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DANIEL CROOKS




 
ARTIST PROFILE

DANIEL CROOKS
Born 1973, Hastings, New Zealand

Practising across a range of media including digital video, photography and installation, Daniel Crooks’s complex and beautiful time structures reveal a sensibility seemingly at odds with the ordinariness of the subject matter. His digital images stretch and distort reality while questioning our perception of it. A graduate of the Auckland Institute of Technology and the Victorian College of the Arts School of Film and Television, Crooks received an Australia Council Fellowship in 1997 to research motion control at the Royal Melbourne Institute of Technology. His reputation grew rapidly, with representation in important group exhibitions in Australia (including ‘Primavera 2003’ at Sydney’s Museum of Contemporary Art) and in Europe, the United Kingdom, the United States and Asia. Crooks has held solo exhibitions at Rijksakademie van Beeldende Kunsten, Amsterdam; Level 2 Project Space, Art Gallery of New South Wales, Sydney (both 2005); and the Centre for Contemporary Photography, Melbourne (2002). He was a resident artist at the Rijksakademie van Beeldende Kunsten, Amsterdam (2004–05) and at the Australia Council Studio, London, UK (2005). His numerous awards include the 2001 City of Stuttgart Prize for Animation and an Australian Short Film Award at the 1996 Sydney International Film Festival.

BIOGRAPHY
1973 Born Hastings, New Zealand
1994 Bachelor of Graphic Design, Auckland Institute of Technology, Auckland, NZ
1993 Post Graduate Diploma of Animation, Victorian College of the Arts School of Film and TV, Melbourne
1996 Founded Dimensional Laboratories freelance media studio
2001–02 Lecturer, Royal Melbourne Institute of Technology (RMIT), Melbourne
2004 Motions Graphics Designer, Australian Centre for the Moving Image (ACMI), Melbourne

SELECTED SOLO EXHIBITIONS AND INSTALLATIONS
2007 One step forwards, one frame backwards, Sherman Galleries, Sydney
2006 Daniel Crooks: Without Cutting or Tearing, Kings Artist Run Initiative, Melbourne
Time Slice, Lovebytes Festival, Sheffield, UK
2005 Daniel Crooks: Train No.1, Level 2 Project Space, Art Gallery of New South Wales, Sydney
Daniel Crooks: A small section of something larger, Sherman Galleries, Sydney
2 videos & 2 devices, Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands
2002 Time Slice, Centre for Contemporary Photography, Melbourne
Circum-Circadian [01], Horti Hall (Next Wave), Melbourne
1998 distance: control, Public Office (Next Wave), Melbourne

