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{{Short description|Australian visual artist}}
'''Brook Andrew''' is a [[contemporary artist]]
{{Use Australian English|date=June 2020}}
{{Use dmy dates|date=July 2019}}
⚫
'''Brook Andrew''' (born 1970 in [[Sydney, Australia]]) is an Australian [[contemporary artist]].<ref>{{cite web|url=http://www.connaissancedesarts.com/art-contemporain/brook-andrew-rejoint-la-galerie-nathalie-obadia-112089/|title=Brook Andrew rejoint la galerie Nathalie Obadia|work=Connaissance des Arts}}</ref>
[[File:Brook Andrew portrait in studio 2015 15cm.jpg|thumb|Brook Andrew]]


==Work==
Born 1970, Sydney, Australia.
Andrew has exhibited internationally since 1996. His work focuses on Western narratives, especially relating to [[colonialism]] in the Australian context, and consists of interdisciplinary works, video, sculpture, photography and immersive installations. In 2014 he worked closely with the collections of the [[Museo Nacional Centro de Arte Reina Sofia]], [[Museo de América]] and Museo Nacional de Antropología for the exhibition ''Really Useful Knowledge'' at the Museo Nacional Centro de Arte Reina Sofia, to create an immersive installation, ''A Solid Memory of the Forgotten Plains of our Trash and Obsessions'', reflecting on Spanish, British and Australian history and colonialism. In 2015, Andrew created ''The Weight of History, A Mark in Time'' at [[Barangaroo]] in Sydney, incorporating Aboriginal art with modern landscapes and architecture.{{citation needed|date=March 2019}}


Andrew was awarded a 2017 Smithsonian Artist Research Fellowship and completed a term as a Photography Residencies Laureate at [[Musée du quai Branly]], Paris, investigating the relationship between the colonial photographer and the sitter. His other research includes an international comparative three-year [[Australian Research Council]] grant called ''Representation, Remembrance and the Monument'', responding to calls for a national memorial to Aboriginal loss and the [[Australian frontier wars|frontier wars]].<ref>{{cite web|url=http://www.rr.memorial/introduction|title=RRM Introduction|work=R.R.Memorial}}</ref>
⚫
==External links==
Andrew and his collaborator Trent Walter will complete Australia's first official government-supported memorial to the frontier wars, where [[Tunnerminnerwait]] and Maulboyheener, the first two Aboriginal men to be hanged in Melbourne, will be installed adjacent Melbourne Gaol.{{citation needed|date=March 2019}}
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*[http://www.brookandrew.com/ Brook Andrew's website]
*[http://www.tolarnogalleries.com/ Tolarno Galleries website]


In 2018, Andrew was announced as the Artistic Director of the 22nd [[Biennale of Sydney]] for 2020.<ref>{{Cite web|date=2018-06-20|title=Brook Andrew Appointed as Artistic Director of the 22nd Biennale of Sydney|url=https://www.artistprofile.com.au/brook-andrew-appointed-artistic-director-22nd-biennale-sydney/|access-date=2020-07-07|website=Artist Profile|language=en-US}}</ref> NIRIN, the title of the 22nd Biennale of Sydney translates to ‘edge’ in [[Wiradjuri]], the language of Andrew’s mother.<ref>{{Cite web|last=Magdalino|first=Verity|date=2020-06-02|title=The 2020 Sydney Biennale is completely led by First Nations artists — and it's on right now|url=https://www.vogue.com.au/vogue-living/arts/the-2020-sydney-biennale-is-completely-led-by-first-nations-artists-and-its-on-right-now/news-story/9ea9185d0ca8eeb93ababcb39b1a09dc|access-date=2020-07-07|website=Vogue Australia|language=en}}</ref> As artistic director of this Biennale, Andrew exhibits and celebrates not only Australia’s indigenous cultures but also those of First Nations artists and communities from around the world.<ref>{{Cite web|date=2019-04-09|title=Solange and Jay-Z collaborator Arthur Jafa to make new work in Australia|url=https://www.abc.net.au/news/2019-04-10/biennale-of-sydney-2020-nirin-to-bring-artists-at-edge-to-centre/10986152|access-date=2020-07-07|website=www.abc.net.au|language=en-AU}}</ref> As the artist has explained, 'I am interested in challenging the narratives around what sovereignty means for Indigenous peoples, and other alternative narratives, not just around Indigeneity.'<ref>{{Cite web|date=2021-03-17|title=Brook Andrew Reflects on 'This Year'|url=https://ocula.com/magazine/conversations/brook-andrew-this-year/|access-date=2021-03-17|website=ocula.com|language=en}}</ref>
==See also==
*[[Art of Australia]]
*[[International Art]]


