Brad Buckley

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Brad Buckley
Brad Buckley.jpg
Born
Sydney, NSW, Australia
NationalityAustralian
Alma mater Saint Martins School of Art, London; Rhode Island School of Design
Occupation(s)Artist, urbanist, writer, academic
Years active1973–present
Employer University of Melbourne

Brad Buckley (born 1952 in Sydney) is an Australian artist, activist, urbanist and is a Professorial Fellow at Victorian College of the Arts, Faculty of Fine Arts and Music, the University of Melbourne. He is also a foundation research fellow at the Centre of Visual Art (CoVA) at the University of Melbourne. Buckley was previously, Professor of Contemporary Art and Culture at Sydney College of the Arts, University of Sydney. He has exhibited widely, with exhibitions across Australia, and globally in the United States, Germany, Canada, Poland, Japan, New Zealand, Israel and Norway. He has also written widely on contemporary art, art schools, curating and the neo-liberal influence on society. Buckley's writings have been published by Pluto Press Australia, NSCAD Press and Wiley-Blackwell.

Contents

Background

Buckley is a sixth-generation Australian, predominately of Irish and Celtic heritage and his immediate ancestors are a mix of lawyers and artisans. He spent his childhood years in Sydney before travelling and living in Europe and the United States during the 1970s and 1980s. He returned to live in New York (1990–1992) as an Australia Council of the Arts PS1 Institute for Contemporary Art/MoMA fellow. His father, Jim Buckley, owned the Newcastle Hotel in Lower George Street, Sydney. [1] The Newcastle was one of the Sydney Push 'hotels' – the Push members were also known as Libertarians – and was frequented by artists, poets, underworld figures and philosophers between 1956 and 1972. [2] [3]

He was educated at Saint Martins School of Art, London, and the prestigious Rhode Island School of Design, [4] where he graduated with a Master of Fine Arts in 1982. [5] While living in London, Buckley saw several plays by Samuel Beckett performed by Beckett's preferred leading actor, Billy Whitelaw, which had a profound influence on his thinking about art and the role it plays in the world.

Buckley has also been the chair of the board of Artspace Visual Arts Centre in Sydney, once during the 1980s and also again between 2001 and 2006. [6]

Works

Buckley's works operate within an overarching schema entitled The Slaughterhouse Project, which is an aesthetic armature, a strategy used for aesthetic infiltration, or infection. As the name implies, the Project is a conceptual device of cauterisation, a way of exploring taboos, for investigating political anomalies, for venting dissatisfaction with social injustice. [7] Operating at the intersection of installation, theatre and performance, investigates questions of cultural control, democracy, freedom and social responsibility, Buckley's work has been included in:

His work has been exhibited at:

His work has been cited in New Observations, [33] Art + Text (Sydney), Flash Art (Milan), Artforum International, [34] and Art in America. [35] Buckley exhibited The Slaughterhouse Project: Alignment and Boundaries (L’Origine du monde) at the Australian Centre for Photography in 2013. [36]

Curatorial work

Buckley has a longstanding interest in curating and has undertaken projects at the Museum of Art, the Rhode Island School of Design and the Institute of Modern Art in Brisbane. [37] [38] [39] He co-curated with Blair French Reading and Writing Rooms, which was a major 30-year survey of New Zealand-born, Canada-based artist Bruce Barber, [40] and was held in 2008 at Artspace Visual Arts Centre, Sydney. [41] The project was developed in conjunction with Manukau Institute of Technology and Te Tuhi Centre for the Arts in Auckland, where a partner component of the exhibition opened in December of the same year.

His most recent curatorial project (co-curated with Helen Hyatt-Johnston, [42] Couplings, was shown in 2018 at the Dominik Mersch Gallery, Sydney, Australia. [43]

Academia

As a teacher at Sydney College of the Arts (1989–2017), Buckley has taught several generations of contemporary Australian artists working within painting, installation, performance and new media art, including Sean Lowry, [44] Kyle Jenkins, [45] Alex Gawronski, [46] Tony Schwensen, [47] Sarah Newall, [48] David Haines, [49] Mark Shorter, [50] Rowan Conroy, [51] Sylvia Schwenk, [52] Shaun Gladwell, [53] Ben Quilty, [54] Koji Ryui, [55] Justene Williams, [56] Bijana Jancic, [57] Dr Catherine Payne, [58] Bronwyn Bancroft, [59] Yiorgos Zafiriou, [60] and Salvatore Panatteri. [61]

