Born 1947, Sydney

Janet Laurence’s work echoes architecture while retaining organic qualities and a sense of instability and transience. Her work occupies the liminal zones or meeting places of art, science, imagination and memory. Profoundly aware of the interconnection of all life forms, Laurence often produces work in response to specific sites or environments using a diverse range of materials. Alchemical transformation, history and perception are underlying themes.

Janet Laurence exhibits widely and has an impressive record of representation in important group exhibitions, including the 9th Biennale of Sydney (1992) and Australian Perspecta (1985, 1991, 1997). Following her solo exhibition in 1991 at Seibu Gallery, Tokyo, and since she was awarded an Australia Council studio residency in Tokyo in 1998, Laurence has exhibited regularly in solo and group exhibitions in Tokyo and Nagoya. She has twice been invited to create permanent installations for the Echigo-Tsumari Art Triennial in Japan (2003, 2006).

Her most recent solo exhibitions in Australia include 'Birdsong', Object Gallery, Sydney; 'Janet Laurence', Jan Manton Gallery, Brisbane (both 2006); and 'Greenhouse', Sherman Galleries, Sydney (2005). A survey exhibition of her work was held in 2005 at the ANU Drill Hall Gallery, Canberra.

Well known for her public commissions and architectural collaborations, Janet Laurence has completed significant national and international projects, such as the 'Tomb of the Unknown Soldier', Australian War Memorial, Canberra (1993); 'The Edge of the Trees' (with Fiona Foley), Museum of Sydney (1994); '49 Veils' (with Jisuk Han), award-winning windows for the Central Synagogue, Sydney (1999); 'In the Shadow', Sydney 2000 Olympic Games, Homebush Bay (1998–2000); 'The Australian War Memorial' (with Tonkin Zulaikha Greer architects), Hyde Park, London; 'The Breath We Share', 'The Sidney Myer Commemorative Sculpture', Victoria (both 2003) and 'Waterveil', CH2 Building for Melbourne City Council (2006).

In 2006 Janet Laurence was awarded a Churchill Fellowship. She was a Trustee of the Art Gallery of New South Wales, Sydney (1996–2005) and is completing a PhD in ephemeral architecture at the Royal Melbourne Institute of Technology. Her work is represented in major Australian and international public, corporate and private collections.

1977–80 Studied at The University of Sydney; Academia Belle Arte, Perugia; Alexander Mackie College, Sydney
1980 Post Graduate, New York Studio School
1981 Post Graduate Diploma, City Art Institute, Sydney
1993 Master of Fine Art, College of Fine Arts, University of New South Wales
1996–2005 Trustee, Art Gallery of New South Wales, Sydney
Completing PhD (Architecture), RMIT, Melbourne
Lives and works in Sydney

2007 Janet Laurence, Wates House, Bartlett School of Architecture, London
2006 Janet Laurence, Arc One Gallery, Melbourne
Echigo-Tsumari Art Triennial, Japan
Birdsong (with Ross Gibson), Object Gallery, Sydney
Janet Laurence, Jan Manton Gallery, Brisbane
2005 Greenhouse, Sherman Galleries, Sydney
Janet Laurence: A Survey Exhibition, ANU Drill Hall Gallery, Canberra
2004 Verdant works, ARC One Gallery, Melbourne
2003 Verdant, Sherman Galleries, Sydney
Elixir, Echigo-Tsumari Triennale, Japan, permanent installation
2002 Ferment, Faculty of Art & Design Gallery, Monash University, Melbourne
Glasshouse, Sherman Galleries Hargrave, Sydney
2001 Veiling Space: Incarnations, Uniting Church, Paddington, Sydney
2000 Transpiration, Sherman Galleries Goodhope, Sydney
Muses, The Ian Potter Museum of Art, The University of Melbourne
1998 Gallery APA, Nagoya, Japan
From the Unfold Series, Michael Milburn Gallery, Brisbane
1997 Unfold, Project Space, Art Gallery of New South Wales
Serbelloni Works, Annandale Galleries, Sydney
1996 States of Matter, Michael Milburn Gallery, Brisbane
Less Stable Elements, University Gallery, Newcastle, NSW
1995 ph series, Anna Schwartz Gallery, Melbourne
1994 Lunami Gallery, Tokyo, Japan
Unfold, Gallery APA, Nagoya Japan
1993 Alchemical Works, Centre for Contemporary Art, Hamilton, New Zealand
Leslie Kreisler Gallery, New Plymouth, New Zealand
Michael Milburn Galley, Brisbane
The Measure of Light, Queensland Art Gallery, Brisbane
Selected Works, Annandale Galleries, Sydney
1992 Claybrooke Gallery, Auckland, New Zealand
City Gallery, Melbourne
1991 Seibu Gallery, Tokyo, Japan
rare, City Gallery, Melbourne
1990 Lunami Gallery, Australia–Japan exchange, Tokyo, Japan
City Gallery, Melbourne
1989 Milburn + Arte, Brisbane
Garry Anderson Gallery, Sydney
Blindspot, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney
Pier and Ocean, City Gallery, Melbourne
1988 Elsewhere, King Street Gallery Newtown, Sydney
From the Shadow, Canberra School of Art Gallery, Canberra 1987 Garry Anderson Gallery, Sydney
The Blind Spot on an Old Dream of Symmetry, Milburn + Arte, Brisbane
Meiosis, United Artists Gallery, Melbourne
1986 Spells of Origin, Wollongong Regional Gallery, New South Wales
1985 United Artists Gallery, Melbourne
Garry Anderson Gallery, Sydney
Life is Probably Round, Artspace, Sydney
1984 Ice Memory, Avago Gallery, Sydney
1983 Toiana, Adelaide Festival Gallery, Adelaide
The Madonna in the Stone has a Memory, Melbourne University Gallery, Melbourne
Memories in the Stone, Experimental Art Foundation, Adelaide
1982 Strings for Glass, Brisbane College of Art Gallery, Brisbane
Roslyn Oxley9 Gallery, Sydney
Recollections, Perc Tucker Regional Gallery, Townsville, QLD
1981 Notes from the Shore, I.C.A. Central Street, Sydney

