Patricia Piccinini Australian, b. 1965-


Patricia Piccinini (b. 1965 in Freetown, Sierra Leone) is a Canberra-raised, Melbourne-based artist who works across painting, video, sound, installation, digital prints, and sculpture. Conveying concerns surrounding bio-ethics and allowing experimental forms to call attention to global social, political, and environmental issues, Piccinini has made significant impressions on the international stage since the late 1990s. In 2003, Piccinini represented Australia at the 50th Venice Biennale with a collection of her now trademark, hyperrealist anthropomorphic animal sculptures. Her works gaining more and more notoriety in the proceeding years, The Art Newspaper named Piccinini the most popular contemporary artist in the world after a showin Rio de Janeiro in 2016 attracted over 444,000 visitors. Her work has been placed in numerous international public collections of distinction including The National Museum of Women in the Arts, Washington DC, USA, the Thomas Olbricht Collection, Berlin, Germany, The Vehbi Koç Foundation, Istanbul, Turkey, Phoenix Art Museum, Arizona, USA. Middelheim Museum, Antwerp, Belgium, National Gallery of Australia, Canberra, Australia, National Gallery of Victoria, Melbourne, Australia, Art Gallery of New South Wales, Sydney, Australia, Queensland Art Gallery, Brisbane, Australia, Art Gallery of South Australia, Adelaide, Australia, Monash University, Victoria, Australia, The University of Melbourne, Victoria, Australia, Parliament House, Canberra, Australia, and more.


In the seductive "car panel" sculpture, Spunky, from the Autoerotic series of 2002, Piccinini focusses on our love affair with cars, highlighting them as objects of desire. Made of abstracted squares of moulded plastic, these brightly coloured grids ooze sensuality and in their shiny mirrored surfaces, we gaze upon our own reflection.




Born Freetown, Sierra Leone

Arrived in Australia

Bachelor of Arts (Economic History), Australian National University

Bachelor of Arts (Painting), Victorian College of the Arts

Coordinator, The Basement Project Gallery

Doctor of Visual and Performing Arts (honoris causa), University of Melbourne


Enterprise Professor of Art, Victorian College of the Arts, University of Melbourne


Selected Solo Exhibitions

We Are Connected, Art Science Museum, Singapore, Singapore
A Miracle Constantly Repeating, Flinders St Station Ballroom, Melbourne, Australia
Jestesmy, Centre for Contemporary Art, Torun, Poland
 Breathblooms and Lighthavens, Tolarno Galleries, Melbourne, Australia
 The Awakening, Hosfelt Gallery, San Francisco, Australia
 Every Heart Sings (The Skywhales), National Gallery of Australia, Canberra/Australia wide, Australia
Patricia Piccinini: Kindred, Cromwell Place, London, England
 ALPHA60, Hugs, Heide Museum of Modern Art, Bulleen, Australia
 Patricia Piccinini, Scott Lawrie Gallery, Auckland, New Zealand
 The Instruments of Life, Kai Art Center, Tallinn, Estonia
 Curious Affection on tour, NorthSite, Bulmba-ja Arts Centre, Cairns, Australia
Between the Shadow and the Soul, Helsinki Taidehalli, Helsinki, Finland
 The Gardeners Eye, Roslyn Oxley9 Gallery, Sydney, Australia
 Curious Affection on tour, Artspace Mackay, Mackay, Australia
 Omfamna Framtiden, Boras Museum of Art, Boras, Sweden
 Chromatic Balance, Tolarno Galleries, Melbourne, Australia
Life Clings Closest, Cairns Art Gallery, Cairns, Australia
 En Kaerlig Verden, Arken Museum, Copenhagen, Denmark


Vancouver Biennale / Patricia Piccinini CURIOUS IMAGININGS at the Patricia Hotel, Patricia Hotel, Vancouver, Canada
Curious Affection, Gallery of Modern Art, Brisbane, Australia
Patricia Piccinini, Hosfelt Gallery, San Francisco, USA

Conscienceness, Kibla Portal, Kibla, Slovenia
The Struggle and the Dawn, Roslyn Oxley9 Gallery, Sydney, Australia
No fear unmingled with hope, Tolarno Galleries, Melbourne, Australia

ComSciencia, CCBB Rio De Janiero, Rio De Janiero, Brazil
ComSciencia, CCBB Belo Horizonte, Belo Horizonte, Brazil
Alone With The Gods, Greenaway Art Gallery, Adelaide , Australia
We feel, conceive or reason, laugh or weep, Hosfelt Gallery, San Francisco, USA
ComSciencia, CCBB Brasilia, Brasilia, Brazil
Patricia Piccinini: Bodyscape, Yu-Hsiu Museum of Art, Caotun, Taiwan

Piccinini at Hosfelt, Artinternational, Istanbul, Turkey
ComSciencia, CCBB Sao Paulo, Sao Paulo, Brazil
Another Life, University of Quebec Art Museum, Montreal, Canada
Relativity, Galway International Arts Festival Gallery, Galway, Ireland
The Shadows Calling, Dark Mofo / Mercury Building, Hobart, Australia
And colour is their flesh, Tolarno Galleries, Melbourne, Australia

Like Us, Newcastle Art Gallery, Newcastle, Australia
The Touch of Another, Warrnambool Art Gallery, Warrnambool, Australia
Skywhale, Splendour in the Grass, Byron Bay, Australia

Structures of Support, Canberra Museum and Gallery, Canberra, Australia
I have spread my dreams under your feet, Roslyn Oxley9 Gallery, Sydney, Australia
Kaunas Biennial Unitext, NGO Kaunas Biennial, Kaunas, Lithuania
Skywhale, Canberra Centenary, Dark Mofo, Canberra, Hobart, , Australia

Those who dream by night, Haunch of Venison , London, UK
There are no strangers, Tolarno Galleries, Melbourne, Australia
The Welcome Guest, Conner Contemporary Art, Washington DC, USA

Hold Me Close To Your Heart, Arter Space For Art, Istanbul, Turkey
Once Apon a Time, Art Gallery of South Australia, Adelaide, Australia
The Welcome Guest, Conner Contemporary Art, Washington DC, USA
The Fitzroy Series, Centre for Contemporary Photography, Melbourne, Australia

Relativity, Art Gallery of Western Australia, Perth, Australia
Not as We Know It, Haunch of Venison , New York, USA
Beyond Our Kin, Roslyn Oxley9 Gallery, Sydney, Australia
Patricia Piccinini, Leeahn Gallery, Daegu and Seoul, Korea

Evolution, Tasmanian Museum and Art Gallery, Hobart, Australia
Unforced Intimacies, Tolarno Galleries, Melbourne , Australia
Recent Work, Byblos Art Gallery, Verona, Italy

The Place Where It Actually Happens, Yvon Lambert, New York, USA
Piccinini, Perc Tucker Regional Gallery, Townsville, Australia
The Wellspring, Tolarno Galleries, Melbourne, Australia
Related Individuals, Roslyn Oxley9 Gallery, Sydney, Australia

(tiernas) Criaturas/(tender) Creatures, Artium, Vitoria-Gasteiz, Spain
Hug: Recent Works by Patricia Piccinini, Frye Museum, Des Moines Art Center, Seattle, Des Moines, USA
Double Love Knot, Lismore Regional Gallery, Lismore, Australia
Recent Work, Roger Williams Gallery, Auckland, New Zealand

In Another Life, Wellington City Gallery, Wellington, New Zealand
Recent Drawings, Roslyn Oxley9 Gallery, Sydney, Australia
Life Cycle, Tolarno Galleries, Melbourne, Australia

Nature's Little Helpers, Robert Miller Gallery, New York, USA
Unbreaking Eggs, Roslyn Oxley9 Gallery, Sydney, Australia

Sculpture, Robert Miller Gallery, New York, USA

We are Family, Australian Pavilion, 50th Venice Biennale, Venice, Italy
We are Family, toured to Hara Museum, Bendigo Art Gallery, Tokyo, Bendigo, Japan, Australia
Precautionary Tales, Tolarno Galleries, Melbourne , Australia
Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, Australia
Love Me Love My Lump, Monash Centre and Dryphoto Gallery, Prato, Italy
Call of the Wild, toured to John Curtin Gallery, Perth, Australia

Call of the Wild, Museum of Contemporary Art, Sydney, Australia
Retrospectology, Australian Centre for Contemporary Art, Melbourne, Australia
Sandman, National Gallery of Victoria, Melbourne, Australia
Autoerotic, Roslyn Oxley9 Gallery, Sydney, Australia

The Breathing Room, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Superevolution, Centro de Artes Visuales, Lima, Peru
One Night Love, Tolarno Galleries, Melbourne, Australia

Swell, Artspace, Sydney, Australia
Desert Riders, Roslyn Oxley9 Gallery, Sydney, Australia

