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Fiona
Foley
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| 1964 | Born Maryborough, Queensland |
Qualifications/Appointment
| 2003–09 | Adjunct Professor, Griffith University, Brisbane |
| 1982–83 | East Sydney Technical College, Certificate of Arts |
| 1984–86 | Sydney College of the Arts, Bachelor of Visual Arts |
| 1987 | Sydney Institute of Education: Sydney University, Diploma of Education |
Solo Exhibitions
| 2010 | Circumspect
Circumstances, Andrew Baker Art Dealer, Brisbane
Fiona Foley: Forbidden, The University of Queensland Art Museum, Brisbane Fiona Foley, Glasshouse Regional Gallery, Port Macquarie, New South Wales |
| 2009 | Fiona
Foley: Forbidden, Museum of Contemporary Art, Sydney
Nulla 4 Eva, Niagara Galleries, Melbourne |
| 2008 | Sea of Love, Andrew Baker Art Dealer, Brisbane |
| 2007 | No Shades of White, The Kluge-Ruhe Aboriginal Art Collection, The University of Virginia, Charlottesville, Virginia, USA |
| 2006 | Strange
Fruit, October Gallery, London
Black Friday, Andrew Baker Art Dealer, Brisbane Red Ochre Me, Casula Powerhouse Arts Centre, Sydney No Shades of White, Niagara Galleries, Melbourne |
| 2005 | No
Shades of White, Andrew Baker Art Dealer, Brisbane
No Shades of White, Roslyn Oxley9 Gallery, Sydney |
| 2004 | Bring
It On a.k.a. HHH, International Studio and Curatorial Program (ISCP),
New York, USA
Beyond the Sea, Presentation Convent, Carlow, Ireland 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 | Fiona
Foley: Wild Times Call, Roslyn Oxley9 Gallery, Sydney
Fiona Foley: Them There Bones, New Land Gallery, Adelaide |
| 2001 | Fiona
Foley: Pir’ri- Mangrove, Queensland Art Gallery, Brisbane
Falling Tide—Kung Dhu’marami, Redback Art Gallery, Brisbane Fiona Foley, Niagara Gallery, Melbourne, Australia River of Corn, Contemporary Art Museum, University of South Florida, Tampa, USA |
| 2000–02 | Invisible Voices, Bundaberg Arts Centre, Bundaberg (touring); Yarrabah Museum; The Tanks, Cairns |
| 1998 | Living With The Wind, Roslyn Oxley9 Gallery, Sydney |
| 1997 | Dulingbara—People
of the Nautilus Shell, Hervey Bay Regional Gallery
Dulingbara—People of the Nautilus Shell, Savode Gallery, Brisbane |
| 1996 | Museo
de Arte Contemporáneo, Santiago de Chile
Banco BHN, La Paz, Bolivia Wun’Duman, Roslyn Oxley9 Gallery, Sydney |
| 1995 | Exotica
Under the Microscope, Institute of Modern Art, Brisbane
Land Deal—Velvet Waters, Savode Gallery, Brisbane |
| 1994 | Fiona Foley, Roslyn Oxley9 Gallery, Sydney |
| 1993 | Lick My Black Art, Australian Centre for Contemporary Art, Melbourne. |
| 1992 | Roslyn Oxley9 Gallery, Sydney |
| 1991 | By Land and Sea I Leave Ephemeral Spirit, Roslyn Oxley9 Gallery, Sydney |
| 1989 | A
Three Legged Dog Day, Maningrida Arts & Craft, N.T.