2006 A new focus on contemporary art, Art Gallery of New South Wales,
New Acquisitions 2006, Museum of Contemporary Art, Sydney
Supermodels, St Margarets Design and Architecture Festival, Sydney We Are Australians Too, Casula Powerhouse Arts Centre, Sydney
2005 Bleak Epiphanies: An exhibition of small black things, Virginia Wilson Art, Sydney
Memory Station, ARC One, Melbourne
After Nature, Lake Macquarie Regional Gallery, New South Wales
2004 One Of, Sherman Galleries, Sydney
site: [unseen], Sherman Galleries at Depot Gallery, Sydney
2003 McClelland Survey and Award 2003, McClelland Gallery and Sculpture Park, Langwarrin, VIC
Ned Kelly Framed, S.H. Ervin Gallery, National Trust Centre, Sydney
2002 2002: The Year in Art, S.H. Ervin Gallery, National Trust Centre, Sydney
O Soul O Spirit O Fire: Celebrating Fifty Years of the Blake Prize for Religious Art, Ivan Dougherty Gallery, College of Fine Arts, UNSW, Sydney
Points of View: Works from the University of Technology Sydney Collection, UTS Gallery, Sydney
Eden & the Apple of Sodom, University of South Australia Art Museum, Adelaide
2001 The Art of Transformation, Metis 2001: Wasted, Exhibitions of Science and Art, National Science Week, National Gallery of Australia, Canberra
Intersections of Art and Science, Ivan Dougherty Gallery, UNSW, Sydney
Art Chicago 2001, Chicago, US
7th NICAF: International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan
2000 Kabbala, Jewish Museum of Melbourne, Melbourne
Land, Orange Regional Gallery, Orange, NSW
1999 Art Chicago 1999, US
Home and Away, Auckland Art Gallery, Auckland, NZ
Pets, Preys and Predators, Mosman Art Gallery and Cultural Centre, Sydney and touring regional Galleries New South Wales.
Cinderella’s Gems: Art and the Intellectual Missile, touring to Queensland, New South Wales and Victoria
1998 The Infinite Space: Woman, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, The University of Melbourne, Melbourne
Sixth Australian Contemporary Art Fair, Melbourne
1997 Global Art, Carpediem Gallery, Bangkok, Thailand
Australian Perspecta 1997: Between Art and Nature, S.H. Ervin Gallery, National Trust Centre, Sydney
Innenseite, Kassel, Germany
The Crate Show, Sherman Galleries Goodhope, Sydney
1996–97 Spirit and Place, Museum of Contemporary Art, Sydney
1996 Systems End, OXY Gallery, Osaka, Japan; Hakone Open Air Museum, Japan; Dong Ah Gallery, Seoul, Korea;
Shelfworks, Annandale Galleries, Sydney
1995 Hidden Treasures, S.H. Ervin Gallery, National Trust Centre, Sydney
Girls Girls Girls, Annandale Galleries, Sydney, and Orange Regional Gallery, Orange, NSW
Review, Women’s Art from the Collection, Art Gallery of New South Wales, Sydney
