SEAN LOUGHREY

 

b. 1964, Melbourne, Australia.
Lives and works in Barwon Heads/Melbourne.  Currently employed at Deakin University

as Lecture in Art and Performance & Institute of Koorie Education (IKE) as Visual Arts Co-ordinator, Geelong.

Education
2011 – 2016: Doctor of Philosophy, Victorian College of the Arts & Music, University of Melbourne.
1996-98: Masters by Research, Fine Art, RMIT University.
1986-87: Postgraduate Diploma of Fine Art, Victorian College of the Arts.
1988: Studio Residency, Gertrude Contemporary Art Spaces.
1982-84: Bachelor of Arts in Fine Art, Deakin University, Warrnambool.

Selected Individual Exhibitions

2018: Pipe Dreaming(A collaborative project with Tracy Wise) The Project Space, Deakin University, Geelong.
2015: (K)rap(p): Voice as Gaze in the Mundane, PhD completion exhibition, Margret Lawrence Gallery, Victorian College of the Arts & Music.
2010: The Solo Projects, Fiat lux – Let There Be Light – Again, as part of the Melbourne
International Arts Festival, Margret Lawrence Gallery, VCAM.
The Passenger (Here and There) New media project, The Cube Gallery, Frankston Art Centre.
2008: Site Projects with William Seeto, Ocular Lab, Melbourne.
2005: Speed Space, Ocular Lab, Melbourne.
2004: Animal Instincts, Conical Gallery (Clearway), Melbourne.
2004: Landscape:The Suitcase Series, BAU International, Shanghai.
2003: Natural Selections, Ocular Lab, Melbourne.
Textural Apprehension (with Robert Colvin) Hamilton Art Gallery, Latrobe Regional Gallery. Town Hall Gallery, Melbourne.
2001: Struck, 1st Floor, Artists’ and Writers’ Space, Melbourne.
Textural Apprehension (with Robert Colvin) McClelland Gallery, Mornington.
1999: Countryside – Spaces and Places, 1st Floor Artists’ and Writers’ Space, Melbourne.

Recent Group Exhibitions
2017: Art & Poetry, George Paton Gallery, University of Melbourne.

2014: Awesome repeat x infinity bonus ;-O’ by Guest curator Sue Dodd, Trocadero Art Space.

2013: Luminescence, Windsor Hotel, Melbourne.

2012: Ocular Lab Inc. Margret Lawrence Gallery, Victorian College of the Arts, University of Melbourne.
2010: FanFlag 7 (Collaborative project with Raafat Ishak), Ian Potter Museum of Art (outside).
2009: William and Winifred Bowness Photography Prize, Monash Gallery of Art.
The Gift, an Ocular Lab project with the Institute of Contemporary Art Newtown, (ICAN), Sydney.
Worlds End, (curated by Meredith Turnbull and Stephen Rendall), Carlton Hotel
and Studios, Melbourne.
2007: Rembrandts: 9 Installations, Knox City, Melbourne.
Billboard Project, Ocular Lab, Melbourne
Ocular Notes, George Paton Gallery, University of Melbourne.
2006: End Game. Late Capitalist Realism, VCA Margaret Lawrence Gallery.
Trinity Nine, Trinity College, University of Melbourne.
Under the Southern Cross – a survey exhibition of Book Art. The Stonington Stables
Museum of Art, Deakin University.
FanFlag Six (Collaborative project with Raafat Ishak), Ocular Lab, Melbourne.
2005: Ocular Lab: 12, Spacement Gallery, Melbourne.
2003: Spiders and Flies, New Contemporaries Gallery, Sydney.
Labrador, Ocular Lab Inc., Melbourne.
2002: Final Exhibition, 1st Floor, Melbourne.
2001: Office of Utopic Procedures, West Space, Melbourne.
2000: Exquisite Corpse Bendigo Art Gallery (travelling state wide).
Blink, ACCA, part of the Next Wave Festival, in collaboration with Raafat Ishak
Landscape. (Curated by Lyndal Walker), 1st Floor Artists’ and Writers’ Space,
Melbourne.
1999: No Connection, Culity Gallery, Fine Arts and Architecture Department, University of
Western Australia, Perth.
1998: Fan Flag (A Collaborative Project with Raafat Ishak), 1st Floor Gallery,
Melbourne. Pile-on, Construction in Process IV, The Bridge, Melbourne.
1997: 13th Biennial Spring Festival of Drawing, Mornington Peninsula Gallery.
Fan Flag (A collaborative project with Raafat Ishak), Stripp Gallery, Melbourne.
Artists Against Racism, Canberra School of Art Gallery.
1996: Deacons Graham & James / Arts 21 Award 1996, Ian Potter Gallery, The University
of Melbourne Museum of Art.
Diptera (A collaborative Project with Rod Spinks and Peter Johnstone)
Mildura Art Centre.
1995: Decadence, Gertrude Contemporary, (formally known as 200 Gertrude St, Melbourne).
Non: Artists against Nuclear Testing, ether ohnetitel Gallery, Melbourne.
1994: Diptera (A collaborative Installation), Warrnambool Art Gallery.
1993: Diptera (A collaborative installation), Museum of Victoria,
(associated project with the Fifth Australian Sculpture Triennial).
1989-90: Projections 1, 11, 111, outdoor site specific projections, Essex, UK.
1988: Twelve Artists, University Gallery, Melbourne University.
A System of Differences, Some Recent Abstract Art (curated by Louis Neri), Gertrude
Contemporary, Melbourne.
Site of Execution, Australian Centre for Contemporary Art, Melbourne.

