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Born 1965, Melbourne, Australia
Lives and works in Melbourne -
1993
Masters of Fine Arts (Sculpture), School of Visual Arts, New York1989
Graduate Diploma in Fine Arts (Sculpture), Victorian College of the Arts, Melbourne1985
Bachelor of Fine Arts (Sculpture), RMIT University, Melbourne -
2022
Remnants, Dookie Agricultural College, Victoria
2019
Ecosphere, MPavillion, Monash University Clayton Campus, Melbourne
Residency Unlimited Open Studio, 42 Hawthorne St, Brooklyn
Fragile Ecologies, Kronenberg, Mais Wright Gallery, Sydney2018
Plastic Topographies, Ideas Platform, Artspace, Sydney2017
Bottles, Margaret Lawrence Gallery, Melbourne2016
Subterranean and Sightseeing Tours (collaboration with Lisa Andrew), ALASKA Projects, Sydney2014
Hortus (a collaboration with Utopian Folk), Docklands, Melbourne2012
Visceral Forms, Utopian Slumps, Melbourne2009
Manna, part of a three-part exhibition Three Degrees of Change, La Trobe University Museum of Art, Melbourne2007
Cornucopia, Sherman Galleries, Sydney
Demeter’s Garden, Heide Museum of Modern Art, Melbourne2005
Karakarook’s Garden, Heide Museum of Modern Art, Melbourne2004
Salt and Sand, Sherman Galleries, SydneyTide, Artspace, Sydney
2002
Salt and Honey, Jewish Museum of Australia, Melbourne2001
ABC123, Roslyn Oxley9 Gallery, SydneyVerdant, Herring Island Gallery, Melbourne
1999
Strata, McClelland Gallery, Victoria
Cupola, Queen Victoria Building, Sydney Festival, Sydney1998
Spiderbox (collaboration with Rozalind Drummond), Contemporary Art Space, Canberra1997
Epithelium, Karyn Lovegrove Gallery, Melbourne
Wall Red Yellow Blue, Artspace, Sydney1996
Onion Sac Wall, Karyn Lovegrove Gallery, Melbourne
Excess, Rosyln Oxley9 Gallery, Sydney
Green Room, Pendulum, Sydney1995
Building 40 Project, RMIT Design, Melbourne1994
Bags, Bottles, Newspapers, Karyn Lovegrove Gallery, Melbourne1993
Installation #04, Information Gallery, New York1992
Tarook/Taarak, Realities Gallery, Melbourne1990
Recent Works, Realities Gallery, Melbourne1988
Recent Works, Realities Gallery, Melbourne -
2022
Virtue and Virtuosity, Cement Fondu, Sydney2021–2022
Screen as Architecture, curated by Simone Hine, The Griffith University Moving Image and Sound Archive, Brisbane2021
In the Air, Connecting the world through Sculpture, curated by Charlotte Day, Monash University Museum of ArtThe National 2021: New Australian Art,Museum of Contemporary Art Australia, Sydney
2018
2018 Spring Open Studios, International Studio and Curatorial Program, Brooklyn, New York2017
Revealing Identity: The Collections of La Trobe University, Bendigo Art Gallery, VictoriaWaves, The Honeymoon Suite, Melbourne
2016
Human/Animal/Artist, McClelland Gallery, VictoriaOn the Verge, Blindside Festival, Melbourne
Artists & Others, The Imaginative French Book in the 21st Century, from the Koopman Collection of the National Library of the Netherlands, Grolier Club, New York
Cornucopia, Shepparton Art Museum, Victoria
2015
From the Collection: Gertrude Contemporary Regional Residencies, Chapter Two, Latrobe Regional Gallery, VictoriaGarden, Queensland University of Technology Art Museum, Brisbane
2014
Faux Museum, c3, MelbourneFin, Utopian Slumps, Melbourne
Lauren Berkowitz and Starlie Geikie, Utopian Slumps, Melbourne
Kaleidoscope, Platform Contemporary Art Spaces, Melbourne
Found Festival, Abbotsford Convent, Melbourne
