Lyndell Brown/Charles Green & Jon Cattapan

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  • Biography
  • Exhibitions
  • Collections
  • Bibliography
  • Awards
‘Scatter 2 (Santa Cruz)’, 2016, digital print on perspex with hand painted overlay, 84 x 309 cm

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LYNDELL BROWN

2004
Ph.D., The College of Fine Arts, UNSW

1992
M.F.A. (Painting), Victorian College of the Arts

1988
B.A. (Fine Art) with Distinction, Victorian College of the Arts

CHARLES GREEN

1998
Doctor of Philosophy, The University of Melbourne, Melbourne

1993
Master of Arts (Visual Arts), Monash University, Melbourne

1987
Bachelor of Arts (Honours), University of Melbourne, Melbourne

1981
Bachelor of Arts (Fine Art), Victorian College of the Arts, Melbourne

1980
Diploma in Education, Melbourne State College, Melbourne

1973
Diploma of Art, National Gallery Art School, Melbourne

 

 

SELECTED SOLO EXHIBITIONS

2016
lesson plan, DOMINIK MERSCH GALLERY, Sydney
Transformer, ARC One Gallery, Station Gallery, Melbourne

2015
Lesson Plan: A Collaboration (with Jon Cattapan), Heiser Gallery, Brisbane

2014
Spook Country: A Collaboration (with Jon Cattapan), ARC One Gallery, Station Gallery, Melbourne

2013
Boat Adrift, Heiser Gallery, Brisbane

2011
The Dark Wood, ARC One Gallery, Melbourne
Lyndell Brown/Charles Green, Bruce Heiser Gallery, Brisbane
Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay and curated by Warwick Heywood, Australian Embassy, Washington

2010
Lyndell Brown/Charles Green, Greenaway Art Gallery, Adelaide
The Wire, Monash Gallery of Art, Melbourne
Reading Room: Lyndell Brown/Charles Green, 2001-2007, QUT Gallery, Brisbane
Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay and curated by Warwick Heywood, Australian War Memorial, touring

2009
The Gathering Storm, ARC One Gallery, Melbourne
Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay and curated by Warwick Heywood, Ian Potter Museum of Art, Melbourne

2008
War 2007, curated Peter Nagy, Nature Morte Gallery, New Delhi

2007
The Painters’ Family, ARC One, Melbourne

2006
Elemental Landscape, GrantPirrie, Sydney

2005
In Defence of Nature, ARC One, Melbourne
Lyndell Brown and Charles Green, Gibsone Jessop, Toronto

2003
Eldorado, essay by Anthony White, ARC One, Melbourne
The Waves, essay by Laura Murray-Cree, GrantPirrie, Sydney
Arcadia, curated A Jagadeva, Monash University Gallery, Melbourne
Lyndell Brown and Charles Green, Greenaway Gallery, Adelaide

2002
Atlas, essay by M.A. Greenstein, GrantPirrie, Sydney
Sanctuary and other island fables (with Patrick Pound), curated Maudie Palmer, essay by Alex Miller, Herring Island Sculpture Park, Melbourne

2000
Explaining Longevity, Robert Lindsay Gallery, Melbourne
Archive Fever (with Patrick Pound), Adam University Gallery, Victoria University, Wellington

1999
Double Vision: Towards a Theory of Everything, part 1 (with Patrick Pound), curated Alasdair Foster, Australian Centre for Photography, Sydney
List Structure: Towards a Theory of Everything, part 2 (with Patrick Pound), Curtin University Gallery, Perth, RMIT Gallery, Melbourne
Captivity Narrative, Melbourne: Robert Lindsay Gallery, Melbourne

1998
Face à l’histoire: the photographs of Lyndell Brown/Charles Green, Robert Lindsay Gallery, Melbourne

1996
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1995
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1994
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1993
Lacquer Room, University of Western Sydney Nepean, Sydney
Lyndell Brown/Charles Green, Annandale Galleries, Sydney
Lyndell Brown/Charles Green, 13 Verity Street Gallery, Melbourne

1992
Lyndell Brown/Charles Green, Annandale Galleries, Sydney

SELECTED GROUP EXHIBITIONS

2015
Colour My World (with Jon Cattapan), National Gallery of Australia
Storm in a Teacup, Mornington Regional Gallery, Melbourne
First Landing to Last Post: Contemporary artists’ perspectives on 100 years of military service, Australian Parliament Hournse, Canberra

