1. PERSONAL INFORMATION AMANDA MORGAN W: amandamorgan.com.au

BIO Amanda Morgan is a visual artist who makes Street Art, Public Art and Site-Specific Installations. She has been practicing since 1988 during which time she has completed a BFA, Honours (RMIT), a GDipEd (University of Melbourne), and a Master of Fine Art by Research (Victorian College of the Arts).

Her work is concerned with other ways of seeing the changing world of our cities through developments of playfully active urban spaces. She regularly uses photography, drawing, projection, software and video to animate architecture. By drawing on visual arts significant capacity to involve people across diverse communities, her imagery frequently plays on iconography from the localized landscape where the final work is to be installed and discovered.

Morgan’s work features in numerous local and international collections and has won several awards and extensive public commissions. Recent photographic and light installation commissions include: 2015 Melbourne Art Trams project commissioned by Melbourne Festival, Yarra Trams and Creative Victoria; 2015 White Night Melbourne commission; 2014 projections on Geelong City Hall commissioned by Geelong City Council; 2014 Streetworks public art photography commissioned by Maribyrnong City Council and Vic Roads, 2013 Victoria Park Stadium projection commissioned by City of Yarra.

Working primarily with digital media during in the last 15 years, Morgan has produced over sixty public works for local government and public events, exhibited over one hundred video works and contributed to over seventy curated group exhibitions and projections locally and internationally. She has created several digital media projects and workshops with remote communities in the Western Australian desert, initiated an artist run gallery for video work and installation, produced a contemporary video art series on alternative television, and generated numerous installations and works with architects, designers and filmmakers.

Morgan has lectured and been a tutor in Projection and Installation studios at the Victorian College of the Arts, Art History and Indigenous Education at Deakin University and NMIT, and in various Visual Art and education capacities at RMIT, Swinburne, Melbourne University, and Victoria University since 2000.

2. CV EDUCATIONAL QUALIFICATIONS ART: Graduate Diploma in Education (Secondary Education, University of Melbourne); 2004: An incomplete Bachelor Degree in Electronic Design and Interactive Media (Swinburne University); 2001: Masters by research Fine Arts, (Victorian College University of Melbourne); 1994: Bachelor Degree with Honours in Fine Arts majoring in Painting (RMIT); 1988: Diploma of Art and Design, (Swinburne University).

3. PUBLIC WORKS: COMISSIONS: 2015: Architectures of Light, Melbourne Art Trams project, professional artist category commissioned by Melbourne Festival, Yarra Trams and Creative Victoria; Billboard, outdoor video projection commissioned by White Night Melbourne; Public Video Art Commission for Creative Production Services and Chinese New Year Sydney, 2014: Saltwater City, a 3 year street art project as a 119M site photograph on Hopkins Street Bridge Footscray, Ist stage Commissioned by Streetworks for Maribyrnong City Council, extension Commissioned by Vic Roads; Carol of the Birds, 1 month of animated projections on Geelong City Hall, Commissioned by Geelong City Council; Inland Sea, Site specific film projection Commissioned by the Van Haandel Group for Stokehouse City; Colour Field Painting, a 1 year site specific outdoor single-channel video projection of site photographs, Victoria Park Stadium, Bob Rose Stand, commissioned by City of Yarra; (Melbourne), 3 video works for Nocturnal, commissioned by City of Greater Dandenong; 2013: Her Voice, large format still image projection series, curated by Ian de Gruchy, commissioned by City of Greater Dandenong for Nocturnal; large format outdoor artworks for Bruce Springsteen projections on Hanging Rock with Nick Azidis; Separation (Bonegilla), outdoor video projection mapping, Q-View Digital Gallery, commissioned by City of Albury; 2012: Dusk Till Dawn, video projection mapping, Q-View Digital Gallery, commissioned by City of Albury, (NSW); 2010: Ukiyo-e: floating world, performance video projection commission, Fringe, (Melbourne); 2007: Birrarung: Present Past, permanent installation, commissioned by McNabb Gomes Architects, (Melbourne); 2006: Point of View, photographic installation, commissioned by Andrew McConnell, Circa at the Prince of Whales, (Melbourne).

