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JACKY REDGATE




 
ARTIST PROFILE

JACKY REDGATE
Born 1955, London, United Kingdom

Jacky Redgate immigrated with her family to Adelaide in 1967. She studied at the South Australian School of Art (1976–80), completing postgraduate studies at Sydney College of the Arts, The University of Sydney, in 1998. She currently lives and works in Sydney and lectures at the University of Wollongong.

Redgate’s work operates on a number of different registers and between different fields. Her longstanding interest in geometric systems, logic, spatial relationships, optics and codes of representation is explored through a rich interdisciplinary practice, preoccupied with themes of memory and recollection.

Redgate has a 25-year exhibition history, with representation in numerous prestigious national and international exhibitions, including Australian Perspecta (1985, 1987–89) and the Biennale of Sydney (1986, 1988, 1990). During the 1990s, Redgate also exhibited in two major Australian photographic exhibitions in Sydney: ‘Photography is Dead! Long Live Photography!’ at the Museum of Contemporary Art in 1996, and ‘What is this thing called photography?’ at the Art Gallery of New South Wales (1999). In 1993–94, she participated in ‘Looking at Seeing and Reading’, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales and in 1996–97, ‘a la vez Narelle Jubelin at the same time’, Art Gallery of Ontario, in collaboration with the Art Gallery of York University, Canada.

The major exhibition, ‘Jacky Redgate: Survey 1980–2003’, was exhibited in Adelaide at the Contemporary Art Centre of South Australia (CACSA) in 2004; the Perth Institute of Contemporary Arts in 2005; and (together with new work) at the Museum of Contemporary Art in 2005–06.

Jacky Redgate’s many awards include a twelve-month Overseas Fellowship Residency at the Künstlerhaus Bethanien, Berlin (1987), where she lived and worked for two years, and a six-month residency at the Power Studio, Cité Internationale des Arts, Paris (1996–97). She is represented in Australia’s major public galleries, as well as private and corporate collections nationally and internationally. A monograph on her work was published by CACSA in 2005.

BIOGRAPHY
1967 Emigrated to Australia
1976–80 Bachelor of Arts, Fine Art, South Australian School of Art, Adelaide
1984–85 Post Graduate Diploma, Visual Arts, Sydney College of the Arts
1987–89 Lived and worked in Berlin
1998 Master of Visual Arts, Sydney College of Arts, The University of Sydney
2005–06 Curator, 1967: Selected works from the MCA Collection, Museum of Contemporary Art, Sydney
Currently lives in Sydney and lectures at the University of Wollongong

SELECTED SOLO EXHIBITIONS
2006 STRAIGHTCUT II, Sherman Galleries, Sydney
2005–06 Jacky Redgate Life of the System 1980–2005, Museum of Contemporary Art, Sydney
2004–05 Jacky Redgate Survey 1980–2003, Contemporary Art Centre of South Australia,
Adelaide; Perth Institute Contemporary Arts, Perth
2003 STRAIGHTCUT, ARC One Gallery, Melbourne
2002 STRAIGHTCUT, Sherman Galleries Goodhope, Sydney
2000 Arrivals, Sydney 2000 Olympic Arts Festival, Sherman Galleries Hargrave, Sydney
1999 Life of the System, Robert Lindsay Gallery, Melbourne
1998 Life of the System, Sherman Galleries Goodhope, Sydney
1997 Fountain, Milburn Gallery, Brisbane
1995 French Windower, Robert Lindsay Gallery, Melbourne
1994 Equal Solids, Sherman Galleries Goodhope, Sydney
1993 Milburn Gallery, Brisbane
1992 Untitled – red, yellow and blue, Post West, Adelaide
Van den Berg/Redgate, Conversions: Festival of Installation Works, Canberra Contemporary Art Space
1991–92 Stacey/Redgate: Survey, National Art Gallery and Museum, Wellington; Artspace, Auckland; Art Gallery of New South Wales, Sydney; Australian Centre for Contemporary Art, Melbourne
1990 Untitled, Mori Gallery, Sydney
1989 Hungry Birds, Mori Gallery, Sydney
1988 TAMING-THE-SPECTRUM, Künstlerhaus Bethanien, Berlin
1987 WORK-TO-RULE, Mori Gallery, Sydney
1983 photographer unknown, Images Gallery, Sydney
1982 What we have lost is our home in this world, Quantum Leaps, Women’s National Show, Experimental Art Foundation, Adelaide
1979 Sleep has its house [with Fernanda Martins], Women’s Art Movement, Adelaide
1978 Chicken Dinner [performance installation], South Australian School of Art Gallery, Adelaide

