Biography
| 1965 | Born in Bristol, family moved to Australia |
| 1985 | Obtained a BA from RMIT University, Melbourne |
| 1995 | Obtained a MA from RMIT University, Melbourne |
| Won the Anne & Gordon Samstag International Visual Arts Scholarship | |
| 1996-97 | Studied as an Affiliate Student at the Slade School of Art |
| 1988 | First show at the Niagara Galleries, Melbourne |
| 2000 | Dobell cow sculpture displayed in 'Les Champs de la Sculpture', Paris |
| 2002 | Dobell cow sculpture displayed in 'La Parade des Animaux', Monte Carlo |
Solo Exhibitions
| 1988 | Niagara Galleries, Melbourne |
| 1990 | Niagara Galleries, Melbourne |
| The Essoign Club, Owen Dixon Chambers, Melbourne | |
| 1993 | Niagara Galleries, Melbourne |
| 1995 | Niagara Galleries, Melbourne |
| Piccadilly Gallery, London, UK | |
| 1996 | Niagara Galleries, Melbourne |
| Masters Exhibition, RMIT, Melbourne | |
| 1997 | Piccadilly Gallery, London, UK, 'Painting the Dead Horse' |
| 1998 | Niagara Galleries, Melbourne |
| 2000 | Niagara Galleries, Melbourne, 'More Fucking Cows!' |
| Piccadilly Gallery, London, UK | |
| L'espal centre culturel, Le Mans, France, 'John Kelly' | |
| 2002 | Niagara Galleries, Melbourne |
| Piccadilly Gallery, London, UK, ‘Culture Jam’ | |
| 2003 | Liverpool Street Gallery, Sydney, 'The Nice Paintings – From The Top Paddock’ |
| 2004 | Niagara Galleries, Melbourne, ‘The Irish Rover’ |
| The Essoign Club, Owen Dixon Chambers, Melbourne, 'John Kelly' | |
| Project Space, RMIT, Melbourne, ‘The Drawing Room’ | |
| 2005 | Piccadilly Gallery, London, UK, ‘Incorrect Usage’ |
| Liverpool Street Gallery, Sydney, ‘Australian Cultural Product’ | |
| Goodenough College, London, ‘Three Cows in a Pile’ | |
| Niagara Galleries, Melbourne, ‘Project x 2’ | |
| 2006 | Piccadilly Gallery, London Dolliver Design Studio, Cork, Ireland, ‘There was an Australian, an Englishman and an Irishman...’ |
| Niagara Galleries, Melbourne, ‘Sun of Moonboy’ | |
| McClelland Gallery + Sculpture Park, Melbourne, ‘Deconstructing Australia’ | |
| 2007 | The Room, Brighton, VIC, ‘John Kelly’ |
| Piccadilly Gallery, London Dolliver Design Studio, Cork, Ireland, ‘There was an Australian, an Englishman and an Irishman...’ | |
| Musée d’Art Moderne de Contemporaine, Nice, France, ‘Cow up a Tree’ | |
| 2008 | Liverpool Street Gallery, Sydney, ‘Self Portrait from Afar’ |
| 2009 | Salamanca Arts Centre, Battery Point, TAS, ‘Self Portrait from Afar’, third project from Kelly’s Garden curated series |
| 2010 | Agnews Gallery , London, UK, 'Probe' |
| 2011 | Michael Koro Gallery, Melbourne, ‘Enterprise’ |
| 2013 | Liverpool Street Gallery, Sydney, ‘Look and Put (Irish Landscapes)’ |
| Oliver Sears Gallery, Dublin, Ireland, ‘Sticks and Stones’ | |
| 2014 | Australian Galleries, Derby Street, Melbourne, ‘From under my mother’s bed’ |
| The Doswell Gallery, Cork, Ireland, ‘Castlehaven’ | |
| 2015 | Australian Galleries, Roylston Street, Sydney, ‘From under my mother’s bed including recent etchings and steel cut outs’ |
| 2016 | Oliver Sears Gallery, Dublin, Ireland, ‘Out There’ |
| Bett Gallery, Hobart, ‘The Moo Brew Etchings’ | |
| Australian Galleries, Melbourne, ‘Hanging Rock’ | |
| Australian Galleries, Melbourne, ‘The Moo Brew Etchings’ | |
| Sotheby’s, Sydney, ‘John Kelly: Sculptures’ |
John Kelly has been described variously as an awkward bugger (Fergal Gaynor, 2007) and a free radical (Guangzhou Triennale, 2008), and whilst these observations are no doubt true his awkward radical behaviour leads to some interesting results.