SELECTED GROUP EXHIBITIONS AND INSTALLATIONS
2007 Experimenta Playground, BlackBox, Arts Centre, Melbourne
Figuratively Speaking: The figure in contemporary video art, Queensland University of Technology Art Museum, Brisbane
eternal beautiful now, Sherman Galleries, Sydney
2006–07 Wave Front: Australian Contemporary Art Scene, Tokyo Wonder Site, Shibuya, Tokyo, Japan
2006 The Exchange of Viewpoints, remo, Osaka, Japan
Anne Landa Award, Art Gallery of New South Wales, Sydney
Art Movement: Explorations of Motion and Image, UTS Gallery, Sydney
Experimenta: Under the Radar, Foundation for Art and Creative Technology, Liverpool, UK, touring exhibition
Bitmap: International Digital Photo Project, Loop, Seoul, South Korea
A Precipitation in Time, Devonport Regional Gallery, Devonport, TAS
D> Art 06, Dlux Media Arts, Sydney
Lovebytes 2006: Environments, International Festival of Digital Art and Media, The Workstation, Sheffield, UK
2005 World Without End, Australian Centre for the Moving Image (ACMI), Melbourne
The Millennium Dialogue: In The Line Of Flight, Second Beijing International New Media Arts Exhibition and Symposium, Beijing, China
The Computational Sublime, Blur + Sharpen, University of Southern California, CA, US
Prospectus: Projections in New Media, Blank Space, Sydney
Vanishing Point, Experimenta, Melbourne
Nature by Proxy, Brian Moore Gallery, Sydney
2004–05 Great Escapes, Lake Macquarie City Art Gallery, NSW
2004 Drift, Perth Institute for Contemporary Art (PICA), Perth
ARTV, ACMI and SBS, national television
2004: Australian Culture Now, National Gallery of Victoria and Australian Centre for the Moving Image (ACMI), Melbourne
MIX-ED, Sherman Galleries, Sydney
I thought I knew but I was wrong, Asialink and Australian Centre for the Moving Image (ACMI), touring Singapore; Bangkok, Thailand; Beijing China; Seoul, South Korea
(Not) Open Studios, Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands
Rencontres internationales Paris/Berlin, Paris, France; Berlin, Germany
sur:reel, National Gallery of Australia, Canberra
2003 Festivus 03, Sherman Galleries, Sydney
Primavera 2003, Museum of Contemporary Art, Sydney
Location, Location, Australian Centre for Photography, Sydney
Banquete, Palau de la Virreina, Barcelona; CCDD, Madrid; ZKM, Germany
2001 Rapture, Platform, Spencer Street Station, Melbourne
1999 One Hour Photo, 1st Floor, Melbourne
1998 Eat, Museum of Contemporary Art, Sydney
1997 Screensound, Museum of Contemporary Art, Sydney

SELECTED SCREENINGS AND PROJECTIONS
2005 The Computational Sublime, Blur + Sharpen, University of California, CA, US
Boo Hooray, ABC2 and ABC Broadband,
2004 Rencontres internationals Paris/Berlin, Paris, France; Berlin, Germany
Resfest, Australian Centr for the Moving Image (ACMI), Melbourne
2003–04 oZone: Survey of Australian digital media art, The Barbican, London, UK; Cinema du Demain, Pompidou Centre, Paris, France
2003 ResFest, Australian Centre for the Moving Image (ACMI), Melbourne
Future Perfect, Sydney Film Festival, Sydney
VideoMedeja Festival, Croatia
displacement, Microwave Festival, Hong Kong
Periscope, Adelaide International Film Festival, Adelaide
2002 Digital Projections, Australian Centre for the Moving Image (ACMI), Digital Cinema Program, Melbourne
LIGHT TIME MOTION, Asia-Pacific Triennial of Contemporary Art (APT), Queensland Art Gallery, Brisbane
Plasmatic, Melbourne Art Fair, Melbourne; Multimedia Asia-Pacific, Beijing, China
Videart (three venues), Mexico City, Mexico
Swerve, Digesis Festival, Melbourne
2001 CHICKEN, Bangkok Experimental Film Festival, Thailand
pan americana 99 part I, Outer Limits, The Video Lounge, New York City, US
2000 Eat Your Young (Arena Theatre Company), World Premiere, Adelaide International Arts Festival, touring to Taiwan, Singapore, Canberra, Melbourne, Sydney and Brisbane
1998 Kilda Lapse, St Kilda Film Festival, Melbourne
Panacea (Arena Theatre Company), Melbourne International Arts Festival
Help (MDPE), Performance Space, Sydney
1997 Mass (Arena Theatre Company), Universal Theatre, Melbourne
1994 food(for)thought: (three) ingredients from the mass consumer diet, screened at Chicago International Film Festival; International Festival of Animated Film Stuttgart; Annecy Animated Film Festival; International Award for Video Art (Germany); Sydney International Film Festival; Melbourne International Film Festival; New Zealand Short Film Festival; St Kilda Film Festival, VIC; West Australian Film and Video festival; Jump-Cut festival, Perth; End of the Earth Film Festival, Tasmania, 2-week season at Victorian State Film Theatre; TV screenings: SudWest 3 and Orf 2 public broadcast, Germany and Austria; multiple screenings on SBS (Eat Carpet), Foxtel Pay TV

