Janet Laurence

  • Information
  • Artworks
  • Biography
  • Exhibitions
  • Collections
  • Bibliography
  • Awards
'After the Lives of Plants', 2017, dye sublimation print, 100 x 40 each

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1947
Born Sydney, Australia

2008–ongoing
Visiting Fellow, College of Fine Arts, University of New South Wales, Sydney

2007–09
Member, Visual Arts Board, Australia Council, Sydney

1996–2005
Trustee, Art Gallery of New South Wales, Sydney

1993
Master of Fine Art, College of Fine Arts, University of New South Wales, Sydney

1977–81
Studied in Australia, Italy and US
Lives and works in Sydney, Australia

SOLO EXHIBITIONS

2016
Deep Breathing: Resuscitation for the Reef, Australian Museum, Sydney
The Space Between: A garden for Phoenix, Sydney
The Treelines Track, Bundanon
Habitat, Darling Harbour, Sydney
GASP: Parliament, Tasmania
H20 Water Bar, Paddington Water Reservoir, City of Sydney

2015
Anthropocene, Fine Arts Society Contemporary, London
Momentum, Kuntsquartier Bethanien, Berlin
H20 Water Bar, Paddington Water Reservoir, Sydney

2014
Plants Eye View, DOMINIK MERSCH GALLERY, Sydney
A Case Study, Lake Macquarie City Art Gallery, Australia
Residue, Hugo Michell Gallery, Adelaide

2013
Plants Eye View, Cat Street Gallery, Hong Kong
The Ferment, Fine Art Society Contemporary, London, UK

2012
After Eden, Sherman Contemporary Art Foundation, Sydney
The Alchemical Garden of Desire, McClelland Gallery, VIC
Avalanche, Arc One Gallery, Melbourne,
Fabled, BREENSPACE, Sydney

2011
Memory of Nature, Glasshouse Regional Gallery, Port Macquarie

2010
What Can a Garden Be?, BREENSPACE, Sydney

2009
Things that Disappear, Hugo Michell Gallery, Adelaide

2008
Crimes against the Landscape, Arc One Gallery, Melbourne
Landscapes and Residues, Jan Marton Art, Brisbane
Reflections on a Green World, Dusseldorf Gallery, Perth

2007
Greenhouse, bildkultur galerie, Stüttgart, Germany
Botanical Residues/Ischaemic Land, Sherman Galleries, Sydney

2006
Birdsong, Object Gallery, Sydney
Greenhouse, Jan Manton Art, Brisbane

2005
Greenhouse, Sherman Galleries, Sydney
Janet Laurence: A Survey Exhibition, Australian National University Drill Hall Gallery, Canberra

2004

Verdant Works, Arc One Gallery, Melbourne

2003
Verdant?, Sherman Galleries, Sydney

2002
Ferment, Faculty of Art & Design Gallery, Monash University, Melbourne

2001
Veiling Space: Incarnations, Uniting Church, Paddington, Sydney

2000
Transpiration, Sherman Galleries, Sydney
Muses, The Ian Potter Museum of Art, University of Melbourne, Melbourne

1998
Unfold, Gallery APA, Nagoya, Japan

1997
Unfold, Project Space, Art Gallery of New South Wales, Sydney

1996
States of Matter, Michael Milburn Gallery, Brisbane
Less Stable Elements, University Gallery, Newcastle

1995
pH Series, Anna Schwartz Gallery, Melbourne

1994
Lunami Gallery, Tokyo, Japan
Alchemical Works, Gallery APA, Nagoya, Japan

1993
Alchemical Works, Centre for Contemporary Art, Hamilton, New Zealand
The Measure of Light, Queensland Art Gallery, Brisbane

1992
Janet Laurence, Claybrooke Gallery, Auckland, New Zealand

1991
Rare, Seibu Gallery, Tokyo, Japan

1989
Blindspot, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
Pier and Ocean, City Gallery, Melbourne

1988
From the Shadow, Canberra School of Art Gallery, Canberra

1987
The Blind Spot on an Old Dream of Symmetry, Milburn + Arte, Brisbane
Meiosis, United Artists Gallery, Melbourne

1986
Spells of Origin, Wollongong Regional Gallery, Wollongong

1985
Janet Laurence, Garry Anderson Gallery, Sydney
Life is Probably Round, Artspace, Sydney

1983
Toiana, Adelaide Festival of Arts Gallery, Adelaide
The Madonna in the Stone Has a Memory, University Art Gallery, University of Melbourne, Melbourne
Memories in the Stone, Experimental Art Foundation, Adelaide

1982
Janet Laurence, Roslyn Oxley9 Gallery, Sydney
Recollections, Perc Tucker Regional Gallery, Townsville

1981
Notes from the Shore, I.C.A. Central Street, Sydney

SELECTED GROUP EXHIBITIONS

2016
A Medicinal Maze, Novartis Campus: Sculpture and Medicinal Garden, Sydney

2015
Deep Breathing: Resuscitation for the Reef, Muséum National D’Historie Naturelle, Paris, France
ASO (Art Speaks Out), ArtCop21, Paris, France
Till It’s Gone, Istanbul Modern, Turkey
Climarte Festival, ARCONE Gallery, Melbourne
Art15, Olympia, London, UK
Mind Shadows, ARCONE Gallery, Melbourne
Four/Seven/Eleven, DOMINIK MERSCH GALLERY, Sydney

