Alphabetically by first name
Panel 15, Panel 23, Panel 72
ADS Donaldson teaches at the National Art School. Together with Rex Butler he has recently published UnAustralian Art: 10 Essays on a Transnational Art History (Power Publishing, 2021).
Alec is an independent researcher and author whose abiding interest is the Pintupi artists of Australia’s Western Desert region. He wrote and published the authorised biography of award-winning artist Mick Namarari Tjapaltjarri, ‘The master from Marnpi’, based on his doctoral thesis at the Australian National University, ‘The life of Mick Namarari Tjapaltjarri’. Alec’s current writing focuses on Tjapaltjarri’s paintings, and exhibitions and events commemorating the 50th anniversary of the founding of the Western Desert art movement and the associated art centre, Papunya Tula Artists. Alec lives in Sydney.
Alex Gawronski is a contemporary artist, writer independent gallerist and academic working across multiple disciplines. He has a particular interest in the implications of galleries and museums as cultural sites of spatial, socio-political contestation. Gawronski has shown widely nationally and internationally. He participated in the inaugural The National: New Australian Art in 2017 presenting large-scale architectural interventions simultaneously at the AGNSW, the MCA and Carriage Works. In 2014, Artspace Sydney published a Monograph of Gawronski’s art and essays titled Words and Pictures. Gawronski also has an extensive history founding independent Artist Run Initiatives, currently KNULP in Camperdown, Sydney.
Dr. Alexis Salas is an art historian of global modern and contemporary art with a specialization in in the Americas (Latin America and the Latinx United States). Her first book, Disparity at Play: The Artists and Projects of Temístocles 44 (Mexico City, 1991-2003), currently a manuscript in process, looks at how an artist collective in Mexico City used the conditions of neoliberalism to produce subversive collective projects. Her second book will focus on the relationship of art (practices, markets, patrons) and oil.
Alisa Bunbury is Grimwade Collection Curator (Museums & Collections, University of Melbourne) and for many years was Curator of Prints and Drawings at the National Gallery of Victoria. She recently completed a Curatorial Research Fellowship at the National Library of Australia looking at art relating to Australia’s second colonial settlement, Norfolk Island, which is one of several colonial research projects she is currently undertaking.
Alison Kubler has over 25 years’ experience working as a curator in museums and galleries in Australia. She has worked as Associate Curator, the University of Queensland Art Museum and on major public art commissions. She is a Member of the Council of the National Gallery of Australia and sits on the Know My Name Board. She is the Editor-in-Chief of VAULT, and the Culture Vulture columnist for ESCAPE.com.au. In 2013 a book she co-authored with Mitchell Oakley-Smith entitled Art and Fashion in the Twentieth Century (Thames and Hudson) was published and has subsequently been translated into German and Japanese.
Panel 15, Panel 23
Amanda Watson lives in Whaingaroa Raglan in Aotearoa New Zealand, and is a visual artist, educator, and researcher. She was awarded a Bachelor of Fine Arts from Elam School of Fine Arts from Auckland University where she majored in painting, a Postgraduate Diploma in Museum Studies from Massey University, and a Masters of Arts with Distinction in Painting from Waikato Institute of Technology. Her work has been exhibited and shared through exhibitions, awards, editorials and published reviews and articles, in New Zealand and overseas and accessioned into public and private collections.
Panel 31, Panel 39
Dr Mimi Kelly is a lecturer in Art History at the University of Sydney, Australia. Her knowledge field sits at the intersection of art, popular culture and gender studies. Her specialisation focusses on curatorial pedagogies, object-based learning, digital installation, performance art, photomedia and global encounters via social media platforms. She also participates in research projects focussing on audience engagement and public cultural spaces. She completed her PhD through Sydney College of the Arts in 2019. She is a member of the Art Association of Australia and New Zealand and Photographic Cultures Research Group.
Andrew Atchison is an artist currently based in Melbourne/Naarm. He works across multiple forms and has ongoing critical interests in queer identity formation, public art practices, and the aesthetics of withholding. He is a current resident studio artist at Gertrude Contemporary.
Aidan Hartshorn is a Walgalu man of the Ngurmal Nation, from the foothills of the Snowy Mountains in NSW. Aidan has both colonial and Indigenous heritage. Aidan graduated from the Australian National University School of Art and Design in 2019, gaining a Bachelor of Visual Arts majoring in Sculpting - the first in his family to undertake tertiary studies. In 2021 Aidan was selected for the Art Monthly Australasian Indigenous Voices Mentorship and Publications Program. He is the Wesfarmers Indigenous Assistant Curator at the National Gallery of Australia and Research Assistant on Murrudha: Sovereign Walks.