A Three Legged Dog Day, Roslyn Oxley9 Gallery, Sydney |
| 1988 | Roslyn
Oxley9 Gallery, Sydney
My Fishing Line Is Still In The Ocean, Griffith University, Queensland |
Joint Exhibitions
| 1994 | Fiona Foley and Olu Oguibe, Roslyn Oxley9 Gallery, Sydney |
Group Exhibitions
| 2010 | 17th Biennale of Sydney—The Beauty of Distance: Songs of Survival in a Precarious Age, Sydney |
| 2009 | Continuity
and Change, The British Museum, London, England
Floating Life: Contemporary Aboriginal Fibre Art, Queensland Art Gallery/GoMA, Brisbane Breaking Boundaries: Contemporary Indigenous Australian Art from the Collection, Queensland Art Gallery/GoMA, Brisbane Speakeasy, Gallery 4A, Sydney Character, Andrew Baker Art Dealer, Brisbane |
| 2009–10 | Twelve Degrees of Latitude: Regional gallery and university art collections in Queensland, Gladstone Regional Art Gallery & Museum, Queensland; Artspace Mackay, Queensland; , Queensland; Toowoomba Regional Art Gallery, Queensland; Caloundra Regional Art Gallery, Queensland; University of the Sunshine Coast Gallery, Queensland; Stanthorpe Regional Art Gallery, Queensland; Warwick Art Gallery, Queensland |
| 2008 | [Re]inventing
the Wheel, Denver Art Museum, Colorado, USA
Western Australian Premier’s Indigenous Art Awards, Art Gallery of Western Australia, Perth Kate Challis RAKA Award, The Ian Potter Museum of Art, University of Melbourne, Victoria New: Selected recent acquisitions 2007–2008, The University of Queensland Art Museum, Brisbane Open Air: Portraits in the Landscape, National Portrait Gallery, Canberra Skin Deep, Canberra Contemporary Art Space, ACT Repeat that again!: The serial impulse in art since the ‘sixties, The University of Queensland Art Museum, Brisbane Home, Lismore Regional Gallery, New South Wales Depth of field: Contemporary photography from The University of Queensland Art Collection, The University of Queensland Art Museum, Brisbane Cruel and unusual punishment: Art and violence, La Trobe University Art Museum, Melbourne |
| 2008–10 | Habitus–Habitat, Noosa Regional Gallery; Queensland; Grafton Regional Gallery, New South Wales; Gladstone Regional Gallery and Museum, Queensland; Centre for Scenic Rim Arts & Culture, Brisbane, Queensland; Toowoomba Regional Art Gallery, Queensland; Gympie Regional Gallery, Queensland; Artspace Mackay, Queensland; Umbrella Studio, Townsville, Queensland; Bundaberg Arts Centre, Queensland; Tamworth Regional Gallery, New South Wales; Yugambeh Language and Heritage Research Centre, Beenleigh, Queensland; Logan Art Gallery, Logan City, Queensland |
| 2007 | Global
Feminisms: New Directions in Contemporary Art,
Brooklyn Museum, New York, USA
No Laughing Matter, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA Fifteen Years of Urban Art Projects, QUT Art Museum, Brisbane The Betty Quelhurst Gift, QUT Art Museum, Brisbane Sunshine State: Smart State, Campbelltown Arts Centre, Sydney The Unusual Suspects III, Andrew Baker Art Dealer, Brisbane |
| 2006 | Habitus–Habitat,
The Lobby, 111 George Street, Brisbane
Bangu Yilbara: Works from the MCA Collection, Museum of Contemporary Art, Sydney Doubletake, Museum of Brisbane, Brisbane Colonial to Contemporary, Dell Gallery, Queensland College of Art, Griffith University, Brisbane |
| 2005 | Out
There, Sainsbury Centre for Visual Arts, Norwich, England
Black Ink: Indigenous Prints from the Queensland Art Gallery Collection, Queensland Art Gallery, Brisbane |
| 2004 | Spirit
& Vision: Aboriginal Art, Kunst der Gegenwart, Sammlung Essl, Klosterneuburg/Wien,
Austria
Cultural Copy, UCLA Fowler Museum of Cultural History, Los Angeles, USA Out of Country, Gallery 1601, The Embassy of Australia, Washington DC, USA Blak Insights: Contemporary indigenous art from the collection of the Queensland Art Gallery, Queensland Art Gallery, Brisbane The Helen Lempriere National Sculpture Award, Werribee Park, Victoria If You Only Knew, City Gallery, Melbourne Town Hall, Melbourne Passage, Lake Macquarie City Art Gallery, Booragul, NSW |
| 2003 | The
American Effect, Whitney Museum of American Art, New York