Protein Lattice, Republic Tower billboard, Melbourne, Australia
Truck Babies, Tolarno Galleries, Melbourne, Australia
Plasticology, NTT InterCommunication Centre, Tokyo, Japan

Sheen, Adelaide Festival, Adelaide, Australia
Car Nuggets, Arts Victoria, Melbourne, Australia

Psycho, Tolarno Galleries, Melbourne, Australia

Natural Beauty, The Basement Project, Melbourne, Australia
Your Time Starts Now..., Contemporary Art Centre of South Australia, Adelaide, Australia
Your Time Starts Now..., Institute of Modern Art, Brisbane, Australia

Love Me Love My Lump, The Basement Project, Melbourne, Australia
TerrUrbanism, toured to The Australia Centre, Manila, Philippines

TerrUrbanism, Centre for Contemporary Photography, Melbourne, Australia
T.M.G.P., The Basement Project, Melbourne, Australia
Indivisibles, The Basement Project, Melbourne, Australia

Selected Group Exhibitions

Synthetic Ecology, CAFA Art Museum, Beijing, China
The Hilger Collection, City Art Gallery, Ljubljana, Slovenia
 Where We Are, Hosfelt Gallery, San Francisco, USA
 Patricia Piccinini at Yavuz, West Bund Art and Design, Shanghai, China
 The McClelland Collection: 50 Years, McClelland Gallery, Langwarren, Australia
 Future U, RMIT Gallery, Melbourne, Australia
 Connecting the World through Sculpture, Monash University Museum of Art, Melbourne, Australia
 Reshaped Reality, Osthaus Museum, Hagen, Germany
Supernatural, Kunsthalle Tubingen, Tubingen, Germany
 Moving Energies:10 Years me, me Collectors Room, Berlin, Germany
 Hyper Realism Sculpture, Parc de la Boverie, Liège, Belgium
Australia. Antipodean Stories, PAC Padiglione d'Arte Contemporanea, Milano, Italy
 Future and the Arts, Mori Art Museum, Tokyo, Japan
 Cars: Accelerating the Modern World, Victoria and Albert Museum, London, UK
 Encounters: Honoring the Animal in Ourselves, Palo Alto Art Center, Palo Alto, CA, USA
 Licht Luft Scheisse, Botanical Museum, Berlin, Germany
 The Coming World, Garage Museum of Contemporary Art, Moscow, Russia
 The XXII Triennale di Milano, Broken Nature, Palazzo dell Arte, Milan, Italy
 Apocalyptic Horse, Heide III: Albert & Barbara Tucker Gallery, Bulleen, Australia
 Enter, Housemuseum Galleries, Kew, Australia
 Projects, Seattle Art Fair, Seattle, USA
 Perfection, Science Gallery, Dublin, Ireland
 The Gifts of Tony Podesta, Katzen Art Center, Washinton DC, USA
 Reshaped Reality, Chiang Kai-sheck Memorial Hall, Taipei, Taiwan
Auto-didactic: The Juxtapoz School, Petersen Automotive Museum, Los Angeles, USA
 Obsession: Devil in the Detail, Mornington Peninsula Regional Art Gallery, Mornington, Australia

Auto-didactic: The Juxtapoz School, Petersen Automotive Museum, Los Angeles, USA
Patricia Piccinini and Joy Hester: Through Love, TarraWarra Museum of Art, Healesville, Australia
Obsession: Devil in the Detail, Mornington Peninsula Regional Art Gallery, Mornington, Australia
Sydney Contemporary International Artfair, Carriageworks, Sydney, Australia
The Public Body, Artspace, Woolloomooloo, Australia
Perfection, The Science Gallery, Melbourne, Australia
This Wild Song, Town Hall Gallery, Hawthorn, Melbourne, Australia
Mirror Mirror, Paul Robeson Galleries, Newark, NJ, USA
The Exodus of Ordinary, Vivian Gallery, Warkworth, New Zealand
Frankensteins Birthday Party, Hosfelt Gallery, San Francisco, USA
Adelaide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide, Australia

Let's Play, Bunjil Art Gallery, Narre Warren, Australia
Hyper Real, National Gallery of Australia, Canberra, Australia
All the Better to See you with, Fairy Tales Transformed, Ian Potter Gallery, Universty of Melbourne, Parkville, Australia
Pulsanti, Abdulmecid Mansion / Arter, Istanbul, Turkey
At 50, Tolarno Galleries, Melbourne, Australia
Gys! Er den levende?, Arken Museum of Modern Art, Copenhagen, Denmark
Momentum 9 Bienale 'Alienation', PunktO Galleri 15, Moss, Norway
Revival, National Museum of Women in the Arts, Washington, USA
Beyond Belief: the Sublime in Contemporary Art, Bathurst Regional Art Gallery, Bathurst, Australia
Mad Love, Arndt Art Agency, Berlin, Germany
The Universe and Art, ArtScience Museum, Singapore

The Universe and Art, Mori Art Museum, Tokyo, Japan
On the Origin of Art, MONA (Musuem of Old and New Art), Hobart, Australia
New Romance - Art and the posthuman, Museum of Contemporary Art, Sydney, Australia
Soft Core, Casual Powerhouse Arts Centre, Lake Macquarie City Gallery, Hawkesbury Regional Gallery, Bathurst Regional Gallery, Cowra Regional Gallery, Shoalhaven Arts Centre, Shepparton Art museum, Ararat Regional Art Gallery, Wagga Wagga Art Gallery, Sydney, Lake Macquarie, Hawkesbury, Bathurst, Cowra, Nowra, Shepparton, Ararat, Wagga Wagga, Australia
Speed, Murray Art Museum, Albury, Australia
The New Romance, National Museum of Contemporary Art, Seoul, South Korea
Cornucopia, Shepparton Art Museum, Shepparton, Australia
Weird and Wonderful, Museum Folkwang, Essen, Germany
Australian Exotica, Monash Gallery of Art, Melbourne, Australia

Super Natural, National Museum of Women in the Arts, Washington, USA
Materia Prima, LABoral Centro De Arte, Gijon, Spain
The Post-Photographic Condition, Le Mois De La Photo a Montreal, Montreal, Canada
Demonstrable, University of Western Australia, Perth, Australia
Beautiful Beast, The New York Academy of Art, New York, USA
Queensize - Female Artists from the Olbricht Collection, me Collectors Room, Berlin, Germany

Dark Heart, Adelaide Biennial of Australian Art, Adelaide, Australia
Menagerie, Australian Centre for Contemporary Art, Melbourne, Australia
In the Flesh: Experiencing the New Real, National Portrait Gallery of Australia, Canberra, Australia
PULSE: Reflections on the body, Canberra Museum and Gallery, Canberra, Australia
The Gathering II, Wangeratta Art Gallery, Wangaratta, Australia
In the Flesh: Experiencing the new real, National Portrait Gallery of Australia, Canberra, Australia
Remain in Light: Photography from the MCA collection touring exhibition, Museum of Contemporary Art, Ipswich Reg Gallery, Western Plains Culture Centre, Maitland Reg Gallery, Bendigo Art Gallery, Artspace Mackay, Hawkesbury Reg gallery, Sydney, Ipswich, Dubbo, Maitland, Bendigo, Mackay,Windsor, Australia
Swell, Screen Space, Melbourne , Australia

Melbourne Now, NGV, Melbourne, Australia
Post-humanist Desire: Sexuality and Digitality in Contemporary Art, Museum of Contemporary Art, Taipei, Taiwan
Nature of the Beast, The New Art Gallery, Walsall, England
How to tell the future from the past, Haunch of Venison , New York, USA
The Future's Not What It Used To Be, Newlyn Art Gallery and The Exchange, Newlyn, England
The Wandering: Moving Images from the MCA Collection, Cairns Regional Gallery, Cairns, Australia
Project Genesis, Ars Electronica, Linz, Austria
Call of the Wild, Hosfelt Gallery, San Francisco, USA
Vrrooom, Perc Tucker Regional Gallery, Townsville, Australia
Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Regional Gallery, Rockhampton, Australia
Seven Sisters, Karen Jenkins-Johnson Gallery, San Francisco, USA

Fairy Tales, Monsters, and the Genetic Imagination, The Frist Center for the Visual Arts,Glenbow Art Museum, Winnipeg Art Gallery, Nashville, Tennesse, Calgary, Manitoba, USA, Canada
The Observer, Haunch of Venison, London, UK
Louise Bourgeois, Heide Museum of Modern Art, Melbourne, Australia
Blue: Matter, Mood, and Melancholy, 21c Museum Hotel, Louisville, USA
Confounding: Contemporary Photography, National Gallery of Victoria, Melbourne, Australia
Nature vs Nurture, FaMa Gallery, Verona, Italy
Animal/Human, University of Queensland Art Museum, Brisbane, Australia
Concepts of Life in Contemporary Sculpture, Georg Kolb Museum, Berlin, Germany
Cycle in Cinema, University of NSW, College of Fine Arts, Sydney, Australia
The Freeze, Maroondah Art Gallery, Melbourne, Australia
Controversy: the power of art, Mornington Peninsula Regional Art Gallery, Melbourne, Australia
Chromogenic, 2012, Media House Gallery, The Age building, Melbourne, Australia
Inspiring Art> recipients of the Pat Corrigan Artists Grant, Maitland Regional Art Gallery, Maitland, Australia

