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LYNNE ROBERTS-GOODWIN




 
ARTIST PROFILE

LYNNE ROBERTS GOODWIN
Born Sydney, Australia

Lynne Roberts-Goodwin’s work is grounded in a deep concern for nature and humanity. Her strategic partnerships with industrial and scientific communities underpin photographic artworks relating to endangered species and their environments that transcend geographical representation, creating ‘a characteristic push–pull … between the aims of truth on the one hand and those of rhetoric and desire on the other ... Roberts-Goodwin is constantly investigating the possibilities whereby images, even for an instant, can cross the borders of language.’ (Adam Geczy).

In 1988, Roberts-Goodwin’s documentation of rare migratory birds and the illegal trade in live red deer from rural Australia resulted in ‘Blindfold’, a Level 2 Contemporary Projects exhibition held at the Art Gallery of New South Wales, Sydney. During 2003–04, Roberts-Goodwin photographed the vultures of the Parsi community, the peregrine falcons of Himachal Pradesh and the raptors of the desert kingdoms of the United Arab Emirates, with subsequent exhibitions in Sydney and Abu Dhabi.

‘Disappearing Act’, her first solo exhibition at Sherman Galleries in 2005, followed the Frankincense Trail, an ancient Middle Eastern trade route with a deeply conflicted history that runs through Oman, United Arab Emirates, Saudi Arabia, Jordan and Syria. The entrepreneurial Bedouin petrol boys along this route transgress the usual border and migration limitations imposed by western nation states. Their assurance in front of the camera is profoundly moving.

Lynne Roberts-Goodwin is the recipient of major awards and research grants, including, most recently, a grant from the University of New South Wales to research ornithological sites in the United States and the United Arab Emirates. She enjoys a longstanding international reputation, with solo exhibitions in New York, Los Angeles, London, Paris, the United Arab Emirates, Melbourne and Sydney. She is the recipient of numerous grants and awards and works regularly in the Asia Pacific and Central Asia.

BIOGRAPHY
1972–1975 Bachelor of Fine Arts, University of Sydney
1975–1978 Diploma in Art/ Bachelor of Visual Arts, Alexander Mackie College of Advanced Education, Sydney
1979–1980 Master of Fine Arts, Medlock Fine Arts Centre, Manchester University, UK
1986–1987 Associate Diploma Teaching, Sydney College of Advanced Education

SELECTED SOLO EXHIBITIONS
2007 Random Acts, Sherman Galleries, Sydney
2005 Disappearing Act, Sherman Galleries, Sydney
2003–04 azure, Artists’ Abroad, Australian Centre for Photography, Sydney; United Arab Emirates Gallery, Cultural Foundation, Abu Dhabi, UAE
2002 landings, Boutwell Draper Gallery, Sydney
1999 Lynne Roberts-Goodwin, Renard Wardell Gallery, Melbourne
standing the world on its head, Lakeeren Gallery, Mumbai, India
1998 LUMINOUS, Light Work Gallery, Artist Residency Show, New York, NY
1997 BLINDFOLD, Contemporary Level 2 Project Space, Art Gallery of New South Wales, Sydney
Lynne Roberts-Goodwin, Michael Wardell Gallery, Melbourne
pink planks, Artspace, Sydney
1995 FALSE tales, Dogs to the Wall, Artspace, Auckland, New Zealand
FALSE tales, Dogs in Space, Michael Wardell Gallery, Melbourne
FALSE tales, Dishy Dogs, 4 x 4, New Museum of Contemporary Art, NY
1994 a certain BLINDNESS, Centre for Contemporary Photography, Melbourne
Remote, Perth Institute for Contemporary Art, Perth
Remote-Half-Light, Australian Centre for Contemporary Art, Melbourne
1993 PHANTASM, Australian Centre for Photography, Sydney
90's Work, Biota Gallery, Wiltshire Boulevard, Los Angeles
1992 TOUCH, First Draft Gallery, Sydney
1991 TERRASCAPE, Citri Gallery, Royal Melbourne Institute of Technology, Melbourne
1990 Spaces of Dissention, ROAR 2 Studios, Melbourne
MOMENT, Camera Lucida Window Space, Sydney
1989 NO SPACE, Camera Lucida Window Space, Sydney
Works 1989, Coventry Gallery, Sydney, N.S.W., Australia
1986 Recent Works, Coventry Gallery, Sydney
Looking Glass, Salle Sandoz Gallery, Cité Internationalé des Artes, Paris
1984 Works 1982–1984, Images Gallery, Sydney
Site Works, Salle Sandoz Gallery, Cité Internationalé des Artes, Paris
1982 Recent O/S Works, Coventry Gallery, Sydney
Works 1981–1982, Sloane Street Gallery, London, UK
1981 Drawn, Sloane Street Gallery, London, UK
North/South, Whitworth Gallery, Manchester City Gallery, Manchester, UK
1980 From Here, Peterloo Gallery, Peterloo Square, Manchester, UK
1979 Over There, Coventry Gallery, Sydney