The Helen Lempriere National Sculpture Award, Werribee Park, Victoria Fields, Institute of Modern Art, Brisbane Indians+Cowboys, Gallery 4a Asia-Australia Arts Centre, Sydney Wide Angle: Lateral perspectives from coastal Queensland, Rockhampton Art Gallery, Queensland Shield + Show, Perc Tucker Regional Gallery, Townsville |
| 2002 | The
Queensland/Berlin Indigenous Art Exhibition, Ludwig Erhard Haus, Berlin,
Germany
Meridian: Focus on contemporary Australian art, Museum of Contemporary Art, Sydney Your Place or Mine, Institute of Modern Art, Brisbane Wild Nature in Contemporary Australian Art and Craft, a travelling exhibition Funded by Visions Australia and the Gordon Darling Foundation: Jam Factory, Adelaide Postmark Post Mabo, Post Master Gallery, Melbourne Wide Angle, Hervey Bay Regional Gallery, Queensland Conspectus, Artworkers Space, Brisbane Far From Home, Andrew Baker Art Dealer, Brisbane |
| 2001 | Central
Queensland Art Purchase, The Rockhampton Art Gallery Trust
Lightness of Being, Monash University Gallery, Victoria MCA Unpacked, Museum of Contemporary Art, Sydney Who What Where: Recent Sculpture Commissions at the Australian National University, CSA Gallery, Canberra What’s Love Got To Do With It, RMIT Gallery, Storey Hall, Melbourne |
| 2000 | Aboriginal
Art in Modern Worlds, Hermitage Museum, St Petersburg, Russia; National
Gallery of Australia, Canberra, Australia
Bonheurs des Antipodes, Musée de Picardie, Amiens, France Echigo-Tsumari Art Triennial, Niigata Prefecture, Japan All Stars, Roslyn Oxley9 Gallery, Sydney |
| 1999 | Claiming
Title, Carleton & St Olaf Colleges, Northfield, Minnesota; Laurence
University, Wisconsin; Samuel Dorswky Museum, SUNY New Paltz, New York,
USA
Love Magic: Erotics and Politics in Indigenous Art, Perspecta 99: Living Here Now, Art+Politics, SH Ervin Gallery, Sydney Possession, Herringbone Gallery, Sydney Isintu: Ceremony, Identity and Community, South African National Gallery, Cape Town Enjoin, Cairns Regional Gallery Cinderella’s Gems, University of Technology, Sydney and touring Island, Artspace, Sydney Spinifex Runner, Campbelltown City Bicentennial Art Gallery Fine lines: Works of Ornamentation and Design by Maningrida Artists, Museum of Contemporary Art, Sydney |
| 1998 | Ceremony,
Identity and Community, Flinders Art Museum City Gallery
Land and Sea: The Cultural Connection, Hervey Bay Regional Gallery Enjoin, Manila, The Philippines |
| 1997–98 | Dreaming the Republic, Newcastle Regional Art Gallery |
| 1997 | Eye
of the Storm, Museum of Contemporary Art, Sydney; Museum of Modern
Art at Heide, Melbourne
Wind and Water, Hervey Bay Regional Gallery NAIDOC Week Exhibition, Bundaberg Arts Centre In Place (Out of Time), The Museum of Moden Art, Oxford, U.K. Drift, Penrith Regional Gallery, The Lewers Bequest, Wollongong City Gallery, City Art Gallery, Wagga Wagga Sense, Centre for Contemporary Photography, Melbourne, Whanki Museum, Korea Painting the Land Story, Old Parliament House, Canberra |
| 1996 | Containers
‘96, Adelaide Festival of the Arts, Adelaide, Copenhagen, Denmark
Colonial/Post Colonial, Museum of Modern Art at Heidi, Melbourne Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney Islands, National Gallery of Australia, Canberra The Eye of the Storm, National Gallery of Modern Art, New Delhi, India Art Head Land, Festival of Darwin, Supreme Court, Dawin, NT Spirit + Place, Museum of Contemporary Art |
| 1995 | Australian
Perspecta 1995, Art Gallery of New South Wales, Sydney
Island to Island, Cheju Pre-Biennale, Korea Asia & Oceania Influence, Ivan Dougherty Gallery, Sydney Rereading Eliza Fraser, Museum of South Australia, Adelaide Sight Seeing, Australia Post Gallery, Melbourne |
| 1994 | Moving
Sands, Tandanya, Adelaide Installations, Adelaide Festival
True Stories, Artspace, Sydney Identities: Art from Australia, Taiwan, Wollongong City Gallery Localities of Desire: Contemporary Art in an International World, Museum of Contemporary Art, Sydney Palindrome, Xchanges Gallery, Victoria, British Columbia, Canada Photosynthesis, Roslyn Oxley9 Gallery, Sydney |
| 1993 | New
Tracks, Old Land, Northern Territory Museum of Arts & Sciences,
Darwin & Australian tour