4. SELECTED EXHIBITIONS AND PROJECTS: SOLO: 2014: Sea Disappearance, Enoteca, Fitzroy; 2013: Fragile Globe (Impermanence no 5.), Interior single- channel video installation, Gertrude St Enoteca, curated by Kym Ortenburg and Yandell Walton, Gertrude Projection Festival, (Melbourne); 2012: Emergence (Hyper buildings) - Ephemeral Museum, interior video and photographic installation, Fehily Contemporary, (Melbourne); 2009: Desert/Water, Tjinmilypa kalyu kaninytjarraku wilarninpa (when water flows inside the body), outdoor video projection, culture centre, Wirrimanu, Balgo, (WA); 2003: Cut, video and photographic installation, Conical, (Melbourne); Process Colour, video and photographic installation, Conical, (Melbourne); 2002: Falling Water - Signal, video installation and short film, Conical, (Melbourne); 2001: Perspective Intersect, (with Garry Wheeler), video installation, Gamma Space, (Melbourne); 2000: Following the Blind Leading the Blind, video installation, VCA Gallery, (Melbourne); 2000: After 8 Second Delay Room, video installation, VCA Gallery, (Melbourne).

GROUP: 2014: Cultural Patterning, in Cinecity Architectural Film Project National Architecture Conference, Loop Melbourne, Curated Sarah Breen Lovett and Louise Mackenzie; 2014: Film Night Film, in Cinecity Architectural Film Project, Judged by Zaha Hadid, Tony Hill, Geoffrey London, Francois Penz, Penelope Seilder, Emma Williamson and the making: 2014 Creative Directors. Curated Sarah Breen Lovett and Louise Mackenzie, touring Lisbon Portugal Architectural Film Festival, Sydney MCA Vivid ideas, Melbourne Testing Grounds, Perth State Film Theatre; Melbourne Now: Pursuit Art Space, curated by Peter Burke, The Ian Potter Centre: NGV Australia, Federation Square, and NGV International, St Kilda Road (Melbourne); White Night: Kaleidoscope, large format still image projection, the State Library of Victoria (Melbourne); White Night: Onsite/Insite, Outdoor single-channel video projection, curated by Anthony McInneny and Paul Candy, RMIT School of Art, (Melbourne); GPF 211 Builders Arms; 2013: Cinecity Architectural Film Project, a touring exhibition of contemporary Single-channel video, curated Sarah Breen Lovett and Louise Mackenzie, touring to Perth Open House, (Perth) Arcfilmfest (Santiago, Chile) Research Visions Exhibition + Symposium, art/design/research by PhD Candidates of Architecture Design and 2 Planning at The University of Sydney, (Sydney), Architecture Film Festival Lisbon, (Portugal), Harold White Theatre, Melbourne University Planning Association and SONA, Australian Institute of Architects National Conference, The Ian Potter Centre: NGV Australia, Federation Square, (Melbourne); Gertrude Projection Festival, Transience (with Ian de Gruchy) video projection mapping, the Builders Arms, curated by Kym Ortenburg and Yandell Walton, (Melbourne); 4 x 4 Projection Festival, Biosphere (The Black Mile), curated by Yandell Walton, Furdydurke, (Melbourne); Nocturnal, Her Voice, large format still image projections, curated by Ian de Gruchy, commissioned by City of Greater Dandenong (Melbourne); exUrban Screens, Biosphere No.3 (Sundial) Outdoor single-channel video projection, Frankston library, curated by Matthew Perkins and Vince Dziekan, (Melbourne); 2012: White Night, No expectations, large format still image projections, the State Library of Victoria (Melbourne); Lumen: Synchronicity, outdoor video projection, curated by Christopher Eamon, Staten Island industrial waterfront site, Atlantic Salt Company, (New York); After the meal: a taste for excess, video and photographic installation (with Pascale Gomes-McNabb and James Morgan), The Johnston Collection, Fair Hall house Museum, (Melbourne); Gertrude Projection Festival, Ephemeral Museum, large format still image projections (with Nick Azidis + Ian de Gruchy), Atherton Gardens Estate, Fitzroy, Gertrude Projection Festival, curated by Kym Ortenburg, (Melbourne); Hyper buildings, video projection, EveryWhere where But Here, Blindside Gallery, (Melbourne); Slave pianos, punkasila, pipeline to oblivion : 3 projects by Danius Kesminas and collaborators, curated by Max Delany, Monash University Museum of Art, MUMA, (Melbourne); Seeing to a distance: Single Channel Video From Australia, Level 17 Artspace, Melbourne Hidden Places, Single-channel façade video projection, Gertrude Projection Festival, Curator: Kym Ortenburg, Melbourne; Lumen, Aquatic Ecosystem video installation, curated by Ginger Schulick, Staten Island industrial waterfront site, Lighthouse Museum, (New York); Digital Fringe, Suburb Under Water, Suburb In The Sky, (Melbourne); 2009: Punkasila - Punkasalsa, with Danius Kesminas, Tenth Biennale of Havana, (Cuba); Group Show, with Danius Kesminas, Darren Knight, (Melbourne); PUNKASILA: The Havana Affair, with Danius Kesminas and Punkasila, One Galeri, Jakarta Barat, (Indonesia); I Want You to Want Me, with Danius Kesminas, Marx & Zavattero, SF, (USA); Dream, The Gertrude Street Projection Festival, curated by Kym Ortenburg, (Melbourne); 2008: The Black Chair, short documentaries with Warlayirti Artists Corporation, Balgo, (WA); Next, with Danius Kesminas and Punkasila, Art Fair, with Darren Knight, (Chicago, USA); Snapshot, Falls Bridge, Artspace, (Melbourne); 2007: U-Turn, with Ella Fairbairn, curated by Larissa Hjorth & Kate Shaw, Glendale College Gallery, (LA, USA); 2004: 1+1+1, curated by Janet Burchill, Yuill/Crowley, Sydney Studio Show, Gunnery Studio, Artspace, (Sydney); 120 Degrees of Separation, Linden, St. Kilda Contemporary Arts Centre; Flora Nova, Nellie Castan, (Melbourne); 2003: Another Planet, curated by Keely Macarow, Robert Beck Cinema, New York; The Video Data Bank, The Gene Siskel Film Centre, (Chicago); Home Loan, curated by Larissa Hjorth and Kate Shaw, Caroline Springs, (Melbourne); Percept, with Martin Reid, designEX, Melbourne Exhibition Centre; 2morrowscope, with Martin Reid, designEX, Melbourne Exhibition Centre; 2001: Fall out, with Janet Burchill, curated by MaryLou Pavlovic, VCA Gallery, (Melbourne); I See Nights, curated by Emily Cormack, Croft, (Melbourne); The Office of Utopia Procedures, curated by Bernhard Sachs, West Space, (Melbourne); 2000: Pragmatics of Inscription: Wall Drawing, with Janet Burchill, curated by Bernhard Sachs, Linden, St.Kilda Contemporary Arts Centre, (Melbourne); Following the Blind Leading the Blind, VCA Gallery, (Melbourne); Diffuse, Project Space, VCA, (Melbourne); After 8 Second Delay Room, VCA Gallery, Melbourne; 2000: One Night in the Real World, with Emily Floyd and Mecca Medialight, Laundry, Next Wave, (Melbourne); 1999: Post No Bills, Revolver, (Melbourne); 1996: Private Places, Platform 2, Flinders Street Underpass, (Melbourne); Display, Platform 2, Flinders Street Underpass, (Melbourne); 1994: RMIT Honours Exhibition, 333 Collins Street, (Melbourne); 1993: Group show, Platform, Spencer Street Underpass, (Melbourne); Group Show, Swanston Street Gallery, (Melbourne); 1992: Mass Hang 2, Deutscher Space, (Melbourne).