2112: Imagining the Future, RMIT Gallery, Melbourne, Australia
Power of Making, Victoria & Albert Museum, London, UK
Boundaries Obscured, Haunch of Venison , New York, USA
Our Origins, Museum of Contemporary Photographty at Columbia, Chicago, USA
Tokyo Art meeting: Transformation, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan
Not As We Know It, Haunch of Venison , New York, USA

The Earth is Blue like an Orange, The Montreal Museum of Fine Arts, Montreal, Canada
Medicine and Art, Mori Art Museum, Tokyo, Japan
2nd Asian Art Biennale, National Taiwan Museum of Fine Arts, Taipei, Taiwan

Wonderland: through the Looking Glass, KadE Kunsthal, Amersfoot, The Netherlands
Tier-Werden, Mensch-Werden, NGBK, Berlin, Germany
Niet Normaal: Difference on Display,, Beurs Van Berlage,, Amsterdam, The Netherlands
Colliding Worlds, Samstag Museum, Adelaide, Australia
Contemporary Australia: Optimisim, GOMA Queensland Art Gallery, Brisbane, Australia
Neo-Goth: Back In Black, University of Queensland Art Museum, Brisbane, Australia

The Stranger, Yvon Lambert, New York, USA
Gallery Artists, Conner Contemporary Art, Washington DC, USA
Figuring Landscapes, ArtSway, and then travelling UK and Australia until 2010, Hampshire, UK
Life (Death Thereafter), Silvershot, Melbourne, Australia
The Land of Retinal Delights, Laguna Art Museum, Laguna Beach, USA
Bloodline: The Evolution of Form, McClain Gallery, Houston, USA
New Millenium, Lismore Regional Gallery, Lismore, Australia
FX in Contemporary Photography, McClelland Gallery and Sculpture Park, Melbourne, Australia
Global Feminisms, Brooklyn Museum, New York, USA
Switcher Sex: Video Works from the Teutloff Collection, Slought Foundation, Philadelphia, USA

Diagnose [Kunst]: Contemporary art reflecting medicine, Museum im Kulturspeicher , Wurzberg, Germany
Diagnose [Kunst]: Contemporary art reflecting medicine, Kunstmuseum Ahlen, Ahlen, Germany
Down Under: The Hague sculpture 07, Haags Historisch Museum, The Hague, The Netherlands
MCA Collection: New Acquisitions, Museum of Contemporary Art, Sydney, Australia
Artist Makes Video: Art Rage Survey 1994-1998, Queensland College of Art, Brisbane, Australia
Redefined, Corcoran Museum of Art, Washington DC, USA
Uneasy Nature, Weatherspoon Art Museum, Greensboro, USA

Long Live Sculpture, The Open Air Museum for Sculpture Middelheim, Antwerp, Belgium
Prism, Bridgestone Museum of Art, Tokyo, Japan
Black & Blue, Robert Miller Gallery, New York, USA
High Tide, Zacheta National Gallery of Art, Warsaw, Poland
Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F Johnson Museum of Art Cornell University, Ithaca, USA
High Tide, Contemporary Art Centre, Vilnius, Lithuania
The Idea of the Animal, RMIT Gallery, Melbourne, Australia
New to the modern: Heide's Collection 25 years on, Heide Museum of Modern Art, Melbourne, Australia
Strange Cargo, Newcastle Region Art Gallery, travelling exhibition until March 2008, Newcastle, Australia
Supercharged, Institute of Modern Art, travelling exhibition until June 2008, Brisbane , Australia
2006:Contemporary Commonwealth, Australian Centre for the Moving Image, Melbourne , Australia
Epic, Lismore Regional Gallery, Lismore, Australia
Home Goal: Diversity in Contemporary Art from the Collection of Dr. Dick Quan, Bathurst Regional Art Gallery, Bathurst, Australia
Becoming Animal, MASS MoCA, North Adams, USA
Detox, Kunstnernes Hus, Oslo, Norway

Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, USA
I thought I knew but I was wrong, Ssamzie Space, Seoul, South Korea
Almost, Robert Miller Gallery, New York, USA
Living Apart Together, Odapark Venray, Venray, The Netherlands
Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, Australia
Rheinschau Art Cologne Projects, Art Cologne, Cologne, Germany
Andererseits: die phantastik, Landesmuseum, Linz, Austria

We Are the World, Chelsea Art Museum, New York, USA
Brides of Frankenstein, San Jose Museum of Art, San Hose, USA
Auto Fetish: The Mechanics of Desire, Newcastle Region Gallery, Newcastle, Australia
Bloom: Mutation, Toxicity and the Sublime, Govette Brewster Art Gallery, New Plymouth, New Zealand
I thought I knew but I was Wrong, Jamjuree Art Gallery, Pathumwan, Bangkok, Thailand
Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, Australia
Repercussions, Greenaway Art Gallery, Adelaide , Australia
The Plot Thickens, Heidi Museum of Modern Art, Bulleen, Victoria
Written with Darkness: Selected photographs from the Corrigan Collection, University of Technology Gallery, Sydney, Australia
Face Up, Hamburger Bahnhof, Berlin, Germany
Bienal de La Habana, Havana, Havana, Cuba

Second Sight, National Gallery of Victoria, Melbourne, Australia
see, here, now, The Ian Potter Museum of Art, Melbourne, Australia
Liverpool Biennale: International 2002, Tate Liverpool, Liverpool, England
(The world may be) fantastic: 2002 Biennale of Sydney, Object Gallery, Sydney , Australia

Tech / No / Zone, Museum of Contemporary Art, Taipei, Taiwan
Melodrama: Lo Excesivo en la Imaginación Posmoderna, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain
Modified Terrain, Institute of Modern Art, Brisbane , Australia
conVerge; where art and science meet, Art Gallery of South Australia, Adelaide, Australia
Heterosis: Digital Art from Australia, Conde Duque, Madrid, Spain
For Real, Wood Street Galleries, Pittsburgh, United States
2nd Berlin biennale, Postfuhramt (Old Postal Services Building), Berlin, Germany
hybridforms: Australian new media art, Netherlands Media Art Institute, Amsterdam, The Netherlands

Melbourne Festival, The Australia Projects, Melbourne Zoo and RMIT Gallery, Melbourne, Australia
Seeing through Landscape, Australian Centre for Photography, Sydney , Australia
Desire, Royal Melbourne Institute of Technology Gallery, Melbourne, Australia
Gwangju Biennale, Gwangju City Art Museum, Gwangju, Korea
Song of the Earth, Museum Fridericianum, Kassel, Germany

Passing Time: The Möet & Chandon Exhibition, Art Gallery of New South Wales, Sydney, Australia
Terra Mirabilis: Wonderful Land, Centre for Visual Arts, Cardiff, Wales
Zeitgeössische Fotokunst Aus Australien, Neuer Berliner Kunstverein, Berlin, Germany
Zeitgeössische Fotokunst Aus Australien, Museum Scholß Hardenberg, Velbert, Germany
Zeitgeössische Fotokunst Aus Australien, Kunstsammlungen, Chemnitz, Germany
Zeitgeössische Fotokunst Aus Australien, Kulturzentrum der Stadt Stuttgart, Stuttgart, Germany
Flow, National Art Gallery, Kuala Lumpur, Malaysia
Bonheurs des Antipodes, Musée de Picardie, Amiens, France
Make/Believe, The Fabric Workshop and Museum, Philadelphia, USA
Sporting Life, Museum of Contemporary Art, Sydney, Australia
Plastic Life, Level 2, Art Gallery of New South Wales, Sydney, Australia
Akihabara TV 2, Akihabara electrical stores, Tokyo, Japan
Signs of Life: Melbourne International Biennial, Telstra Exchange Building, Melbourne , Australia
A Window Inside Outside, Gwangju City Art Museum, Gwangju, Korea

Probe, Australian Embassy, Beijing, China
The Liquid Medium:Video Art, Queensland Art Gallery, Brisbane, Australia
ARTificial Life, Artspace, Auckland, New Zealand
Akihabara TV, Akihabara electrical stores, Tokyo, Japan
The Persistence of Pop, Monash University Gallery, Melbourne, Australia
Signature Works, Australian Centre for Photography, Sydney, Australia
Art Life 21, Spiral TV, Spiral/Wacoal Art Centre, Tokyo, Japan
Byte Me, Bendigo Art Gallery, Bendigo, Victoria
Tolarno Galleries at the Moores Building, Perth Festival, Perth, Australia
Up the Road: Contemporary Artists out of the VCA, Australian Centre for Contemporary Art, Melbourne, Australia
Metamorphosis, Mornington Peninsula Regional Art Gallery, Victoria, Australia