Death, Ivan Dougherty Gallery, Sydney Wiyana/Perisferia (Periphery), satellite event of the 9th Biennale of Sydney, Boomalli Aboriginal Artists Co-operative at the Performance Space, Sydney & New South Wales tour Raka, Ian Potter Gallery, Melbourne Yanada (New Moon), Ivan Dougherty Gallery, Sydney Dream Time, Vigado Gallery, Budapest, Hungary Aratjara, Kunstsammlung Nordrhein-Westfalen,Düsseldorf, Germany; Hayward Gallery, London, UK; Louisiana Art Museum, Humlebæk, Denmark; National Gallery of Victoria, Melbourne Urban Aboriginal Art, Jan Weiss Gallery, New York |
| 1992 | Flash
Pictures, Australian National Gallery, Canberra
Tyerabarrbowaryaou, Museum of Contemporary Art, Sydney Crossroads—Towards a New Reality, National Museum of Modern Art, Kyoto & National Museum of Modern Art, Tokyo, Japan New Traks, Old Land, Massachusetts College of Art, Boston & USA tour |
| 1991 | The
Concept of Country, Ivan Dougherty Gallery, College of Fine Arts, University
of New South Wales, Sydney
Who’s Sorry Now, Institute of Modern Art, Brisbane |
| 1988 | From Pukumani Poles to Sand Paintings, Craft Centre Gallery, Sydney |
| 1987 | Aboriginal
Australian Views in Print & Poster, Australian Print Council, Melbourne
Boomalli Au-Go-Go, Chippendale, Sydney |
| 1986 | Urban
Koories, Willoughby Workshop Arts Centre
Art Bites, Piers 2 & 3 Walsh Bay, Sydney |
| 1985 | Aboriginal
Artist Gallery, Melbourne
Aboriginal Artist Gallery, Sydney |
| 1984 | Koorie Art 84, Artspace, Sydney; Butchers Exhibit Gallery |
Awards
| 2003 | Gallery Australian Art Competition |
| 1995 | Lloyd Rees Award for Outstanding Urban Design |
Residencies
| 2006 | University
of Wollongong, NSW
Sydney College of the Arts, Sydney University, Sydney |
| 2002 | Canberra School of Art, Australian National University, Canberra |
| 1996 | Queen Victoria Museum and Art Gallery, Launceston, 2 months |
| 1994 | Commonwealth Artists Exchange, Open Space, Victoria, Vancouver Island, Canada, 2 months |
| 1990 | Cleveland Street Intensive Language Centre, Sydney |
| 1988 | Griffith
Artworks, Nathan campus, Griffith University, 3 months
Maningrida Arts and Crafts, Maningrida, Arnhem Land, N.T. 2 months Co-ordinator, silk screen printing workshop Ramingining, NT |
| 1983 | Visiting Student to St Martins School of Art, London |
Travel
| 2007 | New
York, NY, USA
Copenhagen, Denmark Dublin, Ireland |
| 2006 | London,
England
Auckland, New Zealand |
| 2005 | United Kingdom |
| 2004 | New
York, NY, USA
Carlow, Ireland |
| 2003 | USA |
| 2002 | Spain |
| 2001 | Tampa, Florida, USA; New York, NY, USA |
| 2000 | Russia, UK, USA, Japan |
| 1999 | South Africa, India, Japan |
| 1997 | Seoul, Korea |
| 1996 | Santiago De Chile, Chile; La Paz, Bolivia; New Delhi, India |
| 1995 | Berlin, Germany; Cheju, Korea |
| 1994 | Havana, Cuba; Victoria, British Columbia, Canada |
| 1993 | Ramingining, Arnhem Land, N.T.; London, United Kingdom; Budapest, Hungary |
| 1992 | Kyoto, Japan |
| 1991–92 | Maningrida, Arnhem Land, N.T. |
| 1990 | New York, U.S.A. |
| 1989 | Ramingining, Arnhem Land, N.T. |
| 1988–89 | Maningrida, Arnhem Land, N.T. |
| 1985 | Bathurst Island, N.T. |
| 1985–87 | Ramingining, Arnhem Land, N.T. |
Commissions
| 2006 | pir-ri,
Queensland College of Art, South Bank, Brisbane (sculpture)
Black Opium, Millennium Arts Project, State Library Queensland, Brisbane (sculpture) |
| 2004 | Witnessing
to Silence, Brisbane Magistrates’ Court, Brisbane (sculpture)
Untitled, Tallebudgera, Queensland (sculpture) |
| 2001 | Winged
Harvest, Centre for Cross Cultural Research, Canberra, (Commisioned
by the Australian National University)
Tribute to A’vang, Parliament House, Canberra, (Commissioned by the Joint House Department) Falling Tide–Kung Dhu’marami, New Farm River Walk, Merthyr Park, New Farm (Commissioned by the Brisbane City Council) |
| 2000 | Brenden
Hanson Building, Hervey Bay
Olympic Arts Festival, Tubowgule, set design, Director Stephen Page, Sydney Opera House forecourt, Sydney Botanic Gardens, La Perouse Beach Queensland Arts Council, poster design, Regional Performing Tour Queensland Adelaide Arts Festival, Ochre and Dust, set design, Director Aku Kadogo |
| 1999 | Pavement Design, Brisbane City Council, Queen Street Mall (Commissioned by the Brisbane City Council) |
| 1997 | The Lie of the Land, Melbourne Town Hall (Commissioned by City of Melbourne) |