Since 2003, Buckley has lectured and written widely on higher degrees and research in the art school context. In 2003, Buckley was invited to be the keynote speaker at the Visual Arts PhD Programs seminar at the Royal Danish Academy of Fine Arts. [62] He was also a keynote speaker in 2007 at the International Symposium on Art and Design: University Art Practice and Research Funding, at the University of Tsukuba in Japan. He also developed and convened, with Simone Douglas [63] and senior faculty members, a conference on higher degrees and research in the art and design school context, entitled Evolution: Art and Design Research and the PhD, [64] at The New School (New York) in October 2010. Buckley and Su Baker AM, [65] Pro-Vice Chancellor and Director of the Centre of Visual Art, Victorian College of the Arts, the University of Melbourne, received in 2008–09 an Australian Learning and Teaching Council (ALTC) grant to undertake research into the impact of the PhD in visual arts in Australian universities over the past decade. [66]

His commitment and contribution to graduate supervision was recognised in 2004 with the awarding of the first College of Humanities and Social Sciences (CHASS), the University of Sydney, Award for Excellence in Research, Higher Degree Supervision. [67] In 2016, Buckley was awarded the Sydney University Postgraduate Representative Association (SUPRA) Supervisor of the Year Award. He has been a visiting artist and professor at numerous institutions throughout Asia, Europe and North America including the University of Tsukuba (Japan), National College of Art and Design (Dublin, Ireland), the Nova Scotia College of Art and Design University (Canada) and at the Royal Danish Academy of Fine Arts. During 2009 and 2013, Buckley was a visiting scholar at Parsons The New School for Design (New York).

Publishing projects

He is the editor, with John Conomos, of Republics of Ideas: Republicanism Culture Visual Arts (2001); [68] Rethinking the Contemporary Art School: The Artist, the PhD and the Academy (2009), [69] Ecologies of Invention (2013), [70] Erasure: The Spectre of Cultural Memory (2015), [71] Who Runs the Artworld: Money, Power and Ethics (2017), [72] and A Companion to Curation (2020). [73]

Buckley has also developed and chaired (with Conomos) a number of conference sessions for the College Art Association, including America: The Divine Empire (Atlanta, 2005), The Contemporary Collaborator in an Interdisciplinary World (Dallas, 2008), The Erasure of Contemporary Memory (New York, 2011) and Co-Chaired, with John Conomos, the session “The Delinquent Curator: has the curator failed contemporary art?”, 101st College Art Association (CAA) conference in New York City, 2013. [74] His most recent conference which he chaired and developed Gatekeeping and Ethics in a Globalised Artworld, was held at the Centre of Visual Art (CoVA), at Victorian College of the Arts, Faculty of Fine Arts and Music, the University of Melbourne and the National Gallery of Victoria, Australia. [75]