2014
Decennalia, Heiser Gallery, Brisbane
Afghanistan: Voices from a War (with Jon Cattapan), Shrine of Remembrance, Melbourne
Conflict: Contemporary Responces to War (with Jon Cattapan), University of Queensland Museum of Art, Brisbane

2013
Melbourne Now (with Jon Cattapan), National Gallery of Victoria, Melbourne
New 2013, University of Queensland Museum of Art, Brisbane

2012
Melbourne International Art Fair, Heiser Gallery, Melbourne
2012 Geelong Contemporary Art Prize, Geelong Gallery, Geelong
Negotiating This World: Contemporary Australian Art, National Gallery of Victoria, Melbourne
Animal/Human, University of Queensland Museum of Art, Brisbane
Kindness/Udarta, Habitat Gallery, New Delhi, RMIT Gallery, Melbourne

2011
Double Vision, McClelland Regional Art Gallery, Langwarrin
Looking at Looking: The Photographic Gaze, National Gallery of Victoria, Melbourne
Collaborative Witness, University of Queensland Art Museum, University of Queensland, Brisbane

2010
A Tradigital Survey, Level 17 Artspace, Victoria University, Melbourne
Duetto, Experimental Art Foundation, Adelaide

2009
Still Conflict: contemporary Australian photographers at war, Monash Gallery of Art, Wheelers Hill, Embassy of Australia, touring
Turbulent Terrain: Manifestations of the sublime in contemporary art, Latrobe Regional Gallery, Morwell
The University of Queensland National Artists Self Portrait Prize 2009
Redlands Westpac Art Prize 2009, invitation award exhibition, curated Imants Tillers, Mosman Regional Gallery, Sydney

2008
Order and Disorder: Archives in Photography, curated Maggie Finch, National Gallery of Victoria, Melbourne

2007
Voiceless: I feel therefore I am, curated Charles Green, Sherman Galleries, Sydney

2006
Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton
A Distant Mirror, curated M.Y. Art Prospects, New York

2005
Tranquility (with Rosie Farrell and George Parkin), Art Gallery of New South Wales, Sydney, ARC One Gallery, Melbourne, M.Y. Art Prospects, New York

2004
Photographica Australis, National Gallery of Singapore, Singapore, National Gallery, Bangkok, National Museum of Modern Art, Taipei, and Bangladesh Biennale

2003
See here now: art collection of the 1990s, Ian Potter Museum of Art, Melbourne
Collaged World: Lyndell Brown/Charles Green, Robert Rooney, David Wadelton, John Young, McClelland Regional Gallery, Langwarrin
Spaced Out, curated Alasdair Foster, Australian Centre for Photography

2002
Tales of the Unexpected, National Gallery of Australia, Canberra
Photographica Australis, curated Alasdair Foster, Sala de Exposiciones del Canal de Isabel II, Madrid

2001
Indicium: Contemporary Australian Photomedia, Insa Art Centre, Seoul, Korea

2000
Boundlessly Various and Everything Simultaneously, Bose Pacia Modern, New York

1998 – 2001
Southern Reflections: Ten Contemporary Australian Artists, Art Gallery of NSW, Sydney, Kulturhuset, Stockholm, Sweden; Konsthallen, Göteborg, Sweden; Kostmuseum, Arhus, Denmark; City Art Museum, Helsinki, Finland; Neues Museum, Bremen, Germany; Städtische Kunstsammlungen, Chemnitz, Germany; Stenersenmuseet, Oslo, Norway

National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Art Gallery of South Australia, Adelaide
Art Gallery of West Australia, Perth
Australian War Memorial, Canberra
McClelland Regional Gallery, Melbourne
Bendigo Art Gallery, Bendigo
Horsham Regional Art Gallery, Horsham
Rockhampton Art Gallery, Rockhampton
QUT Gallery, Brisbane
University of Queensland Museum of Art, Brisbane
Artbank, Sydney
University of Sydney Power Foundation, Sydney
World Congress Centre, Melbourne
University of Western Sydney, Sydney
Heidelberg Repatriation Hospital, Melbourne
BHP, Melbourne
University of Melbourne Vizard Foundation, Melbourne
Australia India Institute, Melbourne
King’s School, Sydney
Campbelltown City Art Gallery, Sydney
Trinity College, Melbourne
Monash Museum of Art, Melbourne
Corporate and private curated collections in Australia, United States, Spain, Germany, India, Japan, Canada

