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LAUREN BERKOWITZ




 
ARTIST PROFILE

LAUREN BERKOWITZ
Born 1965, Melbourne

Lauren Berkowitz studied sculpture at the Victorian College of the Arts, Melbourne and later received a Masters in Fine Arts (Sculpture) at the School of Visual Arts, New York.

Since 1985, she has shown in 19 solo exhibitions and 66 group exhibitions in Australia, Japan and the United States. She is the recipient of numerous awards and grants, including Project Grants from the Visual Arts and Craft Board of the Australia Council and, most recently, an Arts Victoria International Cultural Exchange Grant, which assisted her participation in the Echigo-Tsumari Art Triennial, Japan (2003).

Lauren Berkowitz is an installation artist, working mostly on ephemeral and site-specific works that evoke the passage of time and our place within it. Often inspired by the landscape but troubled by its degradation, her works also references the history of contemporary art, in particular American painting and sculpture of the 1960s and 1970s.

Berkowitz’s work is made with an almost obsessive attention to detail after painstaking research and, ultimately, total dedication to the moment of making. Recently she has made use of sands, gravel and salt, as well as plant detritus, to make installations that resonate meaningfully within the landscape, while paying homage to Robert Smithson’s earthworks and Frank Stella’s stripe paintings, among others.

Her 2004 exhibitions in Sydney at Artspace (an ephemeral floor-piece) and Sherman Galleries (works designed for domestic and corporate spaces) featured sands and salt, referencing the coastal and built environment of Sydney and Australia’s desert regions. In 2005, her installation, Shadows and Light, at the Lake Macquarie City Gallery, comprised coal and indigenous wood shavings, reflecting the history of the region.

Lauren Berkowitz’s work is held in the collections of a range of institutions in Australia and the United States, including the Museum of Modern Art Library, New York.

BIOGRAPHY
1983–85 Royal Melbourne Institute of Technology (RMIT), Melbourne, BFA Sculpture
1988–89 Victorian College of the Arts, Melbourne, Graduate Diploma in Fine Arts, Sculpture
1991–93 School of Visual Arts, New York, NY, MFA Sculpture

SOLO EXHIBITIONS
2007 Cornucopia, Sherman Galleries, Sydney
Demeter’s Garden, Heide Museum of Modern Art, Melbourne
2004 Salt and Sand, Sherman Galleries, Sydney
Tide, Artspace, Sydney
2003 Harvest House, Echigo-Tsumari Art Triennial, Japan
2002 Salt and Honey, Jewish Museum of Australia, Melbourne
2001 ABC123, Roslyn Oxley9 Gallery, Sydney
Verdant, Herring Island Gallery, Melbourne
1999 Strata, McClelland Gallery and Sculpture Park, Langwarrin, Victoria
Cupola, Queen Victoria Building, Sydney Festival
1998 Spiderbox, collaboration with Rozalind Drummond, Canberra Contemporary Art Space
1997 Epithelium, Karyn Lovegrove Gallery, Melbourne
Wall Red Yellow Blue, Artspace, Sydney
1996 Onion Sac Wall, Karyn Lovegrove Gallery, Melbourne
Excess, Rosyln Oxley9 Gallery, Sydney
Green Room, Pendulum, Sydney
1995 Building 40 Project, Royal Melbourne Institute of Technology (RMIT) Design, Melbourne
1994 Bags, Bottles, Newspapers, Karyn Lovegrove Gallery, Melbourne
1993 Installation #04, Information Gallery, New York, NY
1992 Tarook/Taarak, Realities Gallery, Melbourne
1990 Recent Works, Realities Gallery, Melbourne
1988 Recent Works, Realities Gallery, Melbourne

