James Angus

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James Angus (b 1970) is an Australian artist known for 'his engaging and rigorously crafted sculptures'.[1]

He lives and works in New York.

Biography[edit]

James Angus was born in Perth, Western Australia in 1970. Angus holds a degree in Fine Arts from Curtin University of Technology and a Master of Fine Arts (Sculpture) from Yale University School of Art.[2] He also now gives lectures to university students in Sydney University.[citation needed]

Selected grants and awards[edit]

Angus has been honoured with a number of prestigious awards across his career. These include Fulbright Postgraduate Award, 1996; Yale University Travelling Fellowship, 1998;[3] Australia Council Professional Development Grant, 1998 and 2001; Studio residency, Cite des Arts, Paris, 2003; Short listed for National Sculpture Prize, National Gallery of Australia, 2005; Basil Sellers Art Prize, Melbourne; 2008 and Australia Council Fellowship, 2009.[4]

Exhibitions[edit]

He has exhibited widely at institutions such as the Museum of Contemporary Art, Sydney; Art Gallery of Western Australia, Perth; Art Gallery of South Australia, Adelaide; Perth Institute of Contemporary Arts, Perth; Museum of Contemporary Art, Chicago; Monash University Art Gallery, Melbourne; National Gallery of Victoria, Melbourne; Nationalgalerie im Hamburger Bahnhof, Berlin; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; Musee d’Art Contemporain, Lyon, France; and Heide Museum of Modern Art, Melbourne.

Public collections[edit]

Angus' works are included in numerous public and private collections. These include;

Public commissions[edit]

Angus' prominent public commissions have included;

  • Day In Day Out, 1 Bligh Street, Sydney, 2011 [5]
  • Grow Your Own, Forrest Place, Perth, 2010 [6][7] (The single largest art commission ever undertaken in Western Australia)
  • Lycee Ferdinand Buisson, Voiron, France, 2009
  • Geo Face Distributor, National Portrait Gallery, Canberra, 2009 [8][9]
  • Ellipsoidal Freeway Sculpture, Eastlink Freeway, Connect East, Melbourne, 2008 [10]
  • Wave Machine, Sydney Theatre Company, Sydney, 2005 [11]
  • Public Art Fund, New York, 1999

References[edit]

  • Elizabeth Ann Macgregor, "James Angus", (Sydney: Museum of Contemporary Art, 2006)
  • www.theage.com.au/entertainment/art-and-design/a-revolt-in-art-20110114-19rdf.html

Further reading[edit]