2014
What Marcel Duchamp Taught Me, FAS Contemporary, London
The Skullbone Experiment: A Paradigm of Art and Nature, Queen Victoria Museum and Art Gallery
Sydney Goes Berlin, DOMINIK MERSCH GALLERY @ Galerie Patrick Ebensperger

2013
Australia: Contemporary Voices, FAS Contemporary, London
Intra-action, MOP Gallery, Sydney
Collective Identity(ies): This is That Time, Lake Macquarie Gallery, Lake Macquarie
Animate/Inanimate, TarraWarra Museum of Art, Healsville
Natural Selection, FAS Contemporary, London
Wonderworks, Cat Street Art Gallery, Hong Kong
½ Scene, Australia China Art Foundation (ACAF), Melbourne
SCANZ : 3rd Nature, New Plymouth, New Zealand

2012
Life in Your Hands: Art from Solastalgia, Lake Macquarie City Art Gallery (travelling)
Drawing Out, University of Arts, London, UK
Resistance, Fine Art Society, London, UK
Negotiating this World, NGV, Melbourne

2011
Found/Lost, China Arts Projects, Osage Gallery, Beijing, China
Hong Kong International Art Fair, Artist Project (Resuscitation: Garden for an Ailing Planet), Cat Street Gallery, Hong Kong
The Pulse, Herman Teirlinckhuis, Gemeentelijk Museum en Galerie Beersel, Beersel, Belgium
Naturstrücke, Haus Hasenbergsteige, Stüttgart, Germany
Wattle Australian Contemporary Art: The Space / The Cat Street Gallery, Hong Kong
Greenation, Artisan Gallery, Brisbane

2010

In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney
Nature Interrupted: Contemporary Australian Sculpture, Redland Art Gallery, Cleveland
A Generosity of Spirit: Recent Australian Women’s Art from the QUT Art Collection, Samstag Museum, SA (QUT Art Museumtouring exhibition)
Outside In, McClelland Gallery+Sculpture Park, Langwarrin
Waiting, 17th Biennale of Sydney: The Beauty of Distance – Songs of Survival in a Precarious Age, Royal Botanic Gardens, Sydney

2009

2009 Clemenger Contemporary Art Award, The Ian Potter Centre: NGV Australia, Melbourne
Darwin’s Bastards, Verge Gallery, University of Sydney, Sydney
The Museum Effect, Lake Macquarie City Art Gallery, Booragul
A Natural World, Glen Eira City Council Gallery, Melbourne

2008

HEAT, RMIT University Gallery, Melbourne
Handle With Care:
2008 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide
Parallel Universe, Artificial Land, Arnhem, the Netherlands
Abundant Australia: 11th Venice Architecture Biennale, Australian Pavilion, Venice, Italy
Recovering Lives, Australian National University Drill Hall Gallery, Canberra

2007

Systems of Nature, Lawrence Wilson Gallery, University of Western Australia, Perth

2006

We are Australians Too, Casula Powerhouse Arts Centre, Sydney
A New Focus on Contemporary Art, Art Gallery of New South Wales, Sydney
New Acquisitions 2006, Museum of Contemporary Art, Sydney

2005

After Nature, Lake Macquarie City Art Gallery, Booragul

2003

Echigo-Tsumari Triennial, Japan, permanent installation (Elixir)

2002

Points of View: Works from the University of Technology Sydney Collection, UTS Gallery, Sydney
Eden and the Apple of Sodom, Adelaide Festival, University of South Australia Art Museum, Adelaide

2001

The Art of Transformation, Metis 2001, National Gallery of Australia, Canberra
Intersections of Art and Science, Ivan Dougherty Gallery, University of New South Wales, Sydney

2000
Kabbala, Jewish Museum of Melbourne, Melbourne

1999
Home and Away, Auckland Art Gallery, Auckland, NZ
Pets, Preys and Predators, Mosman Art Gallery and Cultural Centre, Sydney (touring to NSW regional galleries)
Cinderella’s Gems: Art and the Intellectual Missile (touring to Qld, NSW and Vic)

1998
The Infinite Space: Woman, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, University ofMelbourne, Melbourne

1997
Australian Perspecta 1997: Between Art and Nature, S.H. Ervin Gallery, National Trust Centre, Sydney
Innenseite, in conjunction with Documenta X, Kassel, Germany

1996
Spirit and Place, Museum of Contemporary Art, Sydney
Systems End, OXY Gallery, Osaka, Japan; Hakone Open Air Museum, Hakone, Japan; Dong Ah Gallery, Seoul, Korea
Shelfworks, Annandale Galleries, Sydney