5. AWARDS/ GRANTS: 2015: Cultural Patterning, phase one Urban Animators: Living Laboratory, 20 metre photographic Hoarding artwork commissioned by RMIT Public Art Project’s new building development; 2014: Film Night Film, Awarded Highly Commended in Cinecity Architectural Film Project, Judged by Zaha Hadid, Tony Hill, Geoffrey London, Francois Penz, Penelope Seilder, 3 Emma Williamson and the making: 2014 Creative Directors. Curated Sarah Breen Lovett and Louise Mackenzie; Public Art Grant Maribynong City Council, Streetworks; Public Art grant (by invitation) from the City of Yarra for the Collingwood Stadium (2014); First Prize Winner, Cinecity Architectural Film Project, for the National Architecture Conference Melbourne, awarded by Jane Rendell - Art and Architecture, and Richard Sowada, ACMI (2013); Urban and Public Art development grant with Kate Shaw (by invitation) City of Yarra for the Post office walk landscape artwork ‘Naturally’ (2013); Urban and Public Art grant from City of Albury, NSW for architectural film projection (2013); Urban and Public Art grant, from City of Albury, NSW for architectural film projection (2012); Public art Development Grant (by invitation) from City of Albury, NSW, for Ephemeral Art Wonga Wetlands, landscape artwork (2012); Short-listed for Australia Council new work grant for Seeing to a Distance exhibition (2011); Arts Travel Grant from Victorian College of the (2004); Finalist, ABC short film and video competition (2004); Pat Corrigan (NAVA) for Process Colour exhibition (2003); Public art Development Grant form the Melbourne City Council for an out door video projection project (Pre White Night) for the Laneways Project (2001); Australian Postgraduate Research Scholarship Award for research about the history of the projected image at the Victorian College of the Arts (2000-1); First Prize Winner New media art award for Bates international in New York (1995); First Prize Winner in the Caroma Acrylic painting award in Melbourne (1994); Arts Grant Recipient from RMIT union arts for a limited edition artist book (1994); Pat Corrigan (NAVA) for Platform exhibition (1994); Artist Studio Grant Recipient from Royal Melbourne Institute of Technology (1992). RESIDENCIES: Art Residency at PointB Worklodge, Brooklyn NY (2011-open ended); Art Residency at The Culture Centre Warlayiti Artists Corporation in Balgo WA (2008-9); Art Residency at The Gunnery Studio, Artspace from NSW Ministry for the Arts (2004).