Hype: Fashion, Art and Advertising, RMIT Gallery, Melbourne, Australia
Natural Selection (Australian Perspecta 1997), Museum of Contemporary Art, Sydney, Australia
Art=Advertising, Robert Lindsay Gallery, Melbourne, Australia

Lawyers, Guns and Money, Experimental Art Foundation, Adelaide, Australia
Second Tokyo International Photo Biennale, The Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Fotofeis, Gallery of Modern Art, Glasgow, Scotland
Nothing Natural, Plimsoll Gallery, Hobart, Australia
Nothing Natural, Latrobe Regional Gallery, Morewll, Australia
Wild Kingdom, Institute of Modern Art, Brisbane, Australia
Techne, Perth Institute of Contemporary Arts, Perth , Australia
Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney, Australia
Science Fiction/Social Fiction, Galerie Der Stadt Schwaz im Palais Enzenberg, Austria, Australia

Perception & Perspective, National Gallery of Victoria, Melbourne, Australia
Nothing Natural, The Basement Project, Melbourne, Australia
Möet & Chandon Touring Exhibition, National Gallery of Victoria, Melbourne, Australia
Möet & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane, Australia
Möet & Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide, Australia
Möet & Chandon Touring Exhibition, Art Gallery of New South Wales, Sydney, Australia
Cyber Cultures, Performance Space, Sydney, Australia
Alternative Realities tour, Pacific Cultural Centre, Taipei, Taiwan
Alternative Realities tour, Tamsui Centre of Arre, Tamsui, Taiwan
Alternative Realities tour, Mountain Art Gallary, Kaohsiung, Taiwan
Alternative Realities tour, Karnataka Chitrakala Parishath Gallery, Bangalore, India
Alternative Realities tour, Government Museum & Art Gallery, Chandigarh, India
Alternative Realities, Ian Potter Gallery, University of Melbourne, Melbourne, Australia
Alternative Realities tour, University of Science and Technology, Hong Kong, China

Alternative Realities tour, Zhu Qizhan Gallery, Shanghai, China
Alternative Realities tour, Wang Fun Art Gallery, Beijing, China
Alternative Realities tour, Gallery Artbeam, Seoul, Korea
Technothelylogia: Technology for and by Women, Monash University Gallery, Melbourne, Australia
Since the Accident, The Basement Gallery, Melbourne, Australia
Our Parents' Children, National Gallery of Victoria, Melbourne, Australia
A Gathering of Shades, Temple Studio, Melbourne, Australia
Fleshly Worn, ASA Gallery, Aukland, New Zealand
Ada's Spawn, New Media Network, Melbourne, Australia
Plastiche (Curator), The Basement Project, Melbourne, Australia
Critical Mass, Arts Victoria Gallery, Melbourne, Australia
City Screens, Melbourne International Festival, Melbourne, Australia
Deliquescence, 200 Gertrude Street, Melbourne, Australia

Deliquescence, Canberra Contemporary Art Space, Canberra, Australia
Deliquescence, First Draft Gallery, Sydney, Australia


Selected Awards

Lifetime Acheivement Award, Melbourne Art Foundation

New York Residency, Australia Council

International Cultural Exchange Program, Arts Victoria

New Media Fellowship, Australia Council

Arts Development grant, Arts Victoria

Tokyo Residency, Australia Council

Project Grant, Australia Council
International Cultural Exchange Program, Arts Victoria

Project Grant, Arts Victoria

Christopher James Blyth Memorial Award, Victorian College of the Arts

Theodore Urbach Award, Victorian College of the Arts

Theodore Urbach Award, Victorian College of the Arts

Selected Public Collections

National Museum of Women in the Arts, Washington DC, USA
Thomas Olbricht Collection, Berlin, Germany
The Vehbi Koç Foundation, Istanbul, Turkey
Weatherspoon Art Museum, North Carolina, USA
Pheonix Art Museum, Arizona, USA
Middelheim Museum, Antwerp, Belgium
21C Museum, Louisville, Kentucky, USA
National Gallery of Australia, Canberra, Australia
National Gallery of Victoria, Melbourne, Australia
Art Gallery of New South Wales, Sydney, Australia
Queensland Art Gallery, Brisbane, Australia
Art Gallery of South Australia, Adelaide, Australia
Monash University, Victoria, Australia
Newcatle Region Art Gallery, New South Wales, Australia
The University of Melbourne, Victoria, Australia
Griffith University, Queensland, Australia
Waverley City Gallery, Melbourne, Australia
Bendigo Art Gallery, Victoria, Australia



Selected Bibliography

Otto Letze, Nicole Fritz, Almost Alive / Kunsthalle Tubingen, Hirmer Verlag, 2018, pp. 122-123 
Nathan Scolaro, Dumbo Feather / PP makes Tender Art, Berry Liberman, 2018, pp. 86-95 
Sally Claxton, The Art of Feminism, Elephant Book Company Ltd, 2018 
Liz Rideal, Kathleen Soriano, Madam & Eve, Women Portraying Women, Laurence King Publishing, 2018, p 107 
Samantha Comte, All the better to see you with, Fairy tales transformed, Ian Potter Museum of Art, 2018, pp.15, 82-85 
Peter McKay, Patricia Piccinini, Curious Affection, Queensland Art Gallery Gallery of Modern Art, 2018 
Anonda Bell, Mirror Mirror, Paul Robeson Galleries, Rutgers Uni, 2018, pp. 28, 104-105 
Elizabeth Finkel, Cosmos, Cosmos Media, Melbourne, Issue 77, 2018, pp. 52-61

Michael Klant / Joseph Walch, GK Kunst 2- Plastick, Skulptur, Objekt, Schroedel Westermann, 2017, p. 58 
Anna Davis, New Romance. Art and the Posthuman, Museum of Contemporary Art, Sydney, 2017, pp.8-9, 16,33,54, 140-147 
Abdulmecid Kosku / Omer Koc, Pulsanti aperietur, MAS Matbaacilik San ve Tic A.S., 2017, pp.20-21 50-51 64-67 71-71 
Matthias Arndt / Rachael Vance, MAD, Arndt Art Agency, 2017, pp. 38-41 
Kon Gouriotis, Artist Profile, Nextmedia, 2017, pp. 56-65 
Kathryn Wat, Revival, National Museum of Women in the Arts, 2017, pp. 78-81 
Honor Hager, The Universe and Art, Artscience museum, Singapore, 2017, p. 90 
Marysa van den Berg, KIJK / Dier Maakt Mens, KIJK Magazine, Netherlands, July, 2017, pp. 34-35 
Charles Green, Art Forum International, May 2017, Artforum International Magazine, 2017, p.356 
Richard Perram, Beyond Belief The sublime in contemporary art, Bathurst Regional Art Gallery, 2017, pp. 30-33 
Silja Leifsdottir, What Remains, Fotogalleriet, Oslo, 2017, p. 79 
Otto Letze, GYS! Er den levende?, Arken Museum for Moderne Kunst, 2017, p.90-91 
Bowden, Hannan, D'Aglas, Lindley, D'Angelo, Art-isan, Studio Arts for VCE, Cambridge University Press, 2017, p. 144, 208 
Adam Geczy, The Artificial Body in Fashion and Art, Bloomsbury Publishing, 2017, p. 70,79,84-87

Michael Do, Soft Core, Ligare Book Printers, 2016, pp. 66-71 
Barbara Creed , Stray: Human/Animal Ethics in the Anthropocene , Power Publications , 2016 
David Walsh, On the Origin of Art, Museum of Old & New Art, 2016, p. 453-461 
Nanjo Fumio, The Universe and Art, Mori Art Museum, Tokyo, 2016, p. 126 
Natasha Bullock, MCA Collections, Museum of Contemporary Art, Sydney, p. 292-293 
Malene Breusch Hansen, Researchers Wildest Tools, Bonnier Publications Int, 2016, p. 93 
Thomas Macho, Das Schwein, Agora 42, Aug-2016, pp. 43-48 
Jane O'Sullivan, Beyond the Border, Australian Financial Review, March, 2016, pp. 54-59 
Joan Fontcuberta, The Post-Photographic Condition, Kerber Photo Art, 2016, pp. 122-127

Jeon Hyesook, Post Human, SACK, Seol, Korea, 2015 
Kim Jeongbae, New Romance, MMCA, Korea, 2015, pp. 140-155 
Marcello Dantas, Comciencia, Centro Cultural Banco, Brasil, 2015 
William Myers, BioArt: Altered Realities, Thames & Hudson, 2015, pp. 52-57