SELECTED GROUP EXHIBITIONS
2007 Blossfeldt and the Isolated Object, Level 2 Project, Art Gallery of New South Wales, Sydney
MCA Collections: New Acquisitions, Museum of Contemporary Art, Sydney
Five x Five (with Vanilla Netto), Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
Perfect for Every Occasion: Photography Today, Heide Museum of Modern Art, Melbourne
Five x Five, Faculty Exhibition, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
Voiceless: I feel therefore I am, curator Charles Green, Sherman Galleries, Sydney
2004 One Of: Festivus 04, curators Anthony Whelan & Amanda Henry, Sherman Galleries, Sydney
Jaipur Biennale Arts Festival, Jaipur, India
2002 Time Travel Sanctuary 2, Victorian College of the Arts Gallery, Melbourne.
A Silver Lining & A New Beginning, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
2002: The Year in Art, SH Ervin Gallery, National Trust Centre, Sydney
The Synthetic Image, The Faculty Gallery, Monash University, Melbourne
Open Source, Fosdick Nelson Gallery, New York
Paris Days, Ivan Dougherty Gallery, Sydney
2001 One x One Metre, Boutwell Draper Gallery, Sydney
2000 METROPOLIS, Museum of Sydney, Sydney
1999 Triggered, First Draft Gallery, Sydney
1998 LIST STRUCTURE, Sherman Galleries Goodhope, Sydney
1997 MULTIPLICATION: The multiple object in art, Monash University Gallery, Melbourne
RELEASE: Recent Photo–Based Works, Michael Wardell Gallery, Melbourne
1996 Fourth Annual Digital Salon, The Museum Gallery, New York
ACAF 5, Michael Wardell Gallery, Royal Exhibition Buildings, Melbourne
IN PROCESS, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
NEW SPACE – Gallery Artists, Michael Wardell Gallery, Melbourne
INHERITANCE, Australian Centre for Photography, Sydney
1995 From Strength to Hope, Artspace; Casula Powerhouse, Sydney
it's about time, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
Art Felt, The University of Newcastle Gallery, Newcastle, New South Wales
1995 Interim, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
1994 Next Wave Festival, George Fairfax Hall, Melbourne Arts Centre, Melbourne
Bitmap 101', Gallery 101, Collins Street, Melbourne
1993 21,600 each 24 Hrs, Canberra Travelodge, Canberra
VIRTU, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
1992 IN PRINT, Art Images Gallery, Adelaide
Manu et Mente, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
International Painting, IPI Chicago Art Fair, Chicago SIGGRAPH 92
CITRI SHOW, Citri Gallery, Royal Melbourne Institute of Technology, Melbourne
1991 ARS Electronica, Digital/Photographic Symposium and Exhibition, Linz, Austria
1990 Scanning the Code, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney
Untitled 1990, Performance Space, Sydney
SISEA, Electronic Art, Groningen Arts Centre, Groningen, The Netherlands
1989 PROJECT GAHIA, ARS Electronica, Digital/Photographic Symposium and Exhibition, Linz, Austria
1988 SPIRIT OF THE TIMES, Riverside Studio Gallery, EXPO '90, Brisbane
1985 Sulman Exhibition, Art Gallery of New South Wales, Sydney
1984 Xmas Coventry Artists, Coventry Gallery, Sydney

PUBLIC ART COMMISSIONS
2002–03 Recital Hall, Angel Place, Bovis Lend Lease, PTW Architects, Sydney
2001 Western Sydney Transit Interchange, Hassell Architects
1999–2000 Recital Hall Foyer, Angel Place, Andrew Anderson Architect
Customs Hall, Sydney Airport, Australian Quarantine and Inspection Service (AQIS), Department of Agriculture, Fisheries and Forestry
1998–99 Tankstream: Into the Head of the Cove (five sites), Tankstream City Project, Sydney Sculpture Walk, Council of the City of Sydney
1997–98 Customs Hall, Sydney Airport, Australian Quarantine and Inspection Service (AQIS), Department of Agriculture, Fisheries and Forestry
Design and production of Seal (Artist Book), AQIS, Department of Agriculture, Fisheries and Forestry
1997 City of Light, Tamworth City Light Sculpture, NSW Ministry of the Arts