1994 Going Public, Annandale Galleries, Sydney
100 Years, Ivan Dougherty Gallery, College of Fine Arts, UNSW, Sydney
ARCO Art Fair, Madrid, Spain, with Annandale Galleries, Sydney
From the Observatory, Wollongong Regional Gallery, NSW, touring to Gold Coast and New South Wales regional galleries
1993 Inaugural Dobell Drawing Prize, Art Gallery of New South Wales, Sydney
Works from the Allen, Allen & Hemsley Collection, Westpac Arts Centre, Melbourne
Poetics of Immanence, Ivan Dougherty Gallery, College of Fine Arts, UNSW, touring South Australian regional galleries
1992–93 The Boundary Rider, 9th Biennale of Sydney, Bond Stores, Sydney
1992 In Black and White, Tin Sheds Gallery, University of Sydney
Synthesis, Art + Architecture Collaboration, Bond Stores, Sydney
Critic's Choice, Macquarie Galleries, Sydney
Margaret Stewart Endowment, National Gallery of Victoria, Melbourne
Above the Lake, Beneath the Sky, Benalla Art Gallery, Benalla, VIC
1991 Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney
Steam, Artists’ Projects for Australian Perspecta 1991, The Coach House, The Rocks, Sydney
Primitive concepts: The four elements, Lake Macquarie Regional Gallery, NSW, touring to Maitland and Mussellbrook regional galleries, NSW
1990 Handy Art, Lunami Gallery, Tokyo, Japan
Tokyo Connection, Heineken Village Gallery, Tokyo, Japan
Abstraction, Art Gallery of New South Wales, Sydney
Osmosis, Garry Anderson Gallery, Sydney
1989 Eastern States/Western States, Beach Gallery, Perth
1988 Abstraction by degree, Milburn + Arte, Brisbane
200 Years of Australian Drawing, Australian National University Drill Hall Gallery, Canberra
Director’s Choice, Royal Melbourne Institute of Technology, Melbourne
Intimate Drawing, Coventry Gallery, Sydney
The Great Australian Exhibition, The Bicentennial Travelling Exhibition, NSW
1987 Tutti Frutti, Milan Art Fair, Italy
The Art of Collage, Holdsworth Contemporary Gallery, Sydney
Nature and Technology, Sanctuary Cove, QLD
Abstract, King Street Gallery Newtown, Sydney
1986 Coincidence of Location, First Draft Gallery, Sydney
Vessels of Meaning, Scholarie Arts Council Gallery, New York City, US
Oz Drawing Now, Holdsworth Contemporary Gallery, Sydney
1985 A Contemporary Australian Art, Warwick Arts Trust Gallery, London, UK
ISOL – Australia, Venice, Italy
AUSTRALIANA, Belgrade, Yugoslavia
Australian Perspecta 1985, Art Gallery of New South Wales, Sydney
1984 Surface and Image, Crafts Council Gallery, Sydney, and Lewers Bequest and Penrith Regional Art Gallery, NSW
26 Characters, Adelaide Festival Exhibition, Adelaide
1983 S.C.H.E.M.A. Gallery, Florence, Italy
1982 ZONA Australia, Florence, Italy
1981 Students Gallery (now Mori Gallery), Sydney