Jessica Housand-Weaver, Carbon Culture, Media Solutions USA, Issue 1, Fall 2014, Cover front & back, pp. 51-56 
Jaqueline Millner, ARTAND Australia, Art & Australia, Issue 52.1 - 2014, Cover, pp. 4, 128, 136-143 
Ron Radford, Collection Highlights, National Gallery of Australia, 2014, p. 196 
Andrea Virginas, Acta Universitatis Sapientiae, Sapientia Hungarian Uni of Transylvania Scientific Publishing House, Vol 8, 2014, pp. 149-166 
Lisbeth Brunnich, Science Illustrated, Denmark, Bonnier Publications, Issue 17, 2014, p. 22 
Penelope Grist, Portrait, National Portrait Gallery, Spring/Summer, 2014, pp. 8, 17 
Elizabeth Ann Macgregor OBE, Glenn Barkley, Remain in Light (exhibition catalogue), Museum of Contemporary Art, Sydney, 2014, pp. 50-51 
Laura Baigorri Ballarín, Sense and Responsibility: A Bioethical Perspective on Experimental Creation, Hipatia Press, Vol 2, Number 2, 2014, pp.152,153, 161 
Julie R. Sasse, Blurred Boundaries: A History of Hybrid Beings and the Work of Patricia P., University of Arizona Press, 2014

Mr. Terukazu Suenaga, Ms. Yoko Hayashi, Mr. Motoaki Hori, The Art of the 20th Century and Beyond, Bijutsu Shuppan-sha, Tokyo, July 20th, 2013, p. 204 
Diana Warnes, Under My Skin (Exhibition Catalogue), Rockhampton Art Gallery, 2013, p. 49 
Caitlyn Burford, Manor House Quarterly, Manor House Quarterly, USA, Issue 07 , 2013, pp. 8, 46-57 
Zoe Forget, Hey (Modern art & pop culture), Ankame Editions, #15, 2013, pp. 66-75 
Lucy Marczyk, (INSIDE) interior design review, Niche Media Pty Ltd, Sept / Oct 2013, p. 20 
Gong Yan, Art World 278 (Safari, the Zoetrope of Monsters), Shangai Central Publishing, 2013 
Deborah Robinson, The Nature of the Beast (Exhibition Catalogue), The New Art Gallery Walsall, 2012 
Jason Smith / Linda Michael, Louise Bourgeois in Australia (Exhibition Catalogue), Heide Museum of Modern Art, 2013, p. 118-121

Antoine de Galbert, Memories of the Future, Collection of Thomas Olbricht (MR8), Fage Edition et La maison rouge, 2012, pp. 84, 210-211 
Kelly Gellatly, 101 Contemporary Australian Artists, National Gallery of Victoria, 2012, p. 170-171 
Marc Wellmann, BIOS Concepts of Life in Contemporary Sculpture, George Kolbe Museum, 2012, Cover, pp. 82-85 
Bild I Skolan, En Ingang I Samtidskonsten, Swedish Teachers Union, Jan, 2012, p. 26-27 
Scala, Mark W., Fairy Tales, Monsters and the Genetic Imagination (Exhibition Catalogue), Vanderbuilt University Press, Sept, 2012 
Ewen McDonald, MCA Collection. Volume One, Museum of Contemporary Art, Sydney, March, 2012 
RMIT Gallery, Imagining the Future (exhibition catalogue), RMIT Gallery, Melbourne, Jan, 2012, p. 50-51 
Harrington, Zoe, Sculpture and the Enemies, Sculp &, Jan-March, 2012, p. 14-23 
JD Talasek, Rick Welch, Kevin Finneran, Visual Culture and Evolution, an Online Symposium, University of Maryland, USA, 2012, p. 188-189 
McDonald, Helen, Nearly Beloved, Patricia Piccinini, Piper Press, 2011 
Tony Ellwood, Ten Years of Contemporary Art. The James C Sourris AM Collection, Queensland Art Gallery, 2011, p. 138

Singapore Art Museum, Video, an Art, a History 1965 - 2010, Singapore Art Museum, 2011, p. 88, 91, 93 
Jane Messenger, Once Upon A Time (Exhibition Catalogue), Art Gallery of South Australia, 2011 
Katrina Strickland, Neither Fish nor Fowl, Weekend Australian Fin Review, 2011, p. 37 
Millner, Jacqueline, Conceptual Beauty, Artspace, Sydney, 2009, pp. 16-22, 106 
Robertson, Jean and McDaniel, Craig, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2010, pp. 264-266

Kwang-Suk, Lee, The Art and Cultural Politics of Cyber Avant-gardes, Thomson Publications, 2010, pp. 379-385 
Engberg, Juliana, Relativity (exhibition catalogue), Art Gallery of Western Australia, 2010 
Stadeus, Geert, and Snoeck, Patrick, Patricia Piccinini, Snoecks 2010, 2010, pp. 210-223 
Bodeker, Katja and Hammer, Carmen, Wunderforschung, Nicolai, 2010, pp. 52-53 
The Revival of Empty Spaces, Patricia Piccinini, Monthly Art Magazine, Apr-2010, pp. 72-77 
Reilly, Maura, Curating Transnational Feminisms, Feminist Studies Magazine, Spring 2010, p.161 
Hong, Kyoung-Han, Art in Post, Public Art, Mar-2010, pp. 142-143 
Hong, Kyoung-Han, Patricia Piccinini (interview), Public Art, Apr-2010, p. 177 
Chrudzimska-Uhera, Katarzyna, Niepewna przysztosc Rzezby: Patricia Piccinini, Lamus, Jul-1909, pp. 62-67 
Clark, John, Biennials and the Circulation of Contemporary Asian Art, Yishu: Journal of Contemporary Chinese Art, 2009, p.38 
Mori Art Museum, Medicine and Art: Imagining a future for Life and Love, Mori Art Museum, Tokyo, 2009, pp. 228-229 
Grehan, Helena, Performance, Ethics and Spectatorship in a Global Age, Palgrave Macmillan, 2009, pp. 8, 140, 142-3, 162-7, 187, 189

Ardenne, Paul, Art le Present: La creation plasicienne au tournant du XXI siecle, Editions du Regard, 2009, pp. 156, 184 
Allemand, Lauranne, Denaro, Dolores, and team, Genipulation, Kunsthaus Centre d'art, 2009, pp. 116-119 
Roos, Robert, Wonderland: Through the Looking Glass, Kunsthall Kade Amersfoort, Netherlands, 2009, pp. 80-83 
Green, Erica, Colliding Worlds, Samstag Museum, University of Adelaide, 2009, pp. 1-3 
Egan, Fiona, Born to be Wild: the Motorcycle in Australia, Penrith Regional Gallery, 2009, pp. 4, 28 
Hackett, Edward, Reflections for Looking Forward,, Jan-2009, pp. 340-345 
Korper Kurz nach der Geburt, Kunst und Unterricht, Kallmeyer, Jul-1909, p. 49 
Warne-Smith, Drew, Up Next: Patricia Piccinini, The Weekend Australia Magazine, March 14-15, 2009, p. 7 
Martain, Tim, Otherworldly Designs, The Mercury Magazine, March 21, 2009, p.2-3 
Strickland, Katrina, Tasmania's Modern Take, The Weekend Australian Financial Review, April 9-13, 2009, p. 56 
Levine, Stacey, Looking Together: Writers on Art, University of Washington Press, 2009, p. 36, 45 
Neylan, John, Motherhood Statement, The Adelaide Review, Mar-2010, pp.30-31 
Smallenburg, Sandra, Beeldende Kunst, NRC Handelsblad, May 1, 2009, p.8 
The Phantasm of International Biennales, Monthly Art Magazine, Dec-2009, p. 116 
Palmer, Maudie, Encounters with Australian Modern Art, Macmillan Art Publishing, 2009, pp. 246-247 
Art and Australia, Current: Contemporary Art from Australia and New Zealand, Dott Publishing, 2009, pp. 256-259 
Haraway, Donna , When Species Meet, University of Minnesota Press, 2008, pp. 287-292, 387

