Patricia Piccinini is one of Australia’s most acclaimed contemporary artists. She is best known for her hybrid, figurative sculptures rendered in silicone and hair. Piccinini was Australia’s representative at the 2003 Venice Biennale. Since the early 1990s, her interdisciplinary practice—surreal drawings, hybrid animals and vehicular creatures—has questioned the way that contemporary technology and culture changes our understanding of what it means to be human. Piccinini wonders at our relationships with, and responsibilities towards, the creatures that surround us. While ethics are central, her approach is ambiguous, gentle and questioning rather than moralistic or didactic.
Patricia Piccinini The Long Awaited, 2008, silicone, fibreglass, human hair, plywood, leather, clothing, 152 x 80 x 92 cm
Installation view, Patricia Piccinini, Curious Affection, Queensland Art Gallery & Gallery of Modern Art (24 March – 5 August 2018), Photo: Natasha Harth
Patricia Piccinini The Welcome Guest, 2011, silicone, fibreglass, human hair, clothing, taxidermied peacocks, dimensions variable
Patricia Piccinini Skywhale, 2013, hot air balloon, 3400 x 2300 x 2000 cm
Installation view, Patricia Piccinini, Curious Affection, Queensland Art Gallery & Gallery of Modern Art (24 March – 5 August 2018), Photo: Natasha Harth
Patricia Piccinini The Observer, 2010, silicone, fibreglass, steel, human hair, clothing, chairs, 220 x 140 x 48 cm
Patricia Piccinini The Listener, 2012, silicone, fibreglass, human hair, speaker, 97 × 45 × 45 cm
Patricia Piccinini The Stags, 2008, fibreglass, auto paint, leather, steel, plastic, tyres, 224cm x 167cm x 196 cm
Patricia Piccinini Laura (with sandwich), 2006, graphite on paper, 57 × 77 cm
Patricia Piccinini Reflected Sky, 2020, ABS plastic and automotive paint, 150 x 250 cm
Patricia Piccinini Shoeform (Ovaries), 2019, resin, automotive paint, 65 x 95 x 40 cm
Group Show, The First 40 Years
Roslyn Oxley9 Gallery, 2024
Patricia Piccinini The way they connect without seeing
Roslyn Oxley9 Gallery, 2023-24
Patricia Piccinini The Skywhale Suite
Online Gallery, 2021
Patricia Piccinini The Gardener’s Eye
Roslyn Oxley9 Gallery, 2020
Group Show, THE PUBLIC BODY 0.3
Artspace, Sydney, 2018
Patricia Piccinini Curious Affection
Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2018
Group Show, The shape of things to come
Buxton Contemporary, 2018
Divided Worlds
Adelaide Biennial of Australian Art, 2018
Patricia Piccinini The Struggle and the Dawn
Roslyn Oxley9 Gallery, 2017
Group Show, Soft Core
Casula Powerhouse Arts Centre, 2016
Group Show, New Romance: Art and the Posthuman
Museum of Contemporary Art Australia, Sydney, 2016
Patricia Piccinini ComCiência
Centro Cultural Banco do Brazil, Sao Paulo, 2015-16
Patricia Piccinini The Shadows Calling
Dark Mofo, Hobart, 2015
Patricia Piccinini The Skywhale
National Gallery of Australia, Canberra, 2013
Patricia Piccinini I have spread my dreams under your feet
Roslyn Oxley9 Gallery, 2013
Patricia Piccinini Inflorescence
Mirvac Commission, 2012-15
Patricia Piccinini Once upon a time
Art Gallery of South Australia, Adelaide, 2011
Patricia Piccinini Beyond our kin
Roslyn Oxley9 Gallery, 2010
Patricia Piccinini Evolution
Tasmanian Museum and Art Gallery, Hobart, 2009
Patricia Piccinini Related Individuals
Roslyn Oxley9 Gallery, 2008
Patricia Piccinini Recent Drawings
Roslyn Oxley9 Gallery, 2006
Patricia Piccinini Unbreaking Eggs
Roslyn Oxley9 Gallery, 2005
Group Show
Roslyn Oxley9 Gallery, 2005
Patricia Piccinini Precautionary Tales
Roslyn Oxley9 Gallery, 2003
Patricia Piccinini We Are Family
50th Venice Biennale, 2003
Patricia Piccinini Autoerotic
Roslyn Oxley9 Gallery, 2002
Group Show, The First 20 Years
Roslyn Oxley9 Gallery, 2002
Group Show, All Stars
Roslyn Oxley9 Gallery, 2000
Patricia Piccinini Swell
Artspace, Sydney, 2000
Patricia Piccinini Desert Riders
Roslyn Oxley9 Gallery, 2000
PATRICIA PICCININI
Born Freetown, Sierra Leone
Arrived in Australia
Bachelor of Arts (Economic History), Australian National University, Australia
Bachelor of Arts (Painting), Victorian College of the Arts
Coordinator, The Basement Project Gallery
Enterprise Professor, Victorian College of the Arts, University of Melbourne
SELECTED SOLO EXHIBITIONS
Patricia Piccinini: encounters of another plot, John Michael Kohler Arts Centre, New York
HOPE, Tai Kwun Contemporary, Hong Kong, China
Metamorphosis, Kunsthal, Rotterdam, Netherlands
Tales from an expanding world, Yavuz Gallery, Singapore
A tangled path sustains us, Hosfelt Gallery, San Francisco, USA
We Are Connected, ArtScience Museum, Singapore
A Miracle Constantly Repeated, Flinders Street Station, Melbourne, Australia
The Awakening, Hosfelt Gallery, San Francisco, USA (forthcoming)
A Miracle Constantly Repeated, Rising Festival, Melbourne, Australia
Embracing the Future, Kunsthalle Krems, Austria
he Instruments of Life, Kai Art Gallery, Tallinn, Estonia
The Alpha60 Kiosk in Collaboration with Patricia Piccinini, Heide Museum of Modern Art, Bulleen, Australia
Patricia Piccinini, Scott Lawrie, Auckland, New Zealand
The Gardener's Eye, Roslyn Oxley9 Gallery, Sydney, Australia
Between the Shadow and the Soul, Helsinki Taidehalli, Helsinki, Finland
Omfamna Frantiden, Børas Museum of Art, Børas, Sweden
Chromatic Balance, Tolarno Galleries, Melbourne, Australia
A World of Love, Arken Museum, Copenhagen, Denmark
Life Clings Closest, Cairns Art Gallery, Cairns, Australia
Curious Affection, Gallery of Modern Art, Brisbane, Australia
Patricia Piccinini and Joy Hester: Through Love, curated by Victoria Lynn, TarraWarra Museum of Art, TarraWarra, Australia
Curious Imaginings, Vancouver Biennale, Patricia Hotel, Vancouver, Canada
Inter-natural, Hosfelt Gallery, San Francisco, USA
The Field, Sydney Contemporary, Sydney, Australia
Patricia Piccinini: The Comforter, University of Michigan Museum of Art, Michigan, USA
Patricia Piccinini: No fear unmingled with hope, Tolarno Galleries, Melbourne, Australia
Consciousness, Kibla Portal, Kibla, Slovenia
The Struggle and the Dawn, Roslyn Oxley9 Gallery, Sydney, Australia
ComSciencia, CCBB Rio De Janiero, Rio De Janiero, Brazil
ComSciencia, CCBB Belo Horizonte, Belo Horizonte, Brazil
ComSciencia, CCBB Brasilia, Brasilia, Brazil
Alone With The Gods, Greenaway Art Gallery, Adelaide, Australia
We feel, conceive or reason, laugh or weep, Todd Hosfelt Gallery, San Francisco, USA
Patricia Piccinini, Yu-Hsiu Museum of Art, Taiwan
Piccinini at Hosfelt, Artinternational, Istanbul, Turkey
ComSciencia, CCBB Sao Paulo, Sao Paulo, Brazil
Another Life, University of Quebec Art Museum, Montreal, Canada
Relativity, Galway International Arts Festival Gallery, Galway, Ireland
The Shadows Calling, Dark Mofo / Mercury Building, Hobart, Australia
And colour is their flesh, Tolarno Galleries, Melbourne, Australia
The Touch of Another, Warrnambool Art Gallery, Warrnambool, Australia
Like Us, Newcastle Art Gallery, Newcastle, Australia
Skywhale, Splendour in the Grass, Byron Bay, Australia
I have spread my dreams under your feet, Roslyn Oxley9 Gallery, Sydney, Australia
Patricia Piccinini, Galeria Artist, Berlin, Germany
Structures of Support, Canberra Museum and Gallery, Canberra, Australia
Kaunas Biennial Unitext, NGO Kaunas Biennial, Kaunas, Lithuania
Skywhale, Canberra Centenary, Dark Mofo, Canberra, Hobart, Australia
Those who dream by night¸Haunch of Venison, London, UK
There are no strangers, Tolarno Galleries, Melbourne, Australia
Once Upon a Time..., Art Gallery of South Australia, Adelaide, Australia
Hold me close to your heart, ARTER - Space for Art, Istanbul, Turkey
The Welcome Guest, Conner Contemporary Art, Washington, USA
The Fitzroy Series, Centre for Contemporary Photography, Melbourne, Australia
Beyond our kin, Roslyn Oxley9 Gallery, Sydney, Australia
Relativity, Art Gallery of Western Australia, Perth, Australia
Not as we know it, Haunch of Venison, New York, USA
Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea
Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia
Unforced Intimacies, Tolarno Galleries, Melbourne, Australia
Patricia Piccinini, Byblos Art Gallery, Verona, Italy
Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia
Patricia Piccinini: The place where it actually happens, Yvon Lambert, New York, USA
Piccinini, Perc Tucker Regional Gallery, Townsville, Australia
The Wellspring, Tolarno Galleries, Melbourne, Australia
(tender)creatures, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain and Des Moines Art Center in Iowa, USA
Hug: Recent Work by Patricia Piccinini, Frye Museum, Des Moines Art Center, Seattle, Des Moines, USA
Double Love Knot, Lismore Regional Gallery, Lismore, Australia
Recent Work, Roger Williams Gallery, Auckland, New Zealand
Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia
Patricia Piccinini: In Another Life, City Gallery Wellington, New Zealand