  • James Angus at Roslyn Oxley 9
  • James Angus at Gavin Brown's enterprise[dead link]
  • James Angus at Triple V
  • ‘Gallery’s new work has many faces’, Border Mail, 27 October 2009, p. 9
  • Pryor, Sally, ‘Not just another face in the crowd’, Canberra Times, 27 October 2010, p. 1
  • Katrina Strickland, ‘Mid-City Statement- The evolution of a major new sculpture,’ The Australian Financial Review, Thursday 29, July, pp. 44
  • Andrew Taylor, ‘Tractor as art’, The Sun Herald, October 17, 2010, pp 36
  • Bolland, Michaela, ‘Orange blob replaces white man on horse’, The Australian, 27 October 2009, p. 6
  • Chapman, Christopher, ‘Abstraction and figuration’, Portrait34, Summer ed, 2009
  • Strickland, Katrina, ‘Mid city statement: the evolution of a major new sculpture’, Financial Review, 29 July 2009, p. 44
  • 'James Angus', To make a work of timeless art-MCA Primavera Acquisitions, 08-09
  • Art and Australia, Current, Contemporary Art from Australia and New Zealand, 2008, p44
  • Christov-Bakargiev, Carolyn. (ed.) 2008 Biennale of Sydney: Revolutions – Forms That Turn, exh.cat. Thames & Hudson: Australia, 2008
  • Scarlett, Ken, ‘No stopping on the freeway!’, Australian Art Review, August–October, 2008, pp. 34–36
  • Bevan, Robert ‘art & events’, Vogue Living Australia, January/February 2007, pp. 69 – 72
  • Palmer, Daniel, ‘Looking Back: Retrospectives’, Frieze, mo. 104, December – January 2007, p. 128, p. 130
  • Angus, James, James Angus, Art and Australia, 2006 (published to accompany the exhibition of James Angus curated by Rachel Kent at the Museum of Contemporary Art)
  • Broadsheet interview with Linda Michael for 2006 Adelaide Biennial, Broadsheet, Vol. 35 No. 1, March – May 2006 pp. 24 – 27
  • Boyd, Chris ‘Both literal and figurative’, The Weekend Australian Financial Review, September 2 – 3, 2006, pp. 32 – 33
  • Clement, T. ‘Collision Theory’, in the Metro, The Sydney Morning Herald, January 13–19, 2006 p. 19
  • Cook, Robert, ‘James Angus’, 21st Century Modern, 2006 Adelaide Biennial of Australian Art catalogue, curated by Linda Michael, published by Art Gallery of South Australia, Adelaide, 2006 pp. 18–19
  • Fortescue, Elizabeth ‘Off the Wall – James Angus at the Museum of Contemporary Art’, Daily Telegraph, 18 September 2006, p. 63
  • Jinman, Richard, ‘It’s a shift to the right for this old racer’, The Sydney Morning Herald, Wednesday, September 13, 2006, p. 13
  • Smee, Sebastian, “Watch out for sharp bends”, The Australian, Monday September 25, 2006
  • Charles Robb and Wes Hill, ‘James Angus, Museum of Contemporary Art, Sydney,’ Eyeline, number 64, pp56–57
  • “James Angus,” National Sculpture Prize and Exhibition (exh. cat.), National Gallery of Australia, Canberra, 2005, p. 13
  • Duncan, Jenepher, “James Angus,” Wall Power (exh. cat.), Art Gallery of Western Australia, Perth, Australia, 2005 (unpaginated)
  • Engberg, Juliana, ‘The Body in the Box: Callum Morton and James Angus’, Art and Australia, Vol. 42, No. 4, 2005, pp. 580 – 587
  • Gallerie d’Art & Co, “A Bocca Aperte: In Australia ‘’arte riesce a togliere il fiato,” 2005
  • Israel, Glenis artwise contemporary: visual arts 10-12, John Wiley & Sons, Qld. 2005 pp. 7 – 13
  • Margaret Marsh, Michele Watts and Craig Malyon A.R.T. 2 practice, Oxford University Press, Melbourne 2005 p. 212-23
  • MCA Collection: New Acquisitions in Context, exhibition catalogue, Sydney 2005 p 6, 24
  • Sydney Morning Herald, “Stories Revisited: The semiotics of installation,” (refers to Lenny Ann Low, August 6, 2004), ed. Matt Buchanan, January 7, 2005, p. 26 (Summer Spectrum)
  • ArtLife, “It’s a Truck!”, Monday, August 30, 2004
  • Crone, Bridget, “Face Up: Contemporary Australian Art in Berlin,” Art & Australia, vol. 41, no. 3, Autumn 2004, p. 386, 387
  • Grayson, Richard, “The Downside up Show,” Broadsheet, vol. 32, no. 4, 2/2003 – 12/2004
  • Higson, Rosalie, “Truckload of meanings squeezed for a tease,” The Australian, August 6, 2004
  • Hill, Peter, “Keep on Truckin’,” Sydney Morning Herald (Spectrum), August 14 – 15, 2004, p. 8 – 9
  • Hill, Peter, “Join the Red Dots,” Spectrum, Sept 25-26, 2004, p. 8
  • Holubizky, Ihor, Truck Corridor, exhibition catalogue, Art Gallery of New South Wales Contemporary Projects, Art Gallery of New South Wales, Sydney, 2004
  • Low, Lenny Ann, “Sculptor becomes truckie in the name of art,” Sydney Morning Herald, August 6, 2004
  • Wahjudi, Claudia, “Face up – Xeitgenösshiche Kunst aus Australien,” Austellungen, Kunstforum International, Bd. 168, 01/02/2004
  • Angus, James, “On making Manta Ray,” Face Up: Contemporary Art from Australia, exhibition catalogue, Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, 2003, p. 59
  • Carsten Probst, “Face Up – Zeitgenössiche australische Kunst im Hamburger Bahnhof Berlin,” DeutschlandFunk – ‘Kultur heute’, 2 October 2003
  • Angus, James, “Manta Ray: In search of perfect ambiguity,” Art & Australia, 40th Anniversary Issue, Winter, vol. 40, no. 4, 2003, p. 580, 581
  • Apthorp, Shirley, “Urban work smashes cliches: Berlin is set to experience the cutting edge of Australian art,” The Australian, Tuesday, 30 September 2003, p. 15
  • B.R. “Berlin: Opération séduction, L’oeil, Dezember 2003
  • Berlino, A, “Face Up. L’arte australiana va forte,” Arte, December 2003
  • Boriani, Glenda “artsaustralia berlin 03,” tema celeste, (1), No.100, November/December 2003
  • Dick, T, “Right wavelength keeps career going upwards,” Sydney Morning Herald (Metropolitan), Friday, 8 August 2003, p. 12
  • Duncan, Jenepher and Linda Michael, Monash University and Monash University Museum of Art, Victoria, 2003, p. 45 - 51
  • Grayson, Richard, “James Angus,” Face Up: Contemporary Art from Australia, exhibition catalogue, Museum for the Present, Nationalgalerie im Hamburger Bahnhof, Berlin, 2003, p. 60, 61
  • Green, Stephanie, “Review: Gulliver’s Travels, Perth Institute of Contemporary Arts,” Object, no. 43, 2003, p. 89
  • Meagher, Caroline, “Bridging the Gap,” State of the Arts, October – December 2003
  • Rees, Simon, “Still Life: Art Gallery of New South Wales, Sydney,” Flash Art, vol. 36 no. 233, November –December 2003, p. 51
  • “Face Up: Contemporary Australian Art,” review, Flash Art, October 2003, vol. 36, no. 232, p. 46
  • Shineberg, Susan, “Triumph in the teeth of adversity,” The Sydney Morning Herald, 6 October 2003
  • Shineberg, Susan, “In the jaws of Berlin’s Great Whites, a taste of Australia,” The Age, Saturday, 4 October 2003, p. 9 (News)
  • Von Thomas Joerdens, “Poppig und gefährlich” Oranienburger Generalanzeiger, 7 October 2003
  • “Face up – Zeitgenössische Kunst aus Australien”[dead link]
  • McKenzie, Dr. Janet, “FACE UP,” Studio International, UK, 4 December 2003
  • Palmer, D. “A Surrealist Party Tape”, Critical Interventions – Biennale of Sydney 2002, Artspace Visual Arts Centre, Sydney
  • Hynes, V and Pryor L. “James Angus – 2002 Biennale of Sydney” Sydney Morning Herald feature, May 2002
  • Delaney, Max, “Skeletons in the closet: from the monument to the model – sculpture in the Collection,” Monash University