PRIZES, AWARDS, FUNDED FELLOWSHIPS

LYNDELL BROWN

2013
Australia India Artist Retreat, Jaipur, India, 10-20 January 2013.

2011
Australia India Artist Retreat, Red Hill, Victoria, 23-26 November 2011.

2009
Harn Distinguished Scholar, University of Florida

2008
Visiting Fellow, School of Humanities and Golda Meir Library, University of Wisconsin

2007
Australian Official Artist, Australian War Memorial. Deployment to Iraq and Afghanistan.

2004
Gold Medal, Bangladesh Biennale, Dacca, Bangladesh (Lyndell Brown, Charles Green; international prize in recognition of works of art included in the 2004 Biennale)

2002
“Horizons” Parks Victoria Residency (Lyndell Brown, Charles Green; 1 year residential research fellowship at Lower Plenty, Victoria)

1998
Gunnery Studio Research Residency, Sydney. (Lyndell Brown, Charles Green; 3 month residency)

1997
Asialink/Sanskriti Residency, Delhi (Lyndell Brown, Charles Green; 3 month research residency with stipend)

1995
Power Institute Studio, Cité des Arts, Paris, late 1995-1996 (Lyndell Brown, Charles Green; six month research residency with stipend plus Australia Council Travel Grant)
King’s School Art Prize, Sydney (Lyndell Brown, Charles Green)

1993
Visiting Fellow, Faculty of Visual and Performing Arts, University of Western Sydney Nepean (Lyndell Brown, Charles Green, 3 month residency)

1992
Dr David Rosenthal Award, VCA

1988
Trustees of the National Gallery of Victoria Acquisitive Award

CHARLES GREEN

2013
Australia India Artist Retreat, Jaipur, India, 10-20 January 2013

2011
Australia India Artist Retreat, Red Hill, Victoria, 23-26 November 2011

2009
Harn Distinguished Scholar, University of Florida

2008
Visiting Fellow, School of Humanities and Golda Meir Library, University of Wisconsin

2007
Australian Official Artist, Australian War Memorial. Deployment to Iraq and Afghanistan

2004
Gold Medal, Bangladesh Biennale, Dacca, Bangladesh (co-researcher Lyndell Brown; international prize in recognition of works of art included in the 2004 Biennale)

2003
Conference Grant, Humanities Research Centre, ANU (1 year project)

2002
“Horizons” Parks Victoria Residency (co-researcher Lyndell Brown; 1 year residential research fellowship at Lower Plenty, Victoria)

1999
Travelling Fellowship, Australian Academy for the Humanities

1998
Gunnery Studio Research Residency, Sydney. (co-researcher Lyndell Brown; 3 month residency)
Winner, 50 Artists Travelling Award, Melbourne

1997
Asialink/Sanskriti Residency, Delhi (co-researcher Lyndell Brown; 3 month research residency)

1995
Power Institute Studio, Cité des Arts, Paris, late 1995-1996 (co-researcher Lyndell Brown; six month research residency plus subsequent Australia Council Travel Grant)
King’s School Art Prize, Sydney (co-researcher Lyndell Brown)

1993
Visiting Fellow, Faculty of Visual and Performing Arts, University of Western Sydney Nepean (co-researcher Lyndell Brown, 3 month research residency)

 

Amelia Barikin, Lyndell Brown, and Charles Green, “The Museum in Hiding: Framing Conflict,” in A. Whitcomb and K. Message (eds.), The International Handbooks of Museum Studies: Museum Theory (Boston: Wiley, 2015): pp. 485-510.

Veronica Tello, “The Aesthetics and Politics of Aftermath Photography,” Third Text, vol. 28, no. 6 (Dec. 2014), pp. 555-562.

Veronica Tello, “The Nexus of Self & History: Australian Refugee Histories and Lyndell Brown and Charles Green’s Memory Atlas (1998-ongoing),” in The Aesthetics of Counter-Memory: Contemporary Art and Australian Refugee Histories After Tampa, PhD dissertation, University of Melbourne (June 2013), pp. 138-196.