Feature artist in Art Taipei 2006, Taipei, Taiwan
Life Cycle, Tolarno Galleries, Melbourne, Australia
Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia
Nature’s Little Helpers, Robert Miller Gallery, New York, USA
Sculpture, Robert Miller Gallery, New York, USA
We Are Family, Bendigo Art Gallery, Bendigo, Australia
Repercussions, (individual and collaborative works by Peter Hennessey and Patricia Piccinini), Greenaway Art Gallery, Adelaide, Australia
We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy
We Are Family, Hara Museum of Contemporary Art, Shinagawa, Tokyo, Japan, Bendigo, Australia
Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia
Precautionary Tales, Tolarno Galleries, Melbourne, Australia
Love Me Love My Lump, Dryphoto arte contemporanea, Monash Centre in Prato, Tuscany, Italy
Call of the Wild, John Curtin Gallery, Perth, Australia
Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia
Call of the Wild: Patricia Piccinini, Museum of Contemporary Art, Sydney, Australia
Retrospectology: the world according to Patricia Piccinini, Australian Centre for Contemporary Art, Melbourne, Australia
Sandman, National Gallery of Victoria, Melbourne, Australia
One Night Love, Tolarno Galleries, Melbourne, Australia
The Breathing Room, Tokyo Metropolitan Museum of Photography, Images and Technology Gallery, Tokyo, Japan
Superevolution, Centro de Artes Visuales, Lima, Peru
Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia
Swell, Artspace, Sydney, Australia
Protein Lattice (billboard), Republic Tower, Melbourne, Australia
Truck Babies, Tolarno Galleries, Melbourne, Australia
Plasticology, NTT ICC, Tokyo, Japan
Sheen, Project work, 1998 Adelaide Festival, Adelaide, Australia
Car Nuggets, Arts Victoria, Melbourne, Australia
Psycho, Tolarno Galleries, Melbourne, Australia
Natural Beauty, The Basement Gallery, Melbourne, Australia
Your Time Starts Now, Contemporary Art Centre of South Australia, Adelaide; Institute of Modern Art, Brisbane, Australia
Love Me Love My Lump, The Basement Project, Melbourne, Australia
TerrUrbanism, The Australia Centre, Manila, The Philippines
T.M.G.P.,The Basement Project, Melbourne, Australia
TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia
lndivisibles, The Basement Project, Melbourne, Australia
Love Story, Platform, Melbourne, Australia
All That Glistens, Temple, Melbourne, Australia
The Body DIS-corporate, Linden, Melbourne, Australia
SELECTED GROUP EXHIBITIONS
The Land is Us: Stories, Place & Connection, Shepparton Art Museum, Victoria
The First 40 Years, Roslyn Oxley9 Gallery, Sydney
Fairy Tales, Queensland Art Gallery / Gallery of Modern Art (GOMA), Brisbane, Australia
Sembra Vivo! Bonaparte Palace New Space Generali Valore Cultura, Rome, Italy
Freedom of Movement: Contemporary Art and Design from the NGV Collection, National Gallery of Victoria, Melbourne, Australia
Synthetic Ecology, 798 Cube Art Museum, Beijing, China
New Australian Printmaking, National Gallery of Victoria, Melbourne, Australia
HEAVENS, Al Fresco, Mount Stromlo Observatory, Canberra, Australia
WHO ARE YOU: Australian Portraiture, National Gallery of Australia, Canberra, Australia
52 ACTIONS, Penrith Regional Gallery, NSW
The Human Figure, Benalla Art Gallery, Victoria
The Hilger Collection, The City Art Gallery Ljubljana, Ljubljana, Slovenia
Transition Contemporary Works from the Collection, Wollongong Art Gallery, Wollongong, Australia
McClelland Collection: 50 Years of Spatial Practice, McClelland Sculpture Park + Gallery, Langwarrin, Australia
The Sculptural Body as part of Connecting the World through Sculpture, Monash University Museum of Art, Melbourne
Hyperrealism Sculpture, La Boverie, Liège, Belgium
Auckland Art Fair, Auckland, New Zealand
Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia, Canberra
Moving Energies 10 Years ME, me Collectors Room, Berlin, Germany
AUSTRALIA. ANTIPODEAN STORY, Padiglione D'Arte Contemporanea, Milan, Italy
The Coming World: Ecology as the New Politics 2030–2100, Garage Museum of Contemporary Art, Moscow, Russia
Life Clings Closest, Cairns Art Gallery, Cairns, Australia
Broken Nature: Design Takes on Human Survival, XII Triennale di Milano, Milan, Italy
Perfection, Science Gallery Dublin, The Naughton Institute, Trinity College Dublin, Ireland
Simon Denny: Mine, Museum of Old and New Art, Hobart, Australia
Future and the Arts, Mori Art Museum, Tokyo, Japan
Cars: Accelerating the Modern World, Victoria and Albert Museum, London, UK
Encounters: Honoring the Animal in Ourselves, Palo Alto Art Center, Palo Alto, CA, USA
Licht Luft Scheisse, Botanical Museum, Berlin, Germany
Apocalyptic Horse, Heide III: Albert & Barbara Tucker Gallery, Bulleen, Australia
Enter, Housemuseum Galleries, Kew, Australia
Projects, Seattle Art Fair, Seattle, USA
The Gifts of Tony Podesta, Katzen Art Center, Washinton DC, USA
Reshaped Reality, Chiang Kai-sheck Memorial Hall, Taipei, Taiwan
Auto-didactic: The Juxtapoz School, Petersen Automotive Museum, Los Angeles, USA
Obsession: Devil in the detail, Mornington Peninsula Regional Gallery, Victoria
Auto-Didactic: The Juxtapoz School, Petersen automotive museum, Los Angeles, US
PERFECTION: Part Experiment / Part Exhibition, Melbourne School of Design, The University of Melbourne
Mirror Mirror, Paul Robeson Galleries, Newark, US
Sydney Contemporary, Roslyn Oxley9 Gallery, Sydney
The Public Body .03, Artspace, Sydney
Spring 1883, Roslyn Oxley9 Gallery, Melbourne
Frankenstein's Birthday Party, Hosfelt Gallery, San Francisco, America
Hyper Real, National Gallery of Australia, Canberra; Kunsthalle Tübingen, Germany; Heydar Aliyev Center, Baku, Azerbaijan
Hyperrealism Sculpture, Kunsthal Rotterdam, Netherlands
The shape of things to come, Buxton Contemporary, Melbourne, Australia
Soft Core, Shepparton Art Museum, Shepparton, Australia
Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide, Australia
Let’s Play: The Art of Our Time, Bunjil Place Gallery, Melbourne, Australia
Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, Australia
Gosh, Is it alive?, Arken Museum of Modern Art, Ishoj, Denmark
Momentum 9 Biennial 'Alienation', PunktO Galleri 15, Moss, Norway
Revival, National Museum of Women in the Arts, Washington, USA
Beyond Belief: the Sublime in Contemporary Art, Bathurst Regional Art Gallery, Bathurst, Australia
Mad Love, Arndt Art Agency, Berlin, Germany
ON THE ORIGIN OF ART, Museum of Old and New Art, Hobart, Australia
Common Ground, National Gallery of Victoria, Melbourne, Australia
The Universe of Art, Mori Art Museum, Tokyo, Japan
Hyperrealist Sculpture 1973-2016, Museum Bilbao, Spain
Weird and Wonderful: From the Olbricht Collection, Folkwang Museum, Essen, Germany
Cornucopia, Shepparton Art Museum, Shepparton, Australia
Australian Exotica, Monash Gallery of Art, Melbourne
New Romance: Art and the posthuman, Museum of Contemporary Art, Sydney, Australia
Soft Core, Casual Powerhouse Arts Centre, Sydney, Australia
Speed, Murray Art Museum, Albury, Australia
The New Romance, National Museum of Contemporary Art, Seoul, South Korea
Beautiful Beast, The New York Academy of Art, New York, USA
Super Natural, National Museum of Women in the Arts, Washington, USA
Materia Prima, LABoral Centro De Arte, Gijon, Spain
The Post-Photographic Condition, Le Mois De La Photo a Montreal, Montreal, Canada
Symbiotica, University of Western Australia, Perth, Australia
Beautiful Beast, The New York Academy of Art, New York, USA
Queensize : Female Artists from the Olbricht Collection, me Collectors Room, Berlin, Germany
Menagerie, Australian Centre for Contemporary Art, Melbourne, Australia (curated by Juliana Engberg)
Dark Heart, 2014 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia (curated by Nick Mitzevich)
PULSE: Reflections on the body, Canberra Museum and Gallery, Canberra, Australia
In the flesh, National Portrait Gallery, Canberra, Australia
How to tell the future from the past, Haunch of Venison, New York, USA
Nature of the Beast, The New Art Gallery, Walsall, UK
The Wandering: Moving images from the MCA Collection, Museum of Contemporary Art, Sydney, Australia
Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Art Gallery, Rockhampton, Australia
Fairytales, Monsters and the Genetic Imagination, Glenbow Museum, Calgary, Canada, Winnipeg Art Gallery, Manitoba, Canada and The Frist Center for the Visual Arts, Nashville, Tennesse, USA
Louise Bourgeois, Heide Museum of Modern Art, Melbourne, Australia
Concepts of Life in Contemporary Sculpture, Georg Kolb Museum, Berlin, Germany
The Observer, Haunch of Venison, London, UK
Sculpture is Everything, Queensland Art Gallery / Gallery of Modern Art (GOMA), Brisbane, Australia
Blue: Matter, Mood, and Melancholy, 21c Museum Hotel, Louisville, USA
ANIMAL/HUMAN, University of Queensland Art Museum, Brisbane
Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Mornington.