1993
Poetics of Immanence, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney (touring regional galleries in SA)

1992
9th Biennale of Sydney: The Boundary Rider, Bond Stores, Sydney
In Black and White, Tin Sheds Gallery, University of Sydney, Sydney
Synthesis, Art + Architecture Collaboration, Bond Stores, Sydney
Margaret Stewart Endowment, National Gallery of Victoria, Melbourne
Above the Lake, Beneath the Sky, Benalla Art Gallery, Benalla

1991
Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney
Steam, Artists’ Projects for Australian Perspecta 1991, The Coach House, The Rocks, Sydney

1990
Tokyo Connection, Heineken Village Gallery, Tokyo, Japan
Abstraction, Art Gallery of New South Wales, Sydney; Lunami Gallery, Australia-Japan exchange, Tokyo, Japan

1988
200 Years of Australian Drawing, Australian National University Drill Hall Gallery, Canberra
Intimate Drawing, Coventry Gallery, Sydney
The Great Australian Exhibition, Bicentennial Travelling Exhibition

1987
Abstract, King Street Gallery, Newtown, Sydney

1986
Vessels of Meaning, Scholarie Arts Council Gallery, New York
Australijana – Contemporary Australian Painting, National Gallery of Yugoslavia, Belgrade, Yugoslavia

1985
A Contemporary Australian Art, Warwick Arts Trust, London, UK
Isolaustralia, Fondazine Bevilacqua La Masa, Venice, Italy
Australian Perspecta
1985, Art Gallery of New South Wales, Sydney

1984
Surface and Image, Crafts Council Gallery, Sydney; Penrith
Regional Gallery & the Lewers Bequest, Emu Plains

1983
A.U.S.T.R.A.L.I.A., ZONA, Florence, Italy

PUBLIC COMMISSIONS

2014
The Tree Lines Track, Bundanon, NSW

2012
The Healing Wild, LaTrobe University, Health Sciences Building, Bendigo, VIC

2011
Tarkine (For a World in Need of Wilderness), Macquarie Bank, London, UK

2010
In Your Verdant View, The Hyde, Sydney
Ghost, Lake Macquarie Gallery, NSW

2008
The Sound of Green, Department of Forestry, Canberra

2007
The Memory of Lived Spaces, Changi T3 Airport Terminal, Singapore

2006
Waterveil, CH2 Building for Melbourne City Council, Melbourne

2004
Verdant Veil, Changi Airport, Singapore

2003
The Breath We Share, Sidney Myer Commemorative Sculpture, Bendigo Art Gallery, Vic
Australian War Memorial, Hyde Park, London, UK, collaboration with Tonkin Zulaikha Greer Architects
Elixir, permanent installation for Echigo-Tsumari Art Triennial, Japan

2002
Translucidus, Qantas Lounge, Sydney International Airport, Sydney

2001
Ciphers: Stations of the Cross, Australian Catholic University Chapel, Melbourne, collaboration with Julie Rrap

2000
Stilled Lives, collection showcases, permanent display, Melbourne Museum
In the Shadow, Olympic Park, Homebush Bay, Sydney

1999
Picture the Dark Face of the River, Department of Environment, Canberra
Veil of Trees, Sydney Sculpture Walk, Art Gallery Road, The Domain, Sydney, collaboration with Jisuk Han

1998
49 Veils, windows for the Central Synagogue, Bondi, Sydney, collaboration with Jisuk Han

1995
Chronicle I–IV, Herald and Weekly Times Building, Southbank, Melbourne
Edge of the Trees, Museum of Sydney, Sydney, sculptural installation, collaboration with Fiona Foley

1993
Tomb of the Unknown Soldier, Australian War Memorial, Canberra, collaboration with Tonkin Zulaikha Architects

COLLECTIONS

Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Artbank, Australia
Australian War Memorial, Canberra
Chartwell Collection, Auckland, NZ
Commonwealth Law Court, Brisbane
Griffith University Collection, Brisbane
Lake Macquarie City Art Gallery, Booragul, NSW
Macquarie Bank Collection, Melbourne
Museum Kunstwerk, Eberdingen, Germany
Maitland Regional Art Gallery, NSW
Moree Plains Gallery, NSW
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
New Parliament House Collection, Canberra
Queensland Art Gallery, Brisbane
Queensland University of Technology, Brisbane
Seibu Collection, Tokyo, Japan
Supreme Court of Queensland, Brisbane
University of New England, Northern Rivers, NSW
University of New South Wales, Sydney
University of Newcastle, NSW
University of Queensland Art Museum, Brisbane
University of Southern Queensland, Toowoomba Campus, Qld
University of Technology, Sydney
University of Western Australia, Perth
World Bank Collection, Washington, US
Regional and university gallery collections
Private and corporate collections worldwide

 

SELECTED AWARDS & GRANTS

2013
John Glover Art Prize, Tasmania

2010
Alumni Award for the Arts, University of New South Wales, College of Fine Arts, Sydney

2009
New Work Grant – Established, Australia Council

2008–ongoing
Visiting Fellow, University of New South Wales, College of Fine Arts, Sydney