SELECTED GROUP EXHIBITIONS
2007 Prelude (with Maria Fernanda Cardoso, Robert Owen and Imants Tillers), ARC One Gallery, Melbourne
Continuum (with Bert Flugelman, Ian Gentle and Penny Harris, FCA Gallery, University of Canberra, Canberra
Snap Frieze: Still Life Now,  TarraWarra Museum of Art, Victoria
Open Letter, Loose Projects, Sydney
Out on the Patio, Capilano College Gallery, Vancouver, BC
2006 2006 Clemenger Contemporary Art Award, The Ian Potter Centre: NGV Australia, Melbourne
21st Century Modern: 2006 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide
We Are Australian Too, Casula Powerhouse Arts Centre, Liverpool Regional Museum, Liverpool
2005 Bleak Epiphanies: An exhibition of small black things, Virginia Wilson Art in association with William Wright, Sydney
Concord-SALA Week, South Australian School of Art Gallery, Adelaide
2004 Festivus 04 – One Of, Sherman Galleries, Sydney
ARC One Summer Show, ARC One Gallery, Melbourne
The Dead Travel Slow, Artspace, Sydney
Written with Darkness: Selected Photographs from the Corrigan Collection, University of Technology Sydney Gallery
MIX-ED: Diverse Practice and Geography, Sherman Galleries, Sydney
Imaging the Illawarra: 25 Takes, Wollongong City Gallery, New South Wales
Pr8of, ARC One Gallery, Melbourne
2003 A Modelled World, McClelland Gallery and Sculpture Park, Langwarrin, Victoria
The Democracy of Objects, Multiple Box, Conny Dietzschold Gallery, Sydney
Shangri-La Collective, Artspace, Sydney
City of Hobart Art Prize, Carnegie Gallery, Hobart
2002 A Silver Lining and A New Beginning: Fundraising Exhibition, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
32nd Alice Prize, Araluen Centre, Alice Springs
40th Festival of Fisher’s Ghost Award, Campbelltown City Bicentennial Art Gallery, New South Wales
Points of View: University of Technology Sydney Art Collection, University of Technology Sydney Gallery
The Enduring Glance: 20th Century Australian Photography from the Corrigan Collection, Bendigo Art Gallery Travelling Exhibition, Victoria
Common Ground, Hazelhurst Regional Gallery and Arts Centre, New South Wales
Conrad Jupiter’s Art Prize, Gold Coast City Art Gallery, Queensland
2001 A Studio in Paris: Australian Artists at the Cité Internationale des Arts 1967–2000, S.H. Ervin Gallery, Sydney
Blind Valley, Blaugrau Gallery, Sydney
2000 Remove …, University of South Australia Art Museum, Adelaide
Spooky, Gleneira City Gallery, Melbourne
The Numbers Game: Creative Connections Between Art and Mathematics, Adam Art Gallery – Te Pataka Toi, Victoria University of Wellington, New Zealand
Warm Filters: Paintings for Buildings, Elizabeth House, Telstra 2000 Adelaide Festival of Arts, Contemporary Art Centre of South Australia, Adelaide
1999 What is this thing called photography? Australian photography 1975–1985, Art Gallery of New South Wales, Sydney
Signature works: 25th Anniversary Exhibition, Australian Centre for Photography, Sydney
1999 Visy Board Art Prize, Richmond Grove Winery, Tanunda, South Australia
Four ways around a frame, Australian Centre for Photography, Sydney
Paper, Gallery 132, Sydney
1998 Sleepwalker, University of South Australia, Adelaide
Ladies and Gentlemen, Cameron House, Fortitude Valley, Brisbane
1997 Women’s Work in The Parliament House Art Collection: Recent Acquisitions, An Exhibition for Floriade, Parliament House, Canberra
ANON, Sherman Galleries Goodhope, Sydney
1996–97 a la vez Narelle Jubelin at the same time, Art Gallery of Ontario [in collaboration with the Art Gallery of York University], Canada
Flagging the Republic, Sherman Galleries, Sydney and New England Regional Art Museum, Armidale, New South Wales
1996 Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney
The Power to Move: Aspects of Australian Photography, Queensland Art Gallery, Brisbane
1995 In Tandem, Sherman Galleries Goodhope, Sydney
1993–94 Looking at Seeing and Reading, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney; Institute of Modern Art, Brisbane; Monash University Gallery, Melbourne
1993 Installation and Objecthood, Martin Browne Fine Art, Sydney; Milburn Galleries, Brisbane; Perc Tucker Regional Gallery, Townsville, Queensland
March, Milburn Gallery, Brisbane
Naked, Black Gallery, Sydney
1992 Signals, Museum of Contemporary Art, Sydney
Blink, Contemporary Art Centre of South Australia, Adelaide
1991 Stranger than Fiction, Australian National Gallery, Canberra
