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Robert Owen (artist)

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Robert Owen (born 29 June 1937) is an Australian artist and curator. He lives and works in Melbourne, Australia.

Biography

Robert Owen was born in Sydney in 1937, and studied sculpture at the National Art School, Sydney under Lyndon Dadswell. Owen is one of Australia’s most eminent artists, with continued relevance to the forefront of contemporary art practice since the late 1960s.[1][2][3] He has played a formative role in the development of some of Australia’s major arts education and institutional structures,[4][5][6][7] and has received several of the nation’s highest honours in the visual arts.[2][8][1]

Owen’s art practice includes sculpture, installation, painting, photography and major public commissions. His work is linked through a poetic and intuitive sensitivity to the expressive potential of space, light, colour, context and materials.[9] Throughout his career Owen has ‘steered a path between science, metaphysics and abstraction as a way of investigating the representational sublime.'[10]

After graduating from art school in 1962, Owen lived on the Greek isle of Hydra from 1963 to 1966[11] and became part of an expatriate community that included George Johnston, Charmian Clift, William Lederer, Leonard Cohen,[12] and Jack Hirschman. From 1966 – 1975 Owen lived in London where he worked as a studio assistant to John Ernest, Anthony Hill[12] and other British Constructionists, and also as a conservator for Victor Pasmore and Ben Nicholson. During this time Owen developed constructionist works and exhibited with Malborough Gallery in both London and New York.[12]

In 1975 Owen returned to Australia and became actively involved in the Sydney art culture, both as an artist, representing Australia at the 38th Venice Biennale in 1978;[13] and as a Founding Member of Artspace and Member of The Biennale of Sydney.[5] Upon his return to Australia, Owen’s art practice shifted focus to Site-specific and Installation art concerned with concept and expanded sense experience, adding layers of metaphysical and symbolic narrative to cultural history (1975-1992).[9]

In 1987 Owen moved to Melbourne as Artist in Resident at the Victorian College of the Arts. From 1989 to 2001 Owen was Associate Professor and Head of Sculpture at RMIT University, where he implemented a graduate and postgraduate exchange programme with Utrecht School of the Arts and the Gerrit Rietveld Academie, Amsterdam. In 1992 he was a research fellow in Virtual Environments for free Form Design in the Invited Artists program of Advanced Computer Graphics Centre, CITRI, RMIT University.

Since the early 1990s he has returned to the topographical abstraction of colour, space and light through painting and sculpture (1992- ).[14][15] Owen's experience as a curator of contemporary art includes Sound Works for the 1982 Biennale of Sydney and the exhibition Inland for the Australian Centre for Contemporary Art, Melbourne in 1990.[16][17] Since the early 2000s, Owen has also undertaken Public Art commissions that have extended his installation practice in a broader social context.[18][14] Owen received the Australian Council Visual Arts/Crafts Emeritus Award in 2003.[1]

Robert Owen is currently represented by Arc One Gallery[19] and is a member of Artery Co-operative Ltd,[20] Melbourne Australia. In 2016 Owen was appointed the City of Melbourne’s Public Art Curatorial Advisor for redevelopment of Carlton’s University Square.[21]

Exhibitions

Robert Owen has had over forty years experience as an artist, exhibiting widely since the late 1960s in over 40 solo and 110 group exhibitions in Australia and internationally, and has represented Australia in major international exhibitions including the 38th Venice Biennale in 1978.[2][22] Major solo exhibitions of Owen’s work have included Different Lights Cast Different Shadows, The 2nd Balnaves Foundation Sculpture Project at the Art Gallery of New South Wales, Sydney in 2004;[15] The Text of Light at the TarraWarra Museum of Art, Victoria in 2004;[23][24] and Between Shadow and Light – London Works 1966-1975 at Monash University Gallery, Melbourne in 1999.[12]

