Born
1959, Adelaide, South Australia
Lives and works in Australia and Germany
| 2010 | Doctor of Philosophy, Monash University, Melbourne |
| 1992 | Master of Arts (Fine Art) by research, Deakin University, Victoria College, Prahran Campus, Melbourne. |
| 1986 | Bachelor of Arts (Fine Art), majoring in photography, Victoria College, Prahran Campus, Melbourne |
| 1982 | Technician's Certificate in Photography, Elizabeth College of TAFE, Adelaide |
| 2011 | After Life, Sarah Scout Gallery, Melbourne |
| 2009 | Light Out of Darkness, Monash University, Art + Design Faculty Gallery |
| 2008 | Under a Steel Sky, West Space, Melbourne |
| 2005 | Ilsley Green Road and Latent Image, Sutton Gallery, Melbourne |
| 2002 | Sally
Sutton Gallery, Melbourne Hole Thing Bellas Gallery, Brisbane |
| 2001-02 | Remember Me six installations changing fortnightly, Institute of Modern Art, Brisbane |
| 2000 | Parallel Lives Sutton Gallery |
| 1999 | A Fleet of Fancies, Bellas Gallery, and Sutton Gallery |
| 1998 | Visible Things Sutton Gallery |
| 1996 | On
Paper Sutton Gallery The Object of Photography Artspace, Sydney |
| 1995 | The
Object of Photography
Sutton Gallery Untitled Found Objects Bellas Gallery |
| 1994 | The Object of Photography Institute of Modern Art, Brisbane |
| 1993 | Object a Experimental Art Foundation, Adelaide & Sutton Gallery |
| 1992 | Ascendant, Anxious Objects, Astonish Me Linden Gallery |
| 1991 | If You Can't Take the Heat Get Out of the Kitchen Room 4, Melbourne |
| 1990 | Win
Store 5, Melbourne Value 200 Gertrude Street, Melbourne I Am Never Sure of My Place Platform, Spencer Street Underpass, Melbourne |
| 1989 | Art Fades (1,2,3,4....) Australian Centre for Photography, Sydney |
| 1988 | A Moment's Hesitation Before She Changes the Expression On Her Face Linden Gallery |
| 2011 | A Way of Calling curator Melissa Keys, Linden Gallery, Melbourne |
| 2009 | Photographer Unknown
curator Kyla McFarlane, Monash University Museum of Art Light Years: Photography and Space curator Maggie Finch, National Gallery of Victoria |
| 2006 | Light Sensitive
curator Isobel Crombie, National Gallery of Victoria Recent Acquisitions curator Jane Scott, Monash Gallery of Art |
| 2004 | Urban/ExUrban curator Vikki McInnes, TarraWarra Museum of Art, Melbourne |
| 2001 | Desire curator Rachel Young, RMIT Gallery |
| 2000 | The Retrieved Object curator Elizabeth Gower, Linden Gallery |
| 1999 | What John Berger Saw curator Merryn Gates, Canberra School of Art Gallery, Canberra. Touring to Orange Regional Gallery; Monash University Gallery; University of SA Art Museum; John Curtin Gallery; Institute of Modern Art, Brisbane |
| 1998 | City of Hobart Art Prize, Carnegie Gallery, Hobart |
| 1996 | Photography is Dead! Long Live Photography! curator Linda Michael, Museum of Contemporary Art, Sydney |
| 1995 | The
Power to Move: Aspects of Australian Photography,
Queensland Art Gallery Lovers curator Juliana Engberg, Museum of Modern Art at Heide Suitcase Melbourne City Plaza Palais Lights public slide projections, St. Kilda Festival Postcard Show Linden Gallery |
| 1994 | Projection:
Filming the Body curator
Natalie King, The
Basement, Melbourne Don't Stop curators Susan Fereday and Shiralee Saul, Linden- St. Kilda Arts Centre, Melbourne; Geelong Art Gallery The Aberrant Object: Women Dada and Surrealism curator Juliana Engberg, Museum of Modern Art at Heide Read My Lips curator Shiralee Saul, Ascent Gallery, Melbourne & Union Gallery, Adelaide Group Sutton Gallery |