Timothy Morrell, “Lyndell Brown and Charles Green”, Art Collector, no. 61 (September 2012), pp. 142-148. An extended essay and interview including discussion of the current project and illustration of studio production from current project.

Nola Anderson, Australian War Memorial: Treasures from a Century of Collecting (Canberra and Melbourne: Australian War Memorial and Murdoch Books, 2012), pp. 544, 545, 548, 564, 570-573, 580-581.

Maggie Finch, “Lyndell Brown and Charles Green,” in Kelly Gellatly (ed. and curator), 101 Contemporary Australian Artists (Melbourne: National Gallery of Victoria, October 2012), pp. 38-39.

Mary Machen, “Exhibition presents harsh realities for Aussies at War,” The Examiner (Launceston), 17 August 2012, pp. 8-9.

Lana Best, “War art: studies in grey and vastness,” Unitas, no. 363 (October 2012), p. 12.

Maggie Finch, “Lyndell Brown and Charles Green,” in Maggie Finch (ed. and curator), Looking at Looking: The Photographic Gaze (Melbourne: National Gallery of Victoria, October 2011), pp. 38-39.

Amelia Douglas, “The viewfinder and the view,” Broadsheet, 38/1 (Sept. 2009), 200-205.

Stephen Matchett, “The Art of War,” Weekend Australian, 25 April 2009, Review cover & 6-7.

Beverley Johanson, “Home of War Artists,” The Age, 29 August 2009, Domain 2.

Jennifer Sexton, “2 of us: Lyndell Brown and Charles Green,” Good Weekend, December 6 2008, 14.

Andrew Stephens, “Once Were Witnesses,” The Age, 29 November 2008, A2, 16-17.

Warwick Heywood, Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green (Canberra: Australian War Memorial, 2008).

Andrew Stephens, “Grasping the past imperfect,” The Age, 18 October 2008, A2, 14-15.

Maggie Finch, Order and Disorder: Archives in Photography, exh. catalogue, National Gallery of Victoria, Melbourne, October 2008.

Warwick Heywood, “Lyndell Brown and Charles Green,” War, exh. catalogue, GrantPirrie Gallery, Sydney, 2008.

Modern Painters editors, “Portfolio: What does it mean to make art during wartime,” Modern Painters 20/3 (April 2008), 62-69.

Warwick Heywood, “Obscure Dimensions of Conflict: Lyndell Brown and Charles Green,” Artlink 28/1 (March 2008), 52-55.

Ashley Crawford, “Interview: Lyndell Brown and Charles Green in the war zone,” Photofile 83 (Winter 2008), 20-25.

Judy Annear, “The Map of Atlantis,” Photography: Art Gallery of New South Wales Collection (Sydney: Art Gallery of New South Wales, 2007), 334.

Gabriella Coslovich, “New Additions to a rich tradition of art and war,” The Age, 3 November 2007, Insight 2.

Yuko Narushima, “The quest to capture life at the front,” The Sydney Morning Herald, 29 June 2007, 14.

Natasha Rudra, “Artists record images of conflict,” Canberra Times, 29 June 2007, 6.

Silvia Dropulich, “Politically powerful artists chosen to portray complex war,” The University of Melbourne Research Review, 2007, 8-9 & cover.

Lorna Edwards, “Artists Charged with Capturing Hues and Cries of Conflict,” The Age, 27 Feb. 2007, 5.

Nikos Papastergiadis, “Trompe l’Oeil: Under the Signs of Everything,” in Spatial Aesthetics: Art Place and the Everyday (London: Rivers Oram Press, 2006), 60-67.

Sue Smith, “Other Dimensions: Body, Speed and Time,” and Sally Butler, “Darkroom of the Soul,” in Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton (2006).

Victoria Hynes, “Two Up: Victoria Hynes Interviews Lyndell Brown and Charles Green,” Australian Art Review, 10 (March-June 2006), 56-59.

Shaun Wilson, “Remixing Memory,” Photofile 77 (Autumn 2006), 34-37.

Lyndell Brown and Charles Green, In Defense of Nature, ARC One Gallery, Melbourne, exh. catalogue with essay by the authors (September 2005), n.p.

Blair French, “Tranquility”, in Natasha Bullock (curator), Tranquility, exh. catalogue (Sydney: Art Gallery of New South Wales, May 2005), 2-4.