==References==
'''Brook Andrew is represented by Tolarno Galeries, Melbourne, and Galerie Nathalie Obadia, Paris.'''
{{Reflist}}

*https://web.archive.org/web/20160515234941/http://www.brookandrew.com/bibliogaphy/
Brook Andrew’s own mixed cultural background from Aboriginal and Celtic parents, growing up in Australia, has led him on a journey to uncover the often invisible legacies of colonial societies. His travels to international museums and collections like the Royal Anthropological Institute in London has afforded him a wealth of material to inspire works such as his lauded Gun-Metal Grey series. His own rare book and postcard collections inform much of his archival and research practice seen in works like 52 Portraits and Anatomy of a Body Record: Beyond Tasmania. (reference: Press release for ''Anatomy of a Body Record : Beyond Tasmania''
7 November - 31 december 2013 at Galerie Nathalie Obadia)


Brook Andrew challenges cultural and historical perception, using installation, text and image to comment on local and global issues regarding race, the media, consumerism and history. Apart from drawing inspiration from vernacular objects and institutional and found archive collections, Andrew travels internationally to work with communities and museum collections to comment and create new work relating to historical object display and perception.

''His work with archival material has created debate and new thought surrounding contemporary philosophies regarding memory, its conceptual and visual potency linking local with international histories… Brook Andrew’s art challenges the limitations imposed by power structures, historical amnesia, stereotyping and complicity.''

Laura Murray Cree, Brook Andrew in ‘Artist Profile’. Pp 50-59. Issue 11, 2010. Sydney. Australia.


''Andrew curated TABOO in 2012/13 at the Museum of Contemporary Art, Sydney: a turning point in how indigenous and non-indigenous artists and themes are expressed, pigeonholed and determined through stereotyping in colonized societies.''

''Whether sacred or profane, taboos often focus their proscriptions against perfomativity and the bodies that enact them. “Taboo,” a provocative exhibition of contemporary Australian and international artists, whose works are presented alongside various archival ephemera––newspaper clippings, postcards, and photographs––attempts to lay bare the moral impositions wrought by collective institutional bodies upon individual ones. Of Wiradjuri Aboriginal descent, the show’s curator, Brook Andrew, knows firsthand the insidious nature of cultural and moral repression.''

Akel, J. Taboo. In ‘ARTFORUM’, 2/12/13. http://artforum.com/archive/id=38879


In 2012, Andrew contributed two significant, permanent and public artworks for the Museum of Contemporary Art, Australia, titled Warrang, and a new commission mountain home – dhirrayn ngurang for Australia House as part of the Echigo-Tsumari Triennial, Japan.


''…Andrew’s practice also reveals that while we often think of globalization as homogenizing cultures and meanings, individual perspectives remain diverse…it is [his] refusal to be didactic that underscores his maturity.''

Rawling, A. Brook Andrew: Archives of the Invisible in 'Art Asia Pacific'. Issue 69 May/June 2010. New York. USA.


Brook Andrew was awarded the inaugural Sidney Myer Fellowship for 2012/13 and the unique Katherine Hannay Australian Visual Arts Commission for a new ambitious, immersive installation of film and sculpture called De Anima for 2013/14. Brook is currently a Georges Mora Fellow at the State Library of Victoria, Australia, and will exhibit at the Museo Nacional Centro de Arte Reina Sofía in 2014.
 