6. SELECTED REVIEWS / INTERVIEWS OF MORGAN’S ART PROJECTS: ‘Art Tram: Colourful Makeover for Melbourne Icon, depicts housing commission high rises’, Intv: Amanda Morgan artist, Channel Nine News, Thursday 17th September 2015, 18:26; Glam Tram, ‘Melbourne Artist Has Helped to Brighten Up the City’, Intv: Amanda Morgan artist, Chanel Seven News, Afternoon, Thursday 17th September 2015, 18:30; ‘Delivering Art to our Streets’, Intv: Amanda Morgan artist, Channel Seven News, Thursday 17th September 2015, 16:30; ‘Melbourne Art Trams take the tracks for 2015’, Australian Arts Review, artsreview.com.au, September 18, 2015; ‘Ride on the Arty Side’, The Melbourne Leader, p1 cover image and p4, September 21, 2015; Eloise Mahoney, ‘(Part 2) Moving Art: Coming to a tram near you’, Desktop Magazine, July 30, 2015; Garry Barker, ‘iMacs Help Artists Rule the Night’ the Age, Digital life, July 15 2015, p.12; Sian Johnson ‘Melbourne’s Architecture- Inspired Art Trams Revealed’ ArchitectureAU, July 2, 2015; ‘2015 Melbourne Art Trams Designs Revealed’ Australian Arts Review, artsreview.com.au, July 1, 2015; ‘Melbourne’s White Night’ Sydney Morning Herald, (image 31), Feb 23, 2014; ‘Melbourne’s White Night’ The Age (image 31), Feb 24, 2014; White Night 2014: Melbourne comes alive, Sydney Morning Herald entertainment section, Feb 22, 2014; Rebecca Di Nuzzo ‘Everything is Illuminated: Gertrude Street Projection Festival 2013’, Meld Magazine, July 9, 2013; ‘Morgan Lit Up At Chance’ interview, The Melbourne Leader, July 15 2013, p.13; Aderg, ‘RMIT Shines Light on Gertrude St Projection Festival,’ DG Design Network, JUL 16, ’13; hero image published in exhibition review ‘Gertrude Street Projection Festival’ The Melbourne Review, July 2013; Rob Wilkes, ‘Off-The-Wall On The Table Exhibition Of Fine Art And Fine Dining…’, Exhibition review, We Heart UK, September 12th, 2012; Shawn Ashkanasy, ‘After the Meal: A Taste for Excess’, exhibition review, Broadsheet, 8th March, 2012; Michael Harden, ‘Excess All Areas’, exhibition review, Australian Gourmet Traveller, may 2012, Vol.12 Issue 5, p34; Joanna Gould, interview, The Gertrude Association, July 2012; Dave Anderson, Reflections IES Lighting Society Magazine, exhibition review, August Issue, 2012, p.7; Derek Guille, interview: ‘Seeing to a distance: Single Channel Video From Australia’, 774 ABC, Evening Program, 10 August, 2011; ‘Blast From the Past in More Ways Than One’, The Age, exhibition review A3 section, 3rd August, 2011; Indonesia and Punkasila, video art work featured, News Hour, ABC TV, 2011, Steven Mc Elroy, ‘Arts Beat’, exhibition review, New York Times, 23 June, 2011; Keely Macarow, ‘Taking the Gritty Backlash to the USA’, exhibition review, Realtime, issue #54 April-May, 2003, p.22; Sandra Bridie, ‘Artists / Artist-run Spaces: Interviews With Artists From Six Melbourne Artist Run Spaces’, Published by West Space Inc. 2003; Ashley Crawford, ‘In The Art Of Suburbia’, The Sunday Age, Extra section, Sept 2003, p.20; Andrew Brasier, ‘Delfin’s art encounter’, Herald Sun, Home magazine, Sept 13, 2003, p.35; Andrew Brasier, ‘Art springs up with Delfin, Herald Sun, Home magazine, Aug 16 2003, p.32; Megan Backhouse, ‘Conversion To Suburban’, The Age, review A3 section, Wednesday Sept 10, 2003, p.11; Megan Backhouse, ‘Rubbishing Art’, The Age, review A3 section, Wednesday Sept 17, 2003, p. 12; Lucinda Strahan, ‘On The Outer’, The Age, exhibition review A3 section, Thursday Sept 18, 2003, p.8; Roger Taylor, Interview: ‘Conical Artists Run Space’, 102.7 3RRR FM, Hi & Lo, Melbourne, 2002; Andrew Mackenzie, interview: ‘Amanda Morgan Feature Video Artist’, Channel 31, Public Hangings, 2002; Kirsty Simpson, ‘Hang’em High’, The Herald Sun, 10 Oct, 1992.