Wild places, Motorworks Gallery, Melbourne Grammar School
Monash University Collection, presented at the Australian Club by Monash University Museum of Art, Melbourne
2013
Melbourne Now, National Gallery of Victoria, MelbourneRegimes of Value, Substation Gallery, Melbourne
2012 Roads Cross: Contemporary Directions in Australian Art, Araluen Arts Centre, Alice Springs; Charles Darwin University Art Gallery, Darwin; Flinders University City Gallery, Adelaide
Symphonic Encounters, Linden Centre for Contemporary Arts, Melbourne
2011
Artrecycle, guest artist and judge, Incinerator Arts Complex, MelbourneFound, Glen Eira City Council Gallery, Melbourne
2010
Aichi Triennale 2010, Aichi Arts Center, Nagoya, JapanVideo Void: Australian Video Art, 1970s, 1980s & 1990s, Centre for Contemporary Photography, presented by the Faculty of Art & Design, Monash University, Melbourne
In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney
Discreet Objects, Utopian Slumps, Melbourne
Aftermath: Art, Memory, History, Monash University Faculty Gallery, Melbourne
2009
Soft Sculpture, National Gallery of Australia, CanberraGlobal Books, “Cité du Livre”, Aix en Provence, France
Drought, Murray Darling Palimpsest #7, Art Vault, Mildura, Victoria
2008
The Ecologies Project, Monash University Museum of Art, MelbourneStarlie Geikie and Lauren Berkowitz, Neon Parc, Melbourne
Bal Tashchit: Thou Shalt Not Destroy, Jewish Museum of Australia, Melbourne
Premonitions: Monash University collection 1961–2007, McClelland Gallery, Victoria
2007
Global Books: Le livres d’artistes de Gervais Jassaud, Bibliotheque Carnegie Mediatheque Jean Falala and Comedie de Reims, FranceArtist Makes Video: Art Rage Survey 1994–1998, Dell Gallery, Queensland College of Art, Griffith University, Brisbane
2006
Before the Body-Matter, Monash University Museum of Art, Melbourne2005
After Nature, Lake Macquarie City Art Gallery, New South Wales2004
Melbourne Artfair, Melbournesite: [unseen], Sherman Galleries at Dank Street, Sydney
2003
Hothouse: The Flower in Contemporary Art, Monash University Museum of Art, Melbourne; State Library of Victoria, Melbourne; Keith Murdoch Gallery, Melbourne; Geelong Art Gallery, Victoria; Ballarat Fine Art Gallery, Victoria; McClelland Gallery and Sculpture Park, VictoriaMcClelland Survey and Sculpture Award, McClelland Gallery, Victoria
Fair Game, National Gallery of Victoria, Melbourne
Echigo-Tsumari Art Trienniale, Japan
2002
Eden and the Apple of Sodom, University of South Australia Art Museum, Adelaide2001
The Cultivated Garden, Hazelhurst Regional Gallery, New South WalesLow Down: Recent Acquisitions, Monash University Gallery, Melbourne
2000
Celebrating the Exquisite Corpse, Bendigo Art Gallery, Victoria; Monash Museum of Art, Melbourne; Swan Hill Regional Art Gallery, Victoria; Ararat Gallery, VictoriaThe Retrieved Object, Linden Gallery, Melbourne
1999
Live Acts #3 & #4, presented by Chunky Move with the Australian Centre for Contemporary Art, Revolver, MelbourneTensions, video works from the Griffith University Art Collection, State Library of Queensland, Brisbane
Material & Beyond, University of Southern Queensland, Toowoomba, touring Queensland regional galleries
Transmaterial, Otago School of Art, Otago Polytechnic Dunedin, New Zealand
1998