The Future’s Not What It Used To Be, Newlyn Art Gallery, Newlyn, Cornwall
Inspiring Artists: Recipients of the Pat Corrigan Artists’ Grant, Maitland Regional Art Gallery, Maitland
The Freeze, Maroondah Art Gallery, Melbourne, Australia
Nature vs Nurture, FaMa Gallery, Verona, Italy
Confounding: Contemporary Photography, National Gallery of Victoria, Melbourne, Australia
Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia
Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan
Our Origins, Museum of Contemporary Photography at Columbia, Chicago, USA
Boundaries Obscured, Haunch of Venison, New York, USA
Power of Making, Victoria & Albert Museum, London, UK
Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne, Australia
Imagining the Future, RMIT Gallery, Melbourne, Australia
Double Vision, McClelland Gallery and Sculpture Park, Langwarrin, Australia
The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada
Kaldor Public Art Projects 'Move: The Exhibition', Gallery Of Modern Art, Brisbane, Australia
Medicine and Art, Mori Art Museum, Tokyo, Japan
2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan
Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands
Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany
Niet Normaal: Difference on Display, Beurs Van Berlage, Amsterdam, The Netherlands Colliding Worlds, Samstag Museum, Adelaide, Australia
Reframing Darwin: evolution and art in Australia, Ian Potter Museum of Art, The University of Melbourne, Melbourne, Australia
Figuring Landscapes, Tate Modern, London; Ivan Dougherty Gallery, Sydney, Australia
Rising Tide: Film and Video Works from the MCA Collection, Sydney, Museum of Contemporary Art San Diego, USA
In the Land of Retinal Delights, Laguna Art Museum, Laguna Beach, USA
Neo Goth: Back in Black, The Art Museum, University of Queensland, Brisbane, Australia (curated by Alison Kubler)
The Stranger, Yvon Lambert New York, USA
‘The Gathering,’ Art Film, Art 39 Basel, Switzerland
Global Feminisms, Brooklyn Museum, New York, USA
Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher, Wurzberg, Germany
Strange Cargo: Contemporary art as a state of encounter, Newcastle Region Art Gallery, Broken Hill Regional Art Gallery, Bendigo Art Gallery, Orange Regional Gallery, Wagga Wagga Art Gallery and Tweed River Regional Gallery
Supercharged: the car in contemporary culture, IMA touring show - 24Hr Art, Bathurst Regional Art Gallery, Pinnacles Gallery
Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA
Artist Makes Video, Art Rage Survey 1994-1998, Griffith University, Queensland College of Art, Brisbane
Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands; MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia
Becoming Animal, MassMOCA, North Adams, USA, 29 May 2005 - 1 Feb 2006
Sculpture: Thomas Schütte, Iskender Yediler, Phillip Metten, Patricia Piccinini, Folkert de Jong, Maurizio Cattelan, Wang Du, Thomas Rentmeister, Katharina Fritsch and Ricky Swallow, The Open Air Museum for Sculpture Middelheim, Antwerp
Uneasy Nature, Weatherspoon Art Museum, The University of North Carolina at Greensboro
High Tide: Currents in Contemporary Australian Art, Zacheta National Gallery of Art, Poland and Contemporary Art Centre, Lithuania
Oh! My deer!, Feast of Mind, Buffet of Art XVIII, Fubon Art Foundation, Taipei, Taiwan
Prism, Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan
The Idea of the Animal, RMIT Gallery, Melbourne, Victoria
Black & Blue, Robert Miller Gallery, New York, USA
Figure It Out, Hudson Valley Centre for Contemporary Art, Peekskill
Group Show, Roslyn Oxley9 Gallery, Sydney
The Subjective Figure, Robert Miller Gallery, New York
C'town Bling, Campbelltown Arts Centre, NSW, Australia
Drawing Centre, Newcastle Region Art Gallery, NSW
Perception, The Daryl Hewson Photographic Collection, Queensland Centre for Photography, Bulimba, QLD, Australia
Almost, Robert Miller Gallery, New York, USA
Adelaide Biennial of Australian Art: Contemporary Photo-media, Art Gallery of South Australia, Adelaide, South Australia
Auto Fetish: The Mechanics of Desire, Newcastle Region Art Gallery, Newcastle, New South Wales
I thought I knew but I was wrong: New video art from Australia, an Asialink and Australian Centre for the Moving Image touring exhibition, ACMI, Melbourne; Jamjuree Art Gallery, Pathumwan, Bankok, Thailand; Seoul, Korea
We are the world, Chelsea Art Museum, USA
The Plot Thickens: Narratives in Australian Art, A Heide Museum of Modern Art Travelling Art Exhibition, Melbourne, Australia
Repercussions: Individual and Collaborative Works by Peter Hennessey and Patricia Piccinini, Greenaway Art Gallery, Adelaide
X-Mas Stockings, Roslyn Oxley9 Gallery, Sydney
Satellite cities and tabloid life, MUMA Monash University Museum of Art, Melbourne
Newcastle Region Art Gallery Acquisitions 2001 - 2002, Newcastle Region Art Gallery, New South Wales, Australia
BLOOM: Mutation, Toxicity and the Sublime, Govett-Brewster Art Gallery, New Zealand
Bienale de la Hababa, Havana, Cuba
Face Up: Contemporary Art from Australia, Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, Germany
Flagship: Australian Art in the National Gallery of Victoria, 1790 - 2000, The Ian Potter Centre, National Gallery of Victoria Bloom mutation, toxicity and the sublime, Govett Brewster Gallery, New Plymouth, New Zealand (to February 2004)
See here now, Vizard Foundation Art Collection of the 1990s, Ian Potter Museum of Art, University of Melbourne, Melbourne
Liverpool Biennale International 2002, Liverpool Tate, Liverpool, United Kingdom
(the world may be) fantastic, Biennale of Sydney, Sydney, Australia
Tech/No/Zone, Museum of Contemporary Art, Taipei, Taiwan
Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain
Melodrama: Lo Excesivo en la Imaginacion Posmoderna, Artium, Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain
For Real, Wood Street Galleries, Pittsburgh, USA
Modified Terrain, Institute of Modern Art, Brisbane, Australia
conVerge: where art and science meet, Adelaide Biennial of Australian Art 2002, Art Gallery of South Australia, Adelaide
The First Twenty Years: Roslyn Oxley9 Gallery, Roslyn Oxley9 Gallery, Sydney
2nd Sight Australian Photography in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, to 2003
Screen Life: Film Screening Programme, Govettt-Brewster Art Gallery
Seeing Through Landscape, Australian Centre for Photography, Sydney
Desire, RMIT Gallery, Royal Melbourne Institute of Technology, Melbourne hybrid<life>forms, Netherlands Media Art Institute, The Netherlands
Centenary of Federation: The Australia Projects, RMIT Gallery 1, 2, 3 and 4, Royal Melbourne Institute of Technology, Melbourne, Australia
Contagion: Australian Media Art at the Centenary of Federation, New Zealand Film archive, Wellington, New Zealand
Lightness of Being, Contemporary Photographic Art from Australia, Monash University Gallery, Monash University, Melbourne
2nd Berlin Biennale for Contemporary Art, Kunst-Werke +Postfuhrant Berlin, Germany
low-down, Monash University Gallery, Monash University, Melbourne
Panel Work, Galeria Municipal Pancho Fierro, Municipalidad Metropolitana de Lima, Peru
Songs of the Earth, Museum Fridericianum, Kassel, Germany
Bonheur des Antipodes, Musée de Picardie, Amiens, France
Kwangju Biennial, Kwangju, Korea
Sporting Life, Museum of Contemporary Art, Sydney
Plastic Life (with Christopher Langton), Level 2 Project, Art Gallery of New South Wales, Sydney
Flow, National Gallery, Kuala Lumpur, Malaysia
Akihabura TV 2, Akihabura electrical stores, Tokyo, Japan
Terra Mirabilis, Centre for Visual Arts, Cardiff, Wales
Passing Time: Moët & Chandon, curator Victoria Lynn, The Art Gallery of New South Wales, Sydney
Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA
Posthuman Bodies, Casula Powerhouse Arts Centre, Sydney
All Stars 2000, Roslyn Oxley9 Gallery, Sydney
Melbourne International Biennial: Signs of Life, Melbourne
Probe, curator Linda Wallace, Australian Embassy, Beijing, China
Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan
A Window, Inside and Outside, Kwangju City Art Museum, Korea
Akihabura TV, Akihabura electrical stores, Tokyo, Japan
ARTificial Life, Artspace, Auckland, New Zealand
Signature Works, Australian Centre for Photography, Sydney
The Liquid Medium: Video Art, Queensland Art Gallery, Brisbane
Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia
Byte me, Bendigo Art Gallery, Bendigo, Australia
The Persistence of Pop, Monash University Gallery, Melbourne
Up the Road, ACCA, Melbourne
New Acquisitions, National Gallery of Victoria, Melbourne
Sets and Series, Tolarno Galleries, Melbourne
ARCO - 98, (Madrid Art Fair), Greenaway Art Gallery, Adelaide
Hype, RMIT Gallery, Melbourne
Metamorphosis, Mornington Peninsula Gallery, Victoria
Wild Kingdom, Institute of Modern Art, Brisbane
Fotofeis, Gallery of Modern Art, Glasgow, Scotland
Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Japan
Australian Perspecta, Museum of Contemporary Art, Sydney
Lawyers, Guns and Money, Experimental Art Foundation, Adelaide
Art = Advertising, Robert Lindsay Gallery, Melbourne
Nothing Natural, Plimsoll Gallery, Hobart; Latrobe Regional Gallery, Victoria
Techne, P.I.C.A., Perth
Basement, Stripp, Auckland, New Zealand
Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria
Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney
Nothing Natural, The Basement Gallery, Melbourne
Perception & Perspective, National Gallery of Victoria, Melbourne
Alternative Realities, Tamsui; Taiwan; India
Moët & Chandon, Touring Exhibition, Melbourne; Sydney; Brisbane; Adelaide
Cyber Cultures, Performance Space, Sydney
Alternative Realities, Hong Kong; Melbourne; China; Korea; Taiwan;
Technothelylogia, Monash University Gallery, Melbourne
Ada's Spawn, New Media Network, Melbourne
Our Parents' Children, Access Space, NGV, Melbourne
Fleshly Worn, ASA Gallery, New Zealand
A Gathering of Shades: Seven recent images of death in Melbourne, Temple Studio, Melbourne
Since the accident, The Basement Gallery, Melbourne
Plastiche, (Curator), The Basement Project, Melbourne
Critical Mass, Arts Victoria Gallery, Melbourne
City Screens, Melbourne International Festival, Melbourne
Deliquescence, 200 Gertrude Street Gallery, Melbourne, Canberra Contemporary Art Space, Canberra
Deliquescence, First Draft West, Sydney
Heretical Gestures at the Birth of Enlightenment, Swanston Street Gallery, Melbourne
Recent works and Collaborations, Charles Williams Gallery, Melbourne
COLLECTIONS
21C Museum, Kentucky, USA
Art Gallery of New South Wales, Sydney, Australia
Art Gallery of South Australia
Artbank, Sydney, Australia
Bendigo Art Gallery, Victoria, Australia
Griffith University, Queensland, Australia
Hamilton Art Gallery, New Zealand
Middelheim Museum, Antwerp, Belgium
Monash University, Victoria, Australia
National Gallery of Australia, Canberra, Australia
National Gallery of Victoria, Melbourne, Australia
National Museum of Women in the Arts, Washington DC, USA
Newcastle Region Art Gallery, New South Wales, Australia
Parliament House, Canberra, Australia
Phoenix Art Museum, Arizona, USA
Queensland Art Gallery, Brisbane, Australia
The University of Melbourne, Victoria, Australia
The Vehbi Koc Foundation, Istanbul, Turkey
Thomas Olbricht Collection, Berlin, Germany
Waverley City Gallery, Melbourne, Australia
Weatherspoon Art Museum, North Carolina, USA
COMMISSIONS
Skyewhalepapa, National Gallery of Australia, Canberra.