John Kelly was born in 1965. His father, from Cork, and mother from Bristol, the family immigrated to Australia the same year. Due to his birth, heritage and circumstance John now holds three passports and therefore is an Englishman, an Australian and an Irishman. Kelly has lived in all three countries and for the past decade has resided in west Cork, Ireland. Although he has exhibited in Ireland before, Sticks and Stones might be regarded as his first exhibition as an Irish artist.
In 1985 Kelly obtained a Bachelor of Arts (Visual Arts Painting) from RMIT University, Melbourne, where he also completed his Masters of Arts in 1995. As a winner of the 1995 Anne & Gordon Samstag International Visual Arts Scholarship, he travelled to London to study as an Affiliate Student at the Slade School of Art from 1996 to 1997. In the UK he exhibited regularly with the prestigious Piccadilly Galleries in Cork Street, London and then Agnews Gallery, and has continued to do so with Merville Galleries.
As a painter, sculptor and printmaker Kelly engages across mediums and also writes, having written for Art Monthly (Australia & UK) and Circa magazine (Ireland).
In Australia Kelly is best known for his paintings and large sculptures of William Dobell’s cows, papier-mâché creations used during WWII in an attempt to confuse enemy aircraft as to the location of the Australian airbases. His sculptures of these cows have been exhibited on the Champs Elysées, Paris, in Les Champs de la Sculpture, 1999, Monte Carlo, in La Parade des Animaux, 2002, the MAMAC in France, The Hague, 2007, Glastonbury (2006 and 2007), Cork city 2011, and Melbourne Docklands (2001 to the present).
More recently, Kelly’s work has taken various turns and adventures that have seen him tackle contemporary issues – such as branding in contemporary culture, and museum politics – in places such as the Guangzhou Triennale, 2008, and the Göteborg Biennale, 2009. In 2005 Kelly’s work was commissioned by David Walsh (Museum of Old and New Art, MONA) in Hobart to create work for his Moo Brew beer labels. Kelly referenced the logo of the Australia Council for the Arts, who themselves had advocated a “branding the Arts” strategy. In what was a successful anti-branding branding campaign the award winning labels have become iconic Australian beer labels.
Kelly’s work is held in many museums and galleries in Australia and also the Guangdong Museum in China. His most recent exhibitions have been in Sydney (Look and Put) and London (British Art Fair).