| 1993 | Reflex
curator Stuart Koop, Centre for Contemporary
Photography, touring to University of Tasmania, Launceston;
Australian Centre for Photography, Sydney Luminaries curators Jenepher Duncan and Natalie King, Monash University Gallery Pure Cinema curators Rozalind Drummond and Paul Morgan, Charles Williams Gallery RMIT City Screens projections onto city buildings, curator Stuart Koop, Melbourne International Festival and Centre for Contemporary Photography Vitae: An Installation Publication #7 curators Shiralee Saul and James Harley, RMIT Faculty Gallery Margaret Stuart Endowment National Gallery of Victoria Group Show Sutton Gallery, Melbourne |
| 1992 | 5
x 8 Sutton Gallery,
Melbourne Public Spaces: Public Art Personal Vision curator Kevin Wilson, Linden Gallery Allure Slide at 200 Gertrude Street Tongue Platform, Spencer Street Underpass, Melbourne SupermArt curator Shiralee Saul, Blaxland Gallery, Melbourne Food in Art curator Debra Tucker, Gallery at Tolarno |
| 1991 | Christmas
Tree Forest Linden Artists Portraits of Artists Victorian Centre for Photography Support Women Image Makers Fundraiser Linden Gallery Cite, Sight, Site curator Linda Sproul, Linden Body Without Organs First Draft West, Sydney Postcard Show Linden Gallery |
| 1990 | Amoré
with Jeff Gibson and Rosemary Laing,
curator Sally Couacaud, Artspace, Sydney Palimpsest curator Kaye Moorhouse, University of Tasmania, Hobart |
| 1989 | Upfront
Blaxland Gallery, Melbourne Photoaccess Benefit Link Gallery, Canberra |
| 1988 | St. Kilda Arts Festival Linden Gallery |
| 1987 | Beatrice Faust Curates: From Boubat to Fereday Photographers Gallery |
| 1986 | Colour Me Gone Lighthouse Gallery |
| 1985 | Women 150 Linden Gallery |
| 1984 | Lady Fairfax Selection Exhibition Art Gallery of NSW |
| 1982 | Women's Art Movement Group Show WAM, Adelaide |
| 2010 | Anne Marsh, Look: Contemporary Australian Photography Since 1980, Melbourne: Macmillan, pp. 69, 170, 379-380 |
|
2001 |
Helen McDonald, Erotic Ambiguities: The Female Nude in Art, London & New York: Routledge, pp.176-178 |
|
2011 |
Catalogue A Way of Calling,
essay by curator Melissa Keys, Linden Gallery, Melbourne Room brochure After Life, Sarah Scout Gallery, with essay by Tegan Lewis 'Photographic Skin' |
|
2009 |
Melissa Miles 'Whose art counts?' Art Monthly Australia #224, October, pp.5-8 |
| 2008 | Booklet Under a Steel Sky, Susan Fereday, 68 pages |
| 2006 | Catalogue Light Sensitive, essay by Isobel Crombie, National Gallery of Victoria |
| 2004 | Catalogue Urban/ExUrban, essay by Vikki McInnes, TarraWarra Musuem of Art, Melbourne |
| 2001 | Catalogue Remember Me, essays by Chris Handran, Institute of Modern Art, Brisbane |
| 2000 | Book I
Fall in Love With a Beautiful Newcomer Hiding a
Deadly Secret, Susan
Fereday, 100 pages Postcard (A Fleet of Fancies), Susan Fereday Catalogue The Retrieved Object, curator Elizabeth Gower, essay by Stuart Koop, Linden Gallery |
| 1996 | Catalogue Photography
is Dead! Long Live Photography!,
essays by Linda Michael, George Alexander, Martyn Jolly, Museum of
Contemporary Art, Sydney Brochure On Paper, Susan Fereday Catalogue The Object of Photography, essay by Robert Schubert, Artspace, Sydney Book cover and artist's pages, (Mother/Nature), 'Motherlode', Sybilla Feminist Press, p.118 |
