Born 1961, Melbourne, AustraliaCHARLES GREEN
Born 1953, Melbourne, Australia
Charles Green commenced working with Lyndell Brown on a long-term artist collaboration in 1989
The Wire: Lyndell Brown/Charles Green, 2001-2007, Monash Gallery of Art, Melbourne
Reading Room: Lyndell Brown/Charles Green, 2001-2007, QUT Gallery, QUT University, Brisbane2009
The Approaching Storm: Paintings & Photographs, Arc One Gallery, Melbourne2008
Framing Conflict: Iraq and Afghanistan, Ian Potter Art Museum, Melbourne University, Melbourne
War, GRANTPIRRIE, Sydney
War 2007, curated Peter Nagy, Nature Morte Gallery, New Delhi2007
The Painters’ Family, ARC One Gallery, Melbourne2006
Elemental Landscape, GRANTPIRRIE, Sydney2005
In Defence of Nature, ARC One Gallery, Melbourne
Lyndell Brown and Charles Green, Gibsone Jessop Gallery, Toronto, Canada2003
The Waves, GRANTPIRRIE, Sydney
Eldorado, Arc One Gallery, Melbourne
Arcadia, curated by Anurendra Jagadeva, Monash University Faculty Gallery, Melbourne2002
Lyndell Brown/Charles Green, Greenaway Gallery, Adelaide
Scatter, Span Gallery, Melbourne
Atlas, GRANTPIRRIE, Sydney
Sanctuary—and other island fables, with Patrick Pound, curated by
Maudie Palmer, Herring Island Environmental Sculpture Park, Melbourne2000
Explaining Longevity, curated by Robert Lindsay, Robert Lindsay Gallery, Melbourne1999
Double Vision: Towards a Theory of Everything, part 1, with Patrick Pound, curated by Alasdair Foster, Sydney: Australian Centre for Photography, 1999 and ongoing touring exhibition1998
Face a l’histoire: the photographs of Lyndell Brown/Charles Green, curated Robert Lindsay, Robert Lindsay Gallery, Melbourne1996
Michael Wardell Gallery, Melbourne1995
Michael Wardell Gallery, Melbourne1994
Michael Wardell Gallery, Melbourne1993
University of Western Sydney Nepean, Sydney
Annandale Galleries, Sydney
13 Verity Street Gallery, Melbourne1992
Annandale Galleries, Sydney1991
13 Verity Street Gallery, Melbourne
SELECTED GROUP EXHIBITIONS
How Nature Speaks, Arc One Gallery, Melbourne
A Tradigital Survey, Level 17 Artspace, Victoria University, Melbourne
Duetto, Experimental Art Foundation, Adelaide2009
Still Conflict: contemporary Australian photographers at war, Monash Gallery of Art, Wheelers Hill
Turbulent Terrain: Manifestations of the sublime in contemporary art, Latrobe Regional Gallery, Morwell
The University of Queensland National Artists Self Portrait Prize 2009, University of Queensland Art Museum, Brisbane
Redlands Westpac Art Prize 2009, Mosman Regional Gallery, Sydney2008
50X50 Summer Show, Arc One Gallery, Melbourne
Order and Disorder: Archives in Photography, National Gallery of Victoria, Melbourne2007
Voiceless: I feel therefore I am, Sherman Galleries, Sydney2006
Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton
A Distant Mirror, M.Y. Art Prospects, curated by Miyako Yoshinaga, New York, USA2005
Tranquility, curated by Natasha Bullock, Art Gallery of New South Wales, Sydney, traveling to ARC One Gallery, Melbourne (September 2005), and M.Y. Art Prospects, New York (October 2005)2004
Photographica Australis, curated by Alasdair Foster, exhibition traveling to National Gallery of Singapore, National Gallery, Bangkok, National Museum of Modern Art, Taipei, and the “Bangladesh Biennale” (the authors awarded Gold Medal), Dacca, Bangladesh2003
See here now: Art Collection of the 1990s, curated by Chris McAuliffe, The Ian Potter Museum of Art, University of Melbourne, Melbourne
Reunion, curated by Kirrilee Hammond, George Paton Gallery, Melbourne
Collaged World: Lyndell Brown/Charles Green, Robert Rooney,