Panel 12, Panel 33, Panel 61
Dr Alex Burchmore is an art historian specialising in the study of Chinese art, with a focus on ceramics, trade and exchange, and the interweaving of personal and material identities. Alex received his PhD from the Australian National University in 2019 and joined the University of Sydney in 2021. His doctoral dissertation traced the extent to which artists in China have used porcelain to shape their personal, historical, and cultural identities. His recent publications include a chapter dedicated to the ‘fugitive luxury’ of contemporary Chinese ceramics in The Allure of Matter: Materiality Across Chinese Art (forthcoming, University of Chicago Press).
Alexandra Gregg is a public programs producer at the Art Gallery of New South Wales. She organises educational programs based on the Gallery’s exhibitions and collections.
Dr Ali Gumillya Baker is a Mirning person whose maternal family are from the Nullarbor. Ali lives and works on Kaurna Country. She is a Senior Lecturer and Discipline Lead for Indigenous and Australian Studies in the College of Humanities Arts and Social Sciences at Flinders University. Her research work is engaged with Indigenous perspectives on colonial archives, anti-racist praxis, critical collective love, and intergenerational knowledge transmission. She is an artist, writer, curator and member of the Unbound Collective.
Alison Inglis researches and publishes in the area of nineteenth-century British art and museum studies. Her experience in the field of curatorial studies is reflected in her current membership of several museum boards and her appointment as an Emeritus Trustee of the National Gallery of Victoria. Alison's recent and current research projects include: British and Colonial portraits in the National Gallery of Victoria; Australian art exhibitions 1968-2009; Scottish art in Australia; art and philanthropy in Australia; the circulation of art within the British Empire; the Hamilton Gallery collaboration.
Amanda is a media artist and educator who investigates how innovations in communication technologies affect perceptions of identity, agency, and visibility, emphasizing concepts of embodiment and the "historically constituted body" within a networked-society. Her work has been shown nationally and internationally in venues such as the Hammer Museum, Los Angeles, and Ars Electronica, Linz. Her work has also been featured in publications like Artillery magazine, The New York Times, and The Associated Press.
Amelia Brown is an arts worker based in Meanjin/Brisbane, Queensland. She is currently working as a Registration Assistant in the collection of the Queensland Art Gallery| Gallery of Modern Art. Amelia’s holds a Bachelor of Arts (Hons. I) and a Bachelor of Science in Archaeology from the University of Queensland. With an interest in structures of power, Amelia’s honours thesis examined the motifs of concealment and obstruction within Santiago Sierra’s practice. Amelia was the inaugural recipient of the University of Queensland’s Kinnane Art History Scholarship.
Amrit is an arts and cultural worker with experience in producing, programming, strategy, international relations, community development and social enterprise. From 2013 to early 2021, Amrit was the Australia Council for the Arts’ Director of International Development. She led international strategic investment across artforms, overseeing the Venice Biennale project and implementation of the agency’s first international arts strategy, expanding engagement and investment in Asia and global First Nations exchange. Previously, Amrit held roles at Milk Crate Theatre, the British Council Australia, and Information and Cultural Exchange (ICE). She holds a Bachelor (Art Theory) and a BA (History) from UNSW.
Andrea Bubenik is a Senior Lecturer in Art History at the University of Queensland. Her work focuses on early modern art, historiography, and theories of reception. Her books include The Persistence of Melancholia in Art and Culture (edited, 2019), Perspectives on the art of Wenceslaus Hollar (co-edited, 2016), and Reframing Albrecht Dürer: The Appropriation of Art (2012). With the ARC Centre of Excellence for The History of the Emotions, Andrea curated Ecstasy: Baroque and Beyond (2017) and Five Centuries of Melancholia (2014). Andrea is interested in the afterlives and migrations of images, and dialogues between historical and contemporary art.
Panel 57, Panel 65, Panel 73
Andrew Leach is Professor of Architecture at the University of Sydney. Among his books are What is Architectural History?, Rome (both Polity), Manfredo Tafuri (A&S books) and Crisis on Crisis (Standpunkte). He is editor-in-chief of Architectural Theory Review.