Artrage, artworks for television, Artspace, Sydney; Institute of Modern Art, Brisbane, touring nationallyWomen of the Book: Jewish Artists, Jewish Themes, Finegood Art Gallery, California; Sharadin Art Gallery, Kutztown University, Pennsylvania; University of Pennsylvania Special Collections Library Kamin Gallery, Pennsylvania; Janis Charach Epstein Museum, Michigan; University of Arizona Museum of Art, Arizona; Florida Atlantic University, Florida; Brattleboro Museum of Art, Vermont; Southwest Missouri State University, Missouri; Minnesota Centre for Book Arts and the Jewish Community Center of Minneapolis, Minnesota; National Council for Jewish Women, Chicago branch, Illinois; Athenaeum of La Jolla and the San Diego Center for Jewish Culture, California; La Sierra University, California; Steadman Gallery, Rutgers University, New Jersey
The Infinite Space: Women, Minimalism and the Sculptural Object, The Ian Potter Museum of Art, Melbourne
Respond Red or Blue, Royal Melbourne Hospital, Melbourne
Resourceful, Ararat Gallery, Victoria
Le Corps du Livre, L’oeuvre editoriale de Gervais Jassuad, Carre d’Art Biliotheque, Nimes, France
Up the Road: Contemporary Artists out of the Victoria College of the Arts, Australian Centre for
Contemporary Art, Melbourne
Ecologies of Place and Memory, University Gallery, University of Tasmania, Launceston
The Bridge: Construction in Process VI, Pileon Building, Melbourne
Suite, Smith and Stonely on Stratton, Brisbane
1997
Amcor Paper Awards 1997, Westpac Gallery, MelbourneAustralian Perspecta 1997: Between Art and Nature, The Art Gallery of New South Wales, Sydney
World Without End, St Patricks Cathedral, Melbourne
Moët & Chandon Touring Exhibition, Queensland Art Gallery, Brisbane; National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide
1996
Mrs Bird’s House, Motherwell St, South Yarra, MelbourneSecret Archive, Platform Station, Melbourne
Ruins in Reverse, RMIT Gallery, Melbourne
1995
The Object of Existence, Australian Centre for Contemporary Art, MelbourneThe Wandering Jew Myth and Metaphor, Jewish Museum of Australia, Melbourne
Seven Histories of Australia, Australian Centre for Contemporary Art, Melbourne
Constructed City, Plimsoll Gallery, University of Tasmania, touring exhibition, Hobart
Monash University Art Prize, Monash University Gallery, Melbourne
Blow Up, Rosyln Oxley9 Gallery, Sydney
Essence and Persuasion, Anderson Gallery, New York
1994
Erptcponise (perceptions), Information Gallery, New YorkProjection: Filming the Body, The Basement Project, Melbourne
1993
Recent works, Yoshii Gallery, New YorkLauren Berkowitz, Stephen Bram, Debra Ostrow, Kathy Temin, Studio 14 at 200 Gertrude Street, Melbourne
1989
I.C.I Contemporary Art Collection, City of Ballarat Fine Art Gallery, Victoria; touring regional galleries in Victoria, New South Wales and QueenslandActive Garden, Heide Museum of Modern Art, Melbourne
-
2021
Charlotte Day, catalogue essay, In the Air, Connecting the world through Sculpture, Monash University Museum of ArtSetouchi Asia Forum 2021, Artists Breathe Live, Artists’ in the midst of a pandemic, Official booklet (English) 16th October 2021, Second Edition, Edited and translated by Artfront Gallery, Tokyo
Tess Maunder, Beyond visibility: ‘The National 2021’ pp46-47, Art Monthly Australasia, Issue 329 Spring 2021
Lucy Latella, with Lauren Berkowitz, Artists Text, The National 2021: New Australian Art, Museum of Contemporary Art, Sydney 2017/2019/2021