David Wadelton, John Young, curated by Robert Lindsay, McClelland Regional Gallery, Langwarrin, Vic
Spaced Out, curated by Alasdair Foster, Australian Centre for Photography, Sydney and as part of the Sydney Festival
X Melbourne, curated by Gary Willis, Canberra Contemporary Art
Space, Canberra, touring to Sydney College of the Arts Gallery, Sydney2002
Time Travel Sanctuary 2: Phillip George, Patrick Pound, Lynne Roberts- Goodwin, Lyndell Brown/Charles Green, curated by Charles Green, Victorian College of the Arts Gallery, Melbourne
Tales of the Unexpected, curated by Deborah Hart, National Gallery of Australia, Canberra
Borderless Terrain, curated by Alka Pande, India Habitat Centre/Apparao Gallery, New Delhi, India
Photographica Australis, curated Alasdair Foster, Sala de Exposiciones del Canal de Isabel II, Madrid2001
Indicium: Contemporary Australian Photomedia, Insa Art Centre, Seoul, Korea
A Studio in Paris, S.H. Ervin Gallery, Sydney2000
Boundlessly Various and Everything Simultaneously, Bose Pacia Modern, New York, USA1998
Southern Reflections: Ten Contemporary Australian Artists, curated by Elizabeth Cross, touring exhibition to Kulturhuset, Stockholm, Sweden; Göteborg, Sweden: Konsthallen, Arhus, Denmark: Kostmuseum. Helsinki, Finland: Galleria Otso, City Art Museum. Bremen, Germany: Neues Museum. Chemnitz, Germany: Städtische Kunstsammlungen. Oslo, Norway: Stenersenmuseet. Tour coordinated by Art Gallery of New South Wales, 1998-1999). A large, major touring European survey of contemporary Australian art
List Structure: Lyndell Brown/Charles Green, Patrick Pound, Debra
Phillips, Lynne Roberts-Goodwin, Robert Rooney, Sherman Galleries Goodhope, Sydney
Linda Benglis/Lyndell Brown & Charles Green/Bose Krishnamachari,
curated by Peter Nagy, Nature Morte, New Delhi, India1997
Deacon James Award exhibition, University Gallery, University of Melbourne
Gifts for India, National Gallery of Modern Art, New Delhi, India1996
Geelong Contemporary Art Prize exhibition Geelong Art Gallery, Geelong, Vic
Cité des Arts, Paris, France1995
King’s School Art Award (Winning Entry), Sydney
ARCO, Madrid, Spain
The Lovers, curated by Juliana Engberg, Museum of Modern Art, Heide, Melbourne
Girls! Girls! Girls! Annandale Galleries, Sydney, and Orange Regional Gallery, Orange, NSW
Constructed City, Plimsoll Gallery, Hobart, touring exhibition to NSW,
Queensland and Victorian regional galleries1994
Art Asia, Hong Kong
ARCO, Madrid, Spain1993
Nepean Collection, Lewers Bequest and Penrith Regional Art Gallery, Sydney
Disparities, University Gallery, Melbourne University, Melbourne
21600 each 24 Hrs, installation, Canberra Travelodge, Canberra1992
Recently Seen, McClelland Gallery, Melbourne
Paintings from the Margaret Stewart Endowment, National Gallery of Victoria, Melbourne
Domino 1, University Gallery, Melbourne University, MelbourneCOLLECTIONS
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Art Gallery of South Australia, Adelaide
McClelland Regional Gallery, Melbourne
Rockhampton Regional Gallery, Queensland
University of Sydney Power Foundation, Sydney
Allen, Allen and Hemsley, Sydney
World Congress Centre, Melbourne
University of Western Sydney, Sydney
Heidelberg Repatriation Hospital, Melbourne
Art Gallery of West Australia, Perth
University of Melbourne (Vizard Foundation)
King’s School, Sydney
Campbelltown City Art Gallery, Sydney
Trinity College, Melbourne
Corporate and private collections in Australia, United States, Spain, Germany, India, Japan, CanadaBIBLIOGRAPHY
Amelia Douglas, “The viewfinder and the view,” Broadsheet, 38/1 (Sept. 2009), 200-205.