2005 ‘The Life World’, a film by Richard Mordaunt
2004 ABC TV, ‘In Conversation: Janet Laurence’, Sunday Afternoon, 20 June, 2.50 pm, interviewed by Andrew Mackenzie.
2000 ABC Radio National, Janet Laurence in conversation with Robin Williams, 10 August
2000 ABC TV, ‘Setting the Stage’, film by Richard Mordaunt on Homebush Bay Artworks
ABC TV, ‘Janet Laurence: Muses the Artist in the museum’, The Ian Potter Museum of Art, The Arts Show, Monday 13 August
ABC TV, ‘In Conversation: Janet Laurence’, Andrea Stretton, 10 August
1995 ‘Faces of the Museum’, Museum of Sydney, Sydney, film, April
1994 ABC TV, ‘Tomb of the Unknown Soldier’, The Arts Review

2006 Churchill Fellowship
1999 NAWIC Award for Art in the Built Environment (for 49 Veils)
1996 The Alice Art Prize
1995 The Royal Australian Institute of Architects ‘Lloyd Rees Award for Urban Design’ for First Government House Place, Sydney, in collaboration with Fiona Foley and Denton Corker Marshall Architects
1994 The Kedumba Drawing Award, NSW
1991 Perc Tucker Gallery Invitation Prize, Townsville, QLD
1988 Newcastle Invitation Purchase Painting, NSW
1987 Maitland Painting Prize, NSW
Lake Macquarie Art Prize, NSW
Pring Prize, Art Gallery of New South Wales, Sydney
1986 Woollahra–Waverley Art Prize, Sydney
1985 Camden Painting Prize, NSW
1984 Campbelltown Drawing Purchase, NSW
1982 Gold Coast City Art Purchase Award, QLD
Women in the Arts Painting Prize, Sydney

2006 The Artificial Land, International Exchange Program, Hogeschool voor de Kunsten (HKU) and the Aboriginal Art Museum, Utrecht, The Netherlands

2006 Water Veil, CH2 Building for Melbourne City Council
2004 Verdant Veil, Changi Airport, Singapore
2003 The Breath We Share, The Sidney Myer Commemorative Sculpture,
Australian War Memorial, Hyde Park, London, in collaboration with Tonkin Zulaikha Greer Architects,
Elixir, permanent installation for Echigo-Tsumari Art Triennial, Japan
The Green Between, Promenade Hotel, Melbourne
2002 Translucidus, commission for Qantas Lounge, Sydney International Airport
2001 Ciphers: Stations of the Cross, artwork for the Australian Catholic University Chapel, Melbourne, collaboration with Julie Rrap
2000 Stilled Lives, collection showcases, permanent display, Melbourne Museum, Carlton Gardens, Victoria
In the Shadow, Olympic Park, Homebush Bay, Sydney
1999 Picture the Dark Face of the River, Department of Environment, Canberra
Veil of Trees, Sydney Sculpture Walk, Art Gallery Road, The Domain, Sydney, collaboration with Jisuk Han
1998 49 Veils, windows for the Central Synagogue, Bondi, collaboration with Jisuk Han
1997 Australian Exhibition Space, Olympic Museum, Lausanne, Switzerland, collaboration with Jisuk Han
1995 Chronicle I–IV, Herald and Weekly Times Building, Southbank, Melbourne
1994 Edge of the Trees, Museum of Sydney, sculptural installation, collaboration with Fiona Foley
1993 Tomb of the Unknown Soldier, Canberra, collaboration with Tonkin Zulaikha Architects
1992 Itoki Building, The Ginza, Tokyo, Japan
1987 MND Scientific Research Laboratories, Sydney

2003 Visual Arts/Crafts Board New Work Grant
2002 Visiting Fellow, Queensland College of Art, Queensland University
Artist-in-residence, Monash University, Faculty of Art and Design
2000 McGeorge Fellowship, The University of Melbourne
1997 Rockefeller Foundation (residency), Bellagio, Italy
1996–98 Australia Council two-year Fellowship
1996 Newcastle University Artist-in-residence
1992 Visual Arts/Craft Board Fellowship Grant
1989 Artist Development Grant, Visual Arts/Craft Board
1988 Studio Grant, Tokyo, Japan
Canberra School of Art (residency), ACT
1987 Canberra School of Art (residency), ACT
Visual Arts Board Project Grant
Visual Arts Board Travel Grant, Paretaio, Italy
1980 Bennington College (residency), Vermont, US

National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Queensland Art Gallery, Brisbane
Museum of Contemporary Art, Sydney
Australian War Memorial, Canberra
Commonwealth Law Court, Brisbane
Supreme Court of Queensland, Brisbane
New Parliament House Collection, Canberra
Griffith University Collection, Brisbane
Lincoln Institute, Victoria
University of New England, Northern Rivers, New South Wales
University of Newcastle, New South Wales
University of New South Wales, Sydney
University of Southern Queensland, Toowoomba Campus
University of Technology, Sydney
University of Western Australia, Perth
The Kedumba Blue Mountains Grammar School, New South Wales
Campbelltown Regional Gallery, New South Wales
Gold Coast Regional Gallery, Queensland
Lake Macquarie Regional Gallery, New South Wales
Muswellbrook Regional Gallery, New South Wales
Newcastle Regional Art Gallery, New South Wales
New England Regional Art Museum, New South Wales
Artbank Australia Collection
Faber-Castell Collection Australia
Herald and Weekly Times, Melbourne
Macquarie Bank Collection, Melbourne
Chartwell Collection, Auckland, New Zealand
APA Collection, Nagoya, Japan
Itoki Collection, Tokyo, Japan
S.C.H.E.M.A. Collection, Florence, Italy
Seibu Collection, Tokyo, Japan
World Bank Collection, Washington
Private collections worldwide