| 1996 | The Australian Ballet, Alchemy, set design, Sydney Opera House, Victorian Arts Centre |
| 1994 | Edge of the Trees, Museum of Sydney (Commissioned by the Historic Houses Trust of New South Wales) |
| 1994 | Adelaide Festival of the Arts Poster Design |
| 1993 | Australia Post Stamp Issue: International Year of Indigenous People (45 cent denomination) |
Curatorial
| 1993–94 | Guest Curator, Tyerabarrbowaryaou II, Museum of Contemporary Art, Havana Biennial 1994 |
| 1991–92 | Guest curator at the Museum of Contemporary Art, Tyerbarrbowaryaou |
| 1991 | Curator at Boomalli Aboriginal Artists Co-operative: Ian Abdulla & Harry Wedge, Kudjeri's, Boomalli End of Year Exhibition |
Lectures
| 2007 | College of Fine Art, University of New South Wales, Sydney |
| 2004 | B.CAIA
Convener, Semester Two 2004, Queensland College of Art , Griffith University,
Brisbane
New York University, NYC, USA Arizona University, USA Columbia University, NYC, USA |
| 2003 | Queensland
College of Art, Griffith University, Brisbane
Fine Arts Department, Sydney University, Sydney Art and Human Rights, Humanities Research Centre, Australian National University, Canberra International Human Rights Day Symposium, Centre for Public Culture and Ideas, Griffith University, Brisbane Native Title Business, National Museum of Canberra |
| 2002 | On
the Bunya Trail Symposium, Griffith University, Nathan Campus
Presenting Indigenous Arts, Centre for Cross Cultural Research, Australian National University, Canberra Home, Queensland University of Technology Many Rivers to Cross, Canberra School of Art, Australian National University, Canberra Yarrabah High School, Queensland The Tanks, Cairns Queensland College of Art, Brisbane |
| 2001 | University
of South Florida, College of Art, Tampa, Florida
Columbia University, New York, USA Pinnacles Gallery, Townsville Queensland Art Gallery, Brisbane Griffith University,College of Art, Brisbane Queensland University of Technology, Brisbane Hervey Bay Regional Gallery, Hervey Bay |
| 1998 | Adelaide
Arts Festival Artists Week
Cultural Tourism, University of Southern Queensland (Wide Bay) Griffith University, Stradbroke Island Project University of Southern Queensland, Hervey Bay Cultural Tourism Seminar—Yagubi Festival University of Southern Queensland, Toowoomba, Faculty of the Arts |
| 1996 | Australian
Ambassador’s Residence, Santiago de Chile
University of Chile, Escuela de Arte, Santiago de Chile Towards the New Millennium, Museums Australia Inc. 1996, Conference Power and Empowerment, Sydney University of Tasmania, Department of Fine Arts, Launceston, Tasmania A Blast from the Past, Queen Victoria Museum and Art Gallery, Launceston,Tasmania Northern Territory University, School of Fine Arts, Darwin, NT Arts Symposium, Imaginary Places, Indian International Centre, New Delhi |
| 1995 | University
of Western Sydney, Nepean Faculty of Visual and Performing Arts, Sydney
Post Colonialism Eliza Fraser Workshop, Berlin, Germany Cultural Policy—State of The Art, NIAAA representative Post-Colonial Fictions Symposium, Department of Women’s Studies, University of Adelaide |
| 1994 | Museums
Associations of Australia, Traditional Boundaries, New Boundaries,
Sydney
Regional Galleries Association of New South Wales, Traditional Boundaries, New Perspective, Newcastle Minded Cultures—Contemporary Artists and Post-Colonialism in the Commonwealth, Canada Artist Talk, Localities of Desire, Museum of Contemporary Art, Sydney Sydney College of the Arts, Sculpture Department, Sydney |
| 1993 | Co-Judge,
National
Aboriginal Art Award, Darwin
Aboriginal Printmaking Symposium, Aboriginal Issues in Print, Darwin |
Selected Board Memberships
| 2002–06 | Institute of Modern Art (Brisbane), Executive Member |
| 1999 | Regional
Arts Development Fund, Hervey Bay
East Timor Support Group |
| 1997–98 | Yag’ubi Multicultural Festival |
| 1996 | Exhibition Panel, Hervey Bay Regional Gallery |
| 1995– | Wondunna Aboriginal Corporation |
| 1994–95 | Board member at Artspace, Sydney |
| 1993–97 | Executive member of National Indigenous Arts Advocacy Association |
| 1993–94 | Director of Bangarra Dance Theatre |