Selected Group Exhibitions
| 1988-94 | Various group exhibitions in Australia |
| 1995 | Linden Gallery, Melbourne, ‘St Kilda Postcard Show’ |
| Dobell Drawing Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| Sulman Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| Benalla Visual Arts Festival, Benalla, VIC, ‘Australian Felix’ | |
| Piccadilly Gallery, London, UK, ‘Piccadilly Gallery at Art ‘95’ | |
| Geelong Art Gallery, Geelong, VIC, ‘Deakin University: Recent Acquisitions’ | |
| Basel Art Fair, Basel, Switzerland | |
| Piccadilly Gallery, London | |
| London, UK and Edinburgh, UK, ‘Royal Overseas League Exhibition’ | |
| Access Gallery, Sydney | |
| The Herald Sun Art Prize, Melbourne | |
| 1996 | Royal College of Art, London, UK, ‘20th Century British Art Fair’ |
| London, UK and Edinburgh, UK, ‘Royal Overseas League Exhibition’ | |
| Basel Art Fair, Basel, Switzerland | |
| Wynne Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| Mornington Peninsula Regional Gallery, Mornington, VIC, ‘12th Biennial Spring Festival of Drawing’ | |
| Fifth Australian Contemporary Art Fair, Melbourne | |
| 1997 | Halle Saint Pierre, Paris, France and Strausborg, France, ‘Oh La Vache!’ |
| Basel Art Fair, Basel, Switzerland | |
| Musée Municipal A.G. Poulain, Normandie, France, ‘Vaches du XXe Siecle et Droles de Bovides’ | |
| Glasgow Art Fair, Glasgow, Scotland | |
| Wynne Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| London, UK and Edinburgh, UK, ‘Royal Overseas League Exhibition’ | |
| 1998 | Sulman Prize Exhibition, Art Gallery of New South Wales, Sydney |
| Wynne Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| Salon des Refusés, SH Ervin Gallery, Sydney | |
| Sixth Australian Contemporary Art Fair, Melbourne | |
| Basel Art Fair, Basel, Switzerland | |
| Access Gallery, Sydney | |
| Hill-Smith Gallery, Adelaide | |
| Virgin Airlines, Gatwick Airport, London | |
| Hammerson, 100 Park Lane, London, UK, ‘Figuring it Out' | |
| Galerie Luc Queyral, Paris, France, ‘Proposition Australiennes’ | |
| Gallerie Commercio, Zurich, Switzerland, ‘Kuhkunst’ | |
| 1999 | Niagara Galleries, Melbourne, ‘Blue Chip II: The Collectors’ Exhibition’ |
| Mornington Peninsula Regional Gallery, Mornington, VIC, ‘Horses for Courses’ | |
| Espace Eiffel, Paris, France, ‘Salon Grands et Jeunes d’Aujourd’hui’ | |
| Paris, France, ‘Les Champs de la Sculpture II’ | |
| Basel Art Fair, Basel, Switzerland | |
| Royal Academy of Arts, London, ‘Summer Exhibition’ | |
| 2000 | Royal Academy of Arts, London, ‘Summer Exhibition’ |
| Sulman Prize Exhibition, Art Gallery of New South Wales, Sydney | |
| Foundation Coprim, Paris, France, 'Paysage' | |
| l’Espace, Adamski Designs, Paris, France, ‘Accents Australiens' | |
| 2002 | Monte Carlo, Monaco, ‘Parade des Animaux’ |
| Ipswick Global Arts Link, Ipswick, QLD, ‘Ready, Set, Go! Sporting Life and Australian Art’, | |
| Basel Art Fair, Basel, Switzerland | |
| Royal Academy of Arts, London, ‘Summer Exhibition’ | |
| 2003 | Niagara Galleries, Melbourne, ‘Blue Chip V: The Collectors’ Exhibition’ |
| National Gallery of Victoria, Melbourne, ‘Fair Game: Art & Sport’ | |
| McClelland Gallery, Langwarrin, VIC, ‘A Modelled World’ | |
| 2004 | Niagara Galleries, Melbourne, ‘Blue Chip VI: The Collectors’ Exhibition’ |
| Ballarat Fine Art Gallery, Ballarat, VIC and touring, ‘Imaging the Apple’ | |