Significant group exhibitions include Four Australian Artists (Boyd, Hessing and Nolan) at Richard Demarco Gallery, Edinburgh, Scotland in 1970; Documentation at Maki & Tamuta Gallery, Tokyo, Japan in 1978; the Biennale of Sydney in 1979[25] and 1986;[26] D’un autre Continent: L’Australie la rêve et le réel at the ARC/Musée d’Art Moderne de la Ville de Paris, France in 1983; Olympiad of Art at the Seoul Olympic Park, Korea in 1988; Australian Sculpture Triennial, National Gallery of Victoria, Melbourne in 1981, 1987 and 1993; aussemblage! at Auckland City Art Gallery, Auckland, NZ in 1994; Spirit + Place: Art in Australia 1861–1996 at the Museum of Contemporary Art, Sydney, in 1996–97;[27] Contemporary Australia: Optimism at the Gallery of Modern Art Brisbane Queensland in 2008;[28] Art & Kabbalah: Contemporary Responses to an Ancient Tradition at the Jewish Museum of Australia, Melbourne in 2000; Australia, Contemporary Non-Objective Art at the Museum im Kulturspeicher, Würzburg, Germany in 2008[29] and Sight & Sound, Music and Abstraction in Australian Art at The Arts Centre, Melbourne in 2010.

Awards and commissions

Owen’s first major recognition was the John Moore’s Liverpool Exhibition 7 Uk Prize held at the Walker Art Gallery in Liverpool in 1969, with a work influenced by minimalism and constructivism referencing nature and memory.[12] In 1978 he represented Australia at the 38th Venice Biennale: From Nature to Art, From Art to Nature with Ken Unsworth and John Davis.[2] Owen was awarded the Australian Council Visual Arts/Crafts Emeritus Award for a lifelong service to the visual arts in 2003.[11] In 2015 he received the Woollahra Small Sculpture Prize, Sydney, for a sculpture continuing investigation into geometry, proportion and visual poetry.[30]

Robert Owen's public commissions include: Under the Sun for Point Cook Town Centre, Melbourne, in collaboration with Joanna Buckley in 2014;[31][32] Silence and Falling Light for Arts Centre Melbourne with Fine Art Studio in 2011-2012;[33][34] Tracing Light - For Harry 3D/4D for Harry’s Park, Harry Seidler Architects Sydney in 2011;[35] New Constellation (sculpture) and Interlude - Double Weave (painting) for the MLC Centre, Harry Seidler Architects, Sydney in 2007; Melbourne’s Northern Gateway, Craigieburn Bypass with Architects Taylor Cullity Lethlean and Tonkin Zulaikha Greer for VIC Roads Hume Freeway Development, Victoria in 2004;[36][37] Memory Pond, fountain, light and text installation for Grattan Gardens Plaza, Prahran, Melbourne in 2001;[38] Discobolus, Hellenic Tribute, a sculpture installation for Olympic Park, Homebush Bay, Sydney 2000 Olympics; Axiom, a sculpture installation for the New Commonwealth Law Courts, Melbourne in 1998; Vessel, a public sculpture for the Nippon Exhibition Centre, Chiba, Japan in 1989[39] and Webb Bridge, Docklands, Melbourne in collaboration with DCM architects in 2003,[40][41] for which Robert Owen and DCM Architects were awarded the prestigious Joseph Reed Architectural award for urban design in 2005.[13]

Collections

Robert Owen's work is represented in all of Australia's national and state galleries, and in public and private collections worldwide including the British Museum, London; Stedelijk Museum, Amsterdam; Israel Museum, Jerusalem; The Museum of Modern Art, New York; Olympic Sculpture Park, Seoul, Korea; the National Museum of Western Art, Tokyo, Japan; Museo de Arts de São Paulo, Brazil, National Institute of Fine Arts, Mexico City, National Gallery of Modern Art, New Delhi, India; Staatliche Museum, West Berlin; Banque National De Paris, France; the Art Gallery of New South Wales, Sydney; and the Museum of Contemporary Art, Sydney.[42]