Rosa Ellen, Interview, The Art Show, ABC, Radio National, Wednesday 17 February 10.05am 2021
Imogen Reid, ‘The National 2021: New Australian art opens at three of Sydney’s leading cultural institutions’, The Australian, 30 March 2021
‘Remedial Message’, Belle, p 43, April 2021, Sydney
Erin McFadyen, Held in Common: The National at the MCA, The Monthly, 31 March 2021
Kirsty Francis, The National 2021: New Australian Art, until September, A Rich Life, 30 March 2021
Andrew Frost, The National review-major showcase of New Australian art gets third and final instalment, The Guardian, 29 March 2021
2019
Emma-Kate Wilson, ‘Lauren Berkowitz’s Fragile Structures’, Art Monthly, Issue 314 / March 2019, p.36-392018
Phoebe Hoban, ‘Lauren Berkowitz's High–Wire Act’, Plastic Topographies, Artspace, catalogue essay2017
Charlotte Cornish, Waves, The Honeymoon Suite, catalogue essayRachel Kent, Bottles, Margaret Lawrence Gallery, catalogue essay
Melissa Loughnan, Australiana to Zeitgeist, Thames and Hudson, Australia, pp. 52–55
2016
Janine Burke, Human/Animal/Artist, McClelland Gallery, catalogue essay, p. 7Larissa Hjorth, Kirsten Sharp and Linda Williams, Screen Ecologies: Art, Media, and the Environment in the Asia-Pacific Region, MIT Press, Cambridge, Massachusetts, pp. 52–54
Paul van Capelleveen, Artists & Others: The Imaginative French Book in the 21st Century, Koopman Collection, National Library of the Netherlands, Vantilt publishers, The Hague, pp. 23, 126
Anna Briars, Cornucopia, Shepparton Art Museum, catalogue essay, pp. 14, 42
Sarah Werkmeister, ‘Review: Cornucopia’, Art Guide, March
2015
Julia Jones, ‘A growing medium: The garden in art and design’, Art Monthly, issue 284, October, pp. 38–452014
Andrew Brown, Art & Ecology Now, Thames and Hudson, London, pp. 238–41Dan Rule, ‘Plant pavilion upcycles Docklands’, The Age, 13 June, p. 20
Megan Backhouse, ‘Wonder Weeds’, The Age, Spectrum, 31 May, p. 14
Rozalind Drummond, Wild Places, Motorworks Gallery, catalogue essay
Charlotte Day, Monash University Collection, Monash University Museum of Art, catalogue essay
2013
Megan Backhouse, ‘Quite contrarily, an artwork grows’, The Age, Life and Style, 21 December, p. 10Penny Modra, ‘NGV's down-and-dirty blockbuster in disguise’, The Age, 27 November, p. 46
Melbourne Now, exhibition guide, National Gallery of Victoria, pp. 36–37
Jane Devery, ‘Art and Urban Context’, Melbourne Now, National Gallery of Victoria, catalogue essay, pp. 91, 122
Discipline No 3, artist pages, pp. 113–16
Robert Nelson, ‘Artists fashion a treasure house of items from junk’, The Age, 20 March, p. 47
Elizabeth Gower, Regimes of Value, Margaret Lawrence Gallery, catalogue essay
2012
Maurice O'Riodan, ‘“X” marks the space: Roads cross, Flinders University Art Museum’, Art Monthly, issue 252, August, pp. 14–16Louisa Rebgetz and Anita Angel, 7.30 Report, ABC Darwin
'Three days to turn seed to stone', Northern Territory News, 19 November, p. 8
Amita Kirpalani, ‘Deep Sea Diver’, Visceral Forms, Utopian Slumps, catalogue essay
Lisa Holzl, ‘Lauren Berkowitz: Waste Not, Want Not’, Found: The Art of Recycling, Walker Books, Sydney, pp. 34–35
Fiona Salmon and Vivonne Thwaites, Roads Cross, Flinders University Art Museum and City Gallery, catalogue essay, pp. 10, 34–35
Melanie Flynn and Rachael Watts, Symphonic Encounters, Linden Centre for Contemporary Arts, catalogue essay, pp. 3, 7