2006
Churchill Fellowship

2003
New Work Grant, Australia Council

2000
McGeorge Fellowship, University of Melbourne, Melbourne

1999
National Association of Women in Construction (NAWIC), Award for Art in the Built Environment, Australia, for 49 Veils

1996–98
Australia Council Fellowship

1997
Rockefeller Foundation (residency), Bellagio, Italy

1996
Alice Prize, Alice Springs, NT

1995
Royal Australian Institute of Architects ‘Lloyd Rees Award for Urban Design’ for First Government House Place, Sydney, in collaboration with Fiona Foley and Denton Corker Marshall Architects

1994
Kedumba Drawing Award, Wentworth Falls, NSW
Lake Macquarie Art Prize, NSW
Pring Prize, Art Gallery of New South Wales, Sydney

1986
Woollahra–Waverley Art Prize, Sydney

1982
Gold Coast City Art Purchase Award, Qld

 

SELECTED BIBLIOGRAPHY

BOOKS AND CATALOGUES

2014
Caddey, K & Ryan, M. A Case Study: Janet Laurence, Lake Macquarie City Art Gallery Catalogue 11 April 2014-20 July 2014

2013
Janet Laurence: The Ferment, exhibition catalogue, FAS Contemporary Press, London, UK

2012
Janet Laurence: After Eden, exhibition catalogue, Sherman Contemporary Art Foundation, Sydney
Beaumont, J., Fenner, F., McDonald, J., ‘The Macquarie Group Collection: The Land and Its Psyche’, UNSW Press Ltd, Sydney, NSW
Helmrich, M., ‘Janet Laurence: Silent witness’, in NEWv2: Selected Recent Acquisitions, The University of Queensland ArtMuseum, Brisbane
McKenzie, J., Contemporary Australian Drawing, Meta senta and Macmillan Australia, Melbourne
Periz, I., ‘In The Flower’ in Janet Laurence: The Alchemical Garden of Desire, exhibition catalogue, McClelland Sculpture Park+Gallery, NSW
Devery, Jane, ‘Janet Laurence’, in Kelly Gellatly (ed.) 101 Contemporary Australian Artists, National Gallery of Victoria, Melbourne, 2012, pp120-121

2011
Devery, J., ‘Janet Laurence’, in In Memory of Nature, exhibition catalogue, Glasshouse Gallery, Port Macquarie, NSW

2010
Blanc, N. & Ramos, J., Ecoplasties: Art et Environnement, Manuella Éditions, Paris, France
Kent, R., ‘Janet Laurence’, in In the Balance: Art for a Changing World, exhibition catalogue, Museum ofContemporary Art, Sydney
Periz, I., ‘What makes a garden’, in What Can a Garden Be?, exhibition catalogue, BREENSPACE, Sydney

2008
Heathcote, C., McCaughey, P. & Thomas, S., Encounters with Australian Modern Art, Macmillan Art Publishing, Melbourne
Lynn, V., ‘Janet Laurence: the life-world’, in F. Fenner (ed.), Handle with Care: 2008 Adelaide Biennial of Australian Art, exhibition catalogue, Art Gallery of South Australia, Adelaide
Oates, A., ‘Janet Laurence: Recovering lives – resuscitating landscape’, in N. Sever & C. Turner (eds), Recovering Lives,exhibition catalogue, Australian National University, Canberra

2006
Bond, A., ‘Janet Laurence’, in Art Gallery of New South Wales Contemporary Collection Handbook, Art Gallery of New SouthWales, Sydney
Bruce, C., ‘Silent spring: The visual art of Janet Laurence’, Greenhouse, exhibition catalogue, Jan Manton Gallery, Brisbane

2005
Couacaud, S., ‘Janet Laurence: the glasshouse effect’, in Janet Laurence, exhibition catalogue, Sherman Galleries, Sydney
Kent, R., ‘Changing topographies: the environmental art of Janet Laurence’ and M. Tawa, ‘Verdant green’, in JanetLaurence: A Survey Exhibition, exhibition catalogue, Australian
National University Drill Hall Gallery, Canberra
Rendell, J., Art to Architecture: A Place Between, IB Tauris, London, UK and New York, US

2003
Meskimmon, M., Women Making Art: History, Subjectivity,
Aesthetics, Routledge, London, UK and New York, US

2002
Alexander, G., ‘Janet Laurence and the unquiet museum’, in
Eden & the Apple of Sodom, exhibition catalogue, University of
South Australia Art Museum, Adelaide
Bond, A., ‘Eclecticism: through the distorting lens of distance’, in Points of View: University of Technology Sydney Art
Collection, exhibition catalogue, UTS, Sydney Murray Cree, L., Awesome! Australian Art for Contemporary
Kids, Craftsman House, Sydney
Parr, A., ‘Ferment: Janet Laurence’, in Ferment, exhibition catalogue, Faculty of Art & Design Gallery, Monash University, Melbourne