GROUP EXHIBITIONS
2007 Artist Makes Video: Art Rage Survey 1994–1998, Dell Gallery, Queensland College of Art, Griffith University, Brisbane
2006 Before the Body – Matter, Monash University Museum of Art, Melbourne
2005 After Nature, curator Sally Couacaud, Lake Macquarie City Art Gallery, NSW
2004 Site: [unseen], curator Laura Murray Cree, Sherman Galleries @ Danks Street, Depot Gallery, Sydney
Melbourne Art Fair, Royal Exhibition Building, Melbourne
2003–04 Hothouse: The Flower in Contemporary Art, Monash University Museum of Art Touring Exhibition, State Library of Victoria, Keith Murdoch Gallery, Melbourne; Geelong Art Gallery; Ballarat Fine Art Gallery; McClelland Gallery and Sculpture Park, Langwarrin, Victoria
2003 Festivus, Sherman Galleries, Sydney; McClelland Survey and Sculpture Award, McClelland Gallery and Sculpture Park, Langwarrin, Victoria
Fair Game, Response Gallery, National Gallery of Victoria, Melbourne
2002 Eden and the Apple of Sodom, curator Erica Green, University of South Australia Art Museum, Adelaide
2001 The Cultivated Garden, curator Jennifer Hardy, Hazelhurst Regional Gallery, Sydney
Low Down: Recent Acquisitions, Monash University Collection, Monash University, Melbourne
2000 ISEA2000, Revelation, Mixmove festival and videotheque, La Villette’s Great Hall and the Forum des Images, Paris, France
The Retrieved Object, curator Elizabeth Gower, Linden Gallery, Melbourne
Celebrating the Exquisite Corpse, Bendigo Art Gallery, Victoria, travelling exhibition
1999 Chunky Move with Australian Centre for Contemporary Art (ACCA), presentation of Live Acts #3 & #4, Revolver, curator Stuart Koop, Melbourne
Tensions, curator Edwina Bartleme, video works from Griffith University Art Collection, screening State Library of Queensland, Brisbane
Material & Beyond, curators Bron Larner & Renai Stonely, University of Southern Queensland, Toowoomba, Queensland, touring Queensland regional galleries
1998–99 Artrage, artworks for television, producer/curator Kim Machan, Artspace, Sydney; IMA, Brisbane, touring nationally
Women of the Book: Jewish Artists, Jewish Themes, curator Judith Hoffberg, Finegood Art Gallery, California, USA; Sharadin Art Gallery, Kutztown University, Pennsylvania; Kamin Gallery, Van Pelt Dietrich Library, University of Pennsylvania; University of Arizona, Museum of Art; Boca Raton and Florida Atlantic University, USA
1998 The Infinite Space: Women, Minimalism and the Sculptural Object, curator Rachel Kent, The Ian Potter Museum of Art, The University of Melbourne
Respond Red or Blue, curators Lauren Berkowitz and Tara Gilbee, Royal Melbourne Hospital, Melbourne
Resourceful, curator Anna Clabburn, Ararat Gallery, Victoria
Le Corps du Livre, L’oeuvre editoriale de Gervais Jassaud, Carre d’Art Bibliotheque, Nimes, France
Up the Road, curator Gareth Sansom, Australian Centre for Contemporary Art (ACCA), Melbourne
Ecologies of Place and Memory, curator Bridget Sullivan, Gallery A, University Gallery, Launceston; University of Tasmania, Hobart
Construction in Process VI, The Bridge, Pileon Building, Melbourne
1997 Amcor Paper Awards, 1997, Westpac Gallery, Melbourne
Australian Perspecta 1997: Between Art and Nature, curator Victoria Lynn, Art Gallery of New South Wales, Sydney
World Without End, curator Rosemary Crumlin, St Patrick’s Cathedral, Melbourne
Moët & Chandon Touring Exhibition, Australia
1996 Mrs Bird’s House, Motherwell Street, South Yarra, Melbourne
Ruins in Reverse, Royal Melbourne Institute of Technology (RMIT), curator Susan Fereday, Storey Hall, Melbourne
1995 The Object of Existence, curator Clare Williamson, Australian Centre for Contemporary Art (ACCA), Melbourne
The Wandering Jew Myth and Metaphor, Jewish Museum of Australia, touring exhibition
Seven Histories of Australia, curator Clare Williamson, Australian Centre for Contemporary Art (ACCA), Melbourne
Constructed City, curator Simeon Kronenberg, Plimsoll Gallery, University of Tasmania, touring exhibition, Australia
Monash University Art Prize, Monash University Gallery, Melbourne
Blow Up, curator Natalie King, Roslyn Oxley9 Gallery, Sydney
Essence and Persuasion, Anderson Gallery, Buffalo, NY
1994 Erptcponise – (perceptions), Information Gallery, New York, NY
1993 Yoshii Gallery, New York, NY
Site of Interpretation, SVA Galleries, New York, NY
Selections, MFA Special Projects, Part II, Visual Arts Gallery, New York, NY
Lauren Berkowitz, Stephen Bram, Debra Ostrow, Kathy Temin, curator Natalie King, Studio 14 at 200 Gertrude Street Gallery, Melbourne
1989–91 ICI Contemporary Art Collection, Australian Centre for Contemporary Art (ACCA), touring regional galleries, Victoria, NSW, Qld
1989 Active Garden, Museum of Modern Art at Heide, Melbourne 2x7, The Ian Potter Gallery, The University of Melbourne, Melbourne

