Brook Andrew

Brook Andrew, artist news, exhibitions and artworks

Space & Time Roslyn Oxley9 Gallery, Sydney

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Space & Time 
Roslyn Oxley9 Gallery, Sydney
3rd June – 2nd July, 2016

Space & Time is a moody immersive group of works incorporating neon, screen-print, collage, sculpture, photography and painting.  This is the first time Brook Andrew has actively presented a group of works that span these mediums, together with images from his personal and other archives like the Museum of Anthropology and Archaeology, Cambridge in the UK, and the Museum of Applied Arts and Sciences in Sydney.

Brook Andrew’s practice harnesses alternate narratives to assemble new directions of understanding historical legacies of colonialism and modernist histories. The juxtaposition of an elephant from the Bay of Bengal during an expedition by William Henry Crane c.1891 – 1903, with a 1930’s post card image of a mud-crab from the Northern Territory, Australia, also highlights the artists interest in power dynamics, the absurd and surreal. Striking swathes of abstract colour act as formalist components to accompany the convergence of these image events.

Titles like Earth and Guardians of the Galaxy – the motherhood number hint at the artists’ further interest in science-fiction and mysticism. Highlighting fictionalised space between truth and reality, time and interstellar space, the viewer is drawn into an environment of curiosity and entagled entrancement.

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June 8, 2016 at 6:28 AM

THE FOREST, at Galerie Nathalie Obadia, Paris

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28 May – 23 July, 2016
Galerie Nathalie Obadia
3, rue du Cloître-Saint Merri, Paris 4e

The Forest, is Brook Andrew’s second exhibition at Galerie Nathalie Obadia after Anatomy of a Body Record: Beyond Tasmania held in 2013, and a few months before his significant retrospective exhibition at the National Gallery of Victoria of Melbourne, in March 2017.

For The Forest, Brook Andrew will present a selection of exclusive artworks from original archival sources of the his own collection – the SUNSET series for example- and from reproductions of the Museum of Archeology and Anthropology of Cambridge as well as the Musée du Quai Branly, where he has been awarded a residency as a Photography Residencies Laureate. The source images are then reproduced, worked on, painted over, resized, screenprinted and complemented with neon lights, collages, and other various objects.  

The artist firmly believes he is an artist of the world, not defined by one place. Though his mixed cultural ancestry such as Scottish, Irish, Jewish and Australian Aboriginal, informs his practice. His interest in a post-colonial context, the many lineages that forged his identity and shaped his arts practice, is indeed a strong platform to compare the histories of the Asia Pacific with those of the rest of the world relying on ideas of comparisons to other international concerns raised by artists such as Christian Boltanski and Jenny Holzer. The Wiradjuri pattern –recurring in Brook Andrew’s work- comes from the Aboriginal woodcarvings (dendroglyphs) of New South Wales, home state of the artist’s mother, and has inspired the artist’s black and white hypnotic pattern. On another hand, the Sapelli wood he uses for his frames evokes the sudden scarcity of this African resource after it fed the business of modern furniture in fashion back in the 1950’s.

Through a consistent and very well documented multidisciplinary practice, Brook Andrew creates impactful artworks and singularly immersive exhibitions. The Forest prolongs his on-going quest to provide spectators with alternatives to – individually and collectively- interpret the world as well as our heritages. 

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June 8, 2016 at 5:51 AM

‘Intervening Time’ for APT8

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QAG Gallery 10.1
Brook Andrew

QAG Gallery 10.1
Brook Andrew

QAG Gallery 10.1
Brook Andrew

QAG Gallery 10.1
Brook Andrew

Intervening Time, 2015 
8th Asia Pacific Triennial of Contemporary Art (APT8)
Gallery of Modern Art, Queensland Art Gallery (QAGOMA), Brisbane
Until 10th April, 2016

A museum intervention including TIME, 2012, a suite of six large-scale screenprints on canvas that draws on archival images; wall painting; and works from the Queensland Art Gallery’s Australian art collection.

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June 8, 2016 at 5:35 AM

Building (Eating) Empire, Encounters, Art Basel Hong Kong

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Building (Eating) Empire is a stage-like installation immersing the viewer in a complex mise-en-scène of converging parallels. Brook Andrew’s aim is to offer alternate histories to dominant narratives that often suffocate the worlds little known narratives of peoples and cultures often subjugated and dismissed through time.

Considering the seven components of Building (Eating) Empire are mounted onto thin Alucobond, the images emerge and dissipate as the viewer walks around them, or as the works themselves turn in space. The overall effect is a moving and active installation of objects that allows for multiple view points. Arising from known and unknown world histories, the images have been selected by the artist from a collection that includes postcards and press photographs – gathered on his travels around the world from his own, private and public collections. The act of the figures screen-printed on foiled Belgian linen assists in the images ability to disappear and reappear as light moves over the surface. In this way, figures, like histories, reappear and disappear like memories or contested histories.

Text from WITNESS, by Dr Chris Chapman, Senior Curator, National Portrait Gallery, Australia.