Armstrong, Helen, ‘Shifting meaning: Multicultural Sydney’s public realm’, in City Mossop, Elizabeth & Walton P. (eds), Spaces, Art and Design, Craftsman House, Sydney, 2001
Bingham-Hall, Patrick, Olympic Architecture Building Sydney 2000, The Watermark Press, Sydney, 1999
Contemporary Collection Handbook, Art Gallery of New South Wales, Sydney
Dysart, Dinah (ed.), Edge of the Trees: A Sculptural Installation by Janet Laurence and Fiona Foley, Historic Houses Trust of New South Wales, Sydney, 2000
Emmett, Peter, Janet Laurence, Craftsman House, Sydney, 1998
Johnson, Chris & Bingham-Hall, Patrick, Celebrating Sydney 2000: 100 Legacies, Pesaro Publishing, Australia, 2000, pp. 9–10
Kirby, Sandra, Sightlines: Women Art and Feminist Perspectives in Australia, Craftsman House, Sydney, 1992
Mcintyre, Arthur,Contemporary Australian Drawing, Boolarong Publications, Brisbane,1988
Meskimmon, Marsha, Women Making History, Subjectivity, Aesthetics, Routledge, London & New York, 2003
Murray Cree, Laura, Awesome! Australian Art for Contemporary Kids, Craftsman House, Sydney, 2002
Murray Cree, Laura (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House, Melbourne, 2006
Rendell, Jane, Art, Architecture and Site: A Place Between, IB Tauris, 2005

EXHIBITION CATALOGUES (listed in chronological order)
J. Blackall, ‘The essential remains’, Toiana, Adelaide Festival Gallery, Adelaide, June 1983
Peter Emmett, ‘Surface and image’, Surface and Image, Crafts Council Gallery, Sydney, and Lewers Bequest and Penrith Regional Art Gallery, NSW March 1984
S. Britton, ‘26 Characters’, 26 Characters, Adelaide Festival Exhibition, Adelaide, March 1984
John Macdonald, ‘Life is probably round’, Life is Probably Round, Artspace, Sydney, April 1985
Ursula Prunster, ‘Souvenirs from the maidens of Thrace’, Perspecta Survey of Contemporary Art, Art Gallery of New South Wales, Sydney, November 1985
Peter Haynes, ‘From the shadow’, From the Shadow, Canberra School of Art Gallery, Canberra, October 1988
Terence Maloon, ‘Meiosis’, Meiosis, United Artists, gallery, Melbourne, October 1988
Christopher Allen, ‘Opening the pores to the riches of nature’, Janet Laurence Blindspot: An Installation, Ivan Dougherty Gallery, University of New South Wales, Sydney, April 1989
Terence Maloon, ‘Janet Laurence’, Miesis City Gallery, 1989
Fay Brauer, ‘The language of installation: Janet Laurence’, Janet Laurence Blindspot: An Installation, Ivan Dougherty Gallery, University of New South Wales, Sydney, April 1989
Victoria Lynn, ‘Abstraction abstraction’, Abstraction, Art Gallery of New South Wales, Sydney, May 1990
E. Macdonald, ‘Osmosis’, Osmosis, Garry Anderson Gallery, Sydney, July 1990
Anthony Bond, ‘Janet Laurence’, Seibu Gallery, Tokyo, January 1991
Janet Laurence, ‘Frames of reference’, Artist’s statement, Frames of Reference: Aspects of Feminism in Art, The Wharf, Sydney, August 1991
Janet Laurence, ‘Primitive concepts the four elements’, Lake Macquarie City Art Gallery, August 1991
B. Carcenac, Steam. Artists’ Projects for Australian Perspecta 1991, Art Gallery of New South Wales, Sydney, August 1991
Bill Seaman, ‘Lines of thought’, Janet Laurence: The Measure of Light, Queensland Art Gallery, Brisbane, July–August 1993
A. Johnson, ‘The unconscious and the molecular’, Anna Swartz Gallery Melbourne, October 1995
Susan Best, ‘Unfolding’, Unfold, Level 2, AGNSW Contemporary Projects, Sydney, 1997
Deborah Hart, ‘Temple of earth memories’, Australian Perspecta 1997: Between Art and Nature, S.H. Ervin Gallery, National Trust Centre, Sydney, 1997
H. El Attar, ‘Innenseite’, Kassel, Germany, June 1997
M. Tawa, ‘49 Veils: Windows in the new Central Synagogue’, catalogue, 1998
Rachel Kent, ‘Muses – Janet Laurence: Artist in the museum’, The Ian Potter Museum of Art, The University of Melbourne, June 2000
Rachel Kent, ‘Janet Laurence: Transpiration’, Transpiration, Sherman Galleries, Sydney, 25 August 2000
Simeon Kronenberg, ‘Fugitive realities: Towards the construction of a glasshouse’, Janet Laurence: Glass house, Sherman Galleries, Sydney, 2001
Deborah Hart, ‘The art of transformation’, Metis 2001: Wasted, Exhibitions of Science and Art, National Gallery of Australia, Canberra, May 2001
Incarnations: Suspended, Eastside Arts, text by Marion Borgelt and Rod Pattenden, 2001
George Alexander, ‘Janet Laurence and the unquiet museum’, Eden & the Apple of Sodom, University of South Australia Art Museum, Adelaide, March 2002
Adrian Parr, ‘Ferment: Janet Laurence’, Ferment, Faculty of Art & Design Gallery, Monash University, Melbourne, September 2002
Sally Couacaud, 'Janet Laurence: The glasshouse effect', Janet Laurence, Sherman Galleries, Sydney, 2005