| 1995 | Catalogue The
Power to Move: Aspects of Australian
Photography, essay by
curator Anne Kirker, Queensland Art
Gallery Catalogue 1995 Samstag, University of South Australia Postcard (Work), Linden Gallery |
| 1994 | Catalogue The
Object of Photography,
essay Jeffrey
Fereday, Susan Fereday Postcard (Pleasure), Museum of Modern Art at Heide |
| 1993 | CD-ROM Art
Right Now: 45 Australian Artists,
Discovery
Media, Sydney Catalogue The Aberrant Object: Women, Dada and Surrealism, essays Juliana Engberg, Robyn McKenzie, Kenneth Wach, Anne Marsh, Museum of Modern Art at Heide Postcard (Pleasure), Museum of Modern Art at Heide Catalogue Reflex, essays Stuart Koop and Geoffrey Batchen, Centre for Contemporary Photography Catalogue Luminaries, essays Kevin Murray, Donald Brook, Jenepher Duncan, Natalie King, Monash University Gallery Catalogue City Screens, text Stuart Koop, Centre for Contemporary Photography Illustration (from Object a), Art and Australia, Winter, p.528 Catalogue Object a, essay Jeffrey Fereday, Susan Fereday |
| 1992 | Illustration (Who's
Afraid of Red Yellow and Blue),
Art
and Australia, Winter, p.492 Illustration (Last Painting tissues boxes), Next Wave Festival Visual Arts Catalogue, p.75 Illustration (Last Painting tissues boxes), Robert Rooney, `Talent in Store to Beat Blues' The Weekend Australian, 30 May, p.13 Illustration (SupermArt) Rebecca Lancashire, `A Consumer Approach That Challenges Art', The Age, 15 May, p.12 Catalogue Ascendant, Anxious Objects, Astonish Me, essays Jeffrey Fereday and Carolyn Barnes, published by the artist |
| 1991 | Catalogue Cite,
Sight, Site, Linden Gallery Magazine cover, 'Think', Agenda #18 Four Postcards, (Art is a Special Way of Thinking, Another Masterpiece, Ask Me About the Meaning, Art is Safe), Susan Fereday |
| 1990 | Catalogue Amore,
essay Ted Colless, Artspace
Sydney Catalogue, Palimpsest, University of Tasmania Gallery Artist's Page Set Sub Set, An Installation Publication, Issue #1 Wallpaper page, Agenda #13/14, p.29 Artist's pages, Rebus #2, pp.20-23 Artist's pages, Art & Text #36, pp.74-75 Illustration Value, Art and Australia, Winter, p.614 Catalogue Value, with text Brenda Ludeman, 200 Gertrude Street |
| 1989 | Catalogue Art Fades (1,2,3,4....), Australian Centre for Photography |
| 2011 | Tim Alves,
‘Light across the lens,’ Inkblot blog,
23 February 2011 Robert Nelson, 'Pop art props mine a rich vein,' The Age, 16 February Greg Neville, 'After Life', Greg Neville's Photography Blog, 5 February Penny Webb, 'Susan Fereday: Afterlife', Art Guide Australia #69, Jan-Feb, pp.39-43 |
|
2010 |
Greg Neville, 'Grail and Wail',Greg Neville's Photography Blog, 11 September |
| 2008 | Robert Nelson, 'Memories lie beyond the surface', The Age, 25 June, p. 16 |
| 2005 | Penny Webb, 'Following the Customs of the Country', The Age, 1 March, p.17 |
| 2002 | Ihor Holubisky, 'Susan
Fereday at Brisban'e Institute of
Modern Art', Art + Australia, Summer 2002, pp 234-235 Sandra McLean, 'Luxury of a little space', feature article, Brisbane Courier Mail, 8 March, p.15 |
| 1999 | Robert Nelson, 'Art of meaning and bafflement', The Age, 15 September, p.16 |
| 1998 | Anna Clabburn 'Restoring our faith in those ordinary things', The Age, 22 July, p.17 |
