Researcher

Dr Clare Milledge

My Expertise

Contemporary Art, Painting, Ecology and the Arts

Keywords

painting

australian contemporary art

Fields of Research (FoR)

Visual arts, Fine arts, Performance art, Creative and professional writing

Biography

Milledge lives and works between the lands of the Arakwal and Widjabul Wia-bal people of the Bundjalung Nation (Northern NSW) and the lands of the Garigal, Bidjigal and Gadigal people of the Eora Nation (Warrang/Sydney). She is a Senior Lecturer at UNSW Arts, Design & Architecture and is represented by STATION gallery.

Milledge's work re-examines contemporary environments with a focus on our engagement with ecology through art, in particular...view more

Milledge lives and works between the lands of the Arakwal and Widjabul Wia-bal people of the Bundjalung Nation (Northern NSW) and the lands of the Garigal, Bidjigal and Gadigal people of the Eora Nation (Warrang/Sydney). She is a Senior Lecturer at UNSW Arts, Design & Architecture and is represented by STATION gallery.

Milledge's 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, daily experiences and site visits. Her work takes the form of public installation environments that variously incorporate glass paintings, textile works, poetry, 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

2021

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

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

Recent career highlights include:

The installation Imbás: a well at the bottom of the sea in the 23rd Biennale of Sydney: rīvus (2022) ; an installation of glass paintings and wood sculpture for the group show Still Life, curated by Jacqueline Doughty at Buxton Contemporary (2022); inclusion of glass paintings in the NGV Triennial (2020); an installation of glass paintings, recycled textile works, and a collaborative sound performance in Second Sight: Witchcraft, Ritual, Power, University of Queensland Art Museum (2019); a solo performance and an installation for the group exhibition Remedial Works at PICA, Perth; a solo performance Strigiformes: Binocular, Binaural, curated by Stina Högkvist for Museet for Samtidskunst, Nasjonalmuseet (Museum for Contemporary Art, National Museum of Norway); a large commissioned glass work for What Remains, curated by Silja Leifsdottir at Fotogalleriet, Oslo; (all 2017); glass paintings in Magic Object, The Adelaide Biennial, curated by Lisa Slade; the expansive installation Dämmerschlaf with Mikala Dwyer and Nick Dorey, curated by Alexie-Glass Kantor and Talia Linz for Artspace, Sydney (both 2016) and the touring group exhibition Erewhon curated by Vikki McInnes, Margaret Lawrence gallery (2016-2018).

She has held numerous solo exhibitions at commercial galleries, primarily STATION Gallery and The Commercial Gallery, and exhibited at the University of Technology Sydney, Sydney College of the Arts, Griffith University Art Gallery and numerous other University Galleries.

Milledge was three times a finalist in the Helen Lempriere Travelling Art Scholarship (2007, 2008, 2010) and three times a finalist in the Fauvette Loureiro Travelling Art Scholarship Finalists Exhibition (2016, 2017, 2020). She was one of seven artists awarded an Inaugural Artspace 1 year studio (2015) and held a studio residency at Carriageworks in 2021. Her work is held in the collections of the National Gallery of Victoria, Buxton Contemporary, Monash University Museum of Art, Ten Cubed and Artbank.

My Research Supervision

Supervision keywords

australian contemporary art

Areas of supervision

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

Currently supervising

Aulia Ibrahim Yeru (PhD) joint with Associate Professor Felicity Fenner, "Bentang Sungai | Riverscape: Art and Ecology as Spatial Practice."

Felix Cehak (PhD) joint with Dr Izabela Pluta, "Birdsong in the Australian Rainforest: Natural History in Contemporary Art Practice. How can the intersection of contemporary art and folk conservation practices communicate ecological knowledge, with a specific focus on the Albert's Lyrebird."

Bronwyn Bailey-Charteris (PhD), secondary with Associate Professor Felicity Fenner, "The Hydrocene: Curatorial theory of the confluence of art, water and the climate crisis in eco-aesthetics."

Jacqui Driver (MFA), joint with Professor Jill Bennett, "The Mothering Thicket: Investigating the Impact of Trans-generational Trauma through Installation Based Print Practice."

Previous Supervisions:

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".

Jana Hawkins-Andersen (MFA) joint with Dr Lindsay Kelley

Lisa Sammut (MFA) joint with Dr Tim Gregory

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)

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