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References

  1. ↑ National Library of Australia catalogue
  2. ↑ "Baker, A.J., 'Sydney Libertarianism and the Push'". Archived from the original on 3 March 2016. Retrieved 11 February 2013.
  3. ↑ "Moorhouse, Frank, 'The Newcastle Hotel', The Dictionary of Sydney".
  4. ↑ ‘’Scanlines’’, biography page, College of Fine Arts (UNSW), dLux Media and Museum of Contemporary Art Australia.
  5. ↑ "Rhode Island School of Design Alumni Community". Archived from the original on 2 November 2012. Retrieved 15 April 2013.
  6. ↑ Artspace Visual Arts Centre history. Archived 7 February 2013 at the Wayback Machine
  7. ↑ 'The Slaughterhouse Project: Alignment and Boundaries (L’Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian (revisited)', Australian Centre for Photography, 2 March–19 May 2013. Archived 8 April 2014 at the Wayback Machine
  8. ↑ InDepth Art News.
  9. ↑ Construction in Process IV 1993, Lodz, Poland.
  10. ↑ Sureck, Suzy (guest ed.), 'Construction in Process', New Observations special double issue, no. 102, 1994.
  11. ↑ Volk, Gregory, 'My Home is Your Home, Construction in Process', Art + Text, no.47, 1994.
  12. ↑ Construction in Process V 1995, Mizpeh Ramon, Israel.
  13. ↑ Bond, Anthony, Artistic Director, Foreword, The 9th Biennale of Sydney, The Boundary Rider
  14. ↑ Jackson, Mark, 'Vigilance' in The Boundary Rider: The 9th Biennale of Sydney, Art Gallery of NSW, Sydney, 1990, pp.320–328)
  15. ↑ Project Anywhere, The Deconsumptionists.
  16. ↑ Franklin Furnace Archive, Goings On
  17. ↑ WorldCat, ‘The Slaughterhouse Project: The part which is silent and moves with great slowness’, Artspace Auckland, 1996
  18. ↑ Broadfoot, Keith, 'The End of the Line: Installation Art Today’, catalogue essay for The Slaughterhouse Project: The part which is silent and moves with great slowness, Artspace, Auckland, New Zealand, 1996, unpaginated.
  19. ↑ Morris, Bob, ‘Recollection Is An Elemental Phenomenon’, catalogue essay, Artspace Visual Arts Centre, Sydney and Australian Perspecta '85, the Art Gallery of New South Wales, 1985, p.24.
  20. ↑ Levine, Brett, 'Princes Kept the View' catalogue essay for The Slaughterhouse Project: The Light on the Hill, Visual Arts Gallery, University of Alabama at Birmingham, USA (2002) in Brad Buckley, John Conomos, Australian Centre for Photography, 2013, pp.51–59)
  21. ↑ "The Slaughterhouse Project: In Medias Res, Le Chambre Blanche". Archived from the original on 4 March 2016. Retrieved 21 April 2013.
  22. ↑ Millner, Jacqueline, 'The Slaughterhouse Project', catalogue essay for The Slaughterhouse Project: In Medias Res, La Chambre Blanche, Quebec, in Le Bulletin 26, 2006.
  23. ↑ Conomos, John, ‘Brad Buckley, Etiquette: Space, Site, Politics’, catalogue essay for Unthinkable: Etiquette and Unthinkable: Fear of Joy, Artspace Visual Arts Centre, Sydney, 2004.
  24. ↑ Broadfoot, Keith, ‘Site Unseen’, catalogue essay for Those Unspoken Tragedies (and that slashed eye), Artspace, Sydney, 1995.
  25. ↑ Kismaric, Carole (ed.), National and International Studio Programs 1990–1991, Institute for Contemporary Art, PS 1 Museum, New York, 1991.
  26. ↑ Jackson, Mark, ‘ipseity/ravissement’, catalogue essay, Institute of Modern Art, Brisbane, 1992, unpaginated.
  27. ↑ "Welcome to the Desert of the Real, October–November 2008, ICAN website". Archived from the original on 9 September 2012. Retrieved 26 April 2013.
  28. ↑ "Giving Notice: Words on Walls, 27 August–3 October 2010, Dalhousie Art Gallery". Archived from the original on 29 April 2013. Retrieved 21 April 2013.
  29. ↑ Wyman, Jessica, 'What We Do With Walls', catalogue essay for Giving Notice: Words on Walls, Dalhousie Art Gallery, Halifax, Canada, 2010, pp.35–42)
  30. ↑ "Brad Buckley: The Cosmopolitan Community, University of Tsukuba Art Space". Archived from the original on 4 March 2016. Retrieved 11 February 2013.
  31. ↑ "Press release: Presenting: Brad Buckley, an EIDIA House project, 10 September – 8 October 2011" (PDF). Archived from the original (PDF) on 24 April 2012. Retrieved 26 April 2013.
