Researcher

Dr Clare Milledge

Keywords

Field of Research (FoR)

Biography

Dr Clare Milledge is an artist and academic.

She lives and works between the lands of the Arakwal people in Bundjalung country (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people (Paddington, Sydney). She is a lecturer at UNSW Art & Design and is represented by STATION.

Her work re-examines contemporary environments with a focus on our engagement with ecology through art, in particular through the use of the...view more

Dr Clare Milledge is an artist and academic.

She lives and works between the lands of the Arakwal people in Bundjalung country (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people (Paddington, Sydney). She is a lecturer at UNSW Art & Design and is represented by STATION.

Her work re-examines contemporary environments with a focus on our engagement with ecology through art, in particular through the use of the historical figure of the artist-shaman. Working with fieldwork as her primary methodology she collects, re-organises, transforms and re-presents recordings, information and material gathered on ecological surveys and site visits. Her research output takes the form of public installation environments that variously incorporate glass paintings, textile works, costumes, sets, collaborative experimental sound and performance.

Milledge completed her Doctor of Philosophy at Sydney College of the Arts, the University of Sydney in 2013. Part of her candidacy (2008) was spent at the Universität der Künste, Berlin. She completed her Honours year (also administered by Sydney College of the Arts) at the Statenskunst Akademi in Oslo (2006) and maintains an active engagement with Norwegian contemporary art. 

 

 


My Grants

 

 

2018        

Arts Projects for Individuals and Groups, Australia Council for the Arts

 

2016        

ArtsNSW Support Grant

Arts Projects for Individuals and Groups, Australia Council for the Arts

 

2015         

ArtsNSW Support Grant

Australian Artist’s Grant, NAVA

ArtStart Grant, Australia Council for the Arts

 

2014         

NSW Artist’s Grant, ArtsNSW grant administered by NAVA

 

2010         

New Work Grant for Emerging Visual Artists, Australia Council for the Arts

 

2008         

Janet Holmes à Court Artists Grant, NAVA

Fauvette Loureiro Memorial Artists Exchange Scholarship, Sydney College of the Arts, The University of Sydney (Berlin)

 

2006         

Fauvette Loureiro Memorial Artists Exchange Scholarship, Sydney College of the Arts, The University of Sydney (Oslo)

 

 


My Qualifications

 

 

2007-2013

Doctor of Philosophy, The Artist Shaman and “the Gift-of-Sight”, Sydney College of the Arts, The University of Sydney, Sydney  

Supervisors: Associate Professor Ann Elias and Matthys Gerber

2008 PhD candidate, Sydney College of the Arts, The University of Sydney/ Universität der Künste, Berlin Supervisors: 

Supervisors: Associate Professor Ann Elias and Matthys Gerber/Lothar Baumgarten

2006

Bachelor of Visual Arts (Painting), Honours 1, Sydney College of the Arts, The University of Sydney, Sydney and Statens Kunst Akademi, Oslo 

Supervisors: Matthys Gerber and Gunter Reski

2004-2005

Bachelor of Visual Arts (Painting), Sydney College of the Arts, The University of Sydney, Sydney

1999

Bachelor of Visual Arts (Foundation), The College of Fine Arts, The University of New South Wales, Sydney

 


My Awards

2007-2010  

University Postgraduate Award, Sydney College of the Arts, The University of Sydney, Sydney

 

Milledge’s research output is held in the collections of:

Artbank, Sydney

Buxton Contemporary, Melbourne

Monash University Museum of Art, Melbourne

National Gallery of Victoria, Melbourne

Ten Cubed, Melbourne

 

 


My Research Activities

 

Milledge is an early-career researcher with a high level of non-traditional research output. Her work re-examines contemporary environments with a focus on our engagement with ecology through art, in particular through the use of the historical figure of the artist-shaman. Working with fieldwork as her primary methodology she collects, re-organises, transforms and re-presents recordings, information and material gathered on ecological surveys and site visits. Her research output takes the form of public installation environments that variously incorporate glass paintings, textile works, costumes, sets, collaborative experimental sound and performance. Recognition for her research in this field is evidenced by the inclusion of her work in consistently high-calibre institutions, where it has been contextualised within relevant frameworks relating to the artist-shaman and changing ecologies.

She has exhibited in significant solo and group exhibitions in the following Contemporary Art Organisations Australia (CAOA): the Perth Institute of Contemporary Arts (PICA); Australian Experimental Art Foundation; Gertrude Contemporary; and Artspace. She has exhibited in many artist run initiatives such as 55 Sydenham Rd, ICAN, and Blindside, as well as University institutions including Monash Museum of Art; Griffith University Art Gallery; UTS Gallery; Margaret Lawrence Gallery; University of Queensland Art Museum and SCA Galleries. International exhibition venues include the Museum of Contemporary Art at the National Museum of Norway, Fotogalleriet in Oslo and at Arndt Art Agency in Berlin.

In 2016 she received funding from the Australia Council and CreateNSW to undertake a research project “Strigiformes: Binocular, Binaural.” The project was first performed at the Museum of Contemporary Art, at the National Museum of Norway (Nasjonalmuseet) in June 2017 and then at PICA in October 2017. The exhibition received widespread and positive press coverage and was highlighted on international platforms such as Art Viewer and Daily Lazy, where her works featured as the leading images. The exhibition included artists such as Anicka Yi who is at the international forefront of this research field. The exhibition was reviewed in Runway: Australian Experimental Art and in Ned Reilly’s article “Vegesingularity” in Art + Australia in May 2018. 

 

 

 

 


My Research Supervision


Supervision keywords


Areas of supervision

Visual Arts, Contemporary Art, Fine Art, Painting, Installation, Sculpture, Experimental and Collaborative Practice.

