EDUCATION:
2014: PhD Sydney College of the Arts, University of Sydney.
2008: Bachelor of Fine Arts (Hons 1) University of New South Wales Art & Design (UNSWAAD).
SELECTED EXHIBITIONS:
2018: Soft Topologies. UTS Gallery, University of Technology Sydney.
2017/18: Ley Lines. St Andrews Museum; Hawick Museum; Calendar House; Custom Lane Edinburgh, Scotland. (Touring).
2017: Afterglow. (In collaboration with Rochelle Haley and Brooke Stamp), Hazelhurst Regional Gallery.
Spring 1883. The Establishment Hotel, Sydney.
System of Objects. NAS Gallery, Sydney.
Microgravity. The Powerhouse, Museum of Applied Arts and Sciences (MAAS), Sydney.
2016: When moving through ruins. The Glasshouse, Port Macquarie Regional Gallery.
Spring 1883. The Windsor Hotel, Melbourne.
Sunday Punch. Laneways Festival, Callan Park.
2015: Death/Life. Anna Pappas Gallery Melbourne.
Base Matter. ALASKA Projects, Sydney.
2014: Locating the Pulse. Mosman Art Gallery, Sydney.
Night Swimming. Fontanelle, Adelaide, SA.
Sense of Surround. Edwina Corlette Gallery, Brisbane, QLD.
BLACKMODULAR. Modern Art Projects, Lawson NSW.
I miss you more when it rains. Dog Park Project Space, Christchurch, NZ.
Perceptions and Perspectives. King Street Gallery on William, Sydney.
AWKWARD VOLTAS. Firstdraft Gallery, Sydney.
New Contemporaries. SCA Galleries, Sydney.
2013: Sydney Contemporary. Carriageworks, Sydney.
As Above: So Below. MOP Projects, Sydney.
Willoughby Sculpture Prize. The Incinerator Art Space, Sydney.
SHRINE WORK (Geoff Dyer). Museum of Old and New Art (MONA) Hobart, TAS.
2012: As Above: So Below. Good Children Gallery, New Orleans, US.
SHRINE WORK. Alaska Projects, Sydney.
Votive offerings. The Depot Gallery, Sydney. (Project for Art Month Sydney).
Redlands Westpac Art Prize. National Art School Gallery, Sydney.
2011: Body Language. Brenda May Gallery, Sydney.
Cut Ups and Cut Outs. Kings ARI, Melbourne, VIC.
2010: The whole and the sum of its parts. MOP Projects, Sydney.
2009: False Narratives. Peloton Gallery, Sydney.
32 Metres Square. Australia Council for the Arts.
2008: Composition. King Street Gallery on William, Sydney.
Patience. This is a means and not the end. Firstdraft Gallery, Sydney.
Hatched. Perth Institute for Contemporary Art, Perth, WA.
COLLECTIONS:
Artbank; ING Bank; UTS ART; Private collections in Australia and the U.K.
GRANTS & AWARDS:
2017: Art Projects for Individuals and Groups. Australia Council for the Arts.
Artist Research Fellowship, Museum of Applied Arts and Sciences, Sydney.
2015: City of Sydney Creative Live Work Spaces residency.
2014: New Work Grant. Australia Council for the Arts.
John Frieze Memorial Artist Award (Highly commended), UNSW Galleries.
2013: Marten Bequest Travelling Scholarship (Sculpture).
2012: Freedman Foundation Travelling Scholarship.
Power Institute Paris Residency and research funding.
NSW Artists Grant, National Association for the Visual Arts (NAVA).
2011: Conference Grant. Australian and New Zealand Society for the History of Medicine (ANZSHM).
Kath O’Neil Scholarship for Academic Achievement. University of Sydney.
Janet Holmes à Court Artists’ Grant, National Association for the Visual Arts (NAVA).
2010: Art Start. Australia Council for the Arts.
Australian Postgraduate Award.
University of Sydney Merit Award.
2007: Dean’s Award for Academic Excellence. University of New South Wales.
Honours Scholarship. University of New South Wales.
BIBLIOGRAPHY & EXHIBITION REVIEWS:
· Parker Philip, Isobel. The Wind Apparently. Exhibition essay. Soft Topologies. UTS ART, 2018. ISBN 978-0-6481354-2-5.
· Bannister, Laura. On found objects, mapping and soft topologies. Museum Magazine, Feb 2018.
http://museum-magazine.com/2018/03/found-objects-mapping-soft-topologies/
· Lee, Tom. How art merges with maths to explore continuity, change and exotic states. The Conversation, 28 Feb 2018.
· Masukor, Sarinah. Critics Guide: Sydney. Frieze, March 2018. https://frieze.com/article/critics-guide-sydney
· Cole, Georgina. System of Objects: Kate Scardifield. Exhibition essay, System of Objects, National Art School, 2017. 32-35. ISBN 978-0-6481428-0-5
· Linz, Talia. When Moving Through Ruins. Catalogue essay. The Glasshouse, Port Macquarie Regional Gallery, October 2016. ISBN 978-0-9871534-6-3
· Kubler, Alison. Global Artists: Kate Scardifield. Art Collector Magazine December 2016.
· Szukilojc, Bella. Everything I touch turns to… Artist and curator interview. Museum of Contemporary Art, April 26, 2016. https://www.mca.com.au/blog/2016/04/26/mca-artbar-golden-hour/
· Nelson, Robert. Donna McRae, Kate Scardifield explore life-and-death propositions for women. The Age. Feb 24, 2015.
• Anthes, Connie. Unproductive Labour. Das Platforms Emerging & Contemporary Art.
http://www.dasplatforms.com/das_five_cent/unproductive-labour/
• Griffiths, Amy. Kate Scardifield. Artlink. Vol 31 no 1. Pg 95
• Brauer, Fae. The Cultures of Dissection: Kate Scardifield’s Women Wielding the Knife. ‘The Whole and the Sum of its Parts’. Exhibition catalogue, MOP Projects. December 2010. ISBN 978-1-921661-13-6
• Fortescue, Elizabeth. Fine Art of Getting Across The Message. The Daily Telegraph. Nov 6, 2010. 41-42
• Mendelssohn, Joanna. Kate Scardifield. Australian Art Collector Magazine. April 2008. 165-166
• Hatched 08. Exhibition catalogue. Perth Institute of Contemporary Arts. 2008. 42