| 1992–95 | Executive member of Thoorgine Educational and Culture Centre |
| 1990–1993 | Aboriginal
Arts Committee of the Australia Council
Visual Arts Panel of the Australia Council |
| 1987 | Founding member of Boomalli Aboriginal Artists Co-operative |
International Artist Exchanges—Hosted at Hervey Bay
| 1998 | Kelvin Yazzie, USA (2 months) |
| 1996 | Rose Spahan, Canada (2 months) |
Publication
| 2006 | Foley, Fiona (editor), The Art of Politics/The Politics of Art: The Place Of Indigenous Contemporary Art, Keeaira Press, Southport, Queensland ISBN: 0 9752460 4 6 |
Bibliography
| Allas,
Tess. History is a Weapon: Fiona Foley—history teacher, Artlink—Contemporary
art of Australia and the Asia-Pacific, Volume 30, Number 1, 2010
Anon. ‘Adelaide Installations’, Art and Australia, c.1994, pp. 2–9 Anon. ‘Colonial Post-Colonial MOMA at Heide’, The Age, 12 June 1996, p. 17 Anon. Fields [ex. cat.], Institute of Modern Art, Brisbane, 2003 Anon. ‘Fiona Foley’, Bravura, Arts Queensland, Brisbane, 2008 Anon. ‘Fiona Foley: Nulla 4 Eva’, Australian Aboriginal Art, Issue 1, March/April/May 2009, pp. 22–23 Anon. ‘Foley art for Canberra’, The Chronicle, 4 September 2001, p. 2 Anon. ‘For Art Not Money’, Australian Art Collector, Issue 18, 2001, p. 94 Anon. Indians+Cowboys [ex. cat.], Gallery 4a Asia-Australia Arts Centre, Sydney, 2003 Anon. ‘Mythscapes’, The Economist, 31 July 1993, p. 82 Anon. ‘Rev: Concept of Country’, Artlink, Vol. 11, No. 1 & 2, 1991, p. 88 Anon. Branching Out, Queensland Arts Council, June 1997, Volume 1. No. 1, page 17 Anon. Contemporary Australian Women 1996/97, Reed Reference Australia, 1996 Anon. Dream Time, Ausztral Aboriginal Kortars Muveszeti Kiallitas [ex. cat.], Vigado Galeria, Budapest, 1993 Anon. The Concept of Country [ex. cat.], Ivan Dougherty Gallery, Sydney, 1991 Auty, Giles. ‘Isolated Ideas’, The Weekend Australian, 31 August–1 September 1996 Baskett, Sasha. ‘Art’s exchange of opinions’, Herald Sun, 20 May 1997, page 7 Baxter, Virginia. ‘Fiona Foley: Forbidden, MCA’, Real Time, December 2009/January 2010 Blomberg, Nancy J. (editor). [Re]inventing the Wheel: Advancing the Dialogue on Contemporary American Indian Art, Denver Art Museum, Colorado, USA, 2008 Browning, Daniel. The Politics of Skin: Not Black Enough, Artlink—Contemporary art of Australia and the Asia-Pacific, Volume 30, Number 1, 2010 Caruana, Wally. ‘Artists in the Town and City’, Aboriginal Art, Thames and Hudson, 1993 Clinch, Daniel. ‘Bridging Gaps Through Aboriginal Art’, The Bolivian Times, 25 July 1996, p. 17 Cochrane Simons, Susan. ‘The Black Side of Our History’, The Sydney Morning Herald, March 1992 Crumlin R. and Knight, A. Aboriginal Art and Spirituality, Collins Dove Publishers, 1991 Davidson, Kate and Desmond, Michael. Islands: Contemporary Installations [ex. cat.], National Gallery of Australia, Canberra, 1996, pp. 9–12 Davidson, Kate, ‘Fiona Foley: Land Deal’, In Place (Out of Time) Contemporary Art in Australia [ex. cat.], Museum of Modern Art Oxford, 1997 Demozay, Marion. Gatherings: Contemporary Aboriginal and Torres Strait Isander Art from Queensland Australia, Keeaira Press, 2001 Ely, Deborah. ‘The Black Bastard as Cultural Icon’, Art Monthly Australia, 1995 Ewington, Julie. Invisible Voices [ex. cat.], Bundaberg Arts Centre, 2000 Ewington, Julie. ‘Parallel worlds: two exhibitions of Indigenous women’s fibre art’, Art Monthly Australia, June, no. 120, 1999 Ewington, Julie (editor). Pir’ ri Mangrove: Fiona Foley, Queensland Art Gallery, 2001 Fenner, Felicity. ‘Signals sent to Havana’, The Sydney Morning Herald, 29 July 1994 Fern, Lynette. ‘Sculptural Renaissance’, The Sydney Morning Herald, June 1991 Field, Michele. ‘Building art ties to India’, The Sydney Morning Herald, 4 November 1996, p. 17 Foley, Fiona (editor). The Art of Politics/The Politics of Art: The Place Of Indigenous Contemporary Art, Keeaira Press, Southport, Queensland ISBN: 0 9752460 4 6, 2006 Foley, Fiona. ‘A Blast from the Past’, Network News, Edition 3, 1998 Foley, Fiona. ‘A Blast From the Past’, Periphery, No. 31, May 1997 Foley, Fiona. ‘On the Power & Beauty of Political Art’, Art Monthly Australia, May 2008, Issue #209 Foley, Fiona. ‘Traditional Boundaries, New Perspectives’, in Davis, Joy; Segger, Martin