Heartney, Eleanor, Art and Today, Phaidon Press, 2008, pp. 188-189 
Hulsbosch, Marianne, Cambridge Visual Arts: Stage 4, Cambridge University Press, 2008, pp. 148-149 
Slade, Lisa, The Thrall of the Skull, Neo Goth: Black is Back, 2008, pp. 24-26 
Koop, Stuart, Beep Crackle: Contemporary art from the middle of nowhere, Institute of Modern Art, Sydney, 2008, pp. 126-135 
Takamado, Her Highness, the Princess, Transcripts of Lectures, Osaka University of Arts, 2008, pp. 111-112 
Kudo, Kiki, Post No Future, Kawade Shobo Shinsha Publishers, Japan, 2008, pp. 127-129 
Braun, Bart, Nieuwe Dieren, Uitgeverji Veen Magazines, 2008, pp. 120-122 
Zeitz, Lisa, Moped als Madonna: Das geheime Leben der Vespa, Kunstmarkt, February 23, 2008, p. 44 
Foster Gage, Mark, Etiologies of Beauty: Architecture and the New Physics of Appearances, Perspecta 40: Monster, 2008, p. 93 
Johnson, Ken, Some Shows for Escape, Some for Introspection, The New York Times, July 4, 2008, p. 30 
Beare, Michael & Welfare, Phillippa, Just Imagine, Wollongong City Gallery, 2008, pp. 12-13 
Cruz, Marcos, Designer Surgeons, Architectural Design, Nov-2008, p. 48 
Saehrendt, Christian & Kittl, Steen, Sprachfuhrer Deutsch - Kunst, Kunst - Deutsch, Dumont Buchverlag, Koln, 2008, pp. 149-150 
Suzanne Anker and JD Talasek, Visual Culture and Bioscience, University of Maryland, USA, 2008, p. 198 
Queensland Art Gallery, Contemporary Australia: Optimism, Queensland Art Gallery, 2008, pp. 182-185 
Fernandez Orgaz, Laura, (Tiernas) Criaturas, Artium, 2007 
Haraway, Donna , Speculative Fabulations for Technoculture's Generations: Taking Care of Unexpected Country, (Tiernas) Criatures, 2007 
Alderton, Steven, Patricia Piccinini: Double Love Knot (exhibition catalogue), Lismore Regional Gallery, 2007

Hickson, Patricia, Hug or Run?, Hug: Recent Work By Patricia Piccinini, 2007 
Rosenberg, Randy, Art in Action: Nature, Creativity and Our Collective Future, The Natural World Museum, 2007 
Heartney, Eleanor, Worldwide Women, Art in America, June/July 2007, pp. 155-165 
Blas, Susana, Patricia Piccinini: Documentary about the exhibition (Tiernas) Criatures at Artium , Metropolis, Spain, Oct-2007 
Armstrong, Carol, Carol Armstrong on Global Feminisms and WACK!, Artforum International, 0101/00/0707, pp. 360-362 
Were, Virginia, A Matter of Transformation, ArTnews New Zealand, Summer 2007, p. 60-62 
Israel, Glenis, Essential Art, Jacaranda, 2007, pp. 202-206 
Wallis, Geoffrey, Eye to i: The Self in Recent Art, Ballarat Fine Art Gallery, 2007, p.90 
Smith, Royce W., Hug: Recent Work by Patricia Piccinini, Review, 0101/00/0707, pp. 42-45 
Astrapellou, Marilena, Dear Scooter: Patricia Piccinini's Auto Art, Intersection, Spring 2007, p. 26 
de Rooij, Marie Jeanne, Down Under: The Hague Sculpture 07 (exhibition catalogue), Veenman Publishers, 2007, pp. 76-80 
Artundo, N, Science in Person, El Correo Espanol El Pueblo Vasco, October 4th, 2007, Cover, p. 77 
Crespo, Txema G., Piccinini Bordering the Limits of Nature, El Pais, October 4th, 2007, p. 37 
Lloyd, Tim, The Canvas Economy, The Advertiser Review, Sept.1, 2007, p. 1, 6,7 
Macgregor, Elizabeth Ann, MCA Collection: New Acquisitions (exhibition catalogue), Museum of Contemporary Art, Sydney, 2007, p. 20 
Ostbye, Guri Lorentzen, Barn + Kunst = Danning, Gorilo Forlag, Oslo, Norway, 2007, pp. 148-149 
Toffoletti, Kim, Cyborgs and Barbie Dolls: Feminism, Popular Culture and the Posthuman Body, I.B. Tauris and Co. Ltd, 2007, pp. 133-159 
Fujinami, Rieko, Nesting in an Ambiguous World, Dart International, Fall 2007, p. 36 
Coslovich, Gabriella, NGV Masters private exhibition deal, Metro News and Reviews, 2007, p. 16 
Bugden, Emma (ed), Patricia Piccinini: In Another Life (exhibition catalogue), City Gallery Wellington, 2006 
Brennan, Stella, Border Patrol, In Another Life, 2006, pp. 6-9 
Winship, Ingrid, Genetics in a Genome Era, In Another Life, 2006, pp. 14-15

Weyns, Sara, Long Live Sculpture, Middelheim Museum, Antwerp, 2006, p. 13, pp.52-55 
Setsuko, Nakamura, Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, 2006, pp 71-77 
Doll, Nancy, Uneasy Nature, Weatherspoon Art Museum, 2006, pp. 42-47 
Kardasz, Magda and Rees, Simon, High Tide: New Currents in art from Australia and New Zealand, Zacheta National Gallery of Art, Warsaw, 2006, pp. 79-80, 216 
Larson, Kay, Beautiful Mutants, Art News, Feb-2006, pp. 106-109 
Boucher, Brian, Patricia Piccinini at Robert Miller, Art in America, Feb-2006, p. 128 
McRae, Vanessa, Supercharged: The Car in Contemporary Culture, Institute of Modern Art, Brisbane 
Green, Charles, 2006: Contemporary Commonwealth, National Gallery of Victoria, Melbourne, Jun-1909, pp.98-101 
Geczy, Adam and Genocchio, Benjamin, What is Installation? An Anthology of Writings on Australian Installation Art, Power Publications, Sydney, Jun-1909, pp. 301-305 
Crombie, Isobel, Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, National Gallery of Victoria, Melbourne, Jun-1909, pp. 14, 110, plate 10 
Reena, Jana, Review of Patricia Piccinini: Nature's Little Helpers at Robert Miller Gallery, tema celeste contemporary art, no. 113, p. 85 
York, Hong Cing-fong Hsiao, Artist of the Year / Asia Live, Art Taipei, 2006, 2006, Cover, first 10 pages. 
Slade, Lisa, Strange Cargo (exhibition catalogue), Newcastle Region Art Gallery, 2006, p. 6, 8, 13, 52,53 
Davies, Suzanne, The Idea of the Animal (exhibition catalogue), RMIT Gallery, 2006 
Tucker, Anne, Endangered Species: Patricia Piccinini and the Human Condition, Juxtapoz, February, pp. 72-77 
Riley, Jan, Patricia Piccinini, Sculpture Magazine, Vol 25, No 7, September 2006, p. 75 
Smith, Jason, Epic (exhibition catalogue), Lismore Regional Gallery, 2006, cover, p.5 
Perram, Richard, Home Goal (Exhibition catalogue), Bathurst Regional Art Gallery, 2006 
Lippert-Rasmussen, Kasper & Balling, Gert, Det Menneskelige Eksperiment, Museum Tusculanums Forlag, 2006, p. 233 
Miller, Christopher, Patricia Piccinini: Nature's Little Helpers, Robert Miller Gallery, 2005 
Kent, Rachel, Nature is as Nature Does: Patricia Piccinini's Super-Natural Creations, Nature's Little Helpers, 2005 
Havilah, Lisa, C'town Bling, Campbelltown Arts Centre, 2005

Mitzevich, Nick, Newcastle Region Art Gallery: Highlights from the Collection, Newcastle Region Art Gallery, 2005, p. 63 
Delany, Max, Extra-Aesthetic: 25 Views of the Monash University Collection, Monash University Museum of Art, Melbourne, 2005, pp. 50-51 
Wilson, Beth, Brand X Art, Chronogram, May-2005 
Glueck, Grace, The line between species shifts and a show explores and move, The New York Times, Aug-2026 
Genocchio, Benjamin, Images of Reality, In Three Dimensions, The New York Times, Jun-2026 
Glover, Michael, Masters of the dark arts, The Times, Oct-2029 
Smee, Sebastian, Nature's Little Helpers make tasty omelette, The Australian 
Tofts, Darren, Interzone: Media Arts in Australia, Craftsman House, 2005, pp. 98-101 
Welschen, Fred, Living Apart Together (exhibition catalogue), Odapark Venray, 2005 
Nowotny, Helga, Unersattliche Neugier: Innovation in einer fragilen Zukunft, Die Deutsche Bibbliothek, 2005, Cover 
Savie, Chris, Untitled article, Adbusters, 2005 
Rees, Simon, Adelaide Biennial of Australian Art exhibition catalogue, AGSA, 2004 
Patricia Piccinini: We are Family, BT, Vol. 56, no. 845, pp 15-17 
Bec, Luis, The Demonstrous, Monsters, Ghosts and Aliens: The politics of representation in the digital era, F. Javier Pascual, Madrid, 2004, p 60