The Skywhale, Canberra Centenary, Canberra.
Inflorescence, 50 Margaret Street, CBD, Sydney
Sunset, UBS, Melbourne
Caldera, Masonic Centre, 66 Goulburn St, Sydney.
Audi Australia Showroom
SELECTED BIBLIOGRAPHY
Niki Burnside, 'The Skywhale hot air balloon is breeding. Canberra, meet Skywhalepapa', ABC News, 20 November 2019
Varia Karipoff, 'Patricia Piccinini and Joy Hester- Through Love…', Art Guide, 11 January 2019
Clarissa Sebag-Montefiore, The Skywhale Returns to Australia's Skies, and Its Creator Braces for Impact, The New York Times, 17 October, 2018
Janet Smith, In Curious Imaginings, Patricia Piccinini's beautiful mutants engage unexpected empathy, The Georgia Straight, 12 September 2018
Lucy Lau, Patricia Piccinini's creepy and curiously lifelike sculptures make themselves at home in Vancouver, The Georgia Straight, 11 September 2018
Linda Morris, Field of 'flowers' marks the frontier of science and nature, The Sydney Morning Herald, 26 June 2018
Natalie King, Patricia Piccinini in Conversation, OCULA, 22 June 2018
Donna Lu, Patricia Piccinini's changing nature, The Saturday Paper, 9 June 2018
Jane O'Sullivan, Doing it for the kids - the tiny revolution in our art museums, ArtsHub, 25 May 2018
Tess Marider, Curiouser and Curisouser - Patricia Picinini at GOMA, Art Monthly Australia, issue 307, May 2018
Alison Kubler, A Higher Love, Vault, issue 21, Feb-April 2018, pp. 54-59
Alison Kubler, Curious Affection, Art Collector, issue 83 Jan - March 2018, page 30 - 33
HyperReal, exh. Catalogue, Otto Letze and Jaklyn Babington, National Gallery of Australia
Kon Gouriotis, Patricia Piccinini, Artist Profile, issue 40, pp. 56 - 65
Jane O'Sullivan, Why Australian artists find it so hard to get international recognition Financial Review 25 Feb, 2015
Craig Judd, The shadows calling: Patricia Piccinini and Peter Hennessey, Eyeline Magazine, Number 84
Malene Breusch Hansen, Researchers Wildest Tools, Bonnier Publications Int, 2016, p. 93
Thomas Macho, Das Schwein, Agora 42, Jul-2016, pp. 43-48
Jane O'Sullivan, Beyond the Border, Australian Financial Review, March, 2016, pp. 54-59
Joan Fontcuberta, The Post-Photographic Condition, Kerber Photo Art, 2016, pp. 122-127
Rachel Kent, 'World-in-a-world, 'The Shadows Calling' at Detached', Art monthly Australia, Issue 284, October 2015
Aidan Dunne, 'Strange evolution, meet the weird relatives', The Irish Times, 15 July 2015
Loma Siggins, 'Galway International Arts Festival opens for public', The Irish Times, 13 July 2015
Debbie Culbertson, 'Heading to Dark Mofo? Don't live in #FOMO,' Sydney Morning Herald, 19 June 2015
Sonia Uranishi, 'Thirty top Australian artists selected for UQ self-portrait,' UQ News, 11 June 2015
'Southbank contemporary,' Art Monthly Australia, March 2015, Number 277, p. 10
Jacqueline Millner, 'Patricia Piccinini Mysterious matter', Art And, Issue 52.1, 2014, pp.136-143
Sara Sweet, 'Patricia Piccinini: Like Us', Artist Profile, Issue 30, 2015
Andrew Stephens, 'Patricia Piccinini straddles the line between delight and discomfort', Sydney Morning Herald, 10 April 2015
Debbie Cuthbertson, 'Skywhale creator Patricia Piccinini wins national art prize,' The Age, 17 July 2014
Sasha Grishin, 'Pulse-Reflections on the body review,' Canberra Times, 12 December 2014
Darryn King, 'Patricia Piccinini', Time Out Sydney, 7 February 2013, http://www.au.timeout.com/sydney/art/events/33849/patricia-piccinini
Giovanni Aloi, Patricia Piccinini at Haunch of Venison, White Hot Magazine, February 2013, https://whitehotmagazine.com/articles/2013-patricia-piccinini-haunch-venison/2709
Andrew Taylor, “Leaving the comfort zone of the familiar”, SMH - Arts, March 6th, 2013, pp 41. https://www.smh.com.au/entertainment/art-and-design/leaving-the-comfort-zone-of-the-familiar-20130305-2fivv.html
Hayley Morgan, 'Patricia Piccinini - I have spread my dreams under your feet', The Thousands.com, March 7 2013
artsHub, 'Taking Art Intelligence in tablet form', artsHub.com, March 4 2013, http://au.artshub.com/au/newsprint.aspx?listingId=194431
Jacqueline Millner, “Motion Blur - Jacqueline Millner and Patricia Piccinini in conversation”, Sturgeon, Issue 1, 2013, pp. 74-79
Amanda Woodward, 'Art Under 5k', Australian Art Collector, pp 107
Rachel Kent, 'Fast Forward; accelerated evolution', MCA Collection Volume One, (Sydney: MCA, 2012) pp392-402
Kelly Gellatly, 101 Contemporary Australian Artists, National Gallery of Victoria, 2012, p. 170-171
Marc Wellmann, BIOS Concepts of Life in Contemporary Sculpture, George Kolbe Museum, 2012, Cover, pp. 82-85
Bild I Skolan, En Ingang I Samtidskonsten, Swedish Teachers Union, Jan, 2012, p. 26-27
Scala, Mark W., Fairy Tales, Monsters and the Genetic Imagination (Exhibition Catalogue), Vanderbuilt University Press, Sept, 2012
Ewen McDonald, MCA Collection. Volume One, Museum of Contemporary Art, Sydney, March, 2012
RMIT Gallery, Imagining the Future (exhibition catalogue), RMIT Gallery, Melbourne, Jan, 2012, p. 50-51
Harrington, Zoe, Sculpture and the Enemies, Sculp & Enemies.com.au, Jan-March, 2012, p. 14-23
JD Talasek, Rick Welch, Kevin Finneran, Visual Culture and Evolution, an Online Symposium, University of Maryland, USA, 2012, p. 188-189
Helen McDonald, Nearly Beloved, Patricia Piccinini, Piper Press, 2011
Tony Ellwood, Ten Years of Contemporary Art. The James C Sourris AM Collection, Queensland Art Gallery, 2011, p. 138
Wendy Walker, 'Disturbing stories for our times', The Australian, April 20, 2011, pp 14
Katrina Strickland, 'Neither fish nor fowl,' The Weekend Australian Financial Review, April 2-3, 2011, pp36-37
Singapore Art Museum, Video, an Art, a History 1965 - 2010, Singapore Art Museum, 2011, p. 88, 91, 93
Jane Messenger, Once Upon A Time (Exhibition Catalogue), Art Gallery of South Australia, 2011
Millner, Jacqueline, Conceptual Beauty, Artspace, Sydney, 2009, pp. 16-22, 106
Robertson, Jean and McDaniel, Craig, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2010, pp. 264-266
Jacqueline Millner, “Patricia Piccinini: Love in the age of intelligent machines” in Conceptual Beauty (Sydney: Artspace, 2010) pp16-22
Andrew Taylor, 'Piccinini opens door to hot Carthona curry', The Sun Herald, November 14, 2010, pp35
Alicia Wood, 'Modern and beyond realistic', The Sun Herald, November 7, 2010, pp 34
Lee Kwang-Suk, The Art and Cultural Politics of Cyber Avant-gardes, Thomson Publications, 2010, pp. 379-385
Juliana Engberg, Relativity (exhibition catalogue), Art Gallery of Western Australia, 2010
Stadeus, Geert, and Snoeck, Patrick, Patricia Piccinini, Snoecks 2010, 2010, pp. 210-223
Bodeker, Katja and Hammer, Carmen, Wunderforschung, Nicolai, 2010, pp. 52-53
The Revival of Empty Spaces, Patricia Piccinini, Monthly Art Magazine, Mar-2010, pp. 72-77
Maura Reilly, Curating Transnational Feminisms, Feminist Studies Magazine, Spring 2010, p.161
Kyoung-Han Hong, Art in Post, Public Art, Feb-2010, pp. 142-143
Kyoung-Han Hong, Patricia Piccinini (interview), Public Art, Mar-2010, p. 177
Chrudzimska-Uhera, Katarzyna, Niepewna przysztosc Rzezby: Patricia Piccinini, Lamus, Jul-1909, pp. 62-67
John Clark, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, 2009, p.38
Mori Art Museum, Medicine and Art: Imagining a future for Life and Love, Mori Art Museum, Tokyo, 2009, pp. 228-229
Helena Grehan, Performance, Ethics and Spectatorship in a Global Age, Palgrave Macmillan, 2009, pp. 8, 140, 142-3, 162-7, 187, 189
Edward Colless, “Evolution's monstrous encounters”, The Australian, 2 April, 2009, pp.8
Katrina Strickland, “Tasmania's modern take”, The Australian Financial Review, April 9-13, 2009, p. 56