Eugene Barilo von Reisberg, ‘Symphonic Encounters @ Linden Centre for Contemporary Arts’, Arts Diary 365, 22 June
Dan Rule, ‘Symphonic Encounters’, Art Guide, July/August, pp. 51–52
2011
Dan Rule, ‘Trash art that is not here to stay’, The Age, 25 May, p. 19Alana O'Brien, ‘Lauren Berkowitz: Manna’, Antennae, issue 17, Summer, 2011, pp. 102–5
Diane Soumilias, Found, Eira City Council Gallery, catalogue essay
2010
‘MCA Artist's Voice, series 6’, In the Balance: Art in a Changing World, video, Museum of Contemporary Art‘Behind the Scenes’, In the Balance: Art in a Changing World, video Museum of Contemporary Art
Michael Fitzgerald, ‘Consumer cult’, The Australian Financial Review, 2 September, p. 24
Jenny Lyon, ‘Inspired by Waste’, Green magazine, issue 16, November/December, pp. 68–73
Dr Kyla McFarlane, ‘Impure Subjects’, Change, Monash University Museum of Art, catalogue essay, pp. 123, 145
Rachel Kent, ‘Lauren Berkowitz’, In the Balance: Art for a Changing World, Museum of Contemporary Art, catalogue essay, pp. 30–33
Natalie King, ‘The aesthetics of waste and recycling’, In the Balance: Art for a Changing World, Museum of Contemporary Art, catalogue essay, pp. 9–10
Bridget Cormack, ‘Growth of a green aesthetic’, The Australian, Arts, 23 August, p. 20
Melissa Loughnan and Helen Hughes, Discreet Objects, Utopian Slumps, catalogue essay
Dylan Rainforth, ‘Discreet Objects’, The Age, Visual Arts, 28 July, p. 19
Kathy Temin, Aftermath: Art, Memory, History, Monash University Museum of Art, catalogue essay
Alexie Glass-Kantor, ‘Honouring the Holocaust’, The Australian Jewish News, 19 March, p. 30
2009
Lisa Kalman, ‘Ecology and Retrieval’, The Australian Jewish News, 26 NovemberDr Alana O’Brien, ‘Manna’, Three Degrees of Change, La Trobe University Museum of Art, catalogue essay, pp. 23–35
Lucina Ward, Soft Sculpture, National Gallery of Australia, catalogue essay, pp. 20–22
Lucina Ward, ‘Don’t, touch, lick or smell, Soft Sculpture’, Artonview, National Gallery of Australia, pp. 24–25
Lella Cariddi, Drought, Murray Darling Palimpsest #7, catalogue essay
2008
Helen Hughes, ‘Lauren Berkowitz and Starlie Geikie’, un Magazine, issue 2.2, November, p. 52Geraldine Barlow and Dr Kyla McFarlane, The Ecologies Project, Monash University Museum of Art, catalogue essay
Rebecca Coates, Neo–Neo Feminisms, Neon Parc, catalogue essay
Megan Bakehouse, ‘Around the Galleries’, The Age, A2, 26 July
Ross Moore, ‘Sightlines Galleries, Neo- Neo Feminism’, The Age, 18 July, p. 15
Virginia Fraser, ‘Wading into Scripture: Bal Taschit’, Art Monthly, issue 210, June, pp. 10–13
Ashley Crawford and Melissa Amore, Bal Tashchit: Thou Shalt Not Destroy, Jewish Museum of Australia, catalogue essay
Robert Nelson, ‘Visions of ecological destruction’, The Age, 28 May, p. 16
Kirrily Hammond and Penny Teale, Premonitions: Monash University Collection 1961–2007, McClelland Gallery, catalogue essay
2007
Judith Collins, Sculpture Today, Phaidon, London, pp. 414, 428–9Stephan Klima and Barbara Montefalcone, Global Books: Le livres d’artistes de Gervais Jassaud, Ville de Reims, catalogue essay, pp. 57, 102–3
Annemarie Lopez, Sydney Morning Herald, 26 October, p. 24
Jazmina Cininas, ‘Demeter’s Garden’, Eyeline, no. 64, 2007, p.61
Naomi Cass, ‘Down to earth’, Cornucopia, Sherman Galleries, catalogue essay
Zara Stanhope, ‘Art’s constant gardener’, Demeter’s Garden, Heide Museum of Modern Art, catalogue essay