Photodeath, Australian National Gallery, Canberra
Painting and Perception, Mori Gallery, Sydney
1990 Working Models, Institute of Modern Art, Brisbane
Temporal Frames, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
The Readymade Boomerang: Certain Relations in 20th Century Art, 8th Biennale of Sydney, Art Gallery of New South Wales, Sydney
1989–90 Pure [an abstract show], Mori Gallery, Sydney and Queensland College of Art Gallery, Morningside
1989 In Full Sunlight, AGLASSOFWATER, Fortitude Valley, Brisbane; 10,000 Feet, Melbourne, First Draft at the Australian Centre for Photography, Sydney
Tableaux Mourant: Photography and Death, Fine Arts Gallery, University of Tasmania, Hobart
ICI Contemporary Art Collection, City of Ballarat Fine Art Gallery, Victoria and touring
1988–89 Edge to Edge: Australian Contemporary Art Exhibition to Japan, National Museum of Art, Osaka; Hara Museum, Tokyo; Nagoya City Museum, Nagoya; Hokkaido Museum, Sapporo, Japan
1988 The Australian Biennale: From the Southern Cross. A View of World Art c. 1940–88, 7th Biennale of Sydney, Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne
Elsewhere, Photo-based Work from Australia, Institute of Contemporary Arts, London
Australian Photography: The 1980s, Australian National Gallery, Canberra
Shades of Light: Photography and Australia 1839-1988, Australian National Gallery, Canberra
Australian Photography: 1978-1988, Drill Hall Gallery, Australian National University, Canberra
1987–89 Australian Bicentennial Perspecta, Art Gallery of New South Wales, Sydney; Art Gallery of Western Australia, Perth; Frankfurter Künstverein, Frankfurt and Stuttgart, Württembergische Künstverein
1987–88 Fortune, The George Paton Gallery, Melbourne; Institute of Modern Art, Brisbane; Ivan Dougherty Gallery, City Art Institute, Sydney and Contemporary Art Centre of South Australia, Adelaide
Pure Invention, Parco Space 5, Tokyo, Japan; Australian Centre for Photography, Sydney; 200 Gertrude Street, Melbourne; Ipswich Art Gallery, Queensland and Contemporary Art Centre of South Australia, Adelaide
1987 Mori Gallery at United Artists Gallery, United Artists Gallery, Melbourne
The Shadow of Reason, Institute of Modern Art, Brisbane
Borderlines: Recent Sydney Photographs, A Regional Touring Exhibition, Albury Regional Art Centre and New England Regional Art Museum, Armidale, New South Wales
1986 Origins, Originality + Beyond, 6th Biennale of Sydney, Art Gallery of New South Wales, Sydney
Elsewhere: Displacements within Australian Photography, Biennale of Sydney Satellite Exhibition, Australian Centre for Photography, Sydney
Aberdare Prize for Still Life, Ipswich Art Gallery, Queensland
Suspending Belief, The Observatory Gallery, Brisbane
1985–86 Recent Australian Photography from the Kodak Fund, Australian National Gallery, Canberra
1985 Instruments of Art: Australian Perspecta ‘85, Art Gallery of New South Wales, Sydney
Curator’s Choice, Developed Image Gallery, Adelaide
Dancing in the Margins ... of other texts, Performance Space Gallery, Sydney
Killing Time, Mori Gallery, Sydney
1984–85 After the Artefact: An Exhibition of Contemporary Photographic Practice, Wollongong City Gallery, New South Wales; Newcastle Region Art Gallery, New South Wales and Ivan Dougherty Gallery, City Art Institute, Sydney
1984 The Lady Fairfax Photographic Awards, Art Gallery New South Wales, Sydney
Zone XII [after the flash], Art Unit, Sydney
1983 The Nineteen Eighty Four Show, Images Gallery, Sydney
Art Unit Goes West, Art Unit, Sydney
Fringe Arts Festival, Fringe Network [Film and Video], Melbourne
Gods, Demi-Gods & Demi-Demi-Gods, Images Gallery, Sydney
1982 The Christmas Show, Roar Studios, Melbourne
Art Sale for Land Rights Exhibition, Apmira, Paddington Town Hall, Sydney
1980 South Australian Young Filmmakers’ Festival, Glenelg Cinema Centre, Adelaide
Performances and Installations, Adelaide College of Advanced Education Gallery, Underdale, Adelaide
Viewpoints, An exhibition of Adelaide based photographers, Flight Art Gallery, Adelaide
Experimental Art Foundation Performance Festival, Experimental Art Foundation, Adelaide
1979 Channel 10 Young Film Makers’ Award, Channel 10, Adelaide
Free Fall Through Featherless Flight, Women’s Art Movement, Adelaide
1978 The Union Show: Women’s Art Movement Members’ Exhibition, Union Gallery, Adelaide University, Adelaide

