art residency, Banff Centre for the Arts, Canada, 2006.
“Museum Emotions, or Affect without Effect”: Concordia University, Montréal (2008), RMIT University, (2007); Centre for Ideas, Victorian College of the Arts, University of Melbourne, (2004); Museum of Contemporary Art, Sydney (2004); Columbia College of Art & Design, Chicago, USA (2003); Visual Culture Research Laboratory, Monash University (2003).
“Painting: frivolous, vain and futile”, for symposium Painting: Diversity & Difference, Faculty of Art & Design, Monash University, 2004.
“Authentic tropes”: AUT Auckland, NZ (2007); Banff Centre for the Arts, Canada (2006); Museum of Contemporary Art, Sydney, Australia (2004).
‘Toward Ideological Landscapes’, conference paper, Visually Crossing Cultures, Art Association of Australia, Centre for Cross-Cultural Research, Australian National University, 1996: Department of Critici e Teorici sul Cinema, Università degli Studi Roma Tre (2004), Visual Culture Research Laboratory, Monash University (2000).
Directors Forum, 35th International Festival for New Cinema, Italy, 1999.

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Authored Publications: Artist Books:
Access restricted, artist’s book with Alex Martinis Roe and Thérèse Mastroiacovo (Melbourne: SURPLLUS (forthcoming) 2013).
ONE MILLION DOTS, (Melbourne: ABpress (forthcoming) 2013).
Redrawing the book, with Redrawing Collective, (Melbourne: ABpress, 2011).
Redrawing Times, with Redrawing Collective (Melbourne: 2011)

Selected Catalogues:
“Re)Association Area”, essay for Remake II: What Happens in Halifax Returns to Halifax, catalogue for exhibition, Khyber ICA, Halifax, (Melbourne: SURPLUS (forthcoming 2013) [ISBN: 9781921179860].
“Retreat: the political in the politics of art”, essay for catalogue, The Politics of Art, (Linden, centre for contemporary art, Melbourne 2010) [ISBN: 978-0-9806560]
“Artist Knowledge Production” for Short Statements on Artistic Knowledge Production, ed. Natalie Loveless, (Brooklyn NY: Art/Re/Search & Kentler International Drawing Space, 2009) [ISBN:]
“Redrawing, as of May 2008,” essay for Redrawing, (Melbourne: RMIT Project Space, 2008).
“Translation/Transference: (Re)Points of View”, essay for The Remake Project I (Melbourne, Montréal: FAD, Optica, centre au art contemporain, Montréal: 2008) [ISBN: 1921179279]
“we must be wherever we are,” essay for monograph Gratuitous Intent: Fiona Macdonald’s ARI series, ed. Spiros Panigirakis, published by CLUBSproject as part of the series of peer-produced publications on contemporary artists, (CLUBSproject, Melbourne: 2008) [ISBN: 1 9780980488708]
“The Structuralist Impulse / Textual Configurations”, text demonstration, for exhibition, Practical Illustrations of Body Configurations in Architecture. (Alex Martinis Roe & Conical Melbourne, 2007)
“Coming Down” essay for catalogue, Floats like a brick doesn’t… (BUS, Melbourne 2007)
“Store 5 is…,” for catalogue, Store 5 is… (Melbourne: Anna Schwartz Gallery and Black Ink Press. 2005). [ISBN: 1863951660]
“The Hole in the Bucket,” essay for catalogue, The Hole Volume (Melbourne: CLUBSproject, 2004).
“Dumb Desire,” Anne Marsh & Fiona Macdonald, catalogue, Second Nature, (Monash University Museum of Art, Melbourne 2001).
“excerpts from ‘Untitled ’88”’, The First Biennial of Adelaide (Art Gallery of South Australia 1990).

Editorial:

Redrawing Times, with Redrawing Collective (Melbourne: Abpress 2011)
photoFILE, contemporary art journal, issues, Chaos #29, Beauty #30, Order #31, Occupation #32 (1990-1991: Australian Centre for Photography, Sydney)

Selected Articles:
“The Hole in the Bucket,” article, ACCA magazine # 9, 2005 (Australian Centre for Contemporary Art)
“I work for cover, just like you…Australian Culture Now,” eyeline: contemporary visual arts 55, 2004.
“Signs of Life, the Melbourne International Biennial,” eyeline: contemporary visual arts, # 39, 1999.
“Give it to me white boy...,” Realtime #18, April-May 1997.
“Over It: A User’s Guide to Abstraction at the End of the Millennium”, article, globe>e no. 4, 1997.
“Three Possible Endings: Interview with Yvonne Rainer”, photoFILE, no. 30, Winter 1990.