Jane O’Neil, Demeter’s Garden, Heide Museum of Modern Art, catalogue essay
Ashley Crawford, ‘Art around the galleries’, The Age, A2, 23 June, p. 22
2006
Geraldine Barlow and Dr Kyla Mc Farlane, Before the Body-Matter, Monash University Museum of Art, catalogue essayLaura Murray Cree (ed.) Twenty: Sherman Galleries 1986–2006, Craftsman House, Sydney
2005
Margaret Marsh, Michelle Watts and Craig Malyon, ‘The documented (land) form’, A.R.T. 2 practice, Oxford University Press, Melbourne, pp. 146–7Sally Cauacaud, After Nature, Lake Macquarie City Art Gallery, catalogue essay
Richard Kalina, ‘Down Under No More’, Art in America, April, pp. 77–85
2004
Sally Couacaud, '2003 Echigo-Tsumari Triennial', Art & Australia, vol. 41, no. 4, Winter 2004, pp. 535–37Echigo-Tsumari Art Triennial 2003, catalogue essay, p. 167
Patricia Anderson, 'The better angles of our nature', The Australian, 22 April, p. 12
Rachel Kent, ‘Lauren Berkowitz: Environment into Art’, Salt and Sand, Sherman Galleries, catalogue essay
Adam Geczy, ‘Collecting, Coating, Covering: Lauren Berkowitz’, Tide, Artspace, catalogue essay
Nick Tsoutas, ‘Introduction’, Tide, Artspace, catalogue essay
Laura Murray Cree, ‘Lauren Berkowitz and James Darling’, Australian Art Review, issue 4, March – June 2004, pp. 104–106, Sydney
Tazlu Endo, Ikebana Ohara, March, No.640, p.10, Japan
2003
Robert Lindsay, McClelland Survey, McClelland Gallery, catalogue essayFreda Freiberg, ‘On the scented trail of tradition’, Eyeline, no. 51, p. 50
Zara Stanhope, ‘Everlasting’, Hothouse: The Flower in Contemporary Art, Monash University Museum of Art, catalogue essay, pp. 4, 9
2002 Daniel Thomas, ‘Terra’, Fieldwork, National Gallery of Victoria, catalogue essay, pp. 66, 69
Rachel Kent, Monash University Collection: Four Decades of Collecting, Monash University Museum of Modern Art, catalogue essay, p. 110
Laura Murray Cree, Awesome! : Australian Art for Contemporary Kids, Craftsman House, Sydney, pp. 18–19
Robert Nelson, ‘The divinity of the dining room food of the gods and other oral traditions,’ The Age, 31 August, p. 25
Matt Preston, ‘Faith in Food’, The Age, 13 August, p. 10
Naomi Cass, ‘L’chaim: Lauren Berkowitz at the Jewish Museum’, Salt and Honey, Jewish Museum of Australia, catalogue essay
Julie Copeland, ‘The Maker’, interview on Salt and Honey, ABC Radio National, 8 September
Rachel Kent, ‘Art and Environment: Lauren Berkowitz’s Colour Field’, Eden and the Apple of Sodom, University of South Australia Art Museum, catalogue essay
Jim Moss, ‘Sotweed and other factors’, Broadsheet Journal, vol. 31, no. 2, p. 21
John Neylon, ‘Wicked’, The Adelaide Review, April, p. 25
2001
Charles Merewether, ‘Anxieties of Revelation’, Lauren Berkowitz, Craftsman House, SydneyJennifer Hardy, The Cultivated Garden, Hazelhurst Regional Gallery, catalogue essay
Christopher Marshall, Interpreting Art: a guide for students, Macmillan Education, pp. 236–7, 244–5, 270
Juliana Engberg, Low Down, Monash University Museum of Art, catalogue essay
Natalie King, Verdant, Herring Island Gallery, catalogue essay
Judith. A. Hoffberg, Women of the Book, Florida Atlantic University, catalogue essay, p. 23
2000
Natalie King, ‘Ephemeral Geometries’, Art & Australia, vol. 37, no. 4, pp. 566–71The Retrieved Object, Linden Arts Centre and Gallery, catalogue essay
The Bridge: Construction in Process VI, Craftsman House, Sydney, p. 39