GRANTS
2004 Visual Arts/Craft Board, Australia Council, New Work [Established] Grant
Faculty of Creative Arts, University of Wollongong, Project Funding Grant
2003 National Association for the Visual Arts, Marketing Grant Scheme
University of Wollongong, University Research Committee, Small Grants Scheme
University of Wollongong, Vice Chancellor’s Challenge Grant
2000 Visual Arts/Craft Fund, Australia Council, New Work Grant
1996–97 Visual Arts/Craft Fund, Australia Council and The University of Sydney, Power Studio, Cité Internationale des Arts, Paris
1996 Visual Arts/Craft Fund, Australia Council, New Work Grant
1993 Visual Arts/Craft Board, Australia Council, Artists/Craftspeople Development, Fellowship
1991 Visual Arts/Craft Board, Australia Council, Artists/Craftspeople Development, Creative Development Grant
1989 Visual Arts/Craft Board, Australia Council, Artists/Craftspeople Development, Creative Development Grant
1987 Visual Arts Board, Australia Council, Overseas Studio, Künstlerhaus, Berlin
1985 Visual Arts Board, Australia Council, Project Grant

COLLECTIONS
National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; National Gallery of Victoria, Melbourne; Queensland Art Gallery, Brisbane; Artbank; Parliament House Art Collection, Canberra; Monash University Collection, Melbourne; University Technology Sydney Art Collection; University of Wollongong Art Collection; Allied Queensland Coalfields Limited Collection, Brisbane; Corrigan Collection; IBM Collection; ICI Contemporary Art Collection; News Corporation Collection; Westin Melbourne Collection. Private collections in Australia, Germany, Madrid and the United States

SELECTED BIBLIOGRAPHY
2006
Wendy Walker, ‘The kandy-koloured tangerine flake, 21st Century Modern: the 2006 Adelaide Biennial of Australian Art’, Art & Australia, vol. no. , pp. 8–9
Margaret Morgan, ‘Never lose sight’, 2006 Adelaide Biennial of Australian Art, [catalogue], Art Gallery of South Australia, Adelaide
Judy Anderson, ‘Visions from her bed’, Weekend Bulletin, Paradise, 22–23 April, p. 23
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House (Thames and Hudson), Melbourne, 2006
Margaret Morgan, ‘Never lose sight’, 2006 Adelaide Biennial of Australian Art, [catalogue], Art Gallery of South Australia, Adelaide

2005
Michael Desmond, ‘Imagining space’, Jacky Redgate: 1980–2003, [monograph], Contemporary Art Centre of South Australia, Adelaide
Jena Woodburn, ‘Jacky Redgate’, Eyeline, 56: 24–27
Michael Desmond, Jacky Redgate: The geometry of memory, Broadsheet, Vol 34 No 1: 42–45
Ric Spencer, ‘Doing the hard art’, The West Australian, 12 March: 12
Zara Stanhope, ‘A clear-eyed look’, Jacky Redgate: Survey 1980–2003, [catalogue], Perth Institute of Contemporary Arts, Perth
George Alexander, ‘The Dead Travel Slow’, The Dead Travel Slow, [catalogue], Artspace Visual Arts Centre, Sydney