ARTIST’S PUBLICATIONS AND LIMITED EDITION BOOKS
2007 Graceful, collaboration with poet Fabrice Melquiot, edn 11, Gervais Jassaud, Collectif Generation, France
1996 Mona Lisa, collaboration with poet John Yau, edn 20, Gervais Jassaud, Collectif Generation, France
1995 Collected Histories, edn 500, City of Stonnington, Melbourne
1994 Bags, Bottles, Newspapers, edn 300, Lauren Berkowitz, Melbourne
Terza Natura, edn 10, Lauren Berkowitz, Melbourne
1993 Recyclable, edn 10, Lauren Berkowitz, Melbourne

GRANTS, AWARDS AND SCHOLARSHIPS
2006 New Work Grant, Visual Arts Board, Australia Council
2004 New Work, Creation, Arts Victoria Project Grant, Melbourne
2002 Arts Victoria, International Cultural Exchange Grant
New Work, Presentation Arts Victoria Project Grant, Melbourne
2001 Project Grant, Visual Arts and Crafts Board of the Australia Council, Sydney
Arts Victoria Project Grant, Melbourne
1998 Besen Foundation Grant, Melbourne
1996–97 Project Grant, Visual Arts and Craft Board of the Australia Council, Sydney
1992–93 Dyason Bequest Travelling Scholarship, Art Gallery of New South Wales, Sydney
1991–92 Marten Bequest Travelling Scholarship, Sydney
Dyason Bequest Travelling Scholarship, Art Gallery of New South Wales, Sydney
1990 Project Grant, Visual Arts and Crafts Board of the Australia Council, Sydney

PUBLIC COMMISSIONS
2005–06 Karakarook’s Garden, permanent installation, Heide Museum of Modern Art, Melbourne
2003 Harvest House, permanent installation, Echigo-Tsumari Art Triennial, Japan
1995 Collected Histories, Prahran 1836–1995, Toorak, South Yarra Library Melbourne

MEDIA
Derrick Guillet with Rosemary Cameron, Director, Melbourne Writer’s Festival, live to air, interview, 774 ABC Radio Evenings, 19 April 2007
Julie Copeland, ‘The Maker’, interview on Salt and Honey, ABC Radio National, 8 September 2002