Clark, John, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, Dec-2008, p.38
Talia Linz, Patricia Piccinini: On Survival, Art and Australia 47:1, (Spring 2009) pp. 43-44
Current, Contemporary Art from Australia and New Zealand, Art and Australia (eds.), Sydney, p256
Richard Jinman, 'A loveable lump in the lap of luxury', The Sydney Morning Herald, November 12, 2008, pp. 3
(tender)creatures, exh. cat., with essays by Laura Fernandez Orgaz, Donna Haraway and Patricia Piccinini, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain
Dr Tania Peitzker, 'Grand Tour Fever,' The Australian Art Market Report, Issue 25, Spring, pp.50-51
Eleanor Heartney, 'Worldwide Women' (colour reproduction of `Big Mother') Art in America, June/July 2007, p156-157
Supercharged: the car in contemporary culture, Institute of Modern Art, Brisbane
Kasia Janczewski, 'Review of Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, New York, 22/10/05 - 30/11/05', Eyeline, no. 60, p. 60
High Tide: new currents in art from Australia and New Zealand, exhibition catalogue, Contemporary Art Centre, Vilnius and Poland, Warsaw
Oh! My deer!, Feast of Mind, Buffet of Art XVIII, exhibition catalogue, Fubon Art Foundation, Taipei, Taiwan pp. 10-11
Art Taipei 2006, Artist of the Year/Asia Live art fair catalogue, Council of Cultural Affairs, Taiwan
Patricia Piccinini: In Another Life, exhibition catalogue, City Gallery Wellington, New Zealand
Saige Walton, 'Patricia Piccinini', 2006 Contemporary Commonwealth Catalogue, National Gallery of Victoria and Australian Centre for the Moving Image, pp. 98 - 101
Brian Boucher, 'Patricia Piccinini at Robert Miller,' Art in America, February 2006, p. 128
Michael Desmond, 'Molecule as Muse', Cosmos Magazine, Issue 6, December 2005 - January 2006 pp. 42 - 44
Reena Jana, Review of Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, tema celeste, contemporary art, no. 113, p. 85
Kay Larson, 'Beautiful Mutants', ARTnews, February 2006, pp.106-9
Tucker, Anne, 'Endangered Species: Patricia Piccinini and the Human Condition,' Juxtapoz, February, pp. 72-77, illus. [Reproductions of Surrogate (for the Northern Hairy Nosed Wombat), 2005, p. 72; Undivided, 2004, p. 73; Big Mother, 2005, p. 74; Enroachment, 2005, pp. 74-75; Radial, 2005, Cyclepup, 2005, and The Embrace, 2005, p. 76, Bodyguard (for the Golden Helmeted Honeyeater), 2004, p. 77].
The Idea of the Animal, exh. cat., RMIT Gallery, Melbourne, Victoria
Christine Nicholls, 'Prism-Contemporary Art in Australia', Prism; Contemporary Australian Art Exhibition Cat, Bridgestone Museum of Art, Tokyo, Japan, pp 134-146
10/21 - VCA at the Venice Biennale, exh. cat., Victorian College of the Arts, Melbourne
Grace Glueck, 'Becoming Animal: The Line Between Species Shifts, and a Show Explores the Move,' New York Times, 26 August http://www.nytimes.com/2005/08/26/arts/design/26glue.html?8hpib
Bazartmagazin, front cover, 'Nature's Little Helpers: Offspring', 15 June 2005
Richard Kalina, 'Report from Downunder: Down Under no more', Art in America, April 2005, pg. 77
Samela Harris, Addicted to art', Australian Art Collector, Issue 32, April, p. 118
Emma Beatty, 'Biennials this year,' The Art Newspaper, 2005, pg. 142
Gallerie d'Art & Co, 'A Bocca Aperte: In Australia 'arte riesce a togliere il fiato,' 2005
The Australian Art Market Report, Issue 15, Autumn 2005, p. 44
Andrew Frost, 'Patricia Piccinini,' Australian Art Collector, Issue 31, January-March 2005, p. 99
Renato Diez, 'Art Basel, Una festa per l'arte,'
Bendigo Art Gallery: Selected Works, Bendigo Art Gallery, Victoria, 2005, p. 32, 34, 35
Gillian Serisier, 'The art of Collectives', The Australian Art Market Report, Issue 14, Summer 2004 - 2005
Ken Johnson, ‘Patricia Piccinini’, The New York Times, April 16, p. E34
Linda Michael, ‘We Are Family’, Sun Gazing -The Australia-Japan Art Exhibitions Touring Program 2002-2004, exh. cat., pg 16-19
Nellie Castan, ‘New York – The Armory Show 2004,’ ART EXPO, pg. 30
Ingrid Woodrow, ‘Auto Fetish,’ exh. cat., Newcastle Region Art Gallery, Nov 04 – Jan 05
Terry Ingram, ‘Production Values, Negative reaction hits prices,’ The Australian Financial Review, 24th October
Patricia Piccinini, ‘Bodyguard,’ 2004, http://www.patriciapiccinini.net
Patricia Piccinini, ‘We are the family,’ la máquina contemporánea, Autumn 2004, No.2, p. 18
Ken Bolton, ‘Australian Women Artists: Sailing to Tahiti,’ Jamini: International Arts Quarterly, November, p. 68 - 79
Jackie Randles, ‘Radio Eye: A Perfect Life,’ ABC Radio National, Australia, 16 and 20 October
Renato Diez, ‘Art Basel, Una festa per l’arte,’ Arte, September, p. 66 - 73
David Broker, ‘The Adelaide Biennial of Australian Art,’ Eyeline #54, Winter, p. 44 - 46
Kathryn Mills, ‘Consumed by Passion,’ Australian Art Collector, issue 29, July – September 2004, p. 82 – 85
Alexi Glass, Sarah Tutton, I Thought I Knew But I Was Wrong, exh. cat., The Asialink Centre, University of Melbourne and Australian Centre for the Moving Image (ACMI), Melbourne
Patricia Piccinini, ‘We are Family Lecture,’ Hara Museum Review, no. 64, Spring, pp. 6-7
Simon Plant, ‘Art Breaking,’ Herald Sun Weekend, 8 May 2004, pp. 6-7
Lyndall Crisp, ‘Freaks of Nature,’ The Weekend Australian Financial Review, May 29-30, p. 35
Wahjudi, Claudia, ‘Face up – Xeitgenösshiche Kunst aus Australien,’ Austellungen, Kunstforum International, Bd. 168, 01/02/2004
Margaret Hamilton, ‘Face Up: Record Attendances for ‘Australian’ artists in Berlin,’ Kultur, Edition 8
Richard Grayson, ‘The Downside up Show,’ Broadsheet, Volume 32, no. 4, 2/2003 – 12/2004
Ed. Annette Larkin, ‘Artists of the 21st Millennium: Patricia Piccinini,’ Art Market Report, Issue 11, Autumn, p. 19
Suzanne Anker and Dorothy Nelkin, The Molecular Gaze : Art in the Genetic Age, Cold Spring Harbor Laboratory Press, New York
Ken Johnson, ‘Patricia Piccinini, Robert Miller Galleries,’ Art Guide Galleries: Chelsea, April 16, p. E34
Simon Rees, ‘Patricia Piccinini,’ Adelaide Biennale of Australian Art: Contemporary photo-media, exh. cat., Art Gallery of South Australia
‘Patricia Piccinini: We are Family,’ BT, vol. 56, no. 845, pp. cover, 5, 15-27
Michael Fitzgerald, ‘Not Dying, Changing,’ TIME, March 22, 2004, p. 62, 63
Ian M. Clothier, ‘Review: mutation, toxicity and the sublime,’ Rhizome Digest, vol. 9, no. 9, New Museum of Contemporary Art, New York
Michael Newall, ‘Art in an economy of pleasure,’ Broadsheet, Contemporary Art Centre of South Australia, Adelaide, Feb-May, vol. 33 no. 1, p. 32 - 35
Anthony Byrt, ‘The Creepy Contemporary Sublime,’ Broadsheet: Contemporary Visual Art and Culture, Feb-May, vol. 33 no. 1, Contemporary Art Centre of South Australia, Adelaide, p. 53 – 55
Bregory Burke, Bloom: Mutation, Toxicity and the Sublime, exh. cat., Govett-Brewster Art Gallery, New Plymouth, New Zealand
Bridget Crone, ‘Face Up: Contemporary Australian Art in Berlin,’ Art & Australia, vol. 41, no. 3, Autumn 2004, p. 386, 387
Claudia Wahjudi, ‘Face up – Zeitgenössiche Kunst aus Australian, Ausstellungen,’ Kunstforum International, 1 February
Shincyo sha, ‘Patricia Piccinini We are Family,’ Geijutsu Shinco, 24 January, p. 112-115
Mari Hashimoto, ‘We are Family,’ Fujinkoron, Chuokoron-Shinsha, Inc., 22 January 2004, p. 77
Hazuki Saisho, ‘We are Family,’ Sankei Shimbun, 18 January 2004, p. 14
Kentaro Ichibara, ‘We are Family,’ Invitation, 10 January 2004, p. 136
Wakato Onishi, ‘We are Family,’ Asahi Newspaper (Culture Section), 8 January 2004, p. 31
Kotobuki Shiriagari, ‘Introduction to Contemporary Art, Part 1, Patricia Piccinini We are Family,’ ART IT, Spring 2004, p. 26, 27