2004
Maria Bilske, ‘Photography thinking itself: Jacky Redgate: Survey 1980–2003 in Adelaide’, Art Monthly Australia, 176: 21–4
Ross Gibson, ‘Written with Darkness’, Written with Darkness: Selected photographs from the Corrigan Collection’, [catalogue], University of Technology Sydney
John Neylon, ‘Fragmented geometry’, Australian Art Review, Issue 6: 97
Lisa Harms, ‘Jacky Redgate: Survey 1980–2003’, Artlink, Vol 24 No 3: 84
John Neylon, ‘Sum of the parts: Jacky Redgate Survey 1980–2003’, The Adelaide Review, No 250: 37
Wendy Walker, ‘Done with mirrors’, The Advertiser, Adelaide, 27 August: 76
Wendy Walker, ‘Jacky Redgate Survey 1980–2003’, Australian Art Collector, 29: 217
Stephanie Radok, ‘Focus on a life’s work’, The Adelaide Review, 248: 22
Blair French, ‘Life of the System + Straightcut’, Jacky Redgate Survey 1980–2003, [catalogue], Contemporary Art Centre of South Australia, Adelaide
Ross Gibson, ‘The colour clavecin’, Jacky Redgate Survey 1980–2003, [catalogue], Contemporary Art Centre of South Australia, Adelaide
Simeon Kronenberg, ‘MIX-ED: Diverse practice and geography’, MIX-ED, [catalogue], Sherman Galleries, Sydney
Edward Colless, ‘Tradition: Jacky Redgate’, Jacky Redgate Survey 1980–2003, [catalogue], Contemporary Art Centre of South Australia, Adelaide
Vivian Vidulich [ed.], Imaging the Illawarra: 25 takes, [catalogue], Wollongong City Gallery, New South Wales: 17
Louise Nunn, ‘Focus shifts to Jacky’, The Advertiser, Adelaide, 27 April: 50
Anne Finegan, ‘Pleasure’, Shangri-La Collective, [catalogue], Artspace Visual Arts Centre, Sydney: 5–23
Alan Cruickshank, ‘Fragmented and fabricated: A biennial of what?’, Broadsheet, Vol 33, No 2: 14–15
Stuart Koop, ‘Pr8of: new image making’, Pr8of, [catalogue], ARC One Gallery, Melbourne

2003
Lycia Danielle Trouton, ‘Straightcut’, Art Papers, Atlanta, July–August: 52–3
Russell Storer, Jacky Redgate, Straightcut’, ‘STRAIGHTCUT, [catalogue], ARC One Gallery, Melbourne

2002
Russell Storer, ‘Jacky Redgate, Straightcut’, Photofile, 67: 23–7
Jenepher Duncan and Linda Michael [eds], Monash University Collection: Four Decades of Collecting, [catalogue], Monash University Museum of Art, Melbourne: 98
Ewen McDonald [ed.], Points of View: University of Technology Sydney Art Collection, [catalogue], University of Technology Sydney: 79–87
Tracy Cooper, ‘A lasting vision: The Enduring Glance’, The Enduring Glance: 20th Century Australian Photography from the Corrigan Collection, [catalogue], Bendigo Art Gallery Travelling Exhibition, Victoria
Simon Rees, ‘Beyond the white [and orange] cube’, Broadsheet, Vol 31 No 2: 23
Diana Wood Conroy, ‘Common Ground’; Tom Sear, ‘Parklife: Histories of human habitats in the royal national park’, Common Ground, [catalogue], University of Wollongong, New South Wales and Hazelhurst Regional Gallery and Arts Centre, New South Wales: 4–7; 16–19
Simon Rees, ‘Jacky Redgate @ Sherman Galleries’, Flash Art, Vol XXXIV No 224: 68
Jacky Redgate, STRAIGHTCUT, Sherman Galleries, [catalogue], Sydney

2001
Jane Watters, ‘A Studio in Paris: Australian artists at the Cité 1967–2000’, A Studio in Paris: Australian artists at the Cité 1967–2000, [catalogue], S.H. Ervin Gallery, Sydney
Maria Bilske, ‘Life, love, philosophy, etc.’, Broadsheet, Vol 30 No 1: 19

2000
Wendy Walker, ‘Landscape of contradictions’, The Advertiser, Adelaide, 4 December: 84
Alan Cruickshank, ‘The goalkeeper’s fear of the penalty of the kick’, Remove…, [catalogue], University of South Australia Art Museum, Adelaide
Zara Stanhope, ‘One, two, three, four, knock at my door’, The Numbers Game: Creative Connections Between Art and Mathematics, [catalogue], Adam Art Gallery – Te Pataka Toi, Victoria University of Wellington, New Zealand
Linda Marie Walker and Anton Hart [eds], Warm Filters: Paintings for Buildings, [catalogue], Contemporary Art Centre of South Australia, Adelaide: 8; 12; 21; 27

1999
Judy Annear, ‘What is this thing called photography?’, What is this thing called photography? Australian photography, 1975–1985, [catalogue], Art Gallery of New South Wales, Sydney
Alasdair Foster, ‘Signs of the times’, Signature Works: 25th Anniversary Exhibition, [catalogue], Australian Centre for Photography, Sydney: 8–9
Blair French [ed.], Photofiles: An Australian Photography Reader, Power Publications, Power Institute, The University of Sydney and Australian Centre for Photography, Sydney: 11, 51–56, 131–138, 227–234, 281–290
Stephen O’Connell, ‘Jacky Redgate’, Art & Text, 64: 91–2