Publications

References

  1. ^ a b c Australia Council (2003). The Australia Council Annual Report 2002 - 2003. Commonwealth of Australia. p. 25. ISSN 0725-7643.
  2. ^ a b c d Thomas, Daniel (1978). 38th Venice Biennale. Venice Biennale.
  3. ^ "Robert George Owen - Biography". Design & Art Australia Online. Retrieved 11 April 2017.
  4. ^ Day, Charlotte, ed. (2005). A Short Ride in a Fast Machine - Gertrude Contemporary Art Spaces 1985 - 2005. Melbourne: Gertrude Contemporary Art Spaces and Black Inc. pp. 217–223. ISBN 978-1876817022.
  5. ^ a b Biennale of Sydney (5th : 1984); Latos-Valier, Paula; Westwater, Elizabeth; Paroissien, Leon; Art Gallery of New South Wales (1984). 5th Biennale of Sydney. Private symbol, social metaphor. Sydney: Sydney, N.S.W., Australia : The Biennale, [1984]. ISBN 978-0959661934.{{cite book}}: CS1 maint: numeric names: authors list (link)
  6. ^ "Robert George Owen - biographical data". Design & Art Australia Online. Retrieved 12 April 2017.
  7. ^ Annear, Judy (1983). Artspace - Annual Report 1983. Sydney: Artspace. p. 19.
  8. ^ "Australia Council Awards". Australia Council for the Arts. Retrieved 10 April 2017.
  9. ^ a b George Alexander, 'Transits', monograph, Wagga Wagga City Art Galley, NSW, 1988
  10. ^ Carolyn Barns, ‘Robert Owen: Between Shadow and Light 1966–1975’, exhibition catalogue, Monash University Gallery, Melbourne, 1999, p.37
  11. ^ a b Design & Art Australia Online https://www.daao.org.au/bio/robert-owen/
  12. ^ a b c d e Margaret Plant, Carolyn Barns, Jenepher Duncan, ‘Robert Owen: Between Shadow and Light 1966–1975’, exhibition catalogue, Monash University Gallery, Melbourne, 1999
  13. ^ a b Arc One Gallery http://arcone.com.au/robert-owen-artist-profile/
  14. ^ a b "ROBERT OWEN-Profile".
  15. ^ a b Wayne Tunnicliffe, Zara Stanhope & George Alexander, ‘Different Lights Cast Different Shadows’, catalogue essays, Art Gallery of New South Wales 2004
  16. ^ Barbour, John; Carter, Paul; Alexander, George; Australian Centre of Contemporary Art affiliated with Monash University (1990). Owen, Robert (ed.). Inland, Corresponding Places. Melbourne: Australian Centre for Contemporary Art. ISBN 978-0947220051.
  17. ^ "Rewind: Inland - Corresponding Places". ACCA. Retrieved 10 April 2017.
  18. ^ Adrian Parr, ‘Craigieburn Bypass A semiotic entry into Melbourne’, Artichoke Interior Architect + Design magazine, issue 12, 2005
  19. ^ "Artists - Robert Owen". Arc One. Retrieved 9 April 2017.
  20. ^ "People". Artery Cooperative. Retrieved 9 April 2017.
  21. ^ Ledwidge-O'Reilly, Claudine (9 December 2016). "Public art to feature in University Square regeneration". City of Melbourne. Retrieved 10 April 2017.