| Melbourne Art Fair, Melbourne | |
| The Triskel, Cork, Ireland, 'Taking Stock' | |
| 2005 | Glastonbury Festival, Glastonbury, UK, ‘The Green Fields’ |
| The Triskel, Cork, Ireland, 'Taking Stock' | |
| McClelland Gallery, Langwarrin, VIC, ‘McClelland Contemporary Sculpture Survey and McClelland Award Exhibition’ | |
| 2006 | Melbourne Art Fair, Melbourne |
| Belfast Print Workshop, Belfast, Ireland, ‘Cork-Belfast Printmakers Exchange’ | |
| The Triskel, Cork, Ireland, ‘Fetish in a Box’ | |
| Belfast Print Workshop, Belfast, Ireland, ‘10 x 10 Identity in Contemporary Ireland’ | |
| Sculpture by the Sea: Tenth Annual Exhibition, Sydney | |
| 2007 | Montalto Sculpture Prize: Finalist Exhibition, Red Hill, VIC |
| The Hague, Netherlands, ‘Den Haag Sculptuur 2007’ | |
| Ballarat Fine Art Gallery, Ballarat, VIC, ‘How Now Cow’ | |
| Agnew’s, London, UK, ‘Looking forward – 25 British Artists’ | |
| Glastonbury Festival, Glastonbury, UK, ‘The Green Fields’ | |
| Sirus Arts Centre, Cork, Ireland, ‘Death and Desire’ | |
| Toorak Festival of Sculpture, Toorak, Melbourne | |
| Auckland Art Fair, Auckland, NZ | |
| Hawkesbury Regional Gallery , Hawkesbury , NSW, ‘Bloodlines: Art and the Horse’ | |
| 2008 | Niagara Galleries, Melbourne, ‘Blue Chip X: The Collectors’ Exhibition’ |
| The Helen Lempriere National Sculpture Award 2008, Werribee Park, Melbourne | |
| Yarra Sculpture Gallery, Melbourne, ‘Ship of Fools, Ship of Hope, One World’ | |
| Melbourne Art Fair, Royal Exhibition Building, Melbourne | |
| The Third Guangzhou Triennial, Guangzhou Museum of Art, Guangzhou, China, ‘Farewell to Post Colonialism’ | |
| 2009 | Cork Printmakers and Tristel Arts Centre, Cork, Ireland, ‘Today I joined a gang in the woods’, curated by Emma Mahony |
| Liverpool Street Gallery, Sydney, ‘Summer exhibition’ | |
| 2010 | Liverpool Street Gallery, Sydney, ‘Blue Chip: Collectors’ Exhibition’ |
| National Taiwan Museum of Fine Arts, Taiwan, ‘At the Crossroads’ | |
| 2011 | Goteborg International Biennial for Contemporary Art, Goteborg, Germany |
| Crawfort Art Gallery, Cork, Ireland | |
| 2014 | Australian Galleries, Derby Street, Melbourne, ‘Australia Day 2014 Celebratory Exhibition’ |
| Australian Galleries, Derby Street, Melbourne, ‘one of each’ | |
| 2015 | Void Gallery, Derry, Ireland, 'Horse' |
| 2016 | Anne & Gordon Samstag Museum of Art, Adelaide, ‘Fleurieu Art Prize’ |
| Australian Galleries, Melbourne, ‘Conjuring, Alchemy and Allure’ |
Collections
| Yale Center for British Art |
| Artbank, Australia |
| Art Gallery of New South Wales, Sydney |
| Art Gallery of South Australia, Adelaide |
| Baker and McKenzie, London, UK |
| Ballarat Fine Art Gallery, Ballarat, VIC |
| Benalla Art Gallery, Benalla, VIC |
| Bendigo Art Gallery , Bendigo, VIC |
| City of Yarra Collection, VIC |
| Deakin University Art Collection, VIC |
| Guangdong Museum of Art, Guangzhou, China |
| Gold Coast City Art Gallery, Gold Coast, QLD |
| Gallery of Sport, Melbourne Cricket Ground, Melbourne |
| Holmes a Court Collection, Cowaramup, WA |
| La Trobe University Collection, VIC |
| Leeuwin Estate, Margaret River, WA |
| Maharam Collection, New York, USA |
| McClelland Sculpture Park and Gallery, Langwarrin, VIC |
| Murdoch Collection, Australia |
| Musée Municipal A G Poulain, Normandie, France |