1998
Courtney Kidd, ‘Public art in Sydney: Olympic heights or more of just the same?’, Artlink, Vol 18 No 2: 42–6
Blair French, ‘Life of the System’, Life of the System, [catalogue] Sherman Galleries, Sydney
Sebastian Smee, ‘Frame game’, The Sydney Morning Herald, 6 October: 15

1997
Louise Dauth, ‘Women’s Work in The Parliament House Art Collection: Recent acquisitions’, Women’s Work in The Parliament Art House Collection: Recent Acquisitions, An Exhibition for Floriade, [catalogue], Parliament House, Canberra
Christopher Chapman, ‘sculpture, snapshots’, Photofile, 50: 31–32

1996
Margaret Morgan, 'Photography is Dead! Long live Photography!', Art & Text, 55: 91–2
Jessica Bradley, ‘Narelle Jubelin’, a la vez Narelle Jubelin at the same time, [catalogue], Art Gallery of Ontario [in collaboration with the Art Gallery of York University], Canada
Robert McFarlane, 'Looking to the future', The Sydney Morning Herald, 28 August: 11
Robin Best, ‘Computers, machines, mathematics’, Artlink, Vol 16 No 2 & 3: 72–75
Linda Michael [ed.], Photography is Dead! Long Live Photography! [catalogue], Museum of Contemporary Art, Sydney: 7–12; 34
Anne Kirker, ‘Building a collection’; 'Unreal worlds’; Clare Williamson, ‘Silent messengers’; Kirsty Grant, ‘An elusive reality’, The Power to Move: Aspects of Australian Photography, [catalogue], Queensland Art Gallery, Brisbane: 7; 11–16; 19–23; 25–31

1995
Robert Rooney, ‘Jacky Redgate/Arthur Streeton', The Australian, 15 December: 11
Edward Colless,The Error of My Ways, Institute of Modern Art, Brisbane: 161–
Natalie King, ‘Detour’, Narelle Jubelin: Soft and Slow, [catalogue], Monash University Gallery, Melbourne: 33–38
Eran Schaerf, Folding Public Plans, Imschoot, uitgevers, Frankfurt am Main
Margaret Morgan, 'Jacky Redgate @Sherman Galleries Goodhope’, Art & Text, 50: 60

1994
Felicity Fenner, 'Crafty work that unites object and idea', The Sydney Morning Herald, 18 November: 14
Elwyn Lynn, 'Return to sender', The Weekend Australian, 12–13 November: 9
Ross Gibson, ‘The colour clavecin’, Equal Solids, [catalogue], Sherman Galleries, Sydney
Catriona Moore, Indecent Exposures: [Twenty Years of Australian Feminist Photography], Allen & Unwin, Sydney: 54–72; 126–149
Robert Rooney, 'The hidden and secret have their place', The Weekend Australian, 11–12 June: 11

1993
Emile Sherman, 'Looking at Seeing and Reading', World Art [The Inaugural Issue]: 111
Elwyn Lynn, 'Immodest talent of modest Miro’, The Weekend Australian, 17–18 July: 17
Ian Burn, ‘Looking at Seeing and Reading’, Looking at Seeing and Reading, [catalogue], Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
Ross Gibson, 'The colour clavecin', Photofile, 38: 9–14
Rex Butler, ‘Installation and Objecthood’, Installation and Objecthood, [catalogue], Martin Browne Fine Art, Sydney

1992
Catharine Lumby, 'Uncertainly thinking', Artlink, Vol 12 No 3: 70–71
Richard Grayson, 'Blink', Photofile, 36: 5–6
Eloise Lindsay, 'Jacky Redgate and Jelle van Den Berg: Lights time', Conversions: Festival of Installation Works, [catalogue], Canberra Contemporary Art Space
David O’Halloran, ‘Blink’, Blink, [catalogue], Contemporary Art Centre of South Australia, Adelaide
Ross Gibson, South of the West, Indiana University Press, Bloomington & Indianapolis: 178–190; 191–210; 211–229
Robert Rooney, 'Artist brings out the family secrets', The Weekend Australian, 7–8 March: 13