ARTICLES AND REVIEWS (listed in chronological order)
Ashton Fischer, ‘New Horizons’, Pol Magazine, May 1981
Susanna Short, ‘The ebb and flow of painting by numbers’, Sydney Morning Herald, December 1981
Neville Weston, ‘In the galleries: Adelaide’, Advertiser, June 1983
‘The Madonna in the stone has a memory’, Warrnambool Art Gallery, Deakin University, video, August 1983
P. Zepplin, 'Interview with Janet Laurence' Cas Magazine, Adelaide, November 1983
Illustration, Domus, no. 640, June 1984
Illustration, Domus, no. 644, November 1984
Terence Maloon, ‘Scattered pieces come together’, Sydney Morning Herald, April 1985
J. Fischer, ‘Paraphrases of emergent meanings’, S.E.L.F., May 1985
Pierre Restany, Domus Australian Magazine, July 1985
B. O. Achilles & J. Isol Blackall, Domus Australian Magazine, July 1985
M. Spens, ‘At the Warwick Arts Trust’, Studio International, September 1985
Jacques Delaruelle, ‘Janet Laurence at Artspace’, Art Press, Paris, September 1985
E. Cross, ‘Life is probably round’, Art Network, October 1985
J. Blackall, ‘Australiana Belgrade’, Yugoslavia, October 1985
Terence Maloon, ‘Landscapes emit a hum of energy’, Sydney Morning Herald, 6 November 1985
M. Stewart, ‘Creative symbiosis’, Good Weekend, Sydney Morning Herald, April 1986
C. Moore, ‘The darker side of the great divide’, Sydney Morning Herald, April 1987
M. Stewart, ‘Playing down the line’, Express, April 1987
Fay Brauer, ‘From the one into the other’, Art Monthly, July 1987
John Macdonald, ‘Hold for VDT training’, Artscribe, September 1987
P. Woodcock, ‘Boomtime for Dreamtime’, Courier Mail, Brisbane, October 1987
Gary Catalano, ‘The ordinary among the extraordinary’, Age, Melbourne, November 1987, p. 14
Sonia Barron, ‘A total experience’, Canberra Times, October 1988
Elwyn Lynn, ‘Surviving the sisterhood’, Australian, April 1989
Jacques Delaruelle, ‘On a few mindscapes’, Sydney Review, May 1989
Christopher Allen, ‘Art and nature’, Art Monthly, May 1989
Peter Haynes, ‘Impressions: Janet Laurence’, Art & Australia, vol. 26, no. 4, winter 1989, pp. 607–09
Arthur Mcintyre, ‘Janet Laurence gets order out of chaos’, Age, Melbourne, June 1989
Gary Catalano, ‘The primal world of paper in Laurence’s art’, Age, Melbourne, July 1989
Virginia Milson, ‘Artists in the forest’, Art Monthly, no. 22, July 1989, p.1
Christopher Heathcote, ‘Commentaries’, Art Monthly, August 1989
E. Butel, ‘Natural order’, Vogue Living, June 1990
‘Reproduction abstraction’, Gh–Magazine, June 1990
‘Reproduction observations’, Gh–Magazine, July 1990
Diane Losche, ‘Osmosis and irony’, Art Monthly, October 1990
P. Fray, ‘Reverse call to middle Australia’, Sydney Morning Herald, 1991
Christopher Heathcote, ‘An artist’s work can vary with time’, Age, Melbourne, June 1991
Mark Pennings, ‘Rare Janet Laurence’, Agenda, September 1991
B. Ludeman, ‘They will call butter yellow’, Eyeline, October 1991
J. Towndrow, ‘Synthesis’, Architecture Bulletin, December 1992
D. Jones-Evans, ‘Art/architecture exhibitions’, Architecture in Australia, December 1992
Christopher Heathcote, ‘Poetic works that bypass new theories’, Age, Melbourne, 1992
D. Jones-Evans, ‘Synthesis’, Architecture in Australia, January 1993
Nicholas Baume, ‘Synthetic syntheses: Collaborations between artists and architects’, Art & Australia, vol. 30, no. 3, autumn, 1993, pp. 326–28