and Irvine, Lois. Curatorship: Indigenous perspectives in Post-Colonial Societies, University of Victoria B.C. Canada and the Commonwealth Association of Museums, 1996 Foley, Fiona. ‘Traditional Boundaries; New Perspectives’, Periphery, Issue 18, February 1994 Foley, Fiona. ‘Where the Salt Water meets the Fresh Water’, Periphery, Issue 27, May 1996 France, C. ‘Black-and-White studies in Green reveal an inner discourse’, The Sydney Morning Herald, c. 1991 Geczy, Adam. ‘No Actual Basis’, Art Monthly Australia, September, No.103, 1997 Genocchio, Benjamin. ‘Postcards from the Edge’, Third Text 39, Summer 1997 Genocchio, Benjamin. Fiona Foley: Solitaire, Piper Press, Sydney, Australia, 2001 Goddard, Angela. “Fiona Foley: Black Velvet” in Moon, Diane. Floating Life: Contemporary Aboriginal Fibre Art, Queensland Art Gallery/GoMA, Brisbane, 2009 Haebich, Anna. ‘Fiona Foley—Unsafe Sex’, Spirit & Vision: Aboriginal Art, Kunst der Gegenwart, Sammlung Essl, Klosterneuburg/Wien, Austria, 2004 Healy, Chris. From the Ruins of Colonialism: History as Social Memory, Cambridge University Press, 1997 Heathcote, Christopher. ‘Visions of Black Australia’, The Age, 25 June 1993 Helmrich, Michele ... [et al.]. Fiona Foley: Forbidden, Museum of Contemporary Art, Sydney and The University of Queensland, Brisbane, 2009 Helmrich, Michele. Review, The Courier Mail, 7 May 2003 Higson, Rosalie. ‘Ongoing work in progress’, The Australian, 10 November 2009 Hoffie, Pat. ‘Knowing where to look’, Artlink, Vol. 21 No. 4, December 2001, pp. 60–65 Honeysett, Stuart. ‘Batman’s beads for land carved in stone’, The Australian, 20 May 1997 Horton, Dr David (general editor), The Encyclopedia of Aboriginal Australia, A–L, Aboriginal Studies Press, Canberra, 1994 Isaacs, Jennifer. Aboriginality: Contemporary Aboriginal Paintings, University of Queensland Press, Brisbane, 1989 Jacques, Owen. ‘Welcome to our art street’, Mackay Murcury, 30th September 2009 Kerr, Joan. ‘Colonial Quotations’, Art and Australia, Vol. 33, No.3, 1996, pp 376–387 Kidd, Courtney. Fiona Foley: Wild Times Call, Australian Art Collector, Issue 19, p. 51 Kidd, Courtney. Young Guns Are Having Some Fun, State of the Arts, May–June 2002 Koop, Stuart. ‘Fiona Foley: Bare Bones’, Art Asia Pacific, No. 22, 1999 Koop, Stuart. ‘Fiona Foley’, beep ... crackle ... Contemporary art from the middle of nowhere, Institute of Modern Art, Brisbane, 2008, pp. 56–65 Koop, Stuart. ‘Sense’, Fiona Foley: Half Moon [ex. cat.], Centre for Contemporary Photography, Melbourne, Whanki Museum, Seoul, Korea, 1997 Koop, Stuart. ‘The Wrong Head on the Right Body’, Your Place or Mine? [ex. cat.], Institute of Modern Art, Brisbane, 2002 Kubler, Alison. ‘Black Opium and beyond’, The Courier-Mail, 5–6 December 2009 Lawson, Valerie. ‘Mania’s Swansong’, The Sydney Morning Herald, 4 September 1996 Litson, Jo. ‘Speed Queen’, The Bulletin, 22 September 1998 Losche, D. ‘Paraculture’, Art & Text, No. 36, May 1990 Lynn, E. Pervading Pessimism, The Weekend Australian, 27–28 August 1988 Mahood, Kim. Books, Art Monthly Australia, May 2003, Number 159 Martin-Chew, Louise. ‘Fiona Foley: Sea of Love’, Eyeline: Contemporary Visual Arts, Number 66, 2008, Brisbane Martin-Chew, Louise. ‘Native Title Business (contemporary indigenous art)’, Eyeline, Number 49, Spring 2002 Martin-Chew, Louise. Poignancy in sombre truths, The Australian, 27 October 2006 Martin-Chew, Louise. ‘Fiona Foley’, Fifteen Years of Urban Art Projects [ex. cat.], QUT Art Museum, Brisbane, 2007 McCulloch, Alan; McCulloch, Susan; and McCulloch Childs, Emily. The New McCulloch’s Encyclopedia of Australian Art, Aus Art Editions/The Miegunyah Press, Melbourne, 2006 McCulloch, Susan. ‘Indigenous work in fine focus’, The Australian, 25 September 1998 McDonald, Helen. Erotic Ambiguities, The Female Nude in Art, Routledge, London, England, 2001 McDonald, John. ‘Preaching to the converted: An indigenous artist uses simple, striking images and a macabre sense of humour to make her political points’, The Sydney Morning Herald, 9–10 January 2010 McLean, Sandra. ‘Archive Mined for Brutal History’, The Courier-Mail, 15 August 2001 McLean, Sandra. Put you in your place, The Courier Mail, September 