| Museum of Old and New Art, Moorilla, Hobart |
| National Gallery of Australia, Canberra |
| National Sports Museum, Melbourne Cricket Ground, Melbourne |
| Queen Victoria Museum and Art Gallery, Launceston, TAS |
| Queensland Art Gallery, Brisbane |
| Tasmania Museum and Art Gallery, Hobart |
| Trinity College Collection, Melbourne |
| Western Mining Collection, Australia |
| Numerous private and corporate collections in Australia, Europe and USA |
Commissions, Grants, and Awards
| 1988 | Project Grant, Visual Arts Board, Australia Council |
| 1992 | The Melbourne Theatre Company 1992-1993 Season Programme, I Hate Hamlet |
| 1993 | City of Richmond Acquisitive Art Award |
| John Storey Memorial Scholarship, The Queen’s Trust Grant, RMIT | |
| 1994 | Barcelona Studio, Visual Arts/Craft Board, Australia Council |
| 1995 | Anne and Gordon Samstag International Visual Arts Scholarship Award |
| St Kilda Postcard Show | |
| 2001 | Project Grant, South East Arts |
| 2002 | Professional Development Grant, Visual Arts/Craft Board, Australia Council |
| 2005 | ‘Moo Brew’, paintings for Moorilla Estate, TAS |
| 2015 | ‘Man lifting cow’ for Brimbank Council |
| 2016 | Fleurieu Art Prize (Finalist), Anne & Gordon Samstag Museum of Art, Adelaide |
Catalogues, Books, and Films
| Moet et Chandon (exhibition catalogue), 1988 | |
| John Kelly (exhibition catalogue), Niagara Galleries, Melbourne, 1993 | |
| Neville Drury, Images 2 – Contemporary Australian Painting, Craftsman House Press, 1994 | |
| Moet et Chandon (exhibition catalogue), 1994 | |
| Australian Arts Diary, illustrated, 1995 | |
| Australia Felix (exhibition catalogue), Benalla, 1995 | |
| Royal Overseas League (exhibition catalogue), London, 1995 | |
| John Kelly (exhibition catalogue), Niagara Galleries, Melbourne, 1995 | |
| Barry Humphries, The art of John Kelly (exhibition catalogue), The Piccadilly Gallery, London, 1997 | |
| Anne and Gordon Samstag International Visual Arts Scholarship (exhibition catalogue), University of South Australia, 1996 | |
| Royal Overseas League (exhibition catalogue), London, 1997 | |
| John Kelly (exhibition catalogue), Niagara Galleries, Melbourne, 1998 | |
| Basel Art Fair (exhibition catalogue), 1998 | |
| Cow up a Tree, Niagara Galleries, Melbourne, 1999 | |
| John Kelly – New Paintings and Sculpture (exhibition catalogue), The Piccadilly Gallery, London, 200 | |
| More Fucking Cows! (exhibition catalogue), Niagara Galleries, Melbourne, 2000 | |
| Laura Murray Cree, Awesome! Australian Art for Contemporary Kids, Craftsman House, Sydney, 2002 | |
| The Nice Paintings – From the Top Paddock (exhibition catalogue), Niagara Publishing, Melbourne, 2003 | |
| Australian Cultural Product (exhibition catalogue), Niagara Publishing, Melbourne, 2004 | |
| Sun of Moonboy (exhibition catalogue), Niagara Publishing, Melbourne, 2006 | |
| Sun of Moonboy (exhibition catalogue), Niagara Publishing, Melbourne, 2006 | |
| Australian Art Pack Animals 1788 – 21st Century, The Creative School Supply Company, 2007 | |
| Robert Lindsay, Deconstructing Australia (exhibition catalogue), McClelland Gallery and Sculpture Park, Melbourne, 2006 | |
| Sonia Payes, Untitled: Portraits of Australian Artists, Macmillan Publishing, Melbourne, 2007 | |
| The Helen Lempriere National Sculpture Award at Werribee Park 2008 (exhibition catalogue), The Helen Lempriere National Sculpture Award, Melbourne, 2008 | |