2001
Geczy, A. & Genocchio, B. (eds), What is Installation? An Anthology of Writings on Australian Installation Art, PowerPublications, Sydney
Hart, D., ‘The art of transformation’, in Metis 2001: Wasted – Exhibitions of Science and Art, National Science Week, May2001, National Gallery of Australia, Canberra
Laurence J. & Pattenden, R., Veiling Space, exhibition catalogue, Eastside Arts, Sydney, 2001

2000
Dysart, D. (ed.), Edge of the Trees: A Sculptural Installation by Janet Laurence and Fiona Foley, Historic Houses Trust of NewSouth Wales, Sydney
Kent, R., ‘Janet Laurence: transpiration’, in Transpiration, exhibition catalogue, Sherman Galleries, Sydney

1998
Tawa, M., 49 Veils: Windows in the New Central Synagogue,
Central Synagogue, Waste Publishing, Sydney

1997
Best, S., ‘Unfolding’, in Unfold, exhibition catalogue, Level 2, AGNSW Contemporary Projects, Sydney
Hart, D., ‘Temple of earth memories’, in Australian Perspecta 1997: Between Art and Nature, exhibition catalogue, S.H. ErvinGallery, National Trust Centre, Sydney

1995
Johnson, A., The Unconscious and the Molecular, exhibition catalogue, Anna Schwartz Gallery, Melbourne

1994
Maloon, T., Janet Laurence: Periodic Table Works, Potstill Press, Sydney

1993
Seaman, B., ‘Lines of thought’, in Janet Laurence: The Measure of Light, exhibition catalogue, Queensland Art Gallery, Brisbane

1992
Kirby, S., Sightlines: Women Art and Feminist Perspectives in Australia, Craftsman House, Sydney

1991
Bond, A., ‘Janet Laurence’, in Janet Laurence, exhibition catalogue, Seibu Gallery, Tokyo
Carcenac, B., Steam: Artists’ Projects for Australian Perspecta 1991, Art Gallery of New South Wales, Sydney
Laurence, J., ‘Artist’s statement’, Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney

1990
Lynn, V., ‘Abstraction’, Abstraction, exhibition catalogue, Art Gallery of New South Wales, Sydney

1989
Brauer, F., ‘The language of installation: Janet Laurence’, in Blindspot, exhibition catalogue, Ivan Dougherty Gallery, University of New South Wales, Sydney

1988
Emmett, P., Janet Laurence, Craftsman House, Sydney
Haynes, P., ‘From the shadow’, in From the Shadow, exhibition catalogue, Canberra School of Art Gallery, Canberra

1987
Maloon, T., ‘Meiosis’, in Meiosis, exhibition catalogue, United Artists Gallery, Melbourne

1985
Blackall, J., ‘The essential remains’, in Toiana, Adelaide Festival of Arts Gallery, Adelaide
Macdonald, J., ‘Life is probably round’, in Life is Probably Round, exhibition catalogue, Artspace, Sydney
Prunster, U., ‘Souvenirs from the maidens of Thrace’, in Perspecta Survey of Contemporary Art, exhibition catalogue, Art Gallery of New South Wales, Sydney

SELECTED ARTICLES/REVIEWS

2014
Rose, D.B., ‘Blood and Chlorophyll’, Deborah Bird Rose: Life at the Edge of Extinction [Online], 14 March 2014, Accessed at: http://deborahbirdrose.com/2014/03/14/blood-and-chlorophyll-janet-laurence/
Llull, P., ‘Between Evidence and Imagination,’ Sculpture, March 2014 Vol.33 No.2, p46

2013
Mandryk, C., ‘Plants Eye View, Janet Laurence,’ Art Asia Pacifice, online, September 2013
Tutton, S., ‘Through the Filter of the Present: Tarrawarra Museum of Art Victoria Lynn’, Artand, Australia, Issue 51.2, p203
Frost, A., ‘Animate/Inanimate: TarraWarra Museum of Art – review’, The Guardian, UK, blog, Jul 16, 2013
Webb, P., ‘The Best Of Art’, The Age Melbourne, Arts Column, June 2013
Graham, J. ‘Museum Takes A Global View of Art, Mountain Views Mail, Tuesday 2nd July, 2013, p. 2
Blackhouse, M., ‘Animate/Inanimate’, Art Guide Australia, July/August, 2013, Issue 84.
Sekar, S., ‘Environmental art of loss and wonder’, New Scientist (online), April, 2013
Machen, M., ‘Glover move of relaxing criteria under fire, The Examiner (online), March 13th, p.8
Martin, C., ‘Glover Prize’s First Female Artist’, The Examiner (online), March 12th, p.8
Forrest, N., ‘Australian Artist on first major UK show’, ARTINFO (online), April, 2013
Djurichkovic, A., ‘Janet Laurence Wins 2013 Glover Prize, ART COLLECTOR (online), March 13, 2013
Forrest, N., ‘Australian Artist Win 2013 Glover Prize’, ARTINFO (online), March, 2013

2012
Hatley, Dr. J., ‘Extinction for Sale’, GeoAesthetics (blog), September 20, 2012
Hatley, Dr. J., ‘Janet Laurenc’es Memory of Nature’, GeoAesthetics (blog), September 5, 2012
Morgan, J., ‘Animal instincts challenge mortality of human’, The Sydney Morning Herald, March 2012