Anne Lim, ‘A resting place awaits the Unknown Soldier’, The Australian, November 1993
S. Smith, ‘Janet Laurence’s dynamic’, Courier Mail, Brisbane, August 1993
‘Synthesis: Artist/architect collaboration’, Sbs Eat Carpet, August 1993
‘Tomb of the Unknown Soldier’, Abc Review, Canberra, November 1993
Terence Maloon, ‘The alchemy of Janet Laurence', Art & Australia, vol. 31, no. 4, winter 1994, pp. 500–05
Andrew Nimmo, ‘Art in the public realm: Edge of the Trees’, Art Monthly, 1994
B. Watson, ‘Building on rare harmony’, Sydney Morning Herald, 28 June 1994
G. Nalder, ‘Matter and surface in Janet Laurence’s installation’, Eyeline, no. 25, spring 1994
Robert Nelson, ‘Science, art and fridge magnets’, Age, Melbourne, 20 October 1994
Philip Kent, ‘Opening the tomb: Tomb of the Unknown Soldier’, Photofile, November 1994
John Macdonald, ‘Sculpture gives edge to reconciliation', Sydney Morning Herald, 31 January 1995
J. Towndrow, ‘Public art and architecture’, Sydney Review, May 1995
Anne Susskind, ‘A path through a forest of pillars’, Sydney Morning Herald,
3 July 1995
A. Nimmo, ‘The Edge of the Trees’, Architecture Bulletin, September 1995
Nicholas Thomas, ‘From Phillip to Phillip Street’, Art & Australia, vol. 33, no. 1, spring 1995, pp. 38–9
Philip Kent & Caroline Butler-Bowden, ‘Servants of the site’, Architecture of Australia, September – October 1995
Benjamin Genocchio, ‘The Edge of the Trees’, Agenda, October 1995
M. Rumbold, ‘Alumni success in the art world’, Alumni Papers, University of New South Wales, Sydney
M. Yoda, ‘Strong aspect of multicultural society’, Sankei Shimbun Newspaper, 7 July 1996
A. Craig, ‘Janet Laurence’, Monument, no.12, 1996
‘Probe into an original landscape of multicultural society’, Yomiuri Shimbun Newspaper, 19 July 1996
A. Takami, ‘Compounding Australian identity’, Bijutu-Techo, August 1996
Graham Foreman, ‘Australian Spekers: Janet Laurence’, Monument, issue12, 1996
Michael Ostwold, ‘(Re)-membering Janet Laurence’s work’, Transition, University of Newcastle, New South Wales, 1997
Anne Susskind, ‘Windows of enlightenment’, Sydney Morning Herald, 1997
L. Stanford, ‘Enlightened memories’, Sydney Morning Herald, 1997
Alex Selenitch, ‘Memory matter’, Ume Magazine, April 1997
Sebastian Smee, ‘Hang 10 – Sydney’s best art’, Sydney Morning Herald, June 1997
Sebastian Smee, ‘Cool for catalysts’, Metro, Sydney Morning Herald, July 1997
Benjamin Genocchio, ‘Postcards from the edge’, Third Text, July 1997
Anne Susskind, ‘Cast in stone, a memorial to lost treasures’, Sydney Morning Herald, 28 August 1997
Sebastian Smee, ‘Merit and madness in the big ticket items’, Financial Review, October 1997
Sue Best, ‘The Nature of Things’, Realtime, 20 August 1997
Wayne Tunnicliffe, ‘Janet Laurence: Unfold’, Look 23, Art Gallery of New South Wales, Sydney, October 1997
Paul McGillick, ‘Unfold’, Monument, 21 November 1997
Angela Bennie, ‘$7.5M Public Art Program to liven up Games sites’, Sydney Morning Herald, 9 December 1997
M. Kearney, ’ Collaborations of artists and architect’, Architecture Bulletin, March 1998
Bruce James, ‘Sculptured windows’, Sydney Morning Herald, 7 July 1998
P. Barker, ‘Raw silk’, Sydney Morning Herald, 16 July 1998