  22. ^ "Australian Representation at the Venice Biennale since 1954". Australia Council for the Arts. Retrieved 21 March 2017.
  23. ^ McInnes, Vikki; Palmer, Maudie (2003). Robert Owen, the text of light. Exhibition catalogue, VIC: TarraWarra Museum of Art.
  24. ^ "Past Exhibition, Robert Owen: the text of light". TarraWarra Museum of Art. 2014-09-17. Retrieved 22 March 2017.
  25. ^ European dialogue, Biennale of Sydney, 1979. Exhibition catalogue, Sydney: Biennale of Sydney. 1979. ISBN 978-0959661910.
  26. ^ McEvilley, Thomas (1986). Origins originality + beyond : 16 May-6 July 1986. Sydney: Art Gallery of New South Wales. ISBN 978-0959661958.
  27. ^ Museum of Contemporary Art; Waterlow, Nick; Mellick, Ross (1996). Spirit and Place, Art in Australia 1861 – 1996. Sydney: Museum of Contemporary Art. ISBN 978-1875632503.
  28. ^ Goddard, Angela (2008). "Robert Owen, how the light gets in". Contemporary Australia, Optimism (exhibition catalogue). Brisbane: Queensland Art Gallery. pp. 174–177. ISBN 9781876509576.
  29. ^ Dahlhausen, Christoph; Schmidt, Hans M.; Weste, Dagmar, eds. (2007). Australia, Contemporary Non-Objective Art. Bremen: Hachmann edition. pp. 006–007, 071–073, 098. ISBN 9783939429395.
  30. ^ "Robert Owen | Woollahra Small Sculpture Prize Winner". Artist Profile. 2015-10-15. Retrieved 29 March 2017.
  31. ^ "Art + Public Space - Point Cook Town Centre". Brecknock Consulting. Retrieved 10 April 2017.
  32. ^ "News - Robert Owen". Arc One Gallery. Retrieved 5 March 2017.
  33. ^ "Collections - Silence". Arts Centre Melbourne. Retrieved 15 March 2017.
  34. ^ "Collections - Falling Light". Arts Centre Melbourne. Retrieved 15 March 2017.
  35. ^ "New Sydney park honours Harry Seidler". Australian Design Review. 2011. Retrieved 27 March 2017.
  36. ^ Parr, Adrian (2005). "Craigieburn Bypass A semiotic entry into Melbourne". Artichoke Interior Architect + Design Magazine. 12.
  37. ^ van Schaik, Leon (2005). "Craigieburn Bypass". Architecture Australia. 94 (4).
  38. ^ Parr, Adrian (2002). "Memory Pond". Artichoke Interior Architect + Design Magazine. 4.
  39. ^ Hamada, Goji (1989). The International Exhibition of Steel Sculptures, Chiba, City and People, Dialogue with Steel 1989 (exhibition catalogue, Japanese). Japan.{{cite book}}: CS1 maint: location missing publisher (link)
  40. ^ McGuirk, Justin (12 May 2004). "The transformation of Melbourne's Docklands". Icon Magazine.
  41. ^ Mackenzie, Andrew (2003). "In the dock". Architectural Review Australia. AR086.
  42. ^ "Collections". Design & Art Australia Online. Retrieved 10 April 2017.
  43. ^ http://www.robertowen.com.au/texts/ Margaret Plant, Carolyn Barns, Jenepher Duncan, ‘Robert Owen: Between Shadow and Light 1966–1975’, exhibition catalogue, Monash University Gallery, Melbourne, 1999