CATALOGUE ESSAYS: Max Delany (ed.), ‘Slave Pianos | Punkasila | Pipeline To Oblivion: 3 Projects By Danius Kesminas and Collaborators’, Monash University Museum of Art, Melbourne, 2011, p.19, 58, 72-73; Brendan Lee, ‘Time Machines’, Seeing to a Distance - Single Channel Video Work From Australia, Level 17 Artspace, 2011; Darren Tofts, ‘Tales from futures past; the lessons of Lemmy Caution’, Seeing to a Distance - Single Channel Video Work From Australia, Level 17 Artspace, 2011; Ashley Crawford, ‘U-Turn’, Glendale College Gallery, Los Angeles, USA, 2007, p.36; Larissa Hjorth, ‘Organic Chocolate’, Process Colour, Conical, 2003; Kate Shaw, ‘Preaching to the Converted’, Homeloan, Caroline Springs, Melbourne, 2003: Keely Macarow, ‘Another Planet’, Catalogue Essay, Robert Beck Cinema, New York, and The Video Data Bank, The Gene Siskel Film Centre, Chicago, 2003.

7.PROJECTIONS: SET DESIGN 2013: large format projection images commissioned by Projectionteknik for Bruce Springsteen, Wrecking Ball Tour performance, Hanging Rock, (Melbourne); projection images commissioned by Projectionteknik for Matthew Sigley studio set performance (Melbourne); 2012: Production Design, Birth Mother, Directed by Natasha Johns-Messenger (Melbourne); large format projection images for Australian National Academy of Music Quartetthaus, performance, Arts Centre Melbourne, commissioned by Projectionteknik, Arts Victoria, (Melbourne); 2010: Ukiyo-e: floating world, performance video projection, Fringe, (Melbourne); 2003: Percept, and 2morrowscope, two exhibition designs with video and projections with Martin Reid, for designEX, Exhibition Centre (Melbourne).

8.RESIDENCIES: Art Residency at PointB Worklodge , Brooklyn NY (2011-open ended); Art Residency at The Culture Centre Warlayiti Artists Corporation in Balgo WA (2008-9); Art Residency at The Gunnery Studio, Artspace from NSW Ministry for the Arts (2004).

9.WORKSHOPS: 2015: a series of workshops during Justene Williams exhibition The Curtain Breathed Deeply, in projection and video installation, for MUMA education program, Monash University Museum of Art; Projection workshop for students to exhibit in the Gertrude Street Projection Festival, Public Art Department, RMIT, 2008-9: A series of workshops over a 4 month period in video production for adults, and a 2 week school holiday digital story telling The Culture Centre Warlayiti Artists Corporation in Balgo WA.