Intervention/Site Specific Projects
Projection VII, Samuel Beckett’s Film projected onto a billboard titled ‘detail, A Person Looks At A Work Of Art/someone looks at something… The Supreme Goddess as Void, with projection-space for image, created by Peter Tyndall, (projected with permission of the artist in 2008).
1993 – 2005: Projection Projects including: Southbank Projection, Projection V1, Back Yard,
Life Saving Club, Weston Milling Factory, Geelong Docks, Queenscliff Lighthouse,
Connawarre Church (now private residence)
1989-91: Projections – Outdoor Site-Specific projections UK:
Projections #1. Queens Hotel, Westcliff-on-sea, Essex, United Kingdom
Projections #11. Bembridge, Liegh-on-sea, Essex, United Kingdom
Projections #111. Hadleigh Castle, Essex, United Kingdom
Projection #1V. Southwark College Gallery, Elephant and Castle, London
Projection #V. Temple Works Gallery, Hackney, London.

Selected Artist Pages, Related Text and Bibliographic Notes
2013: Index,Issue No.3, Melbourne, coordinated by Justin Andrews
2012: Hostings: Ocular Lab, 2003-10, edited by Julie Davies and Brad Haylock
2010: Show Low Free, catalogue essay by Justin Clemens.
2008: Bureau, edited by Kate Daw and Vikki McInnes, published by VCA Margaret Lawrence
Gallery.
2007: Rembrandts: 9 Installations, Anthony McInneny and Simon Whibley
2006: End Game. Late Capitalist Realism, Catalogue essays by Justin Clemens and
Bernhard Sachs. VCA Margaret Lawrence Gallery.
2006: Trinity Nine, catalogue essays by Max Delany and Justin Clemens, Trinity College
and The University of Melbourne.
Near Infrared Reflectography (NIR) Still Photography with digital SLR camera’s Australia
Institute for the Conservation of Cultural Material National Newsletter No.,
March 2006.
Re visiting History: William Strutt’s Bushrangers, Victoria, Australia 1852,
Sean Loughrey and Robyn Sloggart. Underdrawing, Melbourne Journal of Technical
Studies in Art, Published by The University of Melbourne, 2003.
2003: Rubik 14, nature, edited by Julia Gorman, James Lynch and Michelle Ussher
and supported by Uplands Gallery.
In the eye of the beholder, by Ashley Crawford. The Age, 6/11/2003.
2001. Optical Theatre, Epic Technology and Lost Horizons(essay), “Virtual Lands” (Special Project)
Office of Utopic Procedures, published by Westspace Inc.
2001: In Photography I can never deny that the thing has been there, Textural Apprehension,
catalogue essay by Georgia Rouette, McClelland Gallery.
2000: Exquisite Corpse, catalogue, Bendigo Art Gallery.
1999: Countryside: Spaces and Places, catalogue texts by Raafat Ishak, Tom Mosby and
Saskia Beudel.
1997: Tom Roberts review, Sean Loughrey, Like Art Magazine No.3.
1996: Enclosures: And Other Spaces, catalogue text by Sean Loughrey,
La Trobe Street Gallery, Melbourne.
1996: New Horizons, catalogue text by Rachael Kent, Ian Potter Gallery,
The University of Melbourne, Museum of Art.
1995: Current Document, Art and Technology, issue no.3, online/hardcopy.


Collections
National Gallery of Victoria and Private Collections.

© Sean Loughrey

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