Jennifer Taylor, ‘Modern workshop’, Architecture Australia, July–August 1998
Bruce James, ‘Work in progress’, The Gallerie, Sydney Morning Herald, 11 August 1998
Anne Susskind, ‘ Creating a bridge over troubled water’, Sydney Morning Herald, 1998
Courtney Kidd, ‘Public art in Sydney – Olympian heights or more of the same?’, Artlink, vol. 18, no. 2, 1998
Peter Ward, ‘Out of the ashes’, Australian, 21 August 1998
D. Clark, ‘Act of faith’ Belle Corporate Design, spring–summer 1998
J. Hare ‘Constructive behaviour’, Vive, spring 1998
Peter Ward, ‘A touch of glass’, Design and Architecture, October 1998
Paul McGillick, ‘Prize and prejudice’, Elle, March 1999, pp. 94–7
Russell Millard, ‘Lightning visit worth $40,000’, Advertiser, 29 March, 1999
‘Visy Board Art Prize’, The Leader, 31 March 1999
Adam Dutkiewicz, ‘Democratic success’, Advertiser, 14 April 1999
Anne Susskind, ‘Private places, public spaces’, The Bulletin, 4 May 1999, pp. 114–16
Anne Susskind, ‘Boulevard of brokered dreams’, Australian Magazine, 19–20 June, 1999, pp. 18–25
Sebastian Smee, ‘You call that art?’, Sydney Morning Herald, 26 June1999, pp. 1, 4
Tempe McGowan, ‘ 3 Australian Women exploring the landscape’, Sculpture, September 1999, pp. 38–43
Robin Usher, ‘The Stuffed that dreams are made of’, Age, Melbourne, August 1999
Paul McGillick, ‘Material matters: The art of Janet Laurence’, Monument, December 1999 – January 2000, pp.72–5; also included in Installation Art, Power Institute, The University of Sydney, 2002
Rosanna De Lisle, ‘Heart of glass’, Belle, April–May 2000, pp.119–123
J. Wright, ‘Heart of glass’, Belle, April 2000, pp. 118–23
‘Animal instinct’, Today, Review, Age, Melbourne, 29 June 2000
‘Museum through the looking glass’, Sunday Age, Melbourne, 2000
Tempe McGowan, ‘ Public art and the Sydney Olympics’, Sculpture, July–August 2000, pp. 44–9
Susan Best, ‘Immersion and distraction: The environmental works of Janet Laurence’, Art & Australia, vol. 38, no. 1, spring, 2000, pp. 84–91
Colin Martin, ‘Metamorphosis at the museum’, The Lancet, vol. 356, 21 October 2000, pp. 147–8
Courtney Kidd, ‘Shop affront’, Sydney Morning Herald, 21 March 2001
Felicity Fenner, ‘Report from Sydney II: Ground work’, Art in America, no. 5, May 2001
Elizabeth Farrelly, ‘From foyer to forest: A sensual experience’, Sydney Morning Herald, 17 July 2001
Anne Loxley, ‘Foiled in the search for spirituality’, Sydney Morning Herald, 19 November 2001
Victoria Hynes, ‘Holy grails’, Metro, Sydney Morning Herald, 14–20 December 2001
John Macdonald, ‘Off the wall’, Sydney Morning Herald, 16–17 February 2002
Adrian Parr, ‘Veiling space’, Architectural Review, autumn 2002
Anthony Bond, ‘Eclecticism: Through the distorting lens of distance’, Points of View: University of Technology Sydney Art Collection, UTS, Sydney, 2002, pp. 50–1
Joanna Mendelssohn, ‘Janet Laurence at Sherman Galleries’, tema celeste, May–June 2002
Jim Moss, ‘Sotweed and other factors’, Broadsheet, vol. 31, no. 2, June–August 2002
Kiersten Fishburn, ‘Janet Laurence’, Artlink, vol. 22, no. 2, 2002
Adrain Lahoud, ‘Departure lounge …’, Architecture Australia, November–December 2002
Betsy Brennan, ‘Reinventing nature’, Vogue Living, December 2000 – January 2003
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