Artist Pages:
“Working the Screen” Realtime September, 2000.
Photo essay, The Life Work of Guildford Bell, architect 1919-1992. (Bookman Press, Transition, 1999).
“Out and About with Fiona Macdonald,” (LIKE, Social Pages), LIKE, art magazine, #10, 1999.
“250 words on being an artist,” ARTFAN, no. 6, December 1996.
Untitled series, CIRCULAR, #1, #2 & #3 (Fusinato & Poliness, Melbourne 1993/94).
“The Photo Opportunity”, PHOTOFILE 1988.
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Selected Bibliography:

Books:
Maeve Connoly, TV Museum: Contemporary Art and the Age of Television, (forthcoming, 2014: Intellect/University of Chicago Press).
Jan Bryant, & Leonhard Emmerling, PX, (Auckland: Clouds, 2011).
Anne Marsh, LOOK: Contemporary Australian Photography (Melbourne: Macmillan, 2010).
Helen Vivien (ed.), Walls Sometimes Speak: George Paton Gallery 1971-2006 (Melbourne: Macmillan, 2009).
J. Arand & M. Dahey (eds.), Australian Artlook (Melbourne: Heinemann, 1997).
Debra Parr, Feminism and Postmodern Visual & Poetic Pleasures (Mass: Boston University, 1991).
Sue Cramer, Institute of Modern Art 1975-1989 (Brisbane: Institute of Modern Art, 1989).

Selected Catalogues:
Index Project (renovated), (forthcoming 2015).
Hannah Mathews (ed), Power to the People: Contemporary Conceptualism and the object in art, (Melbourne: Australian Centre for Contemporary Art 2011)
Brad Haylock, Collected Collaborations, (Melbourne: MUMA 2011)
Spiros Panigirakis, “It and then some: Fiona Macdonald’s work in Melbourne artist run spaces”, Gratuitous Intent, (Melbourne: CLUBSproject, 2008).
D. Hennessey (ed), Store 5 is… (Melbourne: Anna Schwartz Gallery & Black Ink Press, 2005)
Juliana Engberg, Orifice, (Melbourne: Australian Centre for Contemporary Art, 2003)
Anne Marsh & Fiona Macdonald, Second Nature, (Mel: Monash University Museum of Art, 2001)
David Hansen, catalogue, White Room, Black Square, (Tasmanian Museum & Art Gallery, 1998.)
Linda Michaels, “Photography is Dead! Long Live Photography!" (Sydney: Museum of Contemporary Art, 1996).
Juliana Engberg, Glade, (Melbourne: Australian Centre for Contemporary Art, 1994).
Juliana Engberg, catalogue essay, The Angelic Space, (Melbourne: Monash University Gallery, 1992).
Jennifer Phipps, catalogue essay, Experimenta 1992, (M.I.M.A 1992).
Kate Briggs, ‘An Untitled Illustration’ Declension: The Sliding of Infinity, (Melbourne: Australian Centre for Contemporary Art, 1991).
Isobel Crombie (ed.), Twenty Contemporary Photographers, (Melbourne: National Gallery of Victoria, 1990).
Robyn McKenzie, catalogue essay, Perspecta ’89, (Sydney: Art Gallery of New South Wales, 1989).
Juliana Engberg, essay, Mirabilis: Post-Appropriation, (Melbourne: George Paton Gallery, 1987).
Oscar Zentner, The Voice in the Ear, The Image in the Eye, (Melbourne: 200 Gertrude Street, 1988).

Selected Articles/Reviews:
Spiros Panigirakis, “It’s all wall: a recent history of the wall in contemporary art practice, Un. Magazine, 6.1, 2012.
Anne Marsh, 'Performance Art Collaborations (with notes on video, installation and conceptual art)', Colloquy, December 2011.
Stephen Palmer, “One and Three Texts: Writing Conceptual Art,” Un. Magazine, #5.1, 2011
Anne Marsh, “Remaking Gender Trouble,” eyeline: contemporary visual arts, (forthcoming 2011).
Lisa Kelley, article, “Notes on a state of conversation,” Runway, #11 “Conversation,” 2008.
Sarah Hopkinson, review, “Snow Falls on Mountains without Wind,” eyeline: contemporary visual arts, # 60, 2008.
Debra Parr, “Fiona Macdonald’s Museum Emotions”, eyeline: contemporary visual arts #41 2004.
Craig Judd, ‘Museum Emotions: a conceptual soap opera’, Southern Review, July, 2004.
Jane O’Neill, Lives of the Artists, Sydney, 2003.
Craig Judd, "Second Nature,” eyeline: contemporary visual arts #47, 2001.
Ingrid Periz, article, "Ideological Landscapes,” LIKE, art magazine #10, 1999.
John Conomos, "Ideological Landscapes", globe>-E #10, 1999.
Paul Carter; article, "Fiona Macdonald's Black Square: on imagining without images." eyeline: contemporary visual arts #37, 1998.
Craig Judd, review, LIKE, art magazine, no. 1, October, 1996.
Robert Schubert, review, ART & TEXT, no. 49, September, 1994.
Charles Green, review, ARTFORUM, December, 1991.
Peter Cripps, “An Image from Within and Without" & Alex Selenitsch; “An Untitled Illustration…” both AGENDA #9, September, 1991.
Martyn Jolly, “Deep Water, Thick Sediment,” review, Photofile, vol. 7, no. 2, Winter 1989.
Juliana Engberg, “Old Masters, New Mistresses”, review, AGENDA, vol. 1 no. 2, August 1988.