 


Currently supervising

Megan Hanson (MFA) joint with Debra Phillips, "‘I' am not one: co-producing the nomadic subject at the intersection of art and fashion".

Genevieve Reynolds (MFA) joint with Dr Grant Stevens, "Godflesh: The Impact of Digital Image Technologies and Interfaces on Representations of Space in Contemporary Painting".

Min Wong (MFA) joint with Dr Grant Stevens, "Revisiting esoteric traditions and practices through contemporary sculptural practice".

 

Previous candidates:

Lisa Sammut (MFA) joint with Dr Lindsay Kelley, "Cosmic Choreographies: tools, monuments, echoes".

Jana Hawkins-Andersen (MFA) joint with Dr Tim Gregory, "Sympathy and Contagion: Care, Contamination and Slime in Contemporary Sculpture and Ceramics".

 


My Engagement

Selected bibliography

2020

Tom Melick, "Living Annotations (for Clare Milledge)", NGV Artjournal

https://www.ngv.vic.gov.au/essay/living-annotations-for-clare-milledge/

 

2019

Amelia Wallin, “Revisiting colour problems: Emily Vanderpoel, Hilma af Klint, Becca Albee, Clare Milledge”, Artlink Issue 39:1 pp 30-35 (feature article) https://www.artlink.com.au/articles/4741/revisiting-colour-problems-emily-vanderpoel-hilma-/

Sophie Rose, “Second Sight: Witchcraft, Ritual, Power”, Un Projects (exhibition review)

http://unprojects.org.au/un-extended/reviews/second-sight/

2018

Anna Dunnill, “Sacks of wind: a rock harder than rock”, Artguide (exhibition preview) https://artguide.com.au/clare-milledge-sacks-of-wind-a-rock-harder-than-rock

Ned Reilly, “Vegesingularity”, Art + Australia, 2018. Issue Three (54.2): Unnaturalism pp 54-63

http://www.artandaustralia.com/vegesingularity

2017

Anna Dunnill, “Remedial Works,” Runway Experimental Arts 

http://conversations.runway.org.au/conversations/remedial-works/ (exhibition review)

Andreas Breivik and Victoria Duffee, “Clare Milledge at the Museum for Contemporary Art,” Vi ser på Kunst, http://viserpaakunst.com/clare-milledge/ (performance review)

“Symposium: Clare Milledge,” Museum, Issue 7 “Factory”

2016

Dr Astrid Lorange, “Reading Paintings and Poetry,” Blackbox Manifold, Issue 16 http://www.manifold.group.shef.ac.uk/issue16/AstridLorangeEssayBM16.pdf (journal article)

Dr Marian Tubbs, "Vortices and abstraction: and in the end relations," Oberon #2, p 50-54 (journal article)

Dr Astrid Lorange, “Alien Intimacy,” Skara Thynge: Travelling Stock Reserves, The Commercial Gallery, Sydney (exhibition text)

Craig Judd, “This Thing,” Magic Object: Adelaide Biennial, (biennial catalogue) 

Sebastian Goldspink, “Elements: The Shaman,” Magic Object: Adelaide Biennial, (biennial catalogue)

Teri Hoskin, “2016 Adelaide Biennial of Australian Art: Magic Object,” April 1 2016, Artlink (biennial review) 

Jane Llewellyn, “Adelaide Biennial 2016: Where the Magic Happens.” http://adelaidereview.com.au/arts/adelaide-biennial-2016/ Jan 29 2016, The Adelaide Review (biennial review)

Craig Judd, “The Mnemonic Mirror,” Artlink, (exhibition review) https://www.artlink.com.au/articles/4459/the-mnemonic-mirror/

John Neylon, “Review: 2016 Adelaide Biennial is Simply Magic,” The Adelaide Review, (biennial review)

Vikki McInnes, “Dark Pasts, Dark Presents: The Originary Nowhere,” in Erewhon, Margaret Lawrence Gallery and touring with NETSVIC (exhibition catalogue)

Molly McPhee, “Stigma: The Work of the Straightener, in Erewhon in Erewhon, Margaret Lawrence Gallery and touring with NETSVIC (exhibition catalogue)

2015

Tom Melick, “Sit on me, said the rock and I’ll speak,” 

Katie Milton, “Outer Body/ Outer Mind,” Runway - Australian Experimental Art, Issue 27: Outside http://runway.org.au/outer-body-outer-mind/ (journal article)

Dan Rule, “Our pick of what’s showing in galleries around town,” The Sydney Morning Herald online http://www.mutualart.com/ExternalArticle/Our-pick-of-what-s-showing-in-galleries-/C6C38EFB56DE14F7 October 9 2015 (article)

Neha Kale, “Searching for Meaning Amid the Mess,” Vault Magazine, July 2015, Issue 10, pp 18-19 (journal feature article)

2014

Tom Melick, “A Speculative Dictionary for Clare Milledge,” Theoretical Regression: A Warm Sheen Against Received Ideas, The Commercial Gallery, Sydney (exhibition text)

Kyla McFarlane, “The Suppository of All Wisdom,” Altus Duel: Total Environment, Gertrude Contemporary, Melbourne (exhibition catalogue)

2013

Isobel Parker Phillip, “Clare Milledge, Motivated Reasoning: Strategic, Tactical, Operational, The Commercial Gallery, 22 March – 13 April 2013,” UN Projects, Issue 7.1 p 19 (exhibition review)

2012

Catherine Bennetts-Cash, “Un-Acclimatised,” Monash University Museum of Art, (exhibition catalogue)

2011

Margaret Farmer, “Bad Angle,” Artlink Magazine, Vol. 31, #3 p.89 (exhibition review)

Anne Ferran, “On Abjection and Love,” The Stain, Verge Gallery, The University of Sydney (exhibition catalogue)

View less