2011
Periz, I., ‘Waiting: A Medicinal Garden for Ailing Plants’, Antennae, issue 18, Autumn
Serisier, G., ‘Photosynythesis, artist profile: Janet Laurence’, Art Market Report, issue 39

2010
Fenner, F., ‘A hospital for plants: the healing art of Janet Laurence’, Art & Australia, vol. 48, no. 1
Fenner, F., ‘Biennial: so far away, and yet so near’, Art in America, September
Gardiner, S., ‘Ministering to a fragile planet’, Artnews, Spring
McGillick, P., ‘The art of reflection’, Habitus, issue 6, January–March
McKenzie, J., ‘A letter from Sydney’, Studio International Magazine, July

2009
Periz, I., ‘Collector’s dossier: Janet Laurence’, Art Collector, September

2008
Murray Cree, L., ‘Poetry and alchemy’, Art World, vol. 4

2006
Geczy, A., ‘Janet Laurence: a survey exhibition at the Drill Hall’, Eyeline, March
Laurence, J., ‘Art and ecology’, in Chris Healy & Stephen Muecke (eds), Cultural Studies Review, vol. 12

2005
Geissler, M., ‘Principles of uncertainty’, Craft Arts International, no. 65
Taylor, J., ‘Artist + Environment: Janet Laurence and the healing of place’, Art and Architecture, S-Lab Space Laboratory for Architectural Research and Design, Images Publishing Group, Mulgrave, Vic

2004
Lombardo, F., ‘Verdant works’, Artichoke, vol. 2, no. 8
Martin, C., ‘Under English skies: The Australian War
Memorial in London’, Art and Australia, vol. 42, no. 1, spring

2003 Laurence, J., ‘Space and memory: a meditation on memorials and monuments’, Architecture Australia, vol. 92, no. 5, September–October
Walker, P., ‘Australian War Memorial’, Architecture Australia, vol. 92, no. 5, September–October
BT Bijitsu Techo (magazine), September

2002
Mendelssohn, J., ‘Janet Laurence at Sherman Galleries’, temaceleste, May–June
Parr, A., ‘Veiling space’, Architectural Review, autumn

2001
Fenner, F., ‘Report from Sydney II: ground work’, Art in America, no. 5, May

2000
McGillick, P., ‘Material matters: the art of Janet Laurence’, Monument, December 1999 – January 2000
McGowan, T., ‘Public art and the Sydney Olympics’, Sculpture (US), July–August
Best, S., ‘Immersion and distraction: the environmental works of Janet Laurence’, Art and Australia, vol. 38, no. 1, spring
Martin, C., Review of Ian Potter Museum exhibition, The Lancet (UK)

1999
McGowan, T., ‘3 Australian women exploring the landscape’, Sculpture (US), September

1998
Ward, P., ‘A touch of glass’, Design and Architecture, October

1997
Genocchio, B., ‘Postcards from the edge’, Third Text, July
McGillick, P., ‘Unfold’, Monument, 21 November
Ostwold, M., ‘(Re)-membering Janet Laurence’s work’, Transition (University of Newcastle)
Selenitch, A., ‘Memory matter’, Ume Magazine, April

1996
Takami, A., ‘Compounding Australian identity’, Bijutu-Techo, August

1995
Nimmo, A., ‘Art in the public realm: Edge of the Trees’, Art Monthly Australia, no. 85, November

1994
Kent, P., ‘Opening the tomb: Tomb of the Unknown Soldier’, Photofile, November
Maloon, T., ‘The alchemy of Janet Laurence’, Art and Australia, vol. 31, no. 4, winter

1990
BT Bijitsu Techo (magazine), vol. 42, no. 627, August

1989
Allen, C., ‘Art and nature’, Art Monthly Australia, no. 20, May
Haynes, P., ‘Impressions: Janet Laurence’, Art and Australia, vol. 26, no. 4, winter
Milson, V., ‘Artists in the forest’, Art Monthly Australia, no. 22, July
1987
Brauer, F., ‘From the one into the other’, Art Monthly Australia, no. 33, July

SELECTED MEDIA

ABC TV, ‘Kaldor Family Collection’, Art Nation, interviewed by Andrew Frost, 3 June 2011
ABC TV, ‘Art for a Changing World’, Art Nation, interviewed by Fenella Kernebone, 3 September 2010
The Life World, a film by Richard Mordaunt, Coolamon Films, 2005
ABC TV, ‘In Conversation: Janet Laurence’, Sunday Afternoon, interviewed by Andrew Mackenzie, 20 June 2004
ABC TV, ‘Janet Laurence: Muses – The Artist in the Museum, The Ian Potter Museum of Art’, The Arts Show, 13 August 2000
ABC TV, ‘Janet Laurence’, In Conversation, interviewed by Andrea Stretton, 10 August 2000
Faces of the Museum (film), Museum of Sydney, April 1994
ABC TV, ‘Tomb of the Unknown Soldier’, ABC Review, November 1993
SBS TV, ‘Synthesis: Artist/Architect Collaboration’, SBS Eat Carpet, August 1993