  32. ↑ Kyle Jenkins and Tarn McLean, PAINTINGONTOPOFITSELF 2015-2020: Five Shows about Contemporary Painting, Loophole Press, Toowoomba, Australia, 2020.
  33. ↑ ‘Konstrukcja w Procesie-Construction in Process’, New Observations 102, July/August/September/October 1994 (New York)
  34. ↑ ‘Unsentimental Education’, Artforum International, July 2010, (New York).
  35. ↑ Melissa Kuntz, Goodness, Truth, and Money, Art in America, September, 2018, Volume 106, Issue 8, 57-59.
  36. ↑ "Australian Centre for Photography, Autumn Season 2013". Archived from the original on 3 May 2013. Retrieved 23 April 2013.
  37. ↑ Buckley, Brad, 'Provocative and Problematic Video from the American East Coast', catalogue essay, Institute of Modern Art, Brisbane, Australia, 1983.
  38. ↑ ‘Provocative and problematic video from the American east coast’, Institute of Modern Art, Brisbane, 1983
  39. ↑ ‘Exhibitions of note’, Arcadia University, Pennsylvania Archived 4 June 2010 at the Wayback Machine
  40. ↑ Bruce Barber website.
  41. ↑ Reading and Writing Rooms, 2008 Archived 9 April 2013 at the Wayback Machine
  42. ↑ The Twilight Girls, Cementa.
  43. ↑ Couplings, Dominik Mersch Gallery, April 2018.
  44. ↑ Sean Lowry art/music/text.
  45. ↑ Kyle Jenkins website.
  46. ↑ Alex Gawronski website.
  47. ↑ Tony Schwensen biography Archived 9 March 2015 at the Wayback Machine
  48. ↑ "Sarah Newall website". Archived from the original on 10 March 2016. Retrieved 21 October 2019.
  49. ↑ Haines & Hinterding website.
  50. ↑ Mark Shorter biography
  51. ↑ Rowan Conroy website.
  52. ↑ Sylvia Schwenk website.
  53. ↑ "Shaun Gladwell website". Archived from the original on 6 April 2012. Retrieved 26 April 2013.
  54. ↑ "Ben Quilty website". Archived from the original on 23 October 2018. Retrieved 21 October 2019.
  55. ↑ Koji Ryui, Sarah Cottier Gallery website.
  56. ↑ Ocula website, artist profile.
  57. ↑ "Bijana Jancic website". Archived from the original on 18 August 2013. Retrieved 24 April 2013.
  58. ↑ Dr Catherine Payne, Newcastle University.
  59. ↑ Bronwyn Bancroft website
  60. ↑ Yiorgos Zafiriou website
  61. ↑ Salvatore Panatteri website.
  62. ↑ Sydney University Research Supervisor Connect: About Professor Brad Buckley.
  63. ↑ Simone Douglas website
  64. ↑ Evolution: Art and Design Research and the PhD, The New School, New York, 2010
  65. ↑ Staff Listing, Victorian College of the Arts. Archived 11 April 2013 at the Wayback Machine
  66. ↑ "Future-proofing the Creative Arts in Higher Education, Office of Learning and Teaching, Australian Government, report published 2009". Archived from the original on 26 May 2013. Retrieved 11 February 2013.
  67. ↑ Vice-Chancellor's Awards for Excellence in Research Higher Degree Supervision, University of Sydney.
  68. ↑ Republics of Ideas: Republicanism Culture Visual Arts, Google Books "Artspace Sydney". Archived from the original on 9 April 2013. Retrieved 11 February 2013.
  69. ↑ "Nova Scotia College of Art & Design". Archived from the original on 9 April 2014. Retrieved 11 February 2013.
  70. ↑ "SUP eStore :: Ecologies of invention". Archived from the original on 8 April 2014. Retrieved 2014-04-08.Ecologies of Invention, B. Buckley, J. Conomos and A. Dong, eds., University of Sydney, SUP, 2013, ISBN   9781743323571.
  71. ↑ Erasure: The Spectre of Cultural Memory, Brad Buckley & John Conomos, Libri Publishing, ISBN   9781909818620.
  72. ↑ Who Runs the Artworld: Money, Power and Ethics, Brad Buckley & John Conomos, Libri Publishing, ISBN   9781911450139.
  73. ↑ A Companion to Curation, Brad Buckley (Editor), John Conomos (Editor), Dana Arnold (Series Editor), Wiley Publishing, ISBN   978-1-119-20685-9.
  74. ↑ The Delinquent Curator: has the curator failed contemporary art?, 101st College Art Association (CAA) conference in New York City, 2013.
  75. ↑ Conference: Gatekeeping & Ethics in a Globalised Artworld, Presented by the Centre of Visual Art (CoVA), The University of Melbourne, 21 May 2021.


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