'''A recent exhibition is reviewed in the Connaissance de Arts, France'''

⚫
[http://www.connaissancedesarts.com/art-contemporain/actus/brook-andrew-rejoint-la-galerie-nathalie-obadia-104261.php ''Brook Andrew joined the galerie Nathalie Obadia'']

Journal: Connaissance de Arts, France
Date: 11/20/2013
Author: Dominique Blanc


The artist Brook Andrew (born in 1970) is one of those who function with magnetism today in the Australian art scene. Born of a father of Scottish origin and of a mother belonging to the aboriginal people Wiradjuri, his work reverberates diverse perspectives - with the means of art - of the way in which indigenous peoples have been, until today, (de)considered and represented through images and texts. He is a collector of archives, surveyor of large European collections of ethnographic objects, commissioner of exhibitions (in 2012, "Taboo ", the museum of contemporary art in Sydney), Brook Andrew belongs to a current fruitful activity in the contemporary art scene that combines art and anthropology, as well as mediums of installation, sculpture, video and photography.

Invited in residence by the museum of Aquitaine in Bordeaux within the framework of the exhibition "vivid memories" devoted to Aboriginal artists (see up to 30 March 2014), and presented for his first exhibition in a European gallery "Anatomy of the memory of the body: beyond Tasmania", an emble of his artistic approach – originally shown in his Melbourne gallery at the beginning of this year. Two types of work are presented: in the center, a vitrine of the type seen in the museums of natural history; a skull, skeleton, bones, photos of "indigenous", loads of books on magic, evolutionists of the nineteenth century in a sort of condensed visual manner in which is also incorporated peoples called "primitive" in the West. This showcase is extended by an appendix in the form of a giant gramophone, sort of mouth "excretor", component for evacuation, a door-voice: all of this at the same time. The witness to this primitive scene, are about thirty anonymous portraits of men and women belonging to traditional non-european societies – photos of these "ethnic" people whose vogue coincided with the expansion of colonial empires - have been enlarged by Brook Andrew and covered with a veil of silver which resemble icons.

On the evening of the vernissage, two performers performed "Illusion on Self Motion " on harp and oboe, a (short) requiem commissioned by the artist for this installation from anglo-Rwandan composer Stephanie Kabanyana Kanyandekwe.

In France, this type of historical questions and policies on the history of the representations has rather been popular in museums this spring (we think of "at a glance, the other" at the Quai Branly museum), cinema or documentary. The exposure that the Reina Sofia Museum in Madrid will devote to Brook Andrew in October 2014 will help to widen the audience. In the meantime, the initiative of Nathalie Obadia is to be welcomed.

Galerie Nathalie Obadia, 18 rue du Bourg-Tibourg , 75004 Paris. Until 31 December.



'''A recent exhibition is reviewed By Nicholas Forrest for BLOUINART''' [http://www.blouinartinfo.com/news/story/921794/planet-art-the-best-art-from-around-the-world-june-2013 BLOUINARTINFO Australia]

''52 Portraits'' Tolarno Galleries, Melbourne. 2013

Brook Andrew explores notions of identity and the perception of humanity in his new exhibition, which references 19th-century European treatment of indigenous peoples as ethnographic curiosities and the contrasting sacredness that indigenous people of Australia place on the human body. A poignant investigation into the history of the human condition, the exhibition consists of 52 mixed-media portraits featuring images based on 19th-century postcards of unknown people from Africa, Argentina, Ivory Coast, Syria, Sudan, Japan, Australia, as well as a Wunderkammer-inspired centerpiece. According to Brook Andrew, “names were not recorded when Indigenous peoples were photographed for ethnographic and curio purposes. The history and identity of these people remain absent. In rare instances, some families might know an ancestor from a postcard.”