Curated by Alexie Glass-Kantor for Encounters, Art Basel Hong Kong.

Presented in collaboration by Galerie Nathalie Obadia, Paris and Brussels, and Tolarno Galleries, Melbourne.

Art Basel Hong Kong
March 24 – 26, 2016

Project Team: Stewart Russell, Danica Miller, Mark Chapman, Martin O’Malley, Trent Walter, Jaime Powell & Laura Thompson.

Images: Brook Andrew. Building (Eating) Empire, 2016
Installation, mixed media including linen, metallic foil, neon, rigging, sandbags. Installation view, Encounters, curated by Alexie Glass-­‐Kantor, Art Basel in Hong Kong.
 Courtesy of the artist, Galerie Nathalie Obadia, Paris and Brussels, and Tolarno Galleries, Melbourne.

Written by brookandrew

June 8, 2016 at 1:30 AM

EVIDENCE | Museum of Applied Arts and Sciences, Sydney

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Images: Christian Capurro

Evidence is an immersive installation that draws on the rich and varied Museum of Applied Arts and Sciences (MAAS) collection to explore the theme of evidence.

Evidence weaves together unexpected and perhaps overlooked objects and materials from the MAAS collection with specially commissioned artworks, suggesting different ways of interpreting objects and their history.

Featured objects include Governor Macquarie’s chair, a ‘black box’ flight recorder, a Maralinga souvenir clock, a Brown Bess musket, a surgical table and colonial breastplates along with 19th century ethnographic photographs.

Until 28 August 2016
Museum of Applied Arts and Sciences, Sydney

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November 11, 2015 at 2:00 AM

“How Global Can Museums Be?”

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“How Global Can Museums Be?”
CIMAM 2015 Annual Conference Tokyo November 2015 

Within this question lie very relevant issues and challenges for museums of modern and contemporary art as institutions dedicated to public service: locality, nationality, internationality, exhaustive universalism, decolonization, global democracy, and economic dependence, among others. The question does not only refer to the ambition of encompassing the entire world with all its differences; it interrogates if and how one single institutional model can be valid for the world’s diversity of contexts. Is the Museum as we know it the most appropriate institution to transmit the concept of freedom of expression?

Is the museum the entity most capable of rewriting and modifying Art History? What alternative models have been tested to be effective and useful agencies in different communities? Is there a fixed protocol for the museum world that can be true and applied in global terms? Differences in economies, (modern) development, industrialization, education, traditions, cultural and/or religious contexts create a very diverse global landscape for the making, presentation and reception of art. Beyond stylistic or material specificities, symbolic and factual/historical issues will necessarily determine how the messages produced by artists are received through time, space, and generations. Censorship, freedom of expression, institutional fragility, and responsibility are conditions and values constantly being rearticulated and questioned in the different contexts that compose our globe.

How can museums negotiate a radical, innovative position within cultural tolerance/sensitivity, within the dominating conventions of service to the public, or within the dichotomy of public interests/private resources? Evolving from previous Conferences, these are some of the questions we would like to address during the 2015 CIMAM Conference in Tokyo. The Conference will break down these major questions into thematic areas of discussion around which the three daily sessions will rotate.

Is the museum still a place for debate? Is freedom of expression up for debate within museums? Is it possible for museums to establish a universal deontological code, with a common set of values, rules or norms that are acceptable for all of us to envision an actual global exchange?

From the CIMAM booklet, available to download here.


TABOO, 2012 Installation view, Museum of Contemporary Art, Sydney

CIMAM is the ICOM International Committee for Museums and Collections of Modern Art, is an international forum of professional character for the discussion of theoretical, ethical and practical issues concerning the collection and exhibition of modern and contemporary art.

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November 10, 2015 at 3:45 AM

Posted in 2015, Artist talk, International

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ARC project recipient for “Representation, Remembrance and the Monument”

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‘Galiyn (rain)’, 2007 From the series ‘Gun-Metal Grey’

Brook Andrew_Jumping Castle War Memorial

‘Jumping Castle War Memorial’, 2010 Installation view the 17th Biennale of Sydney

Brook Andrew has been awarded a prestigious 3 year ARC project (Federal Government Australian Research Council)This is a significant milestone for MADA being a practice-led project with a sole artist CI (chief investigator).
The project “Representation, Remembrance and the Monument” is designed to respond to the repeated high-level calls for a national memorial to Aboriginal loss. The project considers the crucial role that contemporary memorials play in societies that are increasingly addressing traumatic histories, and how international memorial projects shift public memory and cultural understanding. As Australia continues to strive for reconciliation, this project embraces the potential for memorials to become powerful public spaces where the history of the Frontier wars can be addressed. Ways of representing and remembering this past will expand and strengthen civil society.

Brook is lecturer at MADA (Monash Art, Design and Architecture), Monash University, Australia.

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November 3, 2015 at 12:01 AM

Posted in 2016, Exhibitions News, research

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