1991
Lawrence McDonald and Ruth Watson, 'Object lessons: An interview with Jacky Redgate’, Illusions, 17: 32–5
Kate Davidson, ‘Stranger than Fiction’, Stranger than Fiction, [catalogue], Australian National Gallery, Canberra
Jo Litson, 'Double exposure', The Australian, 26 July: 14
Kate Davidson, ‘Photodeath’, Photodeath [catalogue], Australian National Gallery, Canberra
Graham Forsyth, 'Painting and Perception [various artists]', Agenda: Contemporary Art Magazine, 16: 11–12
Robert Leonard, ‘Robyn Stacey and Jacky Redgate’, Stacey/Redgate: Survey, [catalogue], National Art Gallery, Wellington

1990
Catharine Lumby, 'Temporal Frames', Tension, 23: 60
Graham Forsyth, ‘Matter, art and the opaque’, Working Models, [catalogue], Institute of Modern Art, Brisbane
Elwyn Lynn, 'Giving space to time’s paradoxes', The Weekend Australian, 25–26 August: 11
Julian Pefanis, ‘Time projects: Temporal Frames’, Temporal Frames, [catalogue], Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
Jennifer McCamley, ‘Jacky Redgate’ The Readymade Boomerang: Certain Relations in 20th Century Art, 8th Biennale of Sydney [catalogue], Art Gallery of New South Wales, Sydney: 424–25
Jo Holder, ‘An abstract show’, Pure [catalogue], Mori Gallery, Sydney and Queensland College of Art Gallery, Brisbane
Eloise Lindsay, ‘Jacky Redgate: Untitled 1989’, Eyeline, 11: 21–22

1989
Scott Redford and Luke Roberts, ‘In Full Sunlight’, In Full Sunlight, [catalogue], AGLASSOFWATER, Fortitude Valley, Brisbane
Anne Howell, 'Dilemma in restaging elements of art history, The Eastern Herald, The Sydney Morning Herald, 7 September: 12
Elwyn Lynn, 'We must go down to the sea again', The Weekend Australian, 2–3 September: 15
Edward Colless, ‘Sickening vision’, Tableaux Mourant: Photography and Death, [catalogue], Fine Arts Gallery, University of Tasmania, Hobart
Robert Lindsay and William Wright, ICI Contemporary Art Collection, [catalogue], ICI Australian, Melbourne: 72–75

1988
Edward Colless, ‘Tradition’, Creative Camera, London, 11: 18–23
Ross Gibson, ‘Jacky Redgate’, Edge to Edge: Australian Contemporary Art Exhibition to Japan, [catalogue], Australian Bicentennial Authority: 50–53
Jacky Redgate [artist’s statement], The Australian Biennale: From the Southern Cross. A View of World Art c.1940–88, 7th Biennale of Sydney, [catalogue], Art Gallery of New South Wales, Sydney: 234–235
Ross Gibson, ‘Elsewhere, today: 2 false starts about 4 Australian Artists’, Elsewhere: Photo-based Work from Australia, [catalogue], Institute of Contemporary Arts, London
Edward Colless, ‘Tradition’ Photofile, Vol 6 No 1: 10–12
Edward Colless, ‘Tradition’, Jacky Redgate [catalogue], Künstlerhaus Bethanien, Künstlerprogramm des DAAD, Berlin
Justin Hoffman, 'Warum nicht Australian', Wolkenkratzer Art Journal, 4: 70–71
Thomas Wulffen, 'Biespielhafte Konfrontation: Drei Künstler im Künstlerhaus Bethanien', Zitty 7: 36–7
Gael Newton, Shades of Light: Photography and Australia 1839–1988, Australian National Gallery, Canberra and Collins Australia: 134–160
Helen Ennis, Australian Photography: The 1980s, [catalogue], Australian National Gallery, Canberra and Oxford University Press, Melbourne: 108–110
Kate Davidson, ‘Australian Photography: 1978–1988’, Australian Photography: 1978–1988, [catalogue], University Drill Hall Gallery, Canberra