Laura Murray Cree, “The Waves,” in Bridget Pirrie (curator), The Waves, exh. catalogue (Sydney: GrantPirrie Gallery, 2003), 3.

Alex Miller, “The Artist as Magician,” Meanjin, vol. 62, no. 2 (2003), Special Issue: Portraits of the Artist, 41-58.

Lyndell Brown and Charles Green, “Self-Portrait: Sanctuary,” Art and Australia, vol. 40, no. 2 (Summer 2002), 248-249.

Anthony White, “Technique and Memory,” in Eldorado, exh catalogue (Melbourne: Arc 1 Gallery, 2003), 3.

Peter Conrad, At Home in Australia (Canberra: Thames & Hudson and the National Gallery of Australia, 2003), 246-247.

Lyndell Brown, “Arcadia,” in Anurendra Jagadeva (curator), Arcadia, exh. catalogue (Melbourne: Monash University Faculty Gallery, 2003), 2-4.

Samela Harris, “Lyndell Brown and Charles Green,” Australian Art Collector 21, July 2002, 48-51.

Deborah Hart, “Illusory worlds,” in Deborah Hart, Tales of the Unexpected, curated exh. (Canberra: National Gallery of Australia, July 2002), 20-25.

M.A. Greenstein, “Lyndell Brown/Charles Green,” Atlas, exh. catalogue, (Sydney: GrantPirrie Gallery, 2002).

Alex Miller, “Sanctuary,” in Sanctuary—and other island fables, exh. catalogue (Melbourne: Herring Island Gallery, Parks Victoria, 2002), 1-22.

Alex Miller, “Art and Other Worlds,” The Age Saturday Extra, 9 February 2002, 5-6.

M.A. Greenstein, “20 July 2001; Los Angeles, California, U.S.A.,” Indicium: Contemporary Australian Photomedia (Seoul: Insa Art Centre and Sydney: Penrith Regional Gallery, 2001), 6-13.

Helen McDonald, Erotic Ambiguities: The Female Nude in Art (London and New York: Routledge, 2001), 207-210.

Megan Dunn, “Time after time,” Pavement 42 (New Zealand), Aug.-Sept. 2000, 60.

Peter Nagy, “Boundlessly Various and Everything Simultaneously” exhibition catalogue, (New York: Bose Pacia Modern, 2000).

Jeanette Hoorn, “Lyndell Brown and Charles Green,” in Laura Murray Cree (ed.) Australian Painting Now (Sydney: Craftsman House, 2000), 72-75 and cover.

Nikos Papastergiardis, “Trompe l’oeil: under the signs of everything,” Towards a Theory of Everything, Sydney: Australian Centre for Photography, 1999, 2-10.

“Days of their lives,” The Australian Review of Books, vol. 4, no. 9, cover illustration.

Tom Nicholson, “Archives after the seventies and after,” Artlink 19/1, March 1999, 63-65.

Jeanette Hoorn, “The Desiring Phantom: Contemplating the Art of Lyndell Brown and Charles Green,” Art and Australia, vol. 35, no. 3, April 1998, 374-381.

Elizabeth Cross, Robert Nelson, Southern Reflections, exhibition catalogue essays, Stockholm: Kulturhuset, 1998. Elizabeth Cross, “Southern Reflections,” 7-13; Robert Nelson, “Lyndell Brown/Charles Green,” 32-33.

Juliana Engberg, “The Lovers,” catalogue essay, Museum of Modern Art, Heide, Melbourne, November 1995

Natalie King, “Constructed City,” catalogue essay, Plimsoll Gallery, Hobart, October 1995

Alan Krell, catalogue essay, Annandale Galleries, Sydney, September 1993

Artists’ statement, 13 Verity Street Gallery, Melbourne, April 1993

Robert Nelson, “Una Selva Lucida,” catalogue essay, Annandale Galleries, Sydney, March 1992

2016
‘Scatter 2 (Santa Cruz)’, 2016, digital print on perspex with hand painted overlay, 84 x 309 cm
‘Invisible Man (Maliana 3)’, 2016, digital print on perspex with hand painted overlay, 123 x 123 cm framed
‘Invisible Man (Maliana 1)’, 2016, digital print on perspex with hand painted overlay, 123 x123 cm framed
‘Invisible Man (Maliana 2)’, 2016, digital print on perspex with hand painted overlay, 123 x123 cm framed