Hatanaka Minoru, ‘What’s New – Patricia Piccinini We are Family,’ ART IT, Spring 2004, p. 12
‘Patricia Piccinini,’ Bamboo, 1 January 2004, p. 12 – 15
Bijutsu, vol. 56 no. 845, issue 2, (cover)
Roger Dedman, ‘2003: The Year at Auction’, The Australian Art Market Report, Issue 11, Autumn
Zara Stanhope, ‘To Infinity and Beyond’, catalogue essay, February 2004
‘Inspiration Can Be Found in Everything: Patricia Piccinini,’ Dazed and Confused, January, p. 108
Glenis Israel, senior artwise: visual arts 11 – 12, book 2, John Wiley & Sons, Qld. pp. 193 - 198
Patricia Piccinini, Public Lecture – Tokyo Art University, 8 December 2003, http://www.patriciapiccinini.net
Richard Grayson, ‘The Downside up Show,’ Broadsheet, vol. 32, no. 4, 2/2003 – 12/2004
Dr. Janet McKenzie, ‘FACE UP,’ Studio International, UK, 4 December
Patricia Piccinini: We are Family, ed. Linda Michael, exh.cat., essays by Linda Michael, Margaret Wertheim & Christine Wertheim, 50th Biennale of Venice, Australia Council
Retrospectology: The World According to Patricia Piccinini, exh. cat., essay by Juliana Engberg, Australian Centre for Contemporary Art, Melbourne
Patricia PIccinini: Sandman, exh. cat., essay by Jason Smith, National Gallery of Victoria, Melbourne
‘Creative Watch, Art: We are Family,’ Brain, Senden Kaigi, 29 December 2004, p. 131
Andrew Clifford, ‘Attack of the Clones,’ Sunday Star Times, December 28, p. 22 (Sunday)
Megumi Murata, ‘We are Family,’ SO-EN, Bunka Publisher, 25 December 2003, p. 152
Yoko Kimura, ‘We are Family,’ Mainichi Cyugakusei Shinbun, The Manishi Newpapers, 24 December 2003, p. 8
Chaiki Sakaguchi, ‘We are Family,’ Tokyo Bros, Tokyo News Service Ltd, 20 December, p. 169
Noriko Kawakami, ‘Patricia Piccinini: We are Family,’ FIGARO Japon, Hankyu Communications, 20 December 2004 – 5 January 2004, p. 115
John McGee, ‘Surface Tension,’ Metropolis Tokyo, No. 508, December 19
Monty DiPietro, ‘A family unit to value in tech’s brave new world,’ The Japan Times Online, 17 December 2003, http://www.japantimes.co.jp/cgi-bin/getarticle.pl5?fa20031217md.htm
‘We are Family,’ Seibundo Shinklo Sha Idea, 10 December 2003, p. 302
Regina Campbell, “Display covers genetic issues,” The Daily Yomiuri On-Line, 10 December 2003
‘Patricia Piccinini – update,’ Crikey.com.au, http://www.crikey.com.au/columnists/2003/12/07-0001.html
B.R., ‘Berlin: Opération séduction, L’oeil,’ Dezember
‘Ancient Future – Australian Arts Festival 2003,’ Australian and New Zealand Chamber of Commerce, Vol. 22, Issue 11, December
‘Australia-Japan Art Exhibitions Inititative: Patricia Piccinini: We are Family,’ Asialink, http://www.asialink.unimelb.edu.au/arts/japan/en/we_are_family.htm
Kim Toffoletti, ‘Imagining the Posthuman: Patricia Piccinini and the Art of Simulation,’ Outskirts: feminisms along the edge, vol. 11, November –December 2003, University of Western Australia, http://www.chloe.uwa.edu.au/outskits/article2.html
Aya Matsuura, ‘Patricia Piccinini We are Family,’ Bijutsu Gahou, 30 November 2003, p.190, 191
‘Until Next February – Around Tokyo,’ Nikkei Weekly, 10 November 2003, p. 16, 17
‘Patricia Piccinini: We are Family at Hara Museum of Contemporary Art,’ Hanatsubaki Monthly Magazine), Australian Embassy Tokyo, October 2003, p. 18
Susan Shineberg, ‘In the jaws of Berlin’s Great Whites, a taste of Australia,’ The Age, Saturday, 4 October, 2003, p. 9 (News)
Susan Shineberg, ‘Triumph in the teeth of adversity,’ The Sydney Morning Herald, 6 October
Belinda Grace Gardener, ‘Berlin: Australien im Blickpunkt,’ Kunszeitung, No.86, October
Meisner, ‘Weit mehr als Glasperlen und Haifische,’ Mannheimer Morgen, 29 November
Caroline Meagher, ‘Bridging the gap,’ State of the Arts, Oct – Dec 2003, p. 86
Jan Minchin, ‘A Week in Berlin,’ The Australian Art Market Report, Issue 10, Summer
A. Berlino, ‘Face Up. L’arte australiana va forte,’ Arte, December
David Broker, ‘Venice: the great dictator,’ Photofile #70, Summer 2003-2004, p. 32-35
‘Face Up: Contemporary Australian Art,’ review, Flash Art, October 2003, vol. 36, no. 232, p. 46
‘Australian Creative Boom,’ Kult, October
Katrin Bettina Müller, ‘Australien ist anders,’ Tip, No. 03/21, 9 October
Ingeborg Hagedorn, ‘Australischer Kunstmonat Oktober’ in Berlin, Blattgold, ArtsAustralia Berlin, October
Carsten Probst, ‘Face Up – Zeitgenössiche australische Kunst im Hamburger Bahnhof Berlin,’ DeutschlandFunk – ‘Kultur heute’, 2 October, 5.35pm
Felicity Fenner, ‘Venice Biennale: Dreams and Conflicts,’ Art & Australia, vol. 41, no. 2, 2003, p. 214 - 217
Shirley Apthorp, ‘Urban work smashes cliches: Berlin is set to experience the cutting edge of Australian art,’ The Australian, Tuesday, 30 September, p. 15
Jonathan Turner, ‘Alien Nation,’ ARTnews, September, p. 107
Patricia Piccinini, ‘On Sandman,’ Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, p. 147
Victoria Lynn, ‘Patricia Piccinini,’ Face Up: Contemporary Art from Australia, exh. cat., Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, p. 148, 149
Helga Nowotny, ‘Wish fulfilment and its discontents,’ EMBO Reports, vol. 4, no. 10, European Molecular Biology Organisation, p. 917 - 920
Ashley Crawford, ‘Patricia Piccinini,’ See Here Now: Vizard Foundation Art Collection of the 1990s, editors Chris MacAuliffe and Sue Harvey, Ian Potter Museum of Art, Thames and Hudson (Australia) Pty Ltd, Victoria, p. 108, 109
Max Delaney, ‘Skeletons in the closet: from the monument to the model – sculpture in the Collection,’ Monash University Collection: Four Decades of Collecting, ed. Jenepher Duncan and Linda Michael, Monash University and Monash University Museum of Art, Victoria, p. 45 – 51
Tracey Clement, ‘Warped Reflections,’ Artlink, vol. 23 no. 3, p. 52 - 57
Julian Engberg, ‘Loop-back: New Australian Art to Berlin,’ Artlink, vol. 23 no. 3, p. 24 - 29
Marcia E. Vetrocq, ‘Venice Biennale: ‘Every Idea but One’,’ Art in America, no. 9, September, p. 76 – 87, 136
Christiane Paul, Digital Art, Thames & Hudson: World of Art, Thames & Hudson, London and New York, p. 37
Astrid Mania, ‘Digital Fornication, Mutual Procuration, Patricia Piccinini!,’ Broadsheet, vol. 32, no. 3, September – November, p. 16, 17
Jonathan Turner, ‘Alien Nation,’ ARTnews, September 2003, vol. 102, no. 8
‘Patricia Piccinini, Still life with Stem Cells (Australian Pavilion, Giardini),’ VMagazine, No. 25, September – October 2003
Elisabeth Fortescue, ‘Meeting a boy who isn’t there,’ The Daily Telegraph, 17 August, p. 34
Clara Laccarino, ‘Collector’s Art,’ Sun-Herald (Sunday Metro), July 13, 2003, p. 9
Maxine McKew, ‘Juliana Engberg. Artistic Director, Australian Centre for Contemporary Art,” The Bulletin, vol. 121, no. 26, 1 July 2003
Vittorio Ariosi, ‘La mie creature dal faturo biogenetico; L’artista Patricia Piccinini torna a Novellara incontra la sua ex maestra,’ La Gazetta, (Italy), Sunday, June 29 2003, p. 18
Jonathan Pearlman, ‘What to say about … Venice Biennale,’ Sydney Morning Herald, 28 June 2003, p. 44
See here now, Vizard Foundation Art Collection of the 1990s, Thames & Hudson Australia, Bendigo, Victoria
Michael Kimmelman, ‘Cramming It All In At the Biennale,’ New York Times, 26 June 2003, Final, Section E, Page 1, Column 5
Terry Ingram, ‘Happy as a pig in Venice: Piccinini parties to celebrate success,’ Australian Financial Review, Thursday 26 June, p. 43
Michael Hutak, ‘The far-out pavilion; A series of disturbing sculpted images is Australia’s most lauded exhibition at the Australian pavilion of the Venice Biennale. Michael Hutak surveys the event,’ The Bulletin, vol. 121, no. 25, 24 June 2003
Vittorio Ariosi, ‘Artista globale con radici nella […],’ La Gazetta, Tuesday June 24 2003, p. 24