 

2017
'After the Lives of Plants', 2017, dye sublimation print, 100 x 40 each
2016
‘The Brilliant Brief Moment: the glassroom the Villa Tugendhat’, 2016, duraclear on acrylic,100 x 208 cm, multiple of 3
‘Habitat’, 2016, duraclear and oil glaze on acrylic, 100 x 117 cm
‘As the World Turns Yellow Series III’, 2016, sulfur, glass, bird skeleton, dragonfly, plant specimens, duraclear, 46 x 62 x 49 cm
‘Deep Breathing Coral Collapse II’, 2016, duraclear on acrylic, 60 x 75 cm, <br />
edition of 3 + 1 AP<br />
‘Deep Breathing Coral Collapse I’, 2016, duraclear on acrylic, 60 x 75 cm, <br />
edition of 3 + 1 AP
’The Residues’, 2016, dye sublimation print, polished stainless steel mirror, oil on acrylic, 100 x 195 cm
’Skullbones Collections into Webs’, 2016, dye sublimation print, oil glaze on acrylic, <br />
100 x 150 cm<br />
‘Oil and Water Lotus Pond, China’, 2016, dye sublimation print, oil glaze on acrylic, <br />
100 x 300 cm
‘Mining the Tarkine’, 2016, duraclear and oil glaze on acrylic, 100 x 210 cm
‘Carbon Futures Gathered’, 2016, glass, carbonised plants, paper mache, crystals, <br />
47 x 62 x 48 cm<br />
‘Becoming Ash’, 2016, dye sublimation print, polished stainless steel mirror, oil glaze on acrylic, 100 x 109 cm
’Empire Roots, Ankor Wat’, 2016, dye sublimation print, oil glaze on acrylic, burnt plywood, 100 x 216 cm
‘Ferment (after Memory of Nature in the AGNSW)’, 2016, video, 6:31minutes, <br />
edition of 3 + 1 AP
‘Tarkine Mined’, 2016, dye sublimation print, 50 x 89 cm, edition of 3 + 1 AP
‘Medicinal Plant Pages’, 2016, plant matter, tulle, thread, pigments, shellac, bone, archival paper in acrylic box with mirror back, 34 x 25.5 cm framed
’Forest Drowning’, 2016, dye sublimation print, polished stainless steel mirror, duraclear, oil glaze on acrylic, 100 x 203 cm
'Untitled', 2016, dye sublimation print,<br />
60 x 79.5 cm
’The Lives of Plants’ 2016, mixed media, dimentions variable
2015
'Avalanche - Conversations with plants in the Tarkine', 2012, duraclear on acrylic, 120 x 180cm
'Tarkine 3', 2013, duraclear on acrylic, 90 x 130 cm
'Untitled', 2015, duraclear on acrylic, mirror, edition of 3 + 1 AP, 35 x 35 x 5 cm
'Untitled', 2015, duraclear on acrylic, mirror, edition of 3 + 1 AP, 35 x 35 x 5 cm
'Untitled', 2015, duraclear on acrylic, mirror, edition of 3 + 1 AP, 35 x 35 x 5 cm
'Untitled', 2015, duraclear on acrylic, mirror, edition of 3 + 1 AP, 35 x 35 x 5 cm
'Untitled', 2015, duraclear on acrylic, mirror, edition of 3 + 1 AP, 35 x 35 x 5 cm
Botanical Residues (after the Great Glasshouse), 2005, duraclear, photographs on acrylic, 100 x 150 cm
Fugitive, 2013, site specific installation, photograph on acrylic, mirror, laboratory and hand blown glass, oil glaze, video projection, various animal specimens
Botanical Residues (after the Great Glasshouse), 2005, duraclear, photographs on acrylic, 24 x 30 cm
Fugitive, 2013, site specific installation, photograph on acrylic, mirror, laboratory and hand blown glass, oil glaze, video projection, various animal specimens
Tomb of the Unknown Soldier, 1993, four pillars, glass, wood, nickel, silver marble, each 11 m x 0.6 m
The Breath We Share, 2003, glass, steel, ceramic-fired screenprint, silver birch trees
In Memory of Nature, 2012, acrylic, scientific glass, dried plants, seeds, sulphur, salt, amethyst, taxidermied owls, shellac, tulle, wood, burnt bones, hand-blown glass, oil paint, mirrors, 180 x 160 x 350cm
In Memory of Nature, 2012, acrylic, scientific glass, dried plants, seeds, sulphur, salt, amethyst, taxidermied owls, shellac, tulle, wood, burnt bones, hand-blown glass, oil paint, mirrors, 180 x 160 x 350cm
49 Veils, 1998, windows for the Central Synagogue, Bondi, Sydney Australia
49 Veils, 1998, windows for the Central Synagogue, Bondi, Sydney Australia
49 Veils, 1998, windows for the Central Synagogue, Bondi, Sydney Australia
Residue – Blood + Chlorophyll, 2014,<br />
site specific installation, rescued eucalypt tree, mirror, laboratory and hand blown glass, oil glaze, video projection, bones, dried plants