| Self Portrait from Afar (exhibition catalogue), Liverpool Street Gallery, Sydney, 2008 | |
| John Doggett-Williams, Deconstructing John Kelly, Fine Eye Productions, Melbourne, 2008 | |
Articles and Reviews
| Gary Catalano, The Age, 17 February 1988 | |
| Alison Barclay, “Cow of a job for a talented artist”, Herald Sun, 8 June 1993 | |
| Anna Clabburn, “Laughing at national sacred cows”, The Melbourne Times, 23 June 1993 | |
| Openline, RMIT “John Storey winner milks memories of wartime cows”, RMIT University, 16 June 1993 | |
| Chris Johnston, “Painting a cows tale”, Western Independent, Melbourne | |
| Robert Nelson, “Moet has depth and seduction”, The Age, 4 January 1995 | |
| Anna Clabburn, Asian Art News (Australian Supplement), May 1995 | |
| Andrew Block, “Cudding Edge”, Herald Sun, 1 March 1996 | |
| Susan McCulloch, “Metaphorically Phar-fetched”, The Australian, 4 November 1997 | |
| “The weekend’s best: Art”, The Age, 28 November 1998 | |
| “Kelly: London to Brighton”, Artlink, volume 18, No. 4, 1998 | |
| “John Kelly L’Australie Aux Champs”, Connaissance Des Arts, No 561, May 1999 | |
| “John Kelly dans le cadre des Champs de la Sculpture 2000”, press book, comprehensive collation of international media coverage, Agence Hymann, Renault Associees, Paris, 2000 | |
| Anna Clabburn, “Stripes and squares animate landscape carnival”, The Australian, 10 November 2000 | |
| Robert Nelson, “Shock of the moo”, The Age, 8 November 2000 | |
| Jeff Makin, “Suspended animation”, Herald Sun, 20 November 2000 | |
| “Docklands is out on a limb for art”, Melbourne Yarra Leader, 12 February 2001 | |
| Susan McCullock-Uehlin, “Packing art and leaving home”, The Weekend Australian, 2 June 2001 | |
| Jeff Makin, “Roses all the way”, Herald Sun, 4 February 2002 | |
| Alison Harper, “Market perspective”, The Australian Art Market Report, Issue 4, 2002 | |
| “Market perspective”, The Australian Art Market Report, Issue 5, 2002 | |
| Louise Bellamy, “Bull market for Niagara”, The Age, 24 April 2003 | |
| Bob Hart, “In the bid time”, Herald Sun, 3 May 2003 | |
| Georgina Safe, “Painter mocks arts council bull”, The Australian, 20 June 2003 | |
| John Kelly, “Letters”, Art Monthly Australia, August 2003 | |
| John McDonald and John Kelly, “Branding time at the oz co. corral”, Australian Art Review, November 2003 | |
| Alison Harper, “Interview with John Kelly”, The Australian Art Market Report, Issue 10, 2003 | |
| Terry Ingram, “Merger streamlines art market”, The Australian Financial Review, 14 November 2003 | |
| Patricia Anderson, “Apparitions and metaphors”, The Australian, 15 November 2003 | |
| Geoff Maslen, “Gavel fails to fall for most vendors”, The Age, 1 December 2003 | |
| Harbant Gill, “Having a cow of a time”, Herald Sun, 28 January 2004 | |
| Louise Bellamy, “A gain for the galleries”, The Age, 25 June 2005 | |
| Harbant Gill, “So who’s a silly moo?”, Herald Sun, 28 June 2005 | |
| Jeff Makin, “Pun in the moonlight”, Herald Sun, 20 November 2006 | |
| Harbant Gill, “Now it’s three cows up a tree”, Herald Sun, 26 Marh 2007 | |
| Ailin Quinlan, “Artist brings animal attraction home”, Irish Examiner, 2 April 2007 | |
| Brian O’Connell, “Pull the udder one”, The Irish Times Magazine, 7 April 2007 | |