| 1997 | Christopher Chapman 'Sculpture, snapshots', Photofile, April, p.31-32 |
| 1996 | Margaret Morgan
'Photography is dead! Long live
photography!', Art + Text #55, pp.91-92 Freda Freiberg 'On Paper', The Age, 26 June, p.21 Anne Marsh 'Works shed new light', Herald Sun, 12 June, p.54 |
| 1995 | Robert Schubert 'Susan
Fereday: Sutton Gallery', Art + Text
#52, p.91-82 Robert Rooney, 'Stenopaeics, Susan Fereday', The Australian, 26 May, p.48 Robert Nelson, 'Installation poking at hole in halo', The Age, 17 May, p.21 Anne Marsh, 'Pinhole shows focus on narrow views', Herald Sun, 17 May, p.60 George Petelin, 'Welcome, That's Women All Over', The Australian, 28 April, p.9 |
| 1994 | Denise Robinson, 'The
Aberrant Object', Agenda, #37, July,
pp.23-25 Anna Clabburn, 'The Aberrant Object', World Art, Vol.1 #2, p.100 Susan McCulloch, 'Objects of desire', Herald-Sun, 4 May, p.63 Stephanie Bunbury, 'The Monstrous Feminine', The Age, Saturday Extra, 2 April, p.10 Tom Nicholson, 'Window (The Aberrant Object)', Farrago April/May, p.12-13 Linda Williams, 'The Aberrant Object', Art + Text #48, p.74 Barbara Creed, 'The Aberrant Object: Women Dada and Surrealism', Art Monthly #69, pp.10-12 Zara Stanhope, 'Reflex', Art + Text #48, p.75 May Lam, Ann Howie, Andrea McLaughlin, Andrew James Conquest 'Reflex', Artfan #2, p.27 Rohan Storey, 'The City Screen', Monument: Architecture magazine, #2, April, pp.61-67 Robert Schubert, 'City Screens', Art + Text #47, pp.79-80 |
| 1993 | Greg Neville,
'Conditioned reflex, but students lively',
The Age, 15 December, p.17 Greg Neville, 'Two views at odds', The Age, 25 June, p.15 Susan McCulloch, 'Works of women on show around town', Herald-Sun, 11 June, p.63 |
| 1992 | Stuart Koop, 'Review:
Susan Fereday', Art & Text #43,
pp.78-79 Robert Nelson, 'Installations: Ascendant, Anxious Objects, Astonish Me', Agenda #24, p.22 Jeffrey Fereday, 'SupermArt', Agenda #24, pp.24-25 |
| 1991 | Alex Selenitsch, 'Susan
Fereday, Lyndall Milani, Marie
Sierra-Hughes, Agenda #20/21, p.42 Patricia Piccinini and Peter Hennessey, 'Cite, Sight, Site', Eyeline #16, p.41 Christopher Heathcote, 'Battlers can learn from Whisson'' The Age, 6 March, p.14 |
| 1990 | Rex Butler, 'A love
that cannot speak its name', Agenda
#15, p.19 Catherine Lumby, 'Dino puts his finger on it', Sydney Morning Herald, 23 November, p.12 Patricia Piccinini and Peter Hennessey, 'Value, Eyeline #12, pp.43-44 Carolyn Barnes, 'Value', Agenda #10, pp.22-23 Beatrice Faust, 'Intimacy of best mates' The Age, 13 February, p.14 Campbell Thomson, 'Seeing is deceiving', The Herald, 6 February, p.13 |
| 1989 | Janet Shanks, 'Young, Lethbridge, Fereday', Photofile, Winter, pp.28-29 |
| 1988 | Carolyn Barnes,
'Vacant/Possession', Photofile, Autumn,
pp.22-23 Terry Smith, 'Chicago plays the game she denies' Times On Sunday, 24 January, p.31 |
| 2010 | Mollie Holman Doctoral Medal, Monash University |
| 2007 | Australia Council,
Visual Arts/Craft Board, New Work Grant Studio residency, Cité Internationale des Arts, Paris Monash University Publications Grant |
| 2006-09 | Australian Postgraduate Award |
| 2002 | Australia Council,
Visual Arts/Craft Board, New Work Grant Arts Victoria, Arts Development, New Work Grant Ian Potter Cultural Trust, Equipment Grant |
| 2001-02 | Artist-in-residence, Institute of Modern Art, Brisbane |
| 1999 | Australia Council,
