Mikala Dwyer

Professor Mikala Dwyer

Professor Art (Industry Fellow)

Details

Open to

  • Masters Research or PhD student supervision

About

In works that explore how we relate to the object-world, Mikala Dwyer has pushed the limits of sculpture, painting and performance, establishing herself as one of Australia's most important contemporary artists. She has been honoured with solo survey exhibitions at Sydney's two major art museums, the Art Gallery of New South Wales and the Museum of Contemporary Art, as well as at the Museum of New Zealand Te Papa Tongarewa, the Australian Centre for Contemporary Art, Melbourne, and the Institute of Modern Art in Brisbane.

Her many exhibitions internationally include 'The Recent', Talbot Rice Gallery, Edinburgh, Scotland (2023–2024); Ichiahara Art + Mix Triennale, Japan (2020); 'Blessed Be', MOCA, Tucson, USA (2018); 'The End of the 20th Century, The Best is Yet to Come—A Dialogue with the Marx Collection', Hamburger Bahnhof, Berlin (2013); 'Face Up: Contemporary Art from Australia', Hamburger Bahnhof, Berlin (2003); 'Verso Süd', Palazzo Doria Pamphilj, Rome, curated by Franz West (2000); and shows at The Graz Museum, Austria; Zachęta National Gallery of Art, Warsaw; and Chapter Arts Centre, Cardiff, UK. Her work has been selected for the Istanbul Biennale (1995), the Biennale of Sydney (2010 and 2014) and the Adelaide Biennial of Contemporary Australian Art (2010 and 2020).

Industry experience:
- Over 40 years as a practising artist and 30 years teaching at art schools around the country and in Europe.
- Represented by Roslyn Oxley9 Gallery, Sydney; 1301SW, Melbourne; and Hamish McKay Gallery, Wellington, New Zealand.
- Board of Directors, Artspace Sydney
- Public art commissions in Sydney and Melbourne

Supervisor projects

  • I knew that I was watching television
  • 10 Jan 2024
  • The personal and the political: material substances, transactions, actions, and movements.
  • 29 Nov 2023
  • Touch as an act of devotion: contingency, corporeality and power in Christian materiality and objects of worship
  • 20 Sep 2022
  • Infinite Paths through the Poison Garden: Alternative Ontologies to Anthropocentrism
  • 10 Dec 2021
  • Bogeybabies – an exorcism of the virtual damaged child figure, as evoked to suppress queer artistic expression.
  • 1 Dec 2021
  • Front, back and side effects: the art of framing fashion
  • 26 Jul 2021
  • What is a logo? A phenomenological journey into the aesthetics of logos.
  • 23 Jul 2021
  • Life-Extending Breadcrumbs. Facilitating Morphosis and Collaborative Sculptural Practice through Posthuman Ethics
  • 2 Feb 2021
  • The Colony Cares for Everyone
  • 24 Aug 2020
  • Atmoscapes: Finding Place in a Spatial Practice
  • 23 Jun 2020
  • Protagonist: A Choreography of Queer Digitality
  • 3 Jan 2020
  • Remembering in the dark: Found Photography, Collage and Memory. 
  • 19 Dec 2019
  • The Elusive Encounter: An Exploration of Memory and Trauma Through Expanded Spatial Practice
  • 25 Mar 2019
  • Anxieties of Multiplicity: Mobilising Representation in Contemporary Spatial Practice
  • 1 Mar 2019
  • Situated Encounters with Light
  • 17 Jan 2019
  • Just Keep Going: Encouraging public dialogue through gentle interventions in public and personal spaces to improve the lives both of the public and environmental evacuees and refugees
  • 19 Dec 2018

Teaching interests

Supervisor interests
Contemporary art, sculpture, painting, installation, performance, video, sound
aboriginal flag
torres strait flag

Acknowledgement of Country

RMIT University acknowledges the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present. RMIT also acknowledges the Traditional Custodians and their Ancestors of the lands and waters across Australia where we conduct our business - Artwork 'Sentient' by Hollie Johnson, Gunaikurnai and Monero Ngarigo.