Bourke, Gregory, Bloom: Mutation,Toxicity and the Sublime (exhibition catalogue), Govett Brewster Art Gallery, 2004 
Crisp, Lyndall, Freaks of Nature, Financial Review Weekend, 29-30 May 2004, p. 35 
Israel, Glenis, Senior Artwise 2: Visual Arts 11-12, Jacaranda, 2004, pp. 193-201 
Eisenmann-Klein, Marita, Reconstruction and updating in plastic surgery in 'UmBauhaus: Updating Modernism', Jovis Verlag, Berlin, 2004, p. 56 
Glass, Alexie & Tutton, Sarah, I thought I knew but I was wrong: New video art from Australia (exhibition catalogue), Asialink / ACMI, Melbourne, 2004 
Gibson, Ross, Written with Darkness (exhibition catalogue), University of Technology, Sydney 
Lovelace, Carey, Flesh & Feminism, Ms., Spring 2004, pp. 65-69 
Palmer, Daniel, Medium Without a Memory: Australian Video Art in 'I thought I knew but I was wrong', Asialink / ACMI, Melbourne, 2004 
Piccinini, Patricia, We are Family Lecture, Hara Museum Review, No 64, Spring 2004, pp. 6-7 
Plant, Simon, Art Breaking, Herald Sun Weekend, 08-May-2004, pp.6-7 
Rhodes, Kate, Patricia Piccinini's Desert Rider (Mountain), Art Bulletin of Victoria, Australia, No 44, 2004, pp. 90-91 
Villaca, Nizia, The Multiplication of Bodies in Artistic Communication in 'Metacorpos' (exhibition catalogue), Paco das Artes,Brasil, 2004, pp 56-7, 64-5, 100, 142 
Anderson, Karen, Monstrorum Historia: Biotech and Teriomorphism, Cluster, No. 4, 2004, pp. 144-151 
Vielhaber, Christiane, Junge Kunst ruckt nach vorn, Das Kunst Magazin, Vol. 11, 2004, p. 209 
Wertheim, Margaret & Christine, Teratology in 'Patricia Piccinini: We Are Family' (Linda Michael, Ed), Australia Council, 2003 
Smith, Jason, Patricia Piccinini: Sandman (exhibition catalogue), National Gallery of Victoria, Melbourne, 2003 
Antony, Rachael, We Are Family: Art by Patricia Piccinini, The Big Issue, no. 179, 9-24 June 2003, p. 11

Block, Andrew, Arts: Bizarre Beasts, Qantas, no. 115, January 2003, p. 61 
Boyd, Chris, Visions of a Strange New World, The Weekend Australian Financial Review 
Clifford, Andrew, Attack of the Clones, The Sunday Star Times, New Zealand, December 28 2003, p. 22 
Crawford, Ashley, Patricia Piccinini in 'see here now, Vizard Foundation Art Collection of the 1990s' (exhibition catalogue), The Ian Potter Museum of Art, Melbourne, 2003, pp. 108-109 
Eccles, Jeremy, For the Love of Her Art, The Canberra Times, 24-May-2003, pp. 6-7 
Fortescue, Elisabeth, Meeting a boy who isn't there, The Daily Telegraph, 17-Aug-2003, p. 34 
Foster, Alasdair, Interview: Patricia Piccinini, Photofile, no. 68, April 2003, pp. 18-23 
Glass, Alexie, Patricia Piccinini, res, March-April 2003, p. 43 
Kinsman, Chloe, Patricia Piccinini (interview), tema celeste contemporary art, no. 98, pp. 58-61 
Patricia Piccinini in 'Havana Biennale 2003' (exhibition catalogue) , Centre for Contemporary Art, Havana, 2003, pp. 180, 340-341 
Lynn, Victoria, Patricia Piccinini in 'Face Up: Contemporary Art from Australia' (exhibition catalogue), Kantz, Berlin, Germany, 2003 
McDonald Crowley, Amanda, Creative Encounters: The Art/Science of Collaboration, Sarai Reader, Feb-2003, pp. 227-235 
Michael, Linda, Patricia Piccinini: Still life with Stem Cells in 'Monash University Collection: Three Decades of Collecting', Monash University Museum of Art, Melbourne, 2003, p. 113 
Michael, Linda, Love Me Love My Lump: Patricia Piccinini Photographs (exhibition catalogue), Monash University Museum of Art, Melbourne, 2003 
Smith, Bernard, Patricia Piccinini in 'Two Centuries of Australian Art', Thames and Hudson, Victoria, 2003, p.162 
Carroll, Alison, Sun Gazing: The Australia-Japan Art Exhibitions Touring program 2002-2004, The Asialink Centre, The University of Melbourne, 2004 
McAuliffe, Chris, and Harvey, Sue, see here now: Visard Foundation Art Collection of the 1990s, Thames and Hudson, Victoria, 2003, pp. 108-109 
Strickland, Katrina, Mother Love, The Weekend Australian, 2-4 May 2003, pp. 14-17 
Woodcock, Ben, Freak Show, State of the Arts, pp. 89-90 
Fitzgerald, Michael, Driving out Demons, Time (Pacific), 30-Jun-2003, pp. 62-64. 
Genocchio, Benjamin, Genetically Modified Sculpture, The Australian, 11-12 January 2003, Review p. 21 
Genocchio, Benjamin, Piccinini and friends carve out a name in Venice, The Australian, 14-15 June 2003, p. 3 
Gill, Raymond, Family Values, The Age, 13-Jun-2003, A3 p. 12 
Hill, Peter, The Artist & Her Offspring, The Sydney Morning Herald, 25-26 January 2003, Spectrum pp. 6-7 
Hutak, Michael, The Far-out Pavilion, The Bulletin, 24-Jun-2003, p. 75 
Ingram, Terry, Happy as a pig in Venice: Piccinini parties to celebrate success, The Australian Financial Review, 26-Jun-2003, p. 43 
Lethbridge, Brett, Beauty Beyond Bizarre, The Courier-Mail, 14-Jun-2003, p. 30 
Naylor, Stephen, Feeling the heat at the 50th Venice Biennale, Art Monthly Australia, no. 161, July 2003, pp. 34-39 
Nelson, Robert, 'Clever Technology, Serious Questions', The Age, 04-Jan-2003, Arts p. 17 
Rees, Simon, Patricia Piccinini at ACCA, Flash Art, May-June 2003, p. 84 
Turner, Jonathan, Alien Nation, ARTnews, vol. 102, no. 8, September 2003, p. 107 
Lindinger, Verlag and Schmid, Uncompromising Mindset, Kunst Jahr 2003, 2003, p. 26, 28 
Kent, Rachel (ed), Call of the Wild: Patricia Piccinini (exhibition catalogue), Museum of Contemporary Art, Sydney, 2002 
Engberg, Juliana, Patricia Piccinini in '(The world may be) fantastic' Ewen McDonald (ed.) (exhibition catalogue), Biennale of Sydney, 2002 
Rowell, Amanda, Autoerotic (exhibition catalogue), Roslyn Oxley9 Gallery, Sydney, 2002

2002, We Are Animals, Arti Graphiche, 2002, inside front cover 
Engberg, Juliana, Retrospectology: The World According to Patricia Piccinini (exhibition catalogue), ACCA, Melbourne, 2002 
Smith, Jason, Sandman: Patricia Piccinini (exhibition catalogue), National Gallery of Victoria, Melbourne, 2002 
Barragan, Paco, Patricia Piccinini in 'El Arte Que Viene (The Art to Come)', Subastas Siglo, Madrid, 2002, p. 236 
Faulkner, Jane, Patricia in Wonderland, The Age, 27-Nov-2002, p. 13 
Foster, Alasdair, Patricia Piccinini in 'Blink: 100 photographers 010 curators 010 writers', London: Phaidon Press, 2002, pp. 300-304 
Greenstein, M. A., Arte o Baño del sol, Lapiz, no. 179/180, 2002, p. 136 
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 27-Jul-2002, p. 2 
Michael, Linda, Love Me Love My Lump, The Diplomat, December 2002 - January 2003, pp. 45-46 
Millner, Jacqueline, Love in the Time of Intelligent Machines, Artlink, Vol 21 no 4, 2002, p. 42-47 
Palmer, Daniel, Patricia Piccinini, Frieze: Contemporary Art and Culture, Issue 65, 2002, p. 93-94 
Papastergiadis, Nikos, One Night Love, Object, no. 39, pp. 50-52 
Piccinini, Patricia, Life in the Media Landscape in 'Prefiguring Cyberculture: An Intellectual History', Power Publications, University of Sydney, 2002, p. 202-203_ 
Bennet, Oliver, The quality of Mersey: Liverpool Biennale/International 2002, The Observer, UK, 15-Sep-2000 
Green, Charles, Patricia Piccinini, Artforum, May-2002, p. 194 
Hill, Peter, Weird Science, The Sydney Morning Herald, 30 August-5 September 2002, Metro p. 26 
Hynes, Victoria, Driven, The Sydney Morning Herald, 24-30 May 2002 
McLean, Sandra, When Push Becomes Shove, The Courier Mail, 27-Jul-2002, p. 2 
Millner, Jacqueline, Storytelling, Eyeline, no. 49, Spring 2002, pp. 30-32 
Toffoletti, Kim, Patricia Piccinini; Lumps and Stem Cells, Eyeline, no. 50, Summer 2002/2003, p. 47 
Michael, Linda, One Night Love (exhibition catalogue), Tolarno Galleries, Melbourne 
Hennessey, Peter, Patricia Piccinini: Installations in 'What is Installation? An Anthology of Writings on Australian Installation Art', Power Publications, Sydney, 2001, p. 301 
Hutak, Michael, Perfect Planet, Professionally Reproduced, Australian Art Collector, Issue 18, October 2001, p. 65

