Location: Unknown
Lynne Roberts-Goodwin is an Australian-based artist, graduating from Fine Arts Degrees at the University of Sydney and University of New South Wales, gaining a postgraduate Master of Fine Art Degree from Manchester University, Medlock Fine Arts Centre in 1980.
Roberts-Goodwin’s international exhibitions include: Survey10, Herzliya Museum of Contemporary Art, Ir, 2011; Luminous, Light Work Gallery, New York, USA, 1998; FALSE tales-Dishy Dogs, 4×4, New Museum of Contemporary Art, New York, USA; False Tales, Artspace, Auckland, N.Z., 1995; 90’sWork !, Biota Gallery, Los Angeles, USA, 1991; Site Works, Sallé Sandoz Gallery, Paris, France, 1986; North/South, Whitworth Gallery, Manchester City Gallery, Manchester, U.K. 1981; From Here, Peterloo Gallery, Manchester, U.K., 1980.
Group exhibitions include Josephine Ulrick and Win Schubert Photography Exhibition, Gold Coast City Gallery, 2010 and 2011; William & Winifred Bowness Photography Prize, Monash Gallery of Art, Melbourne, Australia 2008; Insatiable Streams, Artzone Gallery, Beijing, China, 2007; MCA Collections: New Acquisitions, Museum of Contemporary Art, Sydney, Australia, 2007; Perfect for every occasion, Photography today, Heide Museum of Modern Art, Melbourne, 2007; Blossfeldt and the Isolated Object, Level 2 Project, Art Gallery of New South Wales, Sydney, 2007; New Acquisitions, Museum of Contemporary Art, Sydney 2007-2008; Voiceless: I feel therefore I am, Sherman Galleries, Sydney, 2007; The Year in Art, S.H.Ervin Gallery, Sydney, 2007; Glad Wrap-Up, Sherman Galleries, Sydney, 2005; One Of: Festivus 04, Sherman Galleries, Sydney, 2004; Open Source, Fosdick Nelson Gallery, Alfred, New York, USA, 2002; 2000 Metropolis, Museum of Sydney, 2002; List Structure, Sherman Galleries,Sydney, 1998; Multiplication: The multiple object in art, Monash University Gallery, Melbourne, 1997; INHERITANCE, Australian Centre for Photography, Sydney, 1996; Art Felt, The University of Newcastle Gallery, Callaghan, Newcastle, Australia, 1995; Interim, Ivan Dougherty Gallery, Sydney, 1995; BitMap101, Gallery101, Melbourne, 1994; Virtu, Ivan Dougherty Gallery, Sydney, 1993.Solo exhibitions include Sightings, VAC Gallery, Volcano, Big Is., Hawaii, USA, 2011; Random Acts, Sherman Galleries, Sydney, 2007; Disappearing Acts, Sherman Galleries, Sydney, 2005; azure, Emirates Museum of Contemporary Art Cultural Museum, Abu Dhabi, UAE, 2004; azure, Australian Centre for Photography, Sydney 2003; landings, Boutwell Draper Gallery, Sydney, 2002; Lynne Roberts-Goodwin, Renard Wardell Gallery, Melbourne, 1999; Luminous, Light Work Gallery, New York, NY USA. 1998; Blindfold, Contemporary Level 2 Project Space, Art Gallery of New South Wales, Sydney, 1997; Lynne Roberts-Goodwin, Michael Wardell Gallery, Melbourne, 1997; pink planks, Artspace Gallery, Sydney, 1997; False Tales: Dogs to the Wall, Artspace, Auckland, NZ, 1995; a certain Blindness, Centre for Contemporary Photography, Melbourne, 1994; Remote, Perth Institute for Contemporary Art, Perth, 1994; Remote-Half-Light, Australian Centre for Contemporary Art, Melbourne, 1994; Phantasm, Australian Centre for Photography, Sydney, 1993.
International and national residencies include Fondation Arabe pour l’Image Artist Residency, Beirut, Lebanon, 2009; AQIS Quarantine Artist-in-Residence, Sydney International Airport, Sydney 2005; ERWDA (Environmental Research Wildlife Development Agency) and Environment Agency Abu Dhabi (EAD) Falcon Hospital Residency, Abu Dhabi, 2002; Rockefeller Foundation Artist Residency, Alfred, New York, 2001; UNESCO Sanskriti Artist Residency, Delhi, India, 2001-2002; WWFund Traffic Remote Monitoring Residency, Himachal Pradesh, Manali, HP, India, 2000; BNHS (Bombay Natural History Society) Artist in Residence, Mumbai, India, 1996; Page Museum, La Brea Tar Pits Research Residency, Los Angeles, USA, 1994; Art Gallery of N.S.W Moya Dyring Paris Studio Residency, Cité Internationale des Arts, Paris, France, 1983.Roberts-Goodwin has been awarded the Basil and Muriel Hooper Travelling Arts Scholarship from the Art Gallery in 1978, two Art Gallery of NSW Dyason Bequest Overseas Travel Grant Awards respectively in 1979 and 1980, an Artist Overseas Travel Grant from the VACB, Australia for the Moya Dyring Paris Studio Residency at the Cité Internationale des Arts Studio, Paris, France and whilst living in the United Kingdom and Europe, received in 1985 a LEA (London Education Authority) Grant for Travel and Education. In 1989, she received a New Image Research Grant from The Australian Film Commission, followed by an NSW Ministry of the Arts, Australia Council Visual Arts Fund, New Work Grant in 1996/1997. In 2003, 2005, 2007 and 2010 she has received Australia Council for the Arts Established Artist’s funding for the production New Work and exhibitions. Roberts-Goodwin was awarded the prestigious Josephine Ulrick and Win Schubert Photography Prize in 2010.