Stephen Matchett, “The Art of War,” Weekend Australian, 25 April 2009, Review cover & 6-7.
Beverley Johanson, “Home of War Artists,” The Age, 29 August 2009, Domain 2.
Jennifer Sexton, “2 of us: Lyndell Brown and Charles Green,” Good Weekend, December 6 2008, 14.
Andrew Stephens, “Once Were Witnesses,” The Age, 29 November 2008, A2, 16-17.
Maggie Finch, Order and Disorder: Archives in Photography, exh. catalogue, National Gallery of Victoria, Melbourne, October 2008.
Warwick Heywood, “Lyndell Brown and Charles Green,” War, exh. catalogue, GrantPirrie Gallery, Sydney, 2008.
Modern Painters editors, “Portfolio: What does it mean to make art during wartime,” Modern Painters 20/3 (April 2008), 62-69.
Warwick Heywood, “Obscure Dimensions of Conflict: Lyndell Brown and Charles Green,” Artlink 28/1 (March 2008), 52-55.
Ashley Crawford, “Interview: Lyndell Brown and Charles Green in the war zone,” Photofile 83 (Winter 2008), 20-25.
Judy Annear, “The Map of Atlantis,” Photography: Art Gallery of New South Wales Collection (Sydney: Art Gallery of New South Wales, 2007), 334.
Gabriella Coslovich, “New Additions to a rich tradition of art and war,” The Age, 3 November 2007, Insight 2.
Yuko Narushima, “The quest to capture life at the front,” The Sydney Morning Herald, 29 June 2007, 14.
Natasha Rudra, “Artists record images of conflict,” Canberra Times, 29 June 2007, 6.
Silvia Dropulich, “Politically powerful artists chosen to portray complex war,” The University of Melbourne Research Review, 2007, 8-9 & cover.
Lorna Edwards, “Artists Charged with Capturing Hues and Cries of Conflict,” The Age, 27 Feb. 2007, 5.
Nikos Papastergiadis, “Trompe l’Oeil: Under the Signs of Everything,” in Spatial Aesthetics: Art Place and the Everyday (London: Rivers Oram Press, 2006), 60-67.
Sue Smith, “Other Dimensions: Body, Speed and Time,” and Sally Butler, “Darkroom of the Soul,” in Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton (2006).
Victoria Hynes, ‘Two Up: Victoria Hynes Interviews Lyndell Brown and Charles Green,’ Australian Art Review, 10 (March-June 2006), 56-59.
Lyndell Brown and Charles Green, ‘In Defense of Nature,’ ARC One Gallery, Melbourne, exh. catalogue with essay by the authors (September 2005), n.p.
Blair French, ‘Tranquility,’ in Natasha Bullock (curator), Tranquility, exh. catalogue (Sydney: Art Gallery of New South Wales, May 2005), 2-4.
Laura Murray Cree, ‘The Waves,’ in Bridget Pirrie (curator), The Waves, exh. catalogue
(Sydney: GRANTPIRRIE Gallery, 2003), 3.
Alex Miller, ‘The Artist as Magician,’ Meanjin, vol. 62, no. 2 (2003), Special Issue: Portraits of the Artist, 41-58.
Lyndell Brown and Charles Green, ‘Self-Portrait: Sanctuary.’ Art and Australia, vol. 40, no. 2 (Summer 2002), 248-249.
Anthony White, ‘Technique and Memory,’ in Eldorado, exh. catalogue (Melbourne: Arc 1 Gallery, 2003), 3.