GRANTS AND AWARDS
2005–06 New Work Grant, Visual Arts Fund, Australia Council
2003–04 New Work Grant, Visual Arts Fund, Australia Council
2000–03 UNSW Research Grant (Saudi Arabia; Pakistan; India)
2001–02 UNSW Research Grant (UAE; Washington, Chicago, US)
2000 UNESCO Sanskriti Artist Asialink Residency, Sanskriti, New Delhi, India
1999–2000 Australia India Foundation Grant, collaboration with World Wildlife Fund and Wilderness India
Faculty Research Grant, COFA, University of New South Wales, Sydney
1996–97 New Work Grant, Visual Arts Fund, Australia Council
1992–96 Faculty Research Grant, COFA, University of New South Wales, Sydney
1998–99 Department of Primary Industries Grant, Australian Quarantine and Inspection Service (AQIS)
1989 New Image Research Grant, Australian Film Commission, Sydney
1985 London Education Authority Artist Travel Grant, UK
1983 Artists Overseas Travel Grant, Visual Arts/Crafts Board, Australia Council
1980 Dyason Bequest Artist Travel Grant, Art Gallery of New South Wales, Sydney
1979 Basil and Muriel Hooper Travelling Art Scholarship, Art Gallery of New South Wales, Sydney

ARTIST RESIDENCIES
2006 WRSAN Farm, HH Sheikh Sultan Bin Zayed al Nahyan, UAE
2005 Arab Image Foundation, Beirut, Lebanon
2004 Fahad Bin Sultan Centre, Riyadh, Kingdom of Saudi Arabia
2002–03 Environmental Research Wildlife Development Agency, UAE
2000-01 Institute of Electronic Arts, Albert University, New York
2000 UNESCO Sanskriti Artist Asialink Residency, Sanskriti, New Delhi, India
1999 Wilderness India, Delhi and Bombay, India
1998 Light Work Gallery, New York
1992 LA County Museum, Los Angeles, California
1983 Moya Dyring Paris Studio, Art Gallery of New South Wales, Sydney

SELECTED COLLECTIONS
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Artbank
TAFE Collection, Bathurst, NSW
RMIT Collection, Melbourne
Peter Styvesant Trust
Transfield/Kumagai Australian Collection
Westpac Collection
Australian Embassy, Abu Dhabi, UAE
Department of Trade & Foreign Affairs, Australia-India Commission, Delhi, India
HH Sheikh Zayhad Bin Sultan Al Nayhan
Sheikh Mohammad Bin Sultan Al Nayhan, Crown Prince Private Collection, UAE
Cité Nationale Des Artes, Paris, France
University of Illinios, Chicago, US
Grosvenor Gallery, Manchester, UK
Medlock Fine Art Centre, Manchester, UK
Peterloo Gallery, Manchester, UK
Sloane Street Gallery, London, UK
Whitworth Gallery, Manchester, UK
ERWDA (Environmental Research and Wildlife Development Agency) Collection, Abu Dhabi, UAE
NID Collection, Ahmenabad, Gujarat, India
Private collections in Australia, Canada, United States, United Kingdom, France, India, Pakistan, Iran, UAE, Saudi Arabia