COLLECTIONS
Arthur and Mata Jaffe Collection, Florida Atlantic University, FL
Albright-Knox Art Gallery Library, Buffalo, NY
Artists’ Book Collection of the Museum of Modern Art Library, NY, NY
Brooklyn Museum of Art Library, New York, NY
Fogg Art Museum, Fine Art Library, Harvard University, US
Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Miami, FL
School of the Art Institute of Chicago, John M. Flaxman Library, Chicago, IL
Texas Women’s University, Department of Visual Arts, Texas
University of California Los Angeles Art Library, CA
Yale Center for British Art, New Haven, CT
National Gallery of Victoria, Melbourne
Jewish Museum of Australia, Melbourne
Museum of Modern Art at Heide, Melbourne
Ararat Art Gallery, VIC
Bendigo Art Gallery, VIC
Griffith University Art Collection, QLD
La Trobe University Collection, Melbourne
Monash University Gallery, Melbourne
Amcor Paper, Australia
ICI Contemporary Art Collection, Melbourne

SELECTED BIBLIOGRAPHY
Naomi Cass, ‘Down to earth’, Cornucopia, exhibition catalogue, Sherman Galleries, Sydney
Zara Stanhope, ‘Art’s constant gardener’, Demeter’s Garden, exhibition catalogue, Museum of Modern Art at Heide, Melbourne, 2007
Jane O’Neil, Demeter’s Garden, exhibition catalogue, Museum of Modern Art at Heide, Melbourne, 2007
Geraldine Barlow, Before the Body-Matter, exhibition catalogue, Monash University Museum of Art, Melbourne, 2006
Dr Kyla McFarlane, ‘Swells and shudders’, catalogue essay, Before the Body-Matter, Monash University Museum of Art, Melbourne, 2006
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House, Melbourne, 2006
Adam Geczy, ‘Collecting, coating, covering: Lauren Berkowitz’, Tide, exhibition catalogue, Artspace, Sydney, 2006
Nick Tsoutas, Introduction, Tide, exhibition catalogue, Artspace, Sydney, 2006
Patricia Anderson, Art & Australia: Debates, Dollars and Delusions, Pandora Press, Sydney, 2005, pp. 454–55
Sally Couacaud, After Nature, exhibition catalogue, Lake Macquarie City Art Gallery, NSW, 2005
Richard Kalina, ‘Down Under No More’, Art in America, April 2005, pp. 77–85
Sally Couacaud, '2003 Echigo-Tsumari Triennial', Art & Australia, vol. 41, no. 4, winter 2004, pp. 535–37
Patricia Anderson, 'The better angles of our nature', Arts, Australian, 22 April 2004, p. 12
Peter Hill, 'All in a blur of colour and speed', Spectrum, Sydney Morning Herald, Easter Weekend Edition, 9–11 April 2004, pp. 8–9
Laura Murray Cree, ‘Lauren Berkowitz and James Darling’, Australian Art Review, issue 4, March – June 2004, pp. 104–106
Echigo-Tsumari Art Triennial 2003, exhibition catalogue, 2004, illus., p.167
Tazlu Endo, Ikebana Ohara, no. 640, March 2004, p. 10
Asami Nagi, ‘Art in harmony with nature’, Daily Yomiuri, 24 July 2003
Freda Freiberg, ‘On the scented trail of tradition’, Eyeline, no. 51, 2003, p. 50
Daniel Thomas, ‘Terra’, Fieldwork, exhibition catalogue, National Gallery of Victoria, Melbourne, 2003, pp. 66, 69
Rachel Kent, Monash University Collection: Four Decades of Collecting, Monash University Museum of Art, Melbourne, 2002, p.110
Laura Murray Cree, Awesome! Australian Art for Contemporary Kids, Craftsman House, Sydney, 2002, pp. 18–19,