Laura Cumming, ‘Venice Biennale – But where’s the art?,’ The Observer, 22 June 2003, p. 13
Blake Gopnik, ‘Australia’s Beast-Case Scenario,’ The Washington Post (Sunday Arts), 22 June 2003, p. N 5
Peter Aspden, ‘Don’t look now. There’s an awful lot of playful irony at this year’s Venice but Peter Aspden also finds work that bites,’ Financial Times, 21 June 2003, p. 28
Rick van der Ploeg, ‘Klonen van menselijk DNA is onvermijdelijk,’ Het Financieele Dagblad, 21 June 2003, p. 6
Susan Saccoccia, ‘The world’s fair of contemporary art; Artists comment on war, cloning and impact of technology in range of media,’ Christian Science Monitor, 20 June 2003
John Daly-Peoples, ‘Kiwis on the Trekka to Venice,’ National Business Review, 20 June 2003
Geneviève Breerette, ‘Quelques pavillons prodiges de la Biennale de Venice,’ Le Monde, 19 June 2003, p. 30
Rachel Campbell-Johnson, ‘Biennale? Don’t you mean banal?’ The Times, 18 June 2003, p. 15 (T2)
Christopher Miles, ‘Art Review: A visual ‘Dictatorship’ along Venice’s canals,” Los Angeles Times (Home Edition), 18 June 2003, p. E-1
Annabel Moir, ‘Fresh: We are family,’ Object Magazine No. 42, June – July, p. 16
Raymond Gill, ‘Piccinini’s ‘family’ spreads beyond Venice Biennale,’ The Age, 18 June 2003, p. 13
Raymond Gill, ‘Venice Biennale,’ Sydney Morning Herald (Metropolitan), Wednesday, June 18, p. 16
Benjamin Genocchio, ‘Artist’s dear little family a popular draw,’ The Australian, 17 June 2003, p. 15
Ermanno Krumm, ‘Padiglioni battano Arsenale. Senza chiasso,’ Corriere della Sera (Cultura), Italy, 16 June 2003, p. 27
Martin Gayford, ‘Love in a hot climate,’ The Sunday Telegraph, June 15 2003, p. 7 Arts Review (UK)
Brett Lethbridge, ‘Beauty beyond bizarre,’ Courier-Mail, Queensland Newspapers Pty Ltd, 14 June 2003
Benjamin Genocchio, ‘Piccinini and friends carve out a name in Venice,’ Weekend Australian, June 14 – 15, p. 3
Von Silke Hohmann, ‘Friede für Kippenberger,’ Frankfurter Rundschau, 14 June 2003
Raymond Gill, ‘Lifeforms bend preconceptions,’ Sydney Morning Herald (Metropolitan), Friday, June 13, p. 15
Raymond Gill, ‘Family values,’ The Age, 13 June 2003, p. 12
Tim Lloyd, ‘Future families,’ Adelaide Advertiser, 9 June 2003, p. 86
Sebastian Smee, ‘Through new eyes,’ POL Oxygen, Issue 3, June/ July, p. 40 - 47
Stephen Naylor, ‘Getting into the Giardini di Castello: Australia’s representation at the Venice Biennale,’ Art & Australia, 40th Anniversary Issue, Winter, vol. 40, no. 4, p. 594 – 601
S.M., ‘Hauptversammlung der Kunst:Australien,’ Art: Das Kunstmagazin, no. 6, June, p. 26
The Art Newspaper, June (cover) and pp. 19 - 22
‘Patricia Piccinini,’ Blaze: Visual Art Writing from the Contemporary Art Centre of South Australia 1990 - 2002, CACSA, Adelaide, p. 44
Michael Hutak, ‘Venice Biennale,’ Australian Art Collector, issue 24, April – June, p. 94, 95
Rachel Antony, ‘We are Family: Art by Patricia Piccinini,’ The Big Issue, no. 179, 9-24 June, article 011
Megan Backhouse, ‘Mixed media: Bendigo buys Piccinini work,’ The Age, 28 May 2003, p. 12
‘Producing silk from a sow,’ Herald-Sun, 28 May 2003, p. 52
Judy Skatssoon, ‘Altered States,’ Gold Coast Bulletin, 27 May 2003
Jacqueline Maley, ‘Metropolitan – Spotlight,’ The Sydney Morning Herald, 27 May 2003, p. 12
Katrina Strickland, ‘Biennale artist soars en route,’ The Australian, 27 May 2003, p. 13
Jeremy Eccles, ‘For the love of her art,’ Canberra Times, 24 May 2003, p. 6, 7
Bec Dean, ‘Perth Festival visual arts: local heroes,’ RealTime + OnScreen, April – May, p. 30
Larissa Hjorth, ‘Patricia Piccinini,’ Broadsheet, vol 32, no. 1, March, April, May, p. 31
Alasdair Foster, ‘Interview: Patricia Piccinini in conversation with Alasdair Foster,’ Photofile # 68, April, p. 18 – 23
Ben Woodcock, ‘Freak Show,’ State of the Arts, Australia and New Zealand, April – June, p. 89 – 90
Alexie Glass, ‘Patricia Piccinini,’ RES arts, March – April, p. 43
Isobel Crombie ed., Flagship: Australian Art in the National Gallery of Victoria, 1790 – 2000, The Ian Potter Centre, National Gallery of Victoria, Melbourne, p. 95
Daniel Thomas, ‘S & D at NGVA,’ Art Monthly Australia no. 157, March 2003, p. 27 – 32
Natalie King, ‘Art round up: Melbourne,’ Art Monthly Australia no. 157, March, p. 14 – 16
Andrew Frost, ‘Patricia Piccinini: 50 Most Collectable Artists,’ Australian Art Collector, Issue 23, January – March
Chloe Kinsman, ‘Patricia Piccinini, interview,’ Tema Celeste, no. 98, pp. 58-61
Wilfredo Lam, ‘Patricia Piccinini,’ Havana Biennale 2003, exh. cat., Centre for Contemporary Art, Havana, p. 180, 340-341
Amanda Crowley-McDonald, ‘Creative Encounters: The Art/Science of Collaboration,’ Sarai Reader, February, p. 227-235
Linda Michael, Love Me Love My Lump: Patricia Piccinini Photographs, exh. brochure, Monash University Museum of Art, Melbourne
Bernard Smith, ‘Patricia Piccinini,’ Two Centuries of Australian art, Thames & Hudson, Victoria, p.162
Artist profile, Sunday, Channel 9MSN, 16 February
Andrew Block, ‘Arts: Bizarre Beasts,’ Qantas, no. 115, January, p. 61
Peter Hill, ‘The artists and her offspring,’ Sydney Morning Herald (Spectrum), Jan 25-26
Benjamin Genocchio, ‘Genetically modified sculpture,’ Weekend Australian, Jan 11-12 [Arts] p. R21
Chris Boyd, ‘Visions of a strange new world,’ Weekend Australian Financial Review (After Hours), 4 Jan
‘Face up to Australian Art’ (Hamburger Bahnhof, bis 4. Januar 2003), http://www.schwarzau.de/ausstellungen/berlin.htm
Kim Toffoletti, 'Patricia Piccinini - lumps and stem cells,' eyeline #50, Summer 2002/2003, p. 47
John McPhee, 'City Life: De Sydney à Melbourne,' Paris Photo Magazine International, no. 22, Septembre/Octobre 2002, p. 124 - 131
Cynthia Troup, 'Converge' Adelaide Biennial of Australian Art 2002,' Art Gallery of South Australia, Art & Australia, vol. 40, no. 2, Summer 2002, p. 240-2
Rachel Kent, 'Patricia Piccinini,' Tech/No/Zone: Contemporary Media Art, exh. cat., Museum of Contemporary Art Taipei, Taiwan, p. 115 - 123
2nd Sight Australian Photography in the National Gallery of Victoria, exh. cat., National Gallery of Victoria, Melbourne, p. 114,115
Charles Green, 'Patricia Piccinini', Artforum, No. 9, May 2002, p. 194
Daniel Palmer, 'Patricia Piccinini', Frieze, Contemporary Art and Culture, Issue 65, pg. 93-94, March
Paco Barragan, 'Patricia Piccinini: The Art to come', Subastas Siglo XXI, pg 236, 2002
M. A. Greenstein, 'Arte o Bano del sol', Lapiz, pg 135, 179/180, 2002
Jacqueline Millner, 'Love in the Time of Intelligent Machines', Artlink, Vol 21 no 4, p 42-47, 2002
Alex Gawronski, 'Crazy Worlds, Now and Then…,' Broadsheet, vol 31, no. 3, September, October and November 2002, p. 21
Joanna Mendelssohn, 'Sydney: (the world may be) fantastic,' Tema Celeste (news & around), no. 92, July - August, pp. 106, 107
Daniel Palmer, 'A Surrealist Party Tape,' Critical Interventions - Biennale of Sydney 2002, Artspace Visual Arts Centre, Sydney
Jane Albert, 'Grace Notes,' The Australian (Arts), Friday, August 16, 2002, p. 18
Peter Hill, 'Weird Science,' Sydney Morning Herald (Metro), August 30 - September 5, p. 26
Anne Loxley, 'Nuggets of wisdom for a wild world,' Sydney Morning Herald (Metropolitan), Wednesday, August 28 p. 14
Courtney Kidd, '(The world may be) fantastic!,' State of the Arts, May - August
Hannah Fink, 'Fabulous: (The world may be) Fantastic - 2002 Biennale of Sydney,' Art Monthly Australia, July
Andrew Frost, 'Sydney Biennale: a - z definitive guide,' Australian Style, May
Bruce James, 'Why the Biennale is a bit of a miracle,' Sydney Morning Herald, Friday, May 17, p. 13
Peter Hennessey, 'Patricia Piccinini, Installations,' What is Installation?, Power Publications, p.301