Further reading

  • Geoffrey Batchen, Emanations The Art of the Cameraless Photograph, The Govett-Brewster Art Gallery and DelMonico Books/Prestel, 2016
  • Paul Gurēn, Exercices du regard, Editions du CEAAC, 2012
  • Dr. Christoph Dahlhausen, Catalogue Ausblick Zuruck Nach Vorn, Osnabruck 2012
  • Urszula Szulakowska, Alchemy in Contemporary Art, Ashgate Publishing Ltd, London 2011
  • Steffen Lehmen, (ed.), Back to the City, Strategies for informal Urban Interventions, Hatje Cantz Publications Germany, 2009. P. 174,175, 230
  • Christoph Dahlhausen, Hans M. Schmidt, Dagmar Weste (eds.), Australia, Contemporary Non-Objective Art, Hachmannedition 2008, pp. 006–007, 071-073, 098
  • Cristina Paredes Benítez (ed.), Urban Landscape, New tendencies, New Resources, New Solutions, Loft Publications, Spain, 2007
  • Benchmark Bypass, Landscape Australia, No. 109 February 2006
  • Victoria Lynn, Robert Owen, catalogue essay, 21st Century Modern, 2006 Adelaide Biennial of Australian Art
  • Adrian Parr, Craigieburn Bypass A semiotic entry into Melbourne, Artichoke Interior Architect + Design magazine, issue 12, 2005
  • Victoria Lynn, Robert Owen, review, Art & Australia Vol. 42 No 3 Autumn 2005
  • Alex Selenitsch, Dark Night, catalogue essay, Sherman Galleries, Melbourne 2005
  • Alex Selenitsch, Jumping Dimensions, catalogue essay, ARC One Gallery, Melbourne 2004
  • Adrian Parr, Memory Pond, Artichoke Interior Architect + Design magazine, issue 4, 2002
  • Juliana Engberg, A History of Happiness, Australian Centre for Contemporary Art, Melbourne, Festival Visual Arts Program 2002
  • Jenepher Duncan and Linda Michael (ed.), Juliana Engberg, Abstraction, p. 71, in Monash University Collection Four Decades of Collecting, Monash University, Melbourne, 2002
  • Jackie Menzies (ed.), Buddha: Radiant Awakening, exhibition catalogue, Art Gallery New South Wales, Sydney, 2001
  • David Pestorius (ed.), Geometric Painting in Australia 1941–1997, University of Queensland, Brisbane, 1997
  • Spirit + Place, Art in Australia 1861 - 1996, exhibition catalogue, Museum of Contemporary Art, Sydney, 1997
  • Juliana Engberg, Fast and loose, The Fifth Australian Sculpture Triennial, Art & Australia, vol. 31, no. 3, autumn 1994
  • George Alexander, John Barbour and Paul Carter, Inland, Corresponding Places, monograph, Australian Centre for Contemporary Art, Melbourne, 1991
  • Carolyn Barnes, Inland, Art & Text, no. 39, 1991
  • Anthony Bond, 3 Installations, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1991
  • Alison Carroll, Out of Asia, exhibition catalogue, Heide Park & Art Gallery, Melbourne, 1990
  • Paul Guerin, Trace of a Silent Bell, exhibition catalogue, City Gallery, Melbourne, 1989
  • Goji Hamada, ‘The International Exhibition of Steel Sculptures, Chiba, City and People, Dialogue with Steel 1989’, exhibition catalogue (Japanese text), 1989
  • John Barbour, ‘Echo’, Europe & Back, exhibition catalogue, Monash University Galley, Melbourne, 1989
  • Sue Cramer, ‘A Warring Peace; A Sweet Wound; A Mild Evil’, exhibition catalogue, Institute of Modern Art, Brisbane, 1988
  • Urszula Szulakowska, Alchemy and the avant-garde: Some Contemporary Australian artists, in Cluda Pavonis (ed.), Studies in Hermeticism, Department of English, Washington State University, vol. 2, no. 2, Fall 1988
  • Ante Gliboto (ed.), Olympiad of Art, Seoul Olympic Organizing Committee (SLOOC), 1988
  • Thomas McEvilley, 6th Biennale of Sydney, Artforum, November 1986
  • Judy Annear & Robert Owen, The immaterials, Tension, no. 9, Murmur of the Soul, May 1986
  • Bruce Adams, Presence and absence: The gallery as other place, Art & Text, no. 10, winter 1983
  • Suzi Gablik, Report From Australia, Art in America, vol. 169, no. 1, 1981
  • Giorgio Colombo, Australian Perspecta, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1981
  • Mike Parr, Robert Owen’s apposition, Aspect, vol. 5, no. 2, 1980
  • Maurice K. Symonds, Coll Portley, Ralph E. Phillips, The Visual Arts, Jacaranda Press, Brisbane, 1980
  • Pierre Restany, Advance Australia Fair, D’ars Periodico d’art Contemporenae, vol. XXI, no. 92, 1980
  • Nick Waterlow, European Dialogue, Flash Art, No. 90–91, 1979
  • Elwyn Lynn, The Sydney Biennale, Art International, summer 1979
  • Daniel Thomas, 38th Venice Biennale, General Catalogue, 1978
  • John Russell, New Names in Britain, Art in America, September 1970
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