Robert Nelson, ‘The divinity of the dining room food of the gods and other oral traditions’, Age, 31 August 2002, p. 25
Julie Copeland, ‘The Maker’, interview on Salt and Honey, ABC Radio National, 8 September 2002, 10.00 am
Naomi Cass, ‘L’chaim: Lauren Berkowitz at the Jewish Museum’, Jewish Museum of Australia, Melbourne, 2002
Rachel Kent, ‘Art and Environment: Lauren Berkowitz’s “Colour Field”’, catalogue essay, Eden and the Apple of Sodom, University of South Australia Art Museum, Adelaide, 2002
Jennifer Hardy, The Cultivated Garden, exhibition catalogue, Hazelhurst Regional Gallery, Sydney
Christopher Marshall, Interpreting Art, Macmillan, Melbourne, 2001, pp. 236, 237, 244, 245, 270
Art & Australia, Gallery, vol. 39, no. 1, spring 2001, p. 129
Robert Nelson, ‘Volume and space’, Age, 7 March 2001
Natalie King, ‘The retrieved object’, Like magazine, no. 14, 2001, pp.45–46,
Charles Merewether, Lauren Berkowitz, Craftsman House, Sydney, 2001
Juliana Engberg, Low Down, exhibition catalogue, Monash University Gallery, Melbourne, 2001
Natalie King, ‘Ephemeral geometries’, Art & Australia, vol. 37, no. 4, winter 2000, pp. 566–71
Rachel Kent, Monument , no. 34, review of Strata, February–March 2000, p.105
Jacqueline Millner ‘Uncertain ground, essays between art and nature’, illustration and review, Art
Gallery of New South Wales, Sydney, 1999, p. 168
Simeon Kronenberg, Strata: Between Geometry and Gesture, exhibition catalogue, McClelland Gallery and Sculpture Park, Langwarrin, Victoria, 1999
Daniel Palmer, ‘The Melbourne Festival Visual Arts Program’, Eyeline, no. 39, 1999, pp. 35–37
Natalie King, ‘Psychology of retrieval: Personal and fictional archives’, Artlink, vol. 19, no. 1, 1999, pp. 49–51
Bruce James, ‘Man of steel vs the gumnut baby’, Spectrum, Sydney Morning Herald, Saturday 23 January 1999, p.13
Anna Clabburn, ‘When Less is much more, Age, 9 December 1998, p.17
Marie-Louise Hillcoat, ‘The hospital autopsy: Opening up the aesthetics of the medical gaze’, Respond Red or Blue, exhibition catalogue, Melbourne, 1998
Rachel Kent, The Infinite Space: Women, Minimalism and the Sculptural Object, exhibition catalogue, The Ian Potter Museum of Art, The University of Melbourne, 1998
Anna Clabburn, ‘’Resourceful’, catalogue essay, Ararat Gallery, Victoria, 1998
Anna Clabburn, ‘Resourceful by necessity’, The Australian Family, Images and Essays, Scribe Publications, Melbourne, 1998
Gareth Sansom, ‘Up the road’, Australian Centre for Contemporary Art (ACCA), Melbourne, 1998
Rebecca Lancashire, ‘Up the track and up the road’, Age, Wednesday 15 July 1998, p. 18
Anna Johnson, ‘Trash treasure and hoarding”, Australian Art Collector, pp. 70–72, issue 5, July–September 1998, pp. 70–2
Natalie King, Interview for Spiderbox, Canberra Contemporary Art Space, ACT, 1998
Paul Mc Gillick, ‘Packaging the theme’, Art & Australia, vol. 35, no. 3, autumn 1997, pp. 334–35
Adrian Martin, ‘Immaculate conceptions’, Australian Art Collector, issue 3, 1997, p. 32
Jorge Lopez, ‘World without end’, Globe -E, Electronic Journal of Contemporary Australian Art, issue 7, globe@arts.monash.edu.au, Melbourne, 1997
Jeff Gibson, ‘Australian Perspecta 1997’, Art + Text, no. 59, 1997, pp. 94–95,