Natural History (Landscape and Residues Series), 2008, Glass vials, botanical specimens, wood, steel, polished aluminium mirror
Natural History (Landscape and Residues Series), 2008, Glass vials, botanical specimens, wood, steel, polished aluminium mirror
Natural History (Landscape and Residues Series), 2008, Glass vials, botanical specimens, wood, steel, polished aluminium mirror
Forensic Sublime (Crimes against the Landscape series: Styx Valley), 2008, Duraclear, polished aluminium, acrylic<br />
In Stance Of Memory (Garden of the Jewish Museum, Berlin), 2005, Duraclear on shinkolite, oxides and ash in oil rusted steel
Forensic, 1991, lead, ash, wood, photograph, straw, laboratory glass, Perspex, fluorescent lights and X-rays
Elixir, 2005, wooden traditional house, glass panel screenprinted with poured paint and plant and fluids, blown-glass vials, plant extracts steeped in shochu, laboratory glass
Botanical Residues (after the Great Glasshouse), 2005, duraclear, photographs on acrylic
Cellular Gardens (Where Breathing Begins), 2005, stainless steel, mild steel, acrylic, blown glass, rainforest plants, dimensions variable
Alchemical Garden of Desire, 2012, site specific installation, acrylic mirror, glass vials, oil glaze, various plant and animal specimens
Detail - In Memory of Nature, 2012, acrylic, scientific glass, dried plants, seeds, sulphur, salt, amethyst, taxidermied owls, shellac, tulle, wood, burnt bones, hand-blown glass, oil paint, mirrors, 180 x 160 x 350cm
Installation View, Possibilities for a Garden, 2010
Installation View, Possibilities for a Garden, 2010
Botanical Residues (after the Great Glasshouse), 2005, duraclear, photographs on acrylic, 24 x 30 cm
Botanical Residues (after the Great Glasshouse), 2005, duraclear, photographs on acrylic, 24 x 30 cm
‘Flowers for the Alchemist’, 2010-14, Duraclear on acrylic, mirror, flowers and pigment in oil, 100 x180 cm
‘Kimberley Companions II’, 2013, mirror, acrylic, plants, glass, 16 x 21 x 5 cm
‘Harvesting Dew’, Duraclear on acrylic, mirror, earth and pigment in oil, 168 x 100 cm, 2011
‘TARKINE from Avalanche’, 2012, Dark Glass #2 (the Tarkine, Tasmania), Duraclear, acrylic, dibond mirror, oil, glaze, 85 x 120 cm (each)
Edge of the Trees, 1995, sandstone, wood, steel, oxides, shells, honey, bones, zinc, glass, sound, 29 pillars, Museum of Sydney on the site of first Government House, Sydney Australia
Alchemical Garden of Desire, 2012, site specific installation, acrylic mirror, glass vials, oil glaze, various plant and animal specimens
title_ Solids by Weight Liquids by Measure (alchemical plates from the Periodic Table series), 1993, seven metals, oil, various substances and laboratory glass, 3 x 5 m
49 Veils, 1998, windows for the Central Synagogue, Bondi, Sydney Australia
Detail - In Memory of Nature, 2012, acrylic, scientific glass, dried plants, seeds, sulphur, salt, amethyst, taxidermied owls, shellac, tulle, wood, burnt bones, hand-blown glass, oil paint, mirrors, 180 x 160 x 350cm
'Coral Collapse 5 – Reef Resuscitation', 2015, duraclear on acrylic box, 90 x 90 x 5 cm, edition of 3
'Coral Collapse 6 – Reef Resuscitation', 2015, duraclear on acrylic box, 90 x 90 x 5 cm, edition of 3
'Coral Collapse 7 – Reef Resuscitation', 2015, duraclear on acrylic box, 90 x 90 x 5 cm, edition of 3
'Coral Collapse 8 – Reef Resuscitation', 2015, duraclear on acrylic box, 90 x 90 x 5 cm, edition of 3
'Light Vine' 2013, duraclear on acrylic, mirror, earth and pigment in oil, 60 x 90 cm
‘Untitled’, 2013, Duraclear on acrylic, mirror,  20 x 30 cm
‘Chlorophyll conversation I, 2013, mirror, acrylic, plants, glass, 16 x 21 x 5 cm
'Stomatal imprint of Rocket Leaf' 2015, Duraclear on Acrylic, Mirror, Paint, 35 x 35 x 5 cm
'Irradiated' 2015, Duraclear on Acrylic, Mirror, 100 x 150 cm
'Tradescantia upper surface' 2015, Duraclear on Acrylic, Mirror, Paint, 35 x 35 x 5 cm
‘Untitled’, 2013, Duraclear on acrylic, mirror,  20 x 30 cm
‘Memory Matter’, 1992-95, stainless steel, black steel, photograph, zinc, aluminium, wood, veneer, oil, wax, 192 x 266 cm