| Katrina Stickland, “No sacred cows”, The Australian Financial Review, 6 December 2007 | |
| Harbant Gill, “Peril vaults back”, Herald Sun, 18 February 2008 | |
| “It’s a date: Helen Lempriere Centenary Exhibition at Werribee Park”, Royal Auto, April 2008 | |
| Fergal Gaynor, “Crawford Open 2007 – the sleep of reason”, Circa 123, Spring 2008 | |
| John P O’Sullivan, “Enjoy the View”, The Sunday Times, 03 August 2014 | |
| James Cockington, “Art to Adore for Heifer and Heifer”, Sydney Morning Herald, ‘Money’, 22 October 2014 | |
| Capone, Alesha, “Artist John Kelly begins work on Man lifting cow statue for Sunshine”, Brimbank Leader, 11 November 2015 | |
| Kylie Northover, “Cow-up-a-tree-artist John Kelly – Australia’s most famous artist you never knew”, The Age, 18 December 2015 | |
| Margaret Burin, “Australian artist John Kelly brings cows home to mark humble beginnings”, ABC News, 20 August 2016 | |
| Sally Glaetzer, “How a beer label led to Leigh Carmichael’s brilliant new career”, The Mercury, 29 October 2016 | |
| Tom Wright, "Cow up a Tree behind a temporary cafe ... for three years", The Age, 22 June 2017 → | |
Writing by the Artist
| “In advance of the Crawford open”, Recirca.com, 2007 | |
| “Making a meal of sculpture”, Recirca.com, 2008 | |
| “If I were you I wouldn’t start from here – The way things go”, Recirca.com, 2008 | |
| “The spectacle of expectation in public”, Recirca.com, 2008 | |
| “An Open Letter From John Kelly to the PM”, The Art Life blogspot, 2008 | |
| “Wotif, Wotif...”, The Artlife, 2008 | |
| “Sean Lynch”, Circa magazine, Ireland 2008 Summer edition | |
| “The impossibility for shopping in the mind of a stuffed d’oh eyed panda”, Circa magazine, Winter edition Ireland, 2008 | |
| “First Past the Post-Colonial”, Art Monthly Australia, November 2008 | |
| “Prayer for the Potato Crop”, Art Monthly Australia, March 2009 | |
| “The Beauty of Distance”, Art Monthly Australia, July 2009 | |
| “Is that your dog”, A Biennale Romance, www.recirca.com, 2009 | |
| “Grin and bear it”, Circa magazine, Ireland, Summer 2009 | |
| “On the beach – a letter from Nice”, Recirca.com, 2009 | |
| “Not exactly about cricket”, The Art Life, 2009 | |
| “Letter from an Australian”, originally published in Art Monthly, Issue No 322, December 2009/January 2010, p 38 | |
| “Bacon ‘n’ Eggs”, Art Monthly Australia, March 2010 | |
| “From Melbourne to Monaco (via Princess Grace boulevard)”, The Art Life, April 2010 | |
| “Thingamajig, the secret life of objects”, The Art Life, May 2010 | |
| “The Caretaker and the Guesthouse”, The Art Life, June 2010 | |
| “William Dobell, An artist’s life, Book review”, Art Monthly Australia, November 2010 | |
| “Close Examination, Fakes, Mistakes and Rey Mysterio – A year in review”, The Art Life, December 2010 | |
| “Flying High I & II: Airplane, the Terminal Convention and Sirium Matters”, The Art Life, February 2011 | |
| “Memory Places”, Art Monthly Australia, April 2011 | |
| “The Golden Thread: Hany Armanious at the Venice Biennale, “The Art Life, July 2011 | |
| “Art, Branding and Camouflage Cows”, The Art Life, August 2011 | |
| “Artist and the State and the State of the Arts”, www.papervisual.com, September 2011 | |
| “PAN DEMON i UM: The Goteborg International Biennale of Contemporary Art”, www.recirca.com, September 2011 | |
| “The Garden Shed”, Visual Arts News, November-December 2011 | |
