2018 Judges

 
Pat Brassington

Pat Brassington

Pat Brassington is one of Australia’s significant and influential artists. In a career that spans four decades, Brassington has become recognised for her enigmatic and ambiguous photomontages that capture the emotional force of memory informed by an interest in surrealism and psychoanalysis. Her work presents audiences with unexpected juxtapositions in the form of collage and found imagery. Recently she was awarded the inaugural Don Macfarlane Award for her contribution to the visual arts. In 2016 she was awarded the Redlands Konica Minolta Art Prize and in 2013 the William and Winifred Bowness Photography Prize. Solo exhibitions include: Pat Brassington: A Rebours, Australian Centre for Contemporary Art, Melbourne (2012) and touring Australia and New Zealand, Pat Brassington, 10 Cubed Gallery, Melbourne (2012), In Search of the Marvelous, CAST Gallery, Hobart (2012), Pat Brassington, Lönnstrom Art Museum, Rauma, Finland (2008) and Pat Brassington: Works in Progress, Ian Potter Museum of Art, University of Melbourne, (2002).

Brassington’s work has featured extensively in national and international exhibitions and her work is held in major state, university and national collections throughout Australia.


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Dr Peter Hill

Dr Peter Hill is an artist, writer, and independent curator. He was born in Glasgow in 1953 to an Australian mother and Scottish father. His main area of research is into what he calls “Superfictions”. Initially, this examined the overlap between installation art and literary fiction, but has increasingly grown to describe the gaps between any two or more human (and sometimes non-human) activities. In 1989, he created The Museum of Contemporary Ideas, supposedly the world’s biggest new museum on New York’s Park Avenue. It only existed through the press releases mailed out from Scotland and Tasmania. Recently he has become interested in how Superfiction strategies can be used to establish real events. He originally trained as a painter, and won a Latimer Award for Painting at the Royal Scottish Academy in 1982. As an author, his book Stargazing: Memoirs of a Young Lighthouse Keeper (Canongate) won a Saltire Award in Edinburgh at the National Library of Scotland (2004). He has exhibited his Superfictions in the Biennale of Sydney and at the Museum of Modern Art, Oxford. He is currently on a two-year round-the-world lecture tour on the topic of Fake News and Superfictions. He is an Adjunct Professor of Fine Art at RMIT University, Melbourne.


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Edward Colless

Edward Colless is editor of the recently re-booted journal Art+Australia and its book and publications program. He is also senior lecturer in Critical and Theoretical Studies at the Victorian College of the Arts, University of Melbourne. He has taught in several tertiary institutions in Australia and overseas, lecturing in art and cultural history, aesthetics, cinema studies, and design. In addition to education, he has in the past worked in professional theatre, film, broadcasting and architecture, been a curator, worked as a travel writer, and dabbled in fiction — but mainly he writes on art. In this field, he has contributed to numerous anthologies of art history, theory and criticism and to countless catalogues, magazines and conferences. He has been in the past a regular reviewer for the Melbourne Age and the national newspaper The Australian, and is a founding associate editor and features writer for [Australian] Art Collector. An anthology of his selected writing, The Error of My Ways, published in 1995, was nominated for the NSW Premier’s Prize for Literature. Colless has also been short-listed for the Pascall Prize for Criticism and won the Art Association of Australia and New Zealand’s award for “Best Academic Essay” in 2011. In addition to writing on art, he uses every opportunity to indulge in arcane topics, the more obscure the better: heretical theology, art historical marginalia, outsider science and crypto-zoology. 

 
 

Banner image: 2002 The Hutchins Art Prize Winner
Friend, Ian. For JHP #6. 2002. Ink, Gouache, Crayon 760 x 1120mm (Detail)