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==External links==
⚫
* {{official|http://www.brookandrew.com}}


{{Authority control}}


{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Andrew, Brook
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Scottish visual artist
| DATE OF BIRTH = 1970
| PLACE OF BIRTH = Sydney, Australia
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Andrew, Brook}}
{{DEFAULTSORT:Andrew, Brook}}
[[Category:Australian artists]]
[[Category:Artists from Sydney]]
[[Category:Museum artist]]
[[Category:Museum intervention]]
[[Category:International artists]]
[[Category:Conceptual Art]]
[[Category:Australian Aboriginal artists]]
[[Category:Australian Aboriginal artists]]
[[Category:Indigenous Australian people]]
[[Category:Australian contemporary artists]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:Year of birth missing (living people)]]
[[Category:1970 births]]
[[Category:Wiradjuri]]
[[Category:Wiradjuri people]]




Latest revision as of 16:36, 27 March 2024

Brook Andrew (born 1970 in Sydney, Australia) is an Australian contemporary artist.[1]

Brook Andrew

Work[edit]

Andrew has exhibited internationally since 1996. His work focuses on Western narratives, especially relating to colonialism in the Australian context, and consists of interdisciplinary works, video, sculpture, photography and immersive installations. In 2014 he worked closely with the collections of the Museo Nacional Centro de Arte Reina Sofia, Museo de América and Museo Nacional de Antropología for the exhibition Really Useful Knowledge at the Museo Nacional Centro de Arte Reina Sofia, to create an immersive installation, A Solid Memory of the Forgotten Plains of our Trash and Obsessions, reflecting on Spanish, British and Australian history and colonialism. In 2015, Andrew created The Weight of History, A Mark in Time at Barangaroo in Sydney, incorporating Aboriginal art with modern landscapes and architecture.[citation needed]

Andrew was awarded a 2017 Smithsonian Artist Research Fellowship and completed a term as a Photography Residencies Laureate at Musée du quai Branly, Paris, investigating the relationship between the colonial photographer and the sitter. His other research includes an international comparative three-year Australian Research Council grant called Representation, Remembrance and the Monument, responding to calls for a national memorial to Aboriginal loss and the frontier wars.[2] Andrew and his collaborator Trent Walter will complete Australia's first official government-supported memorial to the frontier wars, where Tunnerminnerwait and Maulboyheener, the first two Aboriginal men to be hanged in Melbourne, will be installed adjacent Melbourne Gaol.[citation needed]

In 2018, Andrew was announced as the Artistic Director of the 22nd Biennale of Sydney for 2020.[3] NIRIN, the title of the 22nd Biennale of Sydney translates to ‘edge’ in Wiradjuri, the language of Andrew’s mother.[4] As artistic director of this Biennale, Andrew exhibits and celebrates not only Australia’s indigenous cultures but also those of First Nations artists and communities from around the world.[5] As the artist has explained, 'I am interested in challenging the narratives around what sovereignty means for Indigenous peoples, and other alternative narratives, not just around Indigeneity.'[6]

References[edit]

  1. ^ "Brook Andrew rejoint la galerie Nathalie Obadia". Connaissance des Arts.
  2. ^ "RRM Introduction". R.R.Memorial.
  3. ^ "Brook Andrew Appointed as Artistic Director of the 22nd Biennale of Sydney". Artist Profile. 20 June 2018. Retrieved 7 July 2020.
  4. ^ Magdalino, Verity (2 June 2020). "The 2020 Sydney Biennale is completely led by First Nations artists — and it's on right now". Vogue Australia. Retrieved 7 July 2020.
  5. ^ "Solange and Jay-Z collaborator Arthur Jafa to make new work in Australia". www.abc.net.au. 9 April 2019. Retrieved 7 July 2020.
  6. ^ "Brook Andrew Reflects on 'This Year'". ocula.com. 17 March 2021. Retrieved 17 March 2021.

External links[edit]


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