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I pay my respects and acknowledgments to all Traditional Custodians on whose land I live, work and travel through, in Australia and overseas.
Current: Frances Barrett: Meatus, Australian Centre for Contemporary Art, 2 April - 19 June 2022
Upcoming: VERS: On Pleasures, Embodiment, Kinships, Fugitivity and Re/Organising, 18 June 2022
Read: Tiarney Miekus, ‘Sounding the Body,’ The Saturday Paper, 7 May 2022
Chelsea Hopper, ‘Frances Barrett: Meatus,’ Memo Review, 23 April 2022
(An Abbreviated) History

Selected Artworks
A Song for Katthy, 2022, HD single channel video, 16:21 mins
A Song for Katthy (Notation 1 + 2), 2022, ink on paper, 594 x 841 mm
Frances Barrett, Brian Fuata and Hayley Forward, worm divinations (segmented realities), 2020, Immersive sound installation, 32:09 mins
Curator's Talk, 2020, live performance with Hayley Forward and accompanying publication designed by Ella Sutherland
Handle, 2018, HD Single channel, 11:58 mins
Touching, 2016, single channel HD video, 15:35 mins
Curator, 2015, with Joel Stern and Danni Zuvela, 24-hour performance, 17-18 Sept 2015, presented at Liquid Architecture‘s What Would a Feminist Methodology Sound Like? West Space
The Wrestle, 2015, with Toby Chapman, Live performance on 29 May 2015 as part of 48Hr Incident program at 4A Centre for Contemporary Asian Art, Sydney
My Safeword is Performance, 2014, with Ivan Crozier, Live performance on 31 August 2014 as part of Restaging Restaging program at Alaska Projects, Sydney
The 12-Hour Revolution, 2013, 12-hour live performance on 21 June 2013 at Sydney Guild Presents, Darlinghurst
Kate Blackmore and Frances Barrett, Box Set, 2013, 8-day live performance presented as part of Tele Visions, curated by Emma Ramsay and Alex White. Verge Gallery, Sydney.
Ship of Fools, 2009, with Nick Sun, 24-hour live performance on 3-4 February 2009, Firstdraft, Sydney

Selected Barbara Cleveland (BC) Artworks
This is a stained glass window, 2019, Single Channel HD Video, 13:31 mins
Bad Timing, 2017, Single Channel HD Video, 7:28 mins
Bodies in Time, 2016, Single Channel HD Video, 13:46 mins
Making History, 2016, Live Performance, Installation and 2 Channel HD Video, 5:00 mins
This is Barbara Cleveland, 2013, Single Channel HD Video, 16:42 mins
The History of Performance, 2015, live Performance, Duration variable
The One Hour Laugh, 2009, 1 Channel HD Video, 60:00 mins

Curatorial Projects
2022, VERS: On Pleasures, Embodiment, Kinships, Fugitivity and Re/Organising, Monash University of Art, Samstag Museum of Art and Ace Open
2018, All Ears: a listening party, with Jess Olivieri, Campbelltown Arts Centre, Sydney
2018, Into My Arms, with Toby Chapman, Ace Open, Kaurna Yarta, Adelaide
2016, FM[X]: What Would A Feminist Methodology Sound Like? with Liquid Architecture, Firstdraft, Sydney
2015, Haunting, Firstdraft, Sydney
2012, Time Machine: A Festival of Experimental Time-Based Art, with Serial Space, various sites, Sydney
                                                                                                                                  