The artist’s work is held in numerous private and public collections, including The Museum of Contemporary Art, The Art Gallery of New South Wales, ARTBANK, Australian Opera Trust, Gold Coast City Art Gallery, National Gallery of Victoria, Goldman Sachs Group, Inc., Transfield Foundation, Manchester City Gallery and private museums and collections nationally and internationally.
Lynne Roberts-Goodwin is an Australian-based artist whose work engages photographic imagery, sculptural objects and video, interrogating contexts and topographies of cultural and environmental tension. Roberts-Goodwin has exhibited extensively and her work is held in private and public collections including The Museum of Contemporary Art in Sydney, the Art Gallery of New South Wales in Sydney, the National Gallery of Victoria in Melbourne, and Manchester Art Gallery. The recipient of national and international grants, awards and commissions, the artist’s work is held in prestigious private and public collections and was awarded the 2017 Inaugural Mordant Family/Australia Council Affiliated Fellowship and Studio Residency at the American Academy in Rome.
The works of artist Lynne Roberts-Goodwin centre on the pivotal conceptual foundations of landscape as a record and aftermath of human values and actions imposed over time coupled with extreme locations in terms of geopolitical, remote topographical and culturally estranged. The artist’s work and research surrounding these broad concepts inspects visual representations of man-made and ‘natural’ landscapes that appear as ‘other’ in more than one way and are centered within locations or through histories of contested sites or geopolitically contested remote or elevated topographical territories. Confronting representations from different parts of the globe, Roberts-Goodwin invites us to engage with unfamiliar contexts and global structures of environmental conflict and sites of impact. Relinquished landscapes produced in different temporal and spatial locales in light of each other are laid bare and investigated, scrutinized and visually represented as a mode of seeing and as a site of control and resistance, intertwined with social and economic power structures. Lynne Roberts-Goodwin’s photographic work and installations can be seen as an aftermath of the fragmentary and enigmatic qualities of the photographic document as a path to return afresh to what we think we know of the past, and how we think we know it through present engagement and dissemination. The artist, within her imagery, engages the lens of ‘spatial aesthetics’; that is, ‘the complex entanglements between local and global ideas of place’.
“deadcalm border 132 closeupatadistance 2016 series”
The Dead Sea, at the lowest elevation point on Earth, is a salt lake made famous by its waters that are largely absent of life and are highly buoyant enabling tourists to float aimlessly. The feeling of stillness experienced by floating in the almost motionless water is condensed in the series deadcalm, with their intensely flat and disorienting surfaces. The artist was drawn to this ever-changing landscape, as a contested site of desolation, sublime beauty and conflict, to work with a team of environmentalists. Roberts-Goodwin researched and photographed the landscape as akin to engaging with a ruin aesthetic, established in the western tradition as sites of contemplation on humankind’s past achievements. Here, the images of stillness belie the ongoing environmental destruction and human conflict over settlement rights that continue along its banks that lie between Palestine and Jordan. Donna West Brett September 2016
“deadcalm distance 100 closeupatadistance ”
The Dead Sea, at the lowest elevation point on Earth, is a salt lake made famous by its waters that are largely absent of life and are highly buoyant enabling tourists to float aimlessly. The feeling of stillness experienced by floating in the almost motionless water is condensed in the series deadcalm, with their intensely flat and disorienting surfaces. The artist was drawn to this ever-changing landscape, as a contested site of desolation, sublime beauty and conflict, to work with a team of environmentalists. Roberts-Goodwin researched and photographed the landscape as akin to engaging with a ruin aesthetic, established in the western tradition as sites of contemplation on humankind’s past achievements. Here, the images of stillness belie the ongoing environmental destruction and human conflict over settlement rights that continue along its banks that lie between Palestine and Jordan.
deadcalm distance 100 and 101, taken from elevated points on the opposing banks of the occupied territories and Jordan, are images not only of stillness but of endless time that is seemingly embedded into the very pigments of the prints. To look at these photographs is to look into the vast unknowable space of time and history recalling Walter Benjamin’s musings on the decay of the aura. Donna West Brett September 2016.
“deadcalm distance 101 closeupatadistance ”
The Dead Sea, at the lowest elevation point on Earth, is a salt lake made famous by its waters that are largely absent of life and are highly buoyant enabling tourists to float aimlessly. The feeling of stillness experienced by floating in the almost motionless water is condensed in the series deadcalm, with their intensely flat and disorienting surfaces. The artist was drawn to this ever-changing landscape, as a contested site of desolation, sublime beauty and conflict, to work with a team of environmentalists. Roberts-Goodwin researched and photographed the landscape as akin to engaging with a ruin aesthetic, established in the western tradition as sites of contemplation on humankind’s past achievements. Here, the images of stillness belie the ongoing environmental destruction and human conflict over settlement rights that continue along its banks that lie between Palestine and Jordan.
deadcalm distance 100 and 101, taken from elevated points on the opposing banks of the occupied territories and Jordan, are images not only of stillness but of endless time that is seemingly embedded into the very pigments of the prints. To look at these photographs is to look into the vast unknowable space of time and history recalling Walter Benjamin’s musings on the decay of the aura. Donna West Brett September 2016.