Images, 'Patricia Piccinini', Postwest, vol. 19, 2001, p. 36
Ashley Crawford, 'Contemporary Australian Art, an odd creature from down under,' Art & Australia, vol. 37 no. 2, 2001, p. 2 ARCO
Susan McCulloch-Uehlin, 'Virtual Visions', The Australian (Arts), 27 October, 2001, p. 9
Caroline Webb, 'Young Collectables,' The Age, 26 May 2001, p. 1(Today)
Lara Travis, 'Vivid Vehicles of Delight for lovers of one night,' The Age, 27 October 2001, p. 22, 27
Michael Hutak, 'Perfect Planet, Professionally Reproduced,' Australian Art Collector, Issue 18, Oct 2001, p. 65
Rebecca Lancashire, 'Piccinini's monsters,' The Age, 26 May 2001, p. 3 (Extra)
Helen McDonald, Erotic Ambiguities, The Female Nude in Art, Routledge, London, England
Linda Michael, exh. cat., Patricia Piccinini: One Night Love, Tolarno Galleries, Melbourne
Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini, essays by Juliana Engberg, Hiroo Yamagata and Edward Colless, published by Drome, Melbourne
Plastic Life, exh. cat., essay by Jacqueline Millner, Art Gallery of New South Wales, Sydney
Mark Pennings, 'Patricia Piccinini: Enchantment, technoscience and desire,' Art & Australia, vol. 37 no. 4, pp. 556-565
Bruce James, 'I'll have what she's having,' The Sydney Morning Herald, February 2, 2000, p.12 Arts
'Australia's 50 Most Collectable Artists,' Australian Art Collector, issue 11, January 2000, p. 84
Akiko Miki, 'Very New Art 2000 - 100 Artists,' BTArt Magazine Tokyo, January 2000, p. 188,189,
Frank Hoffman, 'Report from Kwangju; Monoculture and its Discontents', Art in America, pg 74, November
Kim Hong-hee, Kwangju Biennial, Flash Art, pg 100, Summer
Benjamin Genocchio, 'Reality check via plastic bimbo,' The Weekend Australian, pg 18 review, 5 August
Jacqueline Millner, 'Afterward: perspective on perspecta', Uncertain Ground exh. cat., pg 161-192 , AGNSW
Mike Leggett, 'Patricia Piccinini', Photofile, pg 8-11 , August no.60
Julian Scarff, 'Probe', Art Asia Pacific, pg 28-30, Issue 27
Edward Colless, 'Patricia Piccinini,' Art and Text, no. 66, Aug - Oct 1999,p. 79,80
Artist Page, Visionaire 30: THE GAME, New York
Clare Williamson, 'Digitalis Australis,' History of Photography, pg 107-113, #2 Volume 23 Summer
Image, 'Cop an earful of that rat!,' The Age, 21 May 1999, p. 5 News
Minoru Hatanaka, 'Plasticology,' InterCommunication, p. 189, #29 Summer
Anna Clabburn, 'Baby Trucks dump on mass consumption,' The Age, 17 March 1999, p. 17 Arts
Jenny Sinclair, 'Oh Baby, it's a truck!' The Age, 16 March 1999, p. 2 IT
Kerry Taylor, 'Artist's infatuation with a baby Beast,' The Age, 15 March 1999, p.7 News
Peter Hennessey, 'Plastic Realist,' in PhotoFiles, ed. Blair French, Power Publications, Sydney, 1999, p. 247
Andrew Frost, 'Australia's 50 Most Collectable Artists,' Australian Art Collector, #7, 1999
Andrew Bogle, 'The exhibition that wasn't,' Urbis, #2, 1999
Vikki Riley, 'Machine Translations & Other Digital Heresies,' Photofile, #53, April 1998
Adam Geczy, 'Australian Perspecta,' Eyeline, #35 Summer, 1998
Peter Hennessey, 'Plastic Realist,' Photo file, Nov, 1997
Hisashi Uemura, 'LUMP,' Gap Magazine, Oct
Philippa Burne, 'Up the Garden Path,' HQ Magazine, no. 54, Sept
Cover, Meanjin, no. 1
Cover, Art Monthly, no.99, May
Evan Maloney, 'Consuming Art,' Art Monthly, no.99 May
Anna Johnson, 'Young at Art,' Good Weekend, April 26
Robert Rooney, 'Arts on Friday- Art=Advertising,' The Australian, March 14
Jackie Cooper, 'Natural Born Artist,' The Weekend Australian, Dec 1
Mark Pennings, 'Your Time Starts Now...,' eyeline, Summer
Robert McFarlane, 'Looking to the Future,' Sydney Morning Herald, Aug 28
Peter Hill, 'Cameras, lies and photographic exhibits,' The Bulletin, Sept 17
Zara Stanhope, 'Mapping the Code,' Mesh #8/9, Autumn
Ann Morrison, 'Virtual Initiatives,' Mesh #8/9, Autumn
Anna Clabburn, 'There's something in Nothing Natural,' Mesh #8/9 Autumn
Cover, Photofile, August
Robert Schubert, 'Fetal Futures,' Art and Text, #54, May
Robert Rooney, 'Melbourne Art,' The Australian, 24th May
Stuart Honeysett, `Computer art a child of invention,' The Australian, May 14
Cover, BEAT Magazine
Interview, Creatures of the Spotlight, JJJ Radio
Interview, Imagine, SBS TV
Robert Rooney, `Moët and Chandon Touring Exhibition,' The Australian, Feb 23
Kristin Owen and Simon Plant, `Bubbly prospects,' Herald Sun, Feb 9
'Inside Out: An interview with Patricia Piccinini,' Aedon Dec
Image, CT#10,
Ross Moore, 'Digital Wombs, Male Phantasms and Female Embodiment,' Mesh 6
Ross Moore, 'Gook girls, monstrous chimeras and the new technology,' Real Time 8
Robyn McKenzie, 'Hi-tech art flows into the mainstream,' The Age, July 26
Thom Cookes, 'Multimedia spawns art,' The Age, 12 July
Interview, Review (ABC TV) 26 June
Cover, Art Almanac, June
Tom Gibson, 'Patricia Piccinini,' Art and Text, #50 Jan
Chris Gregory, 'Indivisibles,' Eyeline, Spring
Anne Marsh, 'City Theme Rules,' Herald Sun, May 17
Nicola Teffer, 'Body with organs,' Photofile #42, June
Rohan Storey, 'The City Screen,' Monument, vol 1 no 2
Sonia Barren, 'Pushing the Limits of Acceptability,' The Canberra Times, February 17
Images published in Agenda #28, Summer 1992/3
Rosemary Hawker, 'Heretical Gestures at the Birth of Enlightenment,' eyeline #15
Kerstin Thompson, 'Charles Williams Gallery,' Transition #36/37, Summer
Mathew Jones, 'The Body Dis-Corporate,' Agenda #20/21, November
CATALOGUES
Peter McKay, Elizabeth Finkel, Rosi Braidotti and China Miéville, Patricia Piccinini: Curious Affection, Queensland Art Gallery | Gallery of Modern Art, 2018
(tender)creatures, exh. cat., with essays by Laura Fernandez Orgaz, Donna Haraway and Patricia Piccinini, ARTIUM, the Centro-Museo Vasco de Arte Contemporaneo in Vitoria, Spain
Jason Smith, Sandman: Patricia Piccinini, Macquarie Bank Contemporary Projects Gallery, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 2002
Juliana Engberg, Retrospectology: the world according to Patricia Piccinini, Australian Centre for Contemporary Art, Southbank, Victoria, 2002
Call of the Wild: Patricia Piccinini, Level 4, Museum of Contemporary Art, Sydney
Juliana Engberg, Signs of Life, Melbourne International Biennial, City of Melbourne, 1999
Kim Sun-hee, ‘Inside and outside the window,’ A window, Inside and Outside, Kwangju City Art Museum, 1999
Zara Stanhope, ‘The Persistence of Pop,’ The Persistence of Pop, Monash University Gallery, 1999
Peter Hennessey, ‘Sheen, Sacred and Profane,’ Adelaide Festival, 1998
Gareth Sansom, ‘The Long and Winding Road,’ Up the Road, Australian Centre for Contemporary Art
Judy Annear, ‘Nominator’s Comment,’ The 2nd International Photo-Biennale
Tokyo Metropolitan Museum of Photography, 1997
Patricia Piccinini, ‘Protein Lattice,’ Lawyers Guns & Money, Experimental Art Foundation, 1997
Mark Pennings, Art=Advertising, Focus 3, Robert Lindsay Gallery, 1997
Rachel Kent, ‘Alternative Realities,’ Alternative Realities, The Ian Potter Gallery, 1995
Zara Stanhope, ‘Technothelylogia; technology of and by Women,’ Tehnothelylogia, Monash University Gallery, 1995
AWARDS
Progressive Business Award, Victorian Premier Award (2005)
Australia Council, New Media Fellowship (2000)
Arts Victoria, Arts Development grant (1999)
Australia Council, Residency Japan (1998)
Australia Council, Project grant (1997)
Arts 21, International Cultural Exchange Program (1997)
A.F.C., Project grant (1996)
Arts Victoria, Project grant (1996)
C.A.T., Digital Imaging Award, (1995)
VCA, Christopher James Blyth Memorial Award (1991)
VCA, Theodore Urbach Award (1989 & 1990)
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