15, p. 15 Moon, Diane. People of the Nautilus Shell [ex. cat.], Enjoin, Cairns Regional Gallery, 1998 Moore, Catriona. ‘Fiona Foley Interviewed by Catriona Moore’, Dissonance—Feminism and The Arts 1970–90, Allen and Unwin/Artspace, 1992, pp. 205–212 Morrell, Tim. ‘In Black and White: Text in Indigenous Queensland art’, Artlink: The word as art, Vol. 27 No. 1, Adelaide, 2007 Morrell, Timothy. ‘Collector’s Dossier: Fiona Foley, Australian Art Collector, Issue50, October–December 2009 Morrissey, John. ‘The Museum of Sydney on the Site of First Government House’, Monument, Issue 9, 1995, pp 54–55 Mundine, Djon. Drawing on Black Reality, a Myriad of Dreaming—Twentieth Century Aboriginal Art, Lauraine Diggins Fine Art, Melbourne, 1989 Mundine, Djon. ‘Salt on Mina Mina’, Art Monthly Australia, November 2001, No. 145, pp. 10–12 Mundine, Djon. ‘Seeing Black: Degrees of Invisibility’, Real Time, December 2009/January 2010 Murphy, Joy. ‘The Lie of the Land’, Artlink, Vol. 17 No. 3, 1997 Naumann, Peter. ‘Echigo-Tsumari Art Triennial’, Art Asia Pacific, April/May/June 2001 Nelson, Robert. ‘Follow the paper trail’, The Age, 11 April 2001, p.6 O’Ferrall, M. # Crossroads—Towards a New Reality: Aboriginal Art from Australia [ex. cat.], Tokyo, 1993 Oguibe, Olu, ‘Fiona Foley’, Fresh Cream, Phaidon Press, 2000 Oguibe, Olu. ‘Medium and Memory in the Art Of Fiona Foley’, Third Text, No. 33, 1995–96 Reilly Maura and Nochlin, Linda (editors). Global Feminisms: New Directions in Contemporary Art, Brooklyn Museum, New York, Merrell Publishers, London/New York, 2007 Rooney, R. ‘Urban Kooris come dotted with tradition’, The Australian, 29–30 May 1993 Saurin, J. ‘Aboriginal Spirit and “look”’, The Sydney Morning Herald, c. 1991 Schaffer, Kay. ‘Fiona Foley’s Art: New Perspectives, New Departures’, The Wake of First Contact, Cambridge University Press, pp. 245–257, 1995 Schmidt, Sarah. Postmark Post Mabo [ex. cat.], Australia Post, 2002 Smith, Sue. ‘Galleries’, The Courier-Mail, 14 October 1995 Smith, Sue. ‘Moving Pictures: A History’, The Courier-Mail, 23 May 2001 Strange Fruit [ex. cat.], Andrew Baker Art Dealer, Brisbane/October Gallery, London, 2006 Thomas, Martin. ‘Chequered Histories’, Meridian [ex. cat.], Museum of Contemporary Art, Sydney, 2002 Thomas, Martin. 1995 Perspecta [ex. cat.], Art Gallery of New South Wales, Sydney, 1995 Thomas, Martin. Lick My Black Art [ex. cat.], Australian Centre for Contemporary Art, Melbourne, 1993 Thomas, Matin. ‘Aborigines Restore Engagement to Art’, The Sydney Morning Herald, June 1991 Tovey, Noel. Dreaming the Republic [ex. cat.], Newcastle Region Art Gallery, 1998 Voigt, Anna. New Visions, New Perspectives—Voices of Contemporary Australian Women Artists, Craftsman House, 1996 Watson, B. ‘Images from the lost island’, The Sydney Morning Herald, 16 October 1992 Wildheart, Mandy. ‘Drawing on Silence’, Townsville Bulletin, 16 February 2001, p. 27 |
Collections
| The
British Museum, London, England
National Gallery of Australia, Canberra National Museum of Australia, Canberra Australian National Maritime Museum, Sydney Parliament House Art Collection, Canberra Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth National Gallery of Victoria, Melbourne Queensland Art Gallery/GoMA, Brisbane Artbank, Sydney Museum of Contemporary Art, Sydney The Kluge-Ruhe Aboriginal Art Collection, The University of Virginia, Charlottesville, Virginia, USA Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA Gold Coast City Art Gallery, Bundall, Queensland Campbelltown Arts Centre, Sydney Hervey Bay City Council, Queensland Australian National University, Canberra Brisbane Girls Grammar School, Brisbane Curtin University of Technology, Perth Flinders University, Adelaide Griffith University, Brisbane Latrobe University, Melbourne Queensland University of Technology, Brisbane The University of Queensland, Brisbane The University of Southern Queensland, Toowoomba, Queensland Department of the Premier and Cabinet, Brisbane Environmental Protection Agency, Maryborough, Queensland Mater Mothers’ Hospital, Brisbane Grant Samuel Collection of Contemporary Art, New Zealand/Australia Macquarie Bank, Sydney Robert Holmes à Court Collection, Perth |