McDonald, Helen, Erotic Ambiguities: The Female Nude in Art, Routledge, London, 2001, pp. 200-204 
Crawford, Ashley, Contemporary Australian Art, An Odd Creature from Down Under, Art and Australia ARCO insert, Vol 37, no. 2, 2001, p. 2 
Lancashire, Rebecca, Piccinini's Monsters, The Age, 26-May-2001, Extra p. 3 
McCulloch-Uehlin, Susan, Virtual Visions, The Australian, 27-Oct-2001, Arts p. 9 
Travis, Lara, Vivid Vehicles of Delight for Lovers of One Night, The Age, 27-Oct-2001, p. 22 
Webb, Caroline, Young Collectables, The Age, 26-May-2001, Today p. 1 
Engberg, Juliana, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 
Colless, Edward, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000 
Yamagata, Hiroo, Essay in 'Atmosphere/Autosphere/Biosphere: Works by Patricia Piccinini', Drome, Melbourne, 2000

Leggett, Mike, Patricia Piccinini, Photofile, no. 60, August 2000, p. 8-11 
Miki, Akiko, Very New Art 2000: 100 Artists, BT Art Magazine, vol. 52, no. 782, January 2000, p. 188-189 
Millner, Jacqueline, Afterword: Perspective on Perspecta in Martin Thomas (ed.) 'uncertain ground', Art Gallery of New South Wales, Sydney, 2000, p. 170 
Pennings, Mark, Enchantment, Technoscience and Desire, Art and Australia, vol. 37, no. 4, 2000, pp. 556-565 
Murphy, Bernice, Patricia Piccinini in Zeitgeössische Fotokunst Aus Australien, Braus im Wachter Verlag, Heidleberg, Germany, 2000, pp. 26-31 
Australia's 50 Most Collectable Artists, Australian Art Collector, Issue 11, January 2000, p. 84 
Genocchio, Benjamin, Reality Check via Plastic Bimbo, The Weekend Australian, 05-Aug-2000, Review p. 18 
Hoffman, Frank, Report from Kwangju: Monoculture and its Discontents, Art in America, Nov-2000, p. 74 
Hong-Hee, Kim, Kwangju Biennial, Flash Art, Summer 2000, p. 100 
James, Bruce, I'll have what she's having, The Sydney Morning Herald, 02-Feb-2000, Arts p. 12 
Scarff, Julian, Probe, Art Asia Pacific, Issue 27, 2000, pp. 28-30 
Engberg, Juliana, Essay in 'Signs of Life: Melbourne International Biennial' (exhibition catalogue), City of Melbourne, 1999 
Hatanaka, Minoru, Plasticology, InterCommunication, no. 29, Summer 1999, p. 189 
Stanhope, Zara, The Persistence of Pop (exhibition catalogue), Monash University Gallery, Melbourne, 1999

Sun-Hee, Kim, A Window Inside Outside (exhibition catalogue), Gwangju City Art Museum, Korea, 1999 
Williamson, Clare, Digitalis Australis, History of Photography, no. 2, vol. 23, Summer 1999, pp. 107-113 
Clabburn, Anna, Baby Trucks Dump on Mass Consumption, The Age, 17-Mar-1999, Arts p. 17 
Colless, Edward, Patricia Piccinini, Art + Text, no. 66, October 1999, p. 79-80 
Frost, Andrew, Australia' s 50 Most Collectable Artists, Australian Art Collector, no. 7, 1999, p. 50 
Sinclair, Jenny, Oh Baby, It's a Truck! , The Age, 16-Mar-1999, IT p. 2 
Taylor, Kerry, Artist's Infatuation with a Baby Beast, The Age, 15-Mar-1999, News p. 7 
Hennessey, Peter, Essay in 'Sacred and Profane' (exhibition catalogue), 1998 Adelaide Festival Visual Arts Program, 1998 
Sansom, Gareth, The Long and Winding Road in 'Up the Road: Contemporary Artists out of the Victorian College of the Arts', ACCA, Melbourne, 1998 
Geczy, Adam, Australian Perspecta, Eyeline, no. 35, Summer, 1998, p. 40

Riley, Vikki, Machine Translations & Other Digital Heresies, Photofile, no. 53, April 1998, pp. 58-61 
Pennings, Mark, Art = Advertising (exhibition catalogue), Robert Lindsay Gallery, Melbourne, 1997 
Hennessey, Peter, Plastic Realist in Blair French (ed.) 'Photo Files: An Australian Photography Reader', Power Institute and ACP, Sydney, 1999, pp. 247-254 
Burne, Philippa, Up the Garden Path, HQ Magazine, no. 54, Sept 1997, p. 23

Johnson, Anna, Young at Art, Good Weekend, April 26, 1997, p. 36 
Uemura, Hisashi, LUMP, Gap Magazine, October, 1997, pp. 105-107 
Maloney, Evan, Consuming Art, Art Monthly, no. 99, May 1997, p. 17 
Rooney, Robert, Arts on Friday: Art=Advertising, The Australian, 14-Mar-1997, p. 12 
Hennessey, Peter and Gregory, Chris, Patricia Piccinini: Your Time Starts Now... (exhibition brochure), Contemporary Art Centre of South Australia, 1996 
Schubert, Robert, Patricia Piccinini: Fetal Futures, Art + Text, no. 54, May 1996, pp. 33-35 
Clabburn, Anna, There's Something in Nothing Natural, Mesh, no. 8/9, Autumn 1996, pp. 27-28

Cooper, Jackie, Natural Born Artist, The Australian, 01-Dec-1996, p.36 
Hill, Peter, Cameras, Lies and Photographic Exhibits, The Bulletin, 17-Sep-1996, p. 100 
Honeysett, Stuart, Computer Art a Child of Invention, The Australian, 14-May-1996, p. 7 
McFarlane, Robert, Looking to the Future, The Sydney Morning Herald, 28-Aug-1996, p. 11 
Owen, Kristin and Simon Plant, Bubbly Prospects, Herald Sun, 09-Feb-1996, p. 33 
Pennings, Mark, Patricia Piccinini: Your Time Starts Now..., Eyeline, Summer 1996, p. 34 
Rooney, Robert, Melbourne Art, The Australian, 24-May-1996, p. 18 
Rooney, Robert, Möet & Chandon Touring Exhibition, The Australian, 23-Feb-1996, p. 13 
Stanhope, Zara, Mapping the Code: Artists Conceiving Data-bodies, Mesh, no. 8/9, Autumn 1996, pp. 16-17 
Kent, Rachel, Alternative Realities: Australian Artists Working with Technology (exhibition catalogue), Ian Potter Gallery, University of Melbourne, 1995 
Latham, Mary Ann, Inside Out: An Interview with Patricia Piccinini, Aedon, Dec-1995 
Stanhope, Zara, Technothelylogia: Technology of and by Women (exhibition catalogue), Monash University Gallery, Melbourne, 1995

Cookes, Thomas, Multimedia Spawns Art, The Age, 12-Jul-1995, p. 21 
Gibson, Tom, Patricia Piccinini, Art + Text, no. 50, January 1995, p. 66 
McKenzie, Robyn, Hi-Tech Art Flows into the Mainstream, The Age, 26-Jul-1995, p. 23 
Hennessey, Peter, Patricia Piccinini: Indivisibles (exhibition brochure), The Basement Project, Melbourne, 1994 
Gregory, Chris, Indivisibles, Eyeline, Spring 1994, pp. 42-43 
Marsh, Anne, City Theme Rules, Herald Sun, 17-May-1994, p. 47

Storey, Rohan, The City Screen, Monument, vol. 1 no. 2, 1994, p. 64 
Teffer, Nicola, Body with Organs, Photofile, no. 42, June 1994, pp. 6-7 
Barren, Sonia, Pushing the Limits of Acceptability, The Canberra Times, 17-Feb-1993, p. 25 
Hawker, Rosemary, Heretical Gestures at the Birth of Enlightenment, Eyeline, no. 15, 1991, pp. 16-20 
Jones, Mathew, The Body Dis-corporate: Patricia Piccinini, Agenda, no. 20/21, November 1991, p. 18

Thompson, Kerstin, Charles Williams Gallery, Transition, no. 36/37, Summer 1991, pp. 172-17