Peter Conrad (2003), At Home in Australia (Canberra: Thames & Hudson and the
National Gallery of Australia, 2003), 246-247.
Lyndell Brown, “Arcadia,” in Anurendra Jagadeva (curator), Arcadia, exh. catalogue (Melbourne: Monash University
Faculty Gallery, 2003), 2-4.
Samela Harris, ‘Lyndell Brown and Charles Green,’ Australian Art Collector 21, July 2002, 48-51.
Deborah Hart, ‘Illusory worlds,’ in Deborah Hart, Tales of the Unexpected, curated exh. (Canberra: National Gallery of Australia, July 2002), 20-25.
M.A. Greenstein, ‘Lyndell Brown/Charles Green,’ Atlas, exh. catalogue, (Sydney: GRANTPIRRIE Gallery, 2002).
Alex Miller, ‘Sanctuary,’ in Sanctuary—and other island fables, exh. catalogue (Melbourne: Herring Island Gallery, Parks Victoria, 2002), 1-22
Alex Miller, ‘Art and Other Worlds,’ The Age Saturday Extra, 9 February 2002, 5-6
M.A. Greenstein, ‘20 July 2001; Los Angeles, California, U.S.A.,’ Indicium: Contemporary Australian Photomedia (Seoul: Insa Art Centre and Sydney: Penrith Regional Gallery, 2001), 6-13.
Helen McDonald, Erotic Ambiguities: The Female Nude in Art (London and New York: Routledge, 2001), 207-210.
Megan Dunn, ‘Time after time,’ Pavement 42 (New Zealand), Aug.-Sept. 2000, 60.
Peter Nagy, ‘Boundlessly Various and Everything Simultaneously’ exhibition catalogue, (New York: Bose Pacia Modern, 2000).
Jeanette Hoorn, ‘Lyndell Brown and Charles Green,’ in Laura Murray Cree (ed.) Australian Painting Now (Sydney: Craftsman House, 2000), 72-75 and cover.
‘Days of their lives,’ The Australian Review of Books, vol. 4, no. 9, cover illustration.
Nikos Papastergiardis, ‘Trompe l’oeil: under the signs of everything,’ Towards a Theory of Everything, Sydney: Australian Centre for Photography, 1999, 2-10.
Tom Nicholson, ‘Archives after the seventies and after,’ Artlink 19/1, March 1999, 63-65.
Jeanette Hoorn, ‘The Desiring Phantom: Contemplating the Art of Lyndell Brown and Charles Green,’ Art and Australia, vol. 35, no. 3, April 1998, 374-381.
Elizabeth Cross, Robert Nelson, Southern Reflections, exhibition catalogue essays, Stockholm: Kulturhuset, 1998. Elizabeth Cross, ‘Southern Reflections,’ 7-13; Robert Nelson, ‘Lyndell Brown/Charles Green,’ 32-33.
Juliana Engberg, ‘The Lovers,’ catalogue essay, Museum of Modern Art, Heide, Melbourne, November 1995.
Natalie King, ‘Constructed City,’ catalogue essay, Plimsoll Gallery, Hobart, October 1995.
Alan Krell, catalogue essay, Annandale Galleries, Sydney, September 1993.
Artists’ statement, 13 Verity Street Gallery, Melbourne, April 1993.
Robert Nelson, ‘Una Selva Lucida,’ catalogue essay, Annandale Galleries, Sydney, March 1992.
May 1998, 33.
Peter Hill, ‘Welcome to our Nightmare,’ The Bulletin, 13 Feb, 1996, 72-73.SELECTED EXHIBITION REVIEWS
Peter Hill, ‘Somewhere in a gallery far, far away,’ The Age, 8 June 2005, Metro, 10.
Michael Reid, ‘Pictures worth more than 1000 whirrs,’ The Australian, 25 February 2004, 14.
Leeny Ann Low, “Nature’s Own: The Waves,” Sydney Morning Herald, 8 November 2003, Forty-eight hours, 12.