RESIDENCIES AND GRANTS
2005 London Studio Residency, Australia Council, Visual Arts and Crafts Board
2004–05 Guest Resident, Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands
2004 International and Cultural Exchange Grant, Arts Victoria
Ian Potter Cultural Trust Grant, The Ian Potter Foundation, Melbourne
Conference and Workshop Grant, Australian Network for Art and Technology
2003 Research and Development Grant, Australia Council, New Media Arts Board
2000 Creative Development Grant, Australia Council, New Media Arts Board
1997 RMIT New Media Arts Residency, Australia Council, New Media Arts Board

SELECTED AWARDS AND COMMISSIONS
2005 New Visions commission, Experimenta, Melbourne
Price Waterhouse Coopers, mural print for Freshwater Place foyer, Melbourne
2004 Bovis Lend Lease, mural print for new Sydney headquarters
2002 Public Imaging Commission, Australian Centre for the Moving Image (ACMI), Melbourne
2001 NCB phase 1, Scienceworks Museum, Melbourne 1996 City of Stuttgart Prize for Animation, Stuttgart International Festival of Animated Film, Germany
Dendy Australian Short Film Award, Sydney International Film Festival
Certificate of Merit, Chicago International Film Festival, US
International Award for Video Art, Finalist, Germany
New Zealand Short Film Award for Best Animation, New Zealand Short Film and Video Festival
ATOM Award for Best Innovative Programme (Film and TV), Australia
1995 Film Victoria Prize for Most Daring and Innovative Production, Victorian College of the Arts, Melbourne
Prize for Best Animation Script (pre-production), Victorian College of the Arts, Melbourne

RADIO INTERVIEW
2004 ‘The space between time’, Radio Eye, ABC Radio National, 21 February

COLLECTIONS
Art Gallery of New South Wales, Sydney
Australian Centre for the Moving Image (ACMI), Melbourne
Museum for Old and New Art, Tasmania
Corporate and private collections in Australia