VACB, Artist Development Grant Artist-in-residence, Noosa Regional Gallery |
| 1996 | Studio residency, Cité Internationale des Arts, Paris |
| 1995 | Anne and Gordon Samstag Scholarship, University of South Australia |
| 1992 | Australia Council, VACB, Artist Project Grant |
| 2011 | ‘Alpha
City’ catalogue text for Christopher
Köller exhibition, Margaret Lawrence Gallery, VCA ‘Stretched Skin’ catalogue text for Penelope Davis, Nellie Castan Gallery |
| 2008 | 'Under a Steel Sky' creative text for book launched with exhibition |
| 2006 | 'Wired World' catalogue essay, Simon Maidment and Paul Shepard, Conical Gallery |
| 1996 | 'Ruins in Reverse' catalogue essay, RMIT Gallery, Storey Hall |
| 1995 | 'Likeness' catalogue essay, CCP |
| 1994 | 'Ipso Photo' catalogue
essay, with Stuart Koop, CCP 'Don't Stop' mail-order catalogue, Linden Gallery 'Jemmy', group exhibition, Adelaide, Agenda #36 |
| 1993 | 'Mathew Jones: Poof!
Review', Art Fan #1, p.22 'Portraits of Pleasure', Kent Morris exhibition, Agenda #33, p.8 'Arranging Nature', catalogue essay, CCP 'Immortality', catalogue essay, CCP |
| 1992 | 'After the Fact',
catalogue essay, VCP 'Elvis Lives!' Polixeni Papapetrou exhibition, Agenda #20/21, p.41 'Claim', June Savage exhibition', Eyeline #16, pp.34-35 'Ills Caused By Love and Desire', Christopher Koller exhibition, Agenda #18, p.10 |
| 1990 | 'Photography in the art
museum', Agenda #13/14,p.3 'Looking', catalogue essay for Graeme Hare Exhibition at ACCA |
| 1989 | 'Witness', Linda
Jullyan exhibition, Agenda #9, p.26 'Stuck in the approximate', Sue Ford exhibition, Agenda #5, pp.26-27 |
| 1988 | 'The moment of
sainthood', Rose Farrell & George Parkin
exhibition, Agenda #3, pp.20-21 'Before the winter gardens', Chris Koller exhibition, Photofile, Autumn, pp.20-21 |
| 2006 | 'I am the ghost of the
image: the photograph as mirror,
window, veil', paper at AAANZ conference, Monash University 'After Photography', paper at symposium 'Queensland Festival of Photography', QCA, Brisbane |
| 1999 | 'Imaging the Other: ethnicity in recent Australian photography', at conference 'The Politics of Photographic Portrayal', Australian High Commission, New Delhi, India |
| 1993 | 'Photography: snapshot/masterpiece', seminar for NGV Gallery Society |
| 1992 | 'The jig is up', Australian Contemporary Art Fair, forum 'The Art Media' |
| 1991 | 'Absent', paper at
forum 'Representations of Women in
Media', for SWIM 'Critical values', forum at VCP 'Reading contemporary photography', public lecture for AIPP at Victorian Centre for Photography |
| 1990 | 'Slowing the act of
looking', Paper at public forum,
Australian Centre for Photography 'Writing criticism', for art history program at Victoria College, Prahran Campus |
| 1988 | Paper at public forum 'The Thousand Mile Stare - Where Do We Go From Here?' ACCA |
| 1987 | Paper at public forum 'The Death of the Author v The Humanity of the Moment' Victorian Centre for Photography |
| 1996 | Ruins
in Reverse: Lauren
Berkowitz, Adam Boyd, Colin
Duncan, Hewson/Walker, Shaun Kirby, Christopher Langton, Callum
Morton, Rose Nolan, Deborah Ostrow, Kathy Temin, Chris Ulbrick,
Chris White, Constanze Zikos. 14 artists employ unorthodox and
prosaic materials (masonite, MDF, cardboard, concrete, vinyl,
lurex, fake fur) in works which reference and undermine historical
moments of aesthetic purity and transcendence, and interact with