Peter Hill, ‘Perfect Partners,’ Sydney Morning Herald, 8 November 2003, Spectrum, 12-13.
Sasha Grishin, ‘A Grab Bag of Very Good Melbourne Artists,’ Canberra Times, 4 March 2003, 9.
Megan Backhouse, ‘Brown and Green,’ The Age, 22 February 2003, Review 7.
Peter Hill, ‘Moon Shots,’ The Sydney Morning Herald, 17 Jan. 2003, Metro 26.
Peter Hill, ‘Spaced out,’ Photofile (April 2003).
Sasha Grishin, ‘Flights of fantasy into an alternative reality,’ Canberra Times, July 2002.
Peter Robinson, ‘Unexpected theatrical twist to artistic tales,’ Canberra Times, 13 July 2002, 7.
Victoria Hynes, ‘Critics Picks: Lyndell Brown and Charles Green,’ Sydney Morning Herald, 17 May 2002, 27.
Kim Levin, ‘Boundlessly Various and Everything Simultaneously,’ Village Voice, 27 June 2000.
Holland Cotter, ‘Boundlessly Various and Everything Simultaneously,’ New York Times, 7 July 2000, 31.
Robert Rooney, ‘In the spirit of collaboration and archivism,’ The Australian, 28 May 1999, 12.
Robert Nelson, ‘Capturing images of abduction,’ The Age, 6 October 1999, 6.
Robyn McKenzie, ‘Creative Insights,’ Herald Sun, 30 March 1998, 96.
Harald Flor, ‘Australshe monstre (‘Southern Reflection’),’ Dagbladet (Oslo), 5 Aug. 1998, 5.
Lotte Sanberg, ‘Mapping a different terrain,’ Aftenposten (Oslo), 4 Aug, 1998.
Crispin Ahlström, ‘Tradition and pioneering spirit without any kangaroos,’ Götesborgs Posten (Gothenberg), 30 March 1998.
Jessica Kempe, ‘It is far between the continents,’ Dagens Nyetar, 8 April 1998, B 2.
Eva Runefelt, ‘Out of Australia’s living heart,’ Svenska Dagbladet, 29 March 1998, 17.
Asa Wall, ‘Konst född ur sand,’ Svenska Dagbladet, 14 March 1998.
Terry Ingram, ‘Sombre Swedes see You Beaut Country,’ Australian Financial Review, 21
Carolyn Crossley, ‘A gloomy view,’ Art Monthly 93, October 1996, 25-26 and cover illustration.
Robert Rooney, ‘A romp through the world of romance,” The Weekend Australian, 22 Dec. 1995, 10.
Robert Nelson, “A little temple of Klio,’ The Age, 20 Sept. 1995, 14.
Simon Plant, ‘Connubial Canvases, The Weekend Herald Sun, 25 Nov. 1995, 15.
Robert Nelson, ‘Separate talents merge within a single medium,’ The Age, 23 Nov, 1994, 27.
Robert Nelson, ‘The Arts Year in Review,’ The Age, Dec, 1994, 28.
Mary Lou Jelbart, ‘Colourful couple,’ Herald Sun, 30 Nov. 1994, 59.
Mary Lou Jelbart, ‘Visual scene needs new look,’ Herald Sun, 22 Dec. 1994, 42.
Robert Rooney, ‘Icons for a busy world,’ The Weekend Australian, April 17, 1993, 13.
Elwyn Lynn, ‘Loners in warm climes,’ The Weekend Australian, Sept. 25, 1993, 16.
Elwyn Lynn, ‘Renaissance Resurrections,’ The Weekend Australian, March 21, 1992, 11.
Robert Rooney, ‘When friendship enters the picture,’ The Weekend Australian, August 1, 1992, 13.
Robert Schubert, ‘Domino 1: Collaborations between artists,’ Agenda 25, October 1992, 11.
Christopher Heathcote, ‘The rewards of creative deliberation,’ The Age, March 4, 1992, 14.