SELECTED BIBLIOGRAPHY
Annemarie Lopez, 'Lynne Roberts-Goodwin', boxoffice, the(sydney)magazine, Sydney Morning Herald, issue 48, April 2007, p. 102
Andrew Frost, 'The Anne Landa Award', Reviews, Photofile, issue 80, winter 2007, p. 65
Daniel Palmer, 'Perfect for Every Occasion: Photography Today', Previews, Photofile, issue 80, winter 2007, p. 10
Uros Cvoro, ‘The choice of random acts’, Random Acts, catalogue essay, Sherman Galleries, Sydney
Zara Stanhope, 'Perfect for Every occasion: Photography today', Perfect for Every Occasion: Photography Today, catalogue essay, Heide Museum of Modern Art, Melbourne, 2007
Charles Green, ‘We are all animal now’, Voiceless: I feel therefore I am, Sherman Galleries, Sydney
Tracey Clement, ‘Lynne Roberts-Goodwin and her latest projects’, COFA, issue 18, summer 2007, pp. 4–5
Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986–2006, Craftsman House, Melbourne, 2006
Charles Green, ‘Bad Birds’, Cabinet, issue 18, 2005, n.p.
Joanna Mendelssohn, ‘Disappearing Act’, Artlink, vol. 25, no. 2, 2005, p. 99
Reuben Keehan, ‘Lynne Roberts-Goodwin: Disappearing Act’, Photofile, no. 74, winter 2005, p. 73
Tracey Clement, Critics Picks, Metro, Sydney Morning Herald, 25 February – 3 March 2005, p. 27
Anjana Sankar, ‘Artscape’, Khaleej Times, 27 September 2004 pp. 1–2
Kavitha S. Daniel, ‘Around Emirates’, The Gulf News, 26 September 2004, p 2
Aju Jacob, ‘The Gulf today’, Abu Dhabi Bureau, 24 September 2004, vol.9, no.164, p 3
Tim Benzie, Sunday Metro, Sun Herald, Sydney, 23 March 2003
Peter Hill, Critics Pick, Metropolitan, Sydney Morning Herald, 10 April 2003, p. 4
Peter Hill, Spectrum, Sydney Morning Herald, 18 April 2003, p. 29
Robert McFarlane, Metro, Sydney Morning Herald, Monday, 17 April 2003
Sharon Verghis, ‘Catching the fastest predator on film’, Sydney Morning Herald, 11 March 2003
Sean Mooney, ‘Arabian flights’, In Focus, Southern Cross Courier, Tuesday, 18 February 2003, pp. 24–25
Melinda Hickson, ‘Aboriginal Sydney’, Australian Institute of Aboriginal and Torres Strait Islander Studies, Aboriginal Studies Press, Canberra, 2001, pp. 2–3
Sue Best, ‘Public art in the Olympic City’, Architecture Australia, September Issue, 2000
Helen Lochhead, ‘Sydney afresh’, Architecture Australia, September–October 1999
Bruce James, ‘Remembrance of things past’, Spectrum Arts, Sydney Morning Herald, 21 August 1999, p. 12
Geraldine O'Brien, 'Artists get green light', Arts Review, Sydney Morning Herald, 25 June1998, p. 15
Adrian Herbert, ‘Sculpture Walk’, Architecture Review Australia, no. 65, spring 1998, pp. 18–20
M. Skelsey, ‘3 million walks of art', Daily Telegraph, Wednesday, 24 June 1998, p. 19
Zara Stanhope, Multiplication: The Multiple Object in Art, Monash University Gallery, Melbourne
Bruce James, Galleries (Arts 11, Art Gallery of New South Wales), Sydney Morning Herald, March 1997
David Haines, ‘Blindfold-False-Tales’ (Artspace Gallery, Auckland, NZ), Photofile, no. 47, March 1996, pp. 47–8
Charles Green, ‘False tales’, Art & Australia, vol.34, no.2, summer 1996, p. 285
T. J. McNamara, Perspective on Art, New Zealand Herald, 4 October 1995, p. 11
Louise Adler, Arts and Entertainment Review, Age, Melbourne, 7 July 1995, p. 15
Robert Nelson, Arts and Entertainment Review, Age, Melbourne, 28 June 1995, p. 23
Victoria Ryan, False Tales, exhibition catalogue, Michael Wardell Gallery, Melbourne; Artspace Gallery, Auckland, NZ, 1995
Charles Green, Remote-Half-Light, exhibition catalogue, Australian Centre for Contemporary Art (ACCA), Melbourne; Perth Institute of Contemporary Art (PICA), Perth, 1994
Diane Mah, 'Remote–Half–Light', Sydney Review, June 1994, p. 19
Exhibition Commentary, Art & Australia, vol. 32 no.1, spring 1994, p. 113
Caroline Durre, 'The economy of printmaking’, Imprint, vol. 29, no. 2, winter 1994, p. 8
Alan McCulloch & Susan McCulloch, Encyclopedia of Australian Art, Allen & Unwin, Sydney, 1994, p. 605
Max Germaine, Directory of Women Artists of Australia, Craftsman House, Sydney, 1991, p. 107
David Bromfield, 'The twilight of memory’, Arts Review, Australian, 25 June 1994, p. 4
Robert Rooney, 'Distant notes compare well', Arts Review, Australian, 16 April 1994, p 13
Graeme Sullivan, Seeing Australia: Views of Artists and Artwriters, Piper Press, Sydney, 1994, p. 153
John Conomos, review, ‘Phantasm’, Eyeline, summer 1993
Charles Green, Artist Profile, Art Bulletin, June–July 1993
Charles Green, 'Art as printmaking: The de-territorialised print', Art Monthly Australia, no. 58, April 1993, p. 10
Leonardo, Journal of the International Society for the Arts, Sciences and Technology, pp. 73–5
Diane Mah, ‘Re-creation and recreation’, Sydney Review, November 1990, p. 72
K. Cranswick, 'An artist's brush with CAD', Australian, 12 March 1990, p. 61
PRIX ARS ELECTRONICA, artist exhibition catalogue, 1992 p. 39
MANU et MENTE, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney, 1992, p. 7
UNTITLED '90, curator Rosie Waitt, artist exhibition catalogue, Performance Space, Sydney, p. 4
SCANNING THE CODE, Ivan Dougherty Gallery, COFA, University of New South Wales, Sydney, 1990, p. 14
Charles Green, PHANTASM, exhibition catalogue, Australian Centre for Photography, July–August 1993

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