RMIT Gallery's recently renovated interior. RMITGallery at Storey
Hall, Melbourne Reviews: Anne Marsh, 'Gallery of ruins', Herald Sun, 17 April, p.56 Lawrence Money, 'They're flat out trying to help', The Sunday Age, 21 April, p.20 Anna Long, 'Irreverent trip to creative ruins', Business Review Weekly, 22 April, p.130 Robert Rooney, 'Ruins in Reverse', The Australian, 10 May, p. Colin Simpson, 'Youth, energy, and a "Victorian" relic' The Bulletin, 14 May, p.76 Robert Nelson, 'No logic, no feeling', The Age, 18 May, p.10 Peter Timms, 'Similarity breeds contempt', Herald Sun, 22 May, p. Peter Hill, 'The Next Wave, nightclubs, and surrounding islands', Art Monthly Australia, July, p.12 Lewis Ryan, 'MDF I Luv You', Broadsheet, Vol.25 No.3, Spring, pp.22-23 Robert Schubert. 'Ruins in Reverse', Art + Text #55, pp.93-94 |
| 1995 |
Likeness:
46 photographs selected from the Waverley
City Gallery, Monash City Council collection and assembled around
resemblances in their compositions and subjects. Most of the
photographs are by men, most of the subjects are men, streets,
sports, buildings, deserts, rocks. Is visual concord the archive's
refrain? Centre for Contemporary Photography A
Small History of Photography:
Lectures |
| 1994 |
Ipso-Photo:
(co-curated with Stuart Koop) Margaret
Roberts, Chris Fortescue, Marie Sierra-Hughes, Phillip Watkins. The
influence of the camera's privileging vision on recent sculptural
works. Four installations critique photography's relationship with
subjectivity and power. Centre for Contemporary Photography Don't
Stop: (co-curated with
Shiralee Saul)
Exhibition
and mail-order catalogue. Thirty artists contribute art multiples
displayed in an environment resembling an upmarket boutique to
stimulate discussion on art as commodity. Linden- St. Kilda Arts
Centre; touring to Geelong Art Gallery, Shepparton Art Gallery.
Mail-order catalogue circulating throughout Australia. Photography
Post Photography: Lectures |
| 1993 |
Arranging
Nature June Savage, Liz
Butler, Gillian
Dallwitz, James Packer, Tony Nott, Naomi Kumar, Donna Larcom.
Sculptural and installational works using photographic imagery to
explore nature as visual construct. Centre for Contemporary
Photography; touring to University of Tasmania, Launceston;
Warrnambool Art Gallery; Mildura Art Centre; Shepparton Art
Gallery, Sale Regional Arts Centre; Albury Regional Arts Centre,
Waverley City Gallery Immortality:
Rose Farrell & George Parkin, Jeff
Gibson, Chris Tabecki, Polixeni Papapetrou, Heather Fernon.
Borrowing its title from Milan Kundera's novel, 'Immortality' looks
at masculine desire and the status of hero in popular culture.
Centre for Contemporary Photography |
| 1992 | After
the Fact Photographs from
the Melbourne police
forensic archive depicting the vacant scenes of crimes. Photography
as a tool of detection, fascination and disputed truth. Victorian Centre for Photography; touring to Union Gallery, University of Adelaide; University of Tasmania Gallery, Launceston Reviews: Peter Timms, 'It beats Sydney by a mile', Art and Australia, Winter, p.32 John Neylon, 'Discursive torture', The Adelaide Review, March Richard Grayson, 'After the Fact', Photofile #38, p.4 Robert Rooney, 'Following in Piero's footsteps', Weekend Australian, 7-8 November, p.13 Greg Neville, 'Blowing up the myth of truth', The Age, 9 October, p.14 |