Exhibitions and Performances
2022, Frances Barrett: Meatus, Australian Centre for Contemporary Art, Melbourne
2022, Curator’s Talk, with Hayley Forward and Brian Fuata, Australian Centre for Contemporary Art, Melbourne
2022, Suspended Moment Tour, curated by Daniel Mudie Cunningham, supported by Museums and Galleries of NSW, 2022-2024
2022, Thinking Business Tour, supported by Museums and Galleries of NSW, 2021-2023
2020, Thinking Business, Goulburn Regional Art Gallery, Goulburn (BC)
2020, Friendship is a way of life, UNSW Galleries, Sydney
2019, Queer Economies, curated by Abbra Kotlarczyk and Madé Spencer-Castle, Bus Projects and Centre for Contemporary Photography, Melbourne,
2019, This is a stained glass window, Sullivan.+Strumpf, Sydney (BC)
2018, More than mere jelly, curated by Amelia Wallin, CCS Bard Galleries, Center for Curatorial Studies and Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York.
2018, The Waves, curated by Kate Britton, sullivan+strumpf, Sydney (BC)
2017, Unboxed: Artists and the Archive, Hayward Gallery, London (BC)
2017, The Humours, Monash Museum of Modern Art, Melbourne (BC)
2016, 20th Biennale of Sydney, The Future is already here - it’s just not very evenly distributed, Sydney (BC)
2016, Roundtable x 4A, 4A Centre for Contemporary Asian Art, Art Central, Hong Kong
2016, Arts NSW Emerging Visual Arts Fellowship, Artspace, Sydney
2016, Bodies in Time, Art Gallery of New South Wales, Sydney (BC)
2015, FM[X]: What Would a Feminist Methodology Sound Like?, Liquid Architecture, Westspace, Melbourne
2015, 48-Hr Incident, 4A Centre for Contemporary Asian Art, Sydney
2015, Performance Presence / Video Time, Curated by Anne Marsh, AEAF, Adelaide
2014, Performance Art, Bella Room Commission, Museum of Contemporary Art, (BC)
2014, Restaging Restaging, Alaska, Sydney
2013, The 12-Hour Revolution, The Sydney Guild, Sydney
2012, Mass Action: 137 Cakes in 90 Hours, presented by Performance Space, NSW Country Women’s Association HQ, Sydney (BC)
2010, A Comedy, Liveworks Festival, Performance Space, Sydney (BC)
2009, Ship of Fools, Firstdraft Gallery, Sydney

Public Talks and Lectures
2020, Art Forum Program, Victorian College of the Arts, University of Melbourne
2020, Artist Cum Curator, Contemporary Curating: Theories and Practices, University of New South Wales Art and Design
2019, Queer Together, Liveworks Festival, Performance Space
2019, The Challenges of Contemporary Curatorial Practice Symposium, Art History & Curatorship Alumni Network, University of Adelaide and the Art Gallery of South Australia
2017, MADA Artforum, Monash University Art Design ad Architecture

Texts
2022, Chelsea Hopper, Frances Barrett: Meatus, Memo Review, 23 April 2022
2022, Jacqueline Millner and Catriona Moore, Contemporary Art and Feminism, 2022, Oxon and New York: Routledge
2021, Anne Marsh, Doing Feminism: Women's Art and Feminist Criticism in Australia, 2021, Melbourne: The Miegunyah Press
2020, Jan Bryant, Art Making in the Age of Global Capitalism: Visual Practices, Philosophy, Politics, Edinburgh University Press
2020, Abbra Kotlarczyk, ‘Queer uses of colour, A tinted hermeneutics,’ Artlink: Australian Contemporary Art Quarterly, March 2019
2018, Stella Maynard and Em Size, 'All Ears: A listening party,' Running Dog, 4 October 2018
2017, Amelia Wallin, More than mere jelly, Exhibition Catalogue, Hessel Museum of Art
2017, Courtney Coombs, ‘Queer Feminism, intersectionality and awkward conversations’, Artlink: Australian Contemporary Art Quarterly, Iss. 37:4, December 2017, pp 56 – 61
2017, Helen Hughes, ‘Performing Geneaologies: Contemporary Performance Art After Mike Parr’ in Mike Parr: Language and Chaos, Exhibition Catalogue, Elspeth Pitt and Roger Butler (Eds), NGA
2016, Yang Yeung, ‘Art and What is Missing in the Socially-engaged’, Art Appraisal Club: Art Review Hong Kong, Iss. 1, 2016
2016, Amelia Wallin, ‘Maintaining the Manifesto’, Runway, Iss. 32: Re/Production, 2016
2016, Kate Britton, ‘Queer Spritz’, Art Monthly, Iss. 286 / Summer 2015 / 2016
2014, Anne Marsh, Performance Ritual Document, Australia: Macmillan Art Publishing

Selected Barbara Cleveland texts
2019, Tara McDowell, This Thinking Business: On Barbara Cleveland and the Dangers of Female Friendship, Accompanying text to This is a stained glass window, Sullivan + Strumpf, Sydney, 2019
2017, Sophie Knezic, 'Doubled up: non-coincidence and the comic body,' The Humours, Exhibition Catalogue, Monash University Museum of Art, Melbourne
2017, Sarah French, Staging Queer Feminisms: Sexuality and Gender in Australian Performance, 2005-2015, United Kingdom: Palgrave MacMillan