Elizabeth Cross, Drawing on the Ground: The Space of Paper, Amcor PaperAwards, 1997, p. 10
Gillian Fuller, ’Wall Red Yellow Blue’, Globe -E, Electronic Journal of Contemporary Australian Art, issue 6, globe@arts.monash.edu.au, Melbourne, 1997
Joanna Mendelssohn, ‘Creativity as a matter of Perspecta’, Australian, 8 August 1997, p. 8.
Victoria Lynn, ‘Web sites’, in Australian Perspecta 1997: Between Art and Nature, Art Gallery of New South Wales, Sydney, 1997
Rosemary Crumlin, World Without End, exhibition catalogue, Melbourne, 1997
Ross Moore, Wall Red Yellow Blue: The Narrative of Minimalism, Artspace, Sydney, 1997
Robert Schubert, 1997 Moët & Chandon touring exhibition, Art + Text, no. 58, 1997, p. 87
Robert Nelson, ‘An Installation of authority’, Age, Wednesday, 16 April 1997
Anna Johnson, ‘Arts new wave’, Good Weekend, Age, 26 April 1997, pp. 32–33
Ray Edgar, ‘Mrs Bird’s house’, review, World Art, no. 12, 1997, p. 92
Anna Clabburn, ‘Moët & Chandon art prize’, catalogue essay, Melbourne, 1997, pp. 21, 25
Robert Schubert, ‘Ruins in reverse’, review, Art + Text, no. 55, 1996, pp. 93–94
Andrew Mc Qualter, ‘Secret archives’, Globe -E, Electronic Journal of Contemporary Australian Art, issue 3, globe@arts.monash.edu.au, Melbourne, 1996
Bruce James, ‘Galleries’, Sydney Morning Herald, 2 August 1996, p.14
Natalie King, ‘The Building 40 Project’, Art & Australia, vol. 33, no. 4, winter 1996, p. 575
Robert Nelson, ‘No logic, no feeling”, Saturday Extra, Age, Saturday 18 May 1996, p. 10
Andrew Mc Qualter, ‘The object of existence’, Globe-E, Electronic Journal of Contemporary Australian Art, issue 2, globe@arts.monash.edu.au, Melbourne, 1996
Ross Moore, ‘A visceral architecture’, Monument, vol. 11, 1996, pp. 94–98
Jo Holder, ‘Seven histories’, Art in Australia , vol. 33, no. 3, autumn 1996, pp. 431–42
Susan Fereday, Ruins in Reverse, exhibition catalogue, RMIT Faculty Gallery, Melbourne, 1996
Stephanie Holt, ‘Seven histories of Australia’, review, World Art, vol 1, 1996, pp. 92–93
Clare Williamson, ‘The object of existence’, catalogue essay, Australian Centre of Contemporary Art (ACCA), Melbourne, 1996
Naomi Cass, ‘Home is where the heart Is: The Wandering Jew Myth and Metaphor’, catalogue essay, Jewish Museum of Australia, Melbourne, 1996, p. 22
DIVA (Digital Images for the visual Arts) Project, Monash University, Melbourne, 1996
Jill Bennett, ‘Blow up’, review, Art + Text, no. 52, 1995, p. 84
Clare Williamson, Seven Histories of Australia, exhibition catalogue, Australian Centre for Contemporary Art (ACCA), Melbourne, 1995
Simeon Kronenberg; Natalie King, Constructed City, catalogue essays, Plimsoll Gallery, University of Tasmania, 1995
Anna Clabburn, ‘Contemporary voices’, Asian Art News, vol. 5, May–June 1995
Anne Wayson and Melissa Banta, Essence and Persuasion, exhibition catalogue, Buffalo, NY, 1995
Natalie King, Bag Lady, exhibition catalogue, Karyn Lovegrove Gallery, Melbourne, 1994
Melanie Marino, Erptcponise – (perceptions), exhibition catalogue, New York, NY, 1994
Robert Lindsay, ICI Contemporary Art Collection, exhibition catalogue, Melbourne, 1989


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