1987
John Conomos and Mark Jackson, ‘Corruptions’; Adrian Martin, ‘Soft pencil on reverse side’, Fortune [catalogue], The George Paton Gallery, Melbourne and Institute of Modern Art, Brisbane
Ross Gibson, ‘Jacky Redgate’, Australian Bicentennial Perspecta, [catalogue], Art Gallery of New South Wales, Sydney: 88–91
Catriona Moore, ‘Pure Invention’, Contemporary Art Centre Bulletin, Contemporary Art Centre of South Australia, Adelaide, September
Pamela Hansford, 'Work-to-Rule', Photofile, Vol 5 No 1: 25–26
Jo Holder and Stephen Mori [eds], Mori Gallery at United Artists Gallery, [catalogue], Mori Gallery, Sydney: 22–23
Yuri Kageyama, 'Photos show new side of Australia', Japan Times Weekly, Vol 27 No 20: 8–9
Catriona Moore ‘Pure Invention’, Pure Invention, [catalogue], Parco, Tokyo and Australian Centre for Photography, Sydney
Geoffrey Batchen, ‘Borderlines’, Borderlines: Recent Sydney Photographs, [catalogue], Albury Regional Art Centre and New England Regional Art Museum, Armidale, New South Wales: 2–5; 12–13
Bruce Adams, 'Jacky Redgate rules in a cool display', The Sydney Morning Herald, 10 April: 12–13
Judy Annear, ‘The Shadow of Reason: A theatre of many parts’, The Shadow of Reason, [catalogue], Institute of Modern Art, Brisbane

1986
Geoffrey Batchen and Helen Ennis, 'Photography in Australia', Afterimage, Vol 14 No 2: 4–5
Edward Colless, 'Origins, Originality & Beyond', Photofile, Vol 4 No 2: 25–26
Ailsa Maxwell, 'From the [Still] Life and other works by Jacky Redgate', Artlink, Vol 6 No 4: 30–32
Patricia Simons, ‘Sydney Biennale’, The Burlington Magazine, August: 630–31
Jacky Redgate [artist’s statement], Origins, Originality + Beyond, 6th Biennale of Sydney, [catalogue], Art Gallery of New South Wales, Sydney: 238–39
Ross Gibson, ‘Elsewhere’, Elsewhere: Displacements within Australian Photography, Biennale of Sydney Satellite Exhibition, [catalogue], Australian Centre for Photography, Sydney: 11–19

1985
Geoffrey Batchen, 'Pluralism rules! OK?', Photofile, Vol 3 No 4: 10–14
Geoffrey Batchen, 'After the Artefact', Photofile, Vol 3 No 3: 29–30
Robert Thirwell, ‘The big show: Australian Perspecta ‘85’, Artlink, Vol 6 No 1: 11–13
Helen Ennis, ‘Recent Australian Photography: From the Kodak Fund’, Recent Australian Photography: From the Kodak Fund, [catalogue], Australian National Gallery, Canberra
Judy Annear, ‘Instruments of Art’, Instruments of Art: Australian Perspecta ’85, [catalogue], Art Gallery of New South Wales, Sydney:
Martyn Jolly, ‘Curator’s Choice’, Curator’s Choice, [catalogue], The Developed Image, Adelaide
Terence Maloon, 'Developing A.R.T.: Terence Maloon on Sydney photographers', The Sydney Morning Herald, 9 August: 1–2
Catriona Moore, ‘Dancing in the Margins of other texts’, Dancing in the Margins ... of other texts, [catalogue], Performance Space, Sydney: 32
Catriona Moore, 'Killing Time', Art Network, 15: 52
Jacky Redgate [artist’s statement], After the Artefact: An Exhibition of Contemporary Photographic Practice, [catalogue], Newcastle Region Art Gallery, New South Wales: 8
Martyn Jolly, ‘Killing Time’, Killing Time, [catalogue], Mori Gallery, Sydney
Catherine Chinnery [co-ordinator], Occasional Visits [a compilation of work by six women photographers], Redress Press, Sydney

1984
Catriona Moore, 'After the Artefact', Art Network, 13: 73–74
Catriona Moore, 'The 1984 Lady Fairfax Awards for Photography', Art Network, 14: 52–3
Terence Maloon, ‘Concept and percept’; Mark Johnson, ‘Light in the shade: Reference points within photography’; Martyn Jolly, ‘Rupture, generation or continuity? The ’70’s and an ’80’s photography (A speech from a rostrum)’, After the Artefact: An Exhibition of Contemporary Photographic Practice, [catalogue], Wollongong City Gallery, New South Wales: 5–10; 11–14; 15–17
Mark Hinderaker, 'Some stimulating twists in the new camera approaches at Art Unit', The Sydney Morning Herald, 30 April: 10

1982
Mary Hutchison, ‘Expressing women’s worlds’, Artlink, Vol 2 No 4: 9

1981
Kurt Brereton [co-ordinator], Photo-Discourse, Sydney College of the Arts: 111

1979
Karilyn Brown [co-ordinator], Women’s Art Movement, 1978–1979 Adelaide, Women’s Art Movement and the Experimental Art Foundation, Adelaide: 16, 25, 40






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