BIBLIOGRAPHY
Tracey Clement, ‘Eternal Beautiful Now’, Artlink, vol. 27, no. 3, September 2007, p. 88
Julianne Pierce, ‘Daniel Crooks’, Artlink, vol. 27, no. 3, September 2007, pp. 60–61
Melissa Hart, ‘Interactive playground’, Artnotes (Victoria), Art Monthly Australia, issue 203, September 2007, p. 51
Tania Doropoulos, ‘Art movement: Explorations of motion and change’, Reviews, Eyeline, no. 63, winter 2007, p. 65
Kim Machan, ‘Figuratively speaking …’Artnotes (QLD), Art Monthly Australia, no. 200, June 2007, p. 52
Tracey Clement, ‘Eternal beautiful now’, Metropicks, Sydney Morning Herald, 25–31 May 2007, p. 19
George Alexander, ‘Daniel Crooks’s optical allusions’, catalogue essay, Sherman Galleries, Sydney
Edward Colless, ‘Time Lord’, Australian Art Collector, issue 40, April–June 2007, pp. 134–43
‘Artnews 2006: Australian art on the international scene’, Art & Australia, vol. 44, no. 2, summer 2006, p. 210
Natasha Bullock, ‘Moving images: Anne Landa Award for video and new media arts’, Look, Art Gallery Society of New South Wales, November 2006
Sebastian Smee, ‘Not one of Pavlov’s dogs’, Visual Arts, Weekend Australian, 7–8 October 2006, pp. 18–19
Annemarie Lopez, ‘Art movement’, the(sydney)magazine, Sydney Morning Herald, issue 39, July 2006, p. 86
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House/Thames & Hudson, Melbourne, 2006
Russell Storer, ‘Video in the expanded field: Three recent examples of Australian video installation’, Art & Australia, vol. 42, no. 4, winter 2005, pp. 588–94
Darren Levin, 'Time Warper', Age, 29 September 2005
Harbant Gill, 'View from a train', Herald Sun, 7 September 2005
Emma McRae (ed.), Vanishing Point, exhibition catalogue, 2005, p. 17
Janne Ryan, ‘The rise of video art’, Weekend Australian Financial Review, 21–22 May 2005, pp. 31–2
Peter Timms, ‘In search of nature’, Great Escapes, catalogue essay, Lake Macquarie City Art Gallery, NSW, 2005
Alessio Cavallaro and Alexie Glass, ‘World without end’, catalogue essay, Australian Centre for the Moving Image (ACMI), Melbourne, April 2005
Carmel Dwyer, ‘Daniel Crooks’, 50 of Australia’s Most Collectable Artists: Australian Art Collector, issue 31, 2005, p. 87
Dominique Angeloro, 'Prospectus: Projections in new media', Critic's Picks, Metro, Sydney Morning Herald, 21 January 2005 p. 27
Charles Green (ed.), 2004: Australian Culture Now, exhibition catalogue, Australian Centre for the Moving Image (ACMI) and National Gallery of Victoria, 2004, p. 124
Georgina Safe, ‘From a different cloth’, Arts, Weekend Australian, 30–31 October 2004
Rachel Kent, ‘Video: Medium of the moment’, Visual Art, Real Time, no. 62, August–September 2004, p. 45
Therese Sweeny, ‘Through a digital prism: Timeslice’, Real Time, , 2004
Simon Blond, ‘Drift towards innovation’, Arts, West Australian, 18 September 2004, pp. 10–11
Felena Alach, ‘Tricks of technology’, Creative Spaces, Shout, September – October 2004
James Norman, ‘Spot the train’, Age, 17 July 2004
Alexie Glass, ‘I thought I knew but I was wrong: New video art from Australia’, exhibition catalogue, Australian Centre for the Moving Image (ACMI), Melbourne, 2004
Sunanda Creagh, ‘All mix-ed up’, Spotlight, Sydney Morning Herald, 7 June 2004, p. 14
Simeon Kronenberg, ‘Mix-ed: Diverse practice and geography’, MIX-ED, exhibition catalogue, Sherman Galleries, Sydney, 2004
Robert Cook, ‘The drifter’, Drift, catalogue essay, Perth Institute of Contemporary Art (PICA), 2004
Bec Dean, ‘Drift’, Drift, exhibition catalogue, Perth Institute of Contemporary Art (PICA), 2004
Russell Smith, ‘Crypto-Realism’, Art Monthly Australia, no. 168, April 2004, p. 41
Tracey Clements, review, ‘Primavera 2003’, Artlink, vol. 24, no. 1, 2004, p. 87
Russell Smith, review, ‘Primavera 2003’, Broadsheet, vol. 32, no. 4, 2004, p. 30
Emma McRae, ‘Profile: Daniel Crooks’, Experimenta: Mesh 17, New Media Art in Australia and Asia, 2004
Julianne Pierce, Primavera 2003, exhibition catalogue, Museum of Contemporary Art, Sydney, 2003
Mike Leggett, ‘Software imaging synthesis’, Photofile, issue 68, April 2003, pp. 28–9
Robert McFarlane, ‘Images of humanity in the changing eye’, Sydney Morning Herald, 26 February 2003, p. 16
Anna Maria Guasch, ‘Comer con los ojos’ (Banquete, metabolismo y comunicacón), Institut de Cultura de Barcelona, Spain, 1 March 2003
Dr Marcus Bunyan, ‘Spaces that matter: Awareness and entropia in the imaging of place’, essay, 2002
James Robertson, ‘The return of time’, Real Time, no. 51, October–November 2002, p. 26
Philippa Hawker, ‘Moving with the times’, Review, Age, 15 June 2000

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