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
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
Bachelor of Visual Arts (Painting), Sydney College of the Arts, The University of Sydney, Sydney
Bachelor of Visual Arts (Foundation), The College of Fine Arts, The University of New South Wales, Sydney
Dr Clare Milledge is an artist and academic.
She lives and works between the lands of the Arakwal people of the Bundjalung Nation (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people of the Eora Nation (Paddington, Sydney). She is a Senior Lecturer at UNSW Arts, Design and Architecture 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.
University Postgraduate Award, Sydney College of the Arts, The University of Sydney, Sydney
Milledge’s research output is held in the collections of:
Buxton Contemporary, Melbourne
Monash University Museum of Art, Melbourne
National Gallery of Victoria, Melbourne
Ten Cubed, Melbourne
Arts Projects for Individuals and Groups, Australia Council for the Arts
ArtsNSW Support Grant
Arts Projects for Individuals and Groups, Australia Council for the Arts
ArtsNSW Support Grant
Australian Artist’s Grant, NAVA
ArtStart Grant, Australia Council for the Arts
NSW Artist’s Grant, ArtsNSW grant administered by NAVA
New Work Grant for Emerging Visual Artists, Australia Council for the Arts
Janet Holmes à Court Artists Grant, NAVA
Fauvette Loureiro Memorial Artists Exchange Scholarship, Sydney College of the Arts, The University of Sydney (Berlin)
Fauvette Loureiro Memorial Artists Exchange Scholarship, Sydney College of the Arts, The University of Sydney (Oslo)
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.
Recent career highlights include: inclusion of glass paintings in a dedicated room as part of 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. She has exhibited at the University of Technology Sydney, Sydney College of the Arts, Griffith University Art Gallery and numerous other University Galleries.
She 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 currently holds a studio residency at Carriageworks. Her work is held in the collections of the National Gallery of Victoria, Buxton Contemporary, Monash University Museum of Art, Ten Cubed and Artbank.
In 2022 she will present her project Imbás: A Well at the Bottom of the Sea in the 23rd Biennale of Sydney: rīvus.
The team of curators—the Curatorium—developing and realising the 2022 edition represent the Biennale of Sydney’s core exhibition partners:
José Roca, Artistic Director, 23rd Biennale of Sydney
The 23rd Biennale of Sydney will be presented free to the public from Saturday, March 12 to Monday, June 13, 2022.
Tom Melick, "Living Annotations (for Clare Milledge)", NGV Artjournal
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)
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
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”
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)
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)
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)
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)
Catherine Bennetts-Cash, “Un-Acclimatised,” Monash University Museum of Art, (exhibition catalogue)
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)