Rachel Kent, ‘Review: Strata’, Monument, no. 34, February/March, p. 105
1999 Simeon Kronenberg, Strata: between geometry and gesture, McClelland Gallery, catalogue essay
Jacqueline Millner, Uncertain Ground: essays between art and nature, Art Gallery of New South Wales, catalogue essay, p. 168
Daniel Palmer, ‘The Melbourne Festival Visual Arts Program’, Eyeline, no. 39, pp. 35–37
Natalie King, ‘Psychology of retrieval: personal and fictional archives’, Artlink, vol. 19, no. 1, pp. 49– 51
Bruce James, ‘Man of steel vs the gumnut baby’, Sydney Morning Herald, 23 January, p. 13
1998
Anna Clabburn, ‘When less is much more’, The Age, 9 December, p. 17Marie-Louise Hillcoat, ‘The Hospital Autopsy: Opening up the Aesthetics of the Medical Gaze’, Respond Red or Blue, Royal Melbourne Hospital, catalogue essay
Rachel Kent, The Infinite Space: Women minimalism and the sculptural object, The Ian Potter Museum of Art, catalogue essay
Anna Clabburn, Resourceful, Ararat Regional Art Gallery, catalogue essay
Anna Clabburn, ‘Resourceful by Necessity’, The Australian Family, Images and Essays, Scribe Publications, Melbourne
Gareth Sansom, Up the Road, Australian Centre for Contemporary Art, catalogue essay
Rebecca Lancashire, ‘Up the track and up the road’, The Age, 15 July, p.18
Anna Johnson, ‘Trash, Treasure and Hoarding’, Australian Art Collector, issue 5, July–September, pp. 70–72
Natalie King, ‘Interview’, Spiderbox, Canberra Contemporary Art Space, catalogue essay
Bridget Sullivan, Ecologies of Place and Memory, University Gallery Launceston, catalogue essay
Paul McGillick, ‘Packaging the Theme’, Art and Australia, vol. 35, no. 3, pp. 334–5
Adrian Martin, ‘Immaculate Conceptions’, Australian Art Collector, issue 3, p.32
Adam Geczy, ‘Australian Perspecta 1997: Between Art and Nature’, Eyeline, no. 35, p. 40
1997
Elizabeth Cross, ‘Drawing on the Ground: The Space of Paper’, Amcor Paper Awards, catalogue essay, p. 10Gillian Fuller, ‘Wall Red Yellow Blue’, Globe e-Journal: Journal of Contemporary Arts, issue 6
Victoria Lynn, ‘Web Sites’, Australian Perspecta 1997: Between Art and Nature, Art Gallery of New South Wales, catalogue essay
Esther Pierini, ‘Awe inspiring’, Broadsheet Journal, vol. 26, no. 3, p. 22
Ross Moore, Wall Red Yellow Blue: The Narrative of Minimalism, Artspace, catalogue essay
Robert Schubert, ‘1997 Moet & Chandon touring exhibition’, Art/Text, no. 58, p.87
Rosemary Crumblin, World Without End, St Patrick’s Cathedral, catalogue essay
Robert Nelson, ‘An Installation of Authority’, The Age, 16 April
Anna Johnson, ‘Arts new wave’, The Age, 26 April, pp. 32–33
Ray Edgar, ‘Mrs Bird’s House’, World Art, no. 12, p. 92
Anna Clabburn, Moet & Chandon Art Prize, catalogue essay, pp. 21, 25
1996
Bruce James, ‘Galleries’, The Sydney Morning Herald, 2 August, p. 14Natalie King, ‘The Building 40 Project’, Art in Australia, vol. 33, no. 4, Winter, p. 575
Robert Nelson, ‘No Logic, No Feeling’, The Age, 18 May, p. 10
Steven Fenely, ‘Brave New Space’, Review, ABC Television, 13 May
Jo Holder, ‘Seven Histories’, Art in Australia, vol. 33, no. 3, pp. 431–42
Ross Moore, ‘A Visceral Architecture’, Monument, vol. 11, pp. 94–98
Susan Fereday, ‘Ruins in Reverse’, RMIT Gallery, catalogue essay
Peter Hill, ‘Welcome to our Nightmare’, The Bulletin, 13 February
Robert Nelson, ‘Wandering through a Social Metaphor’, The Age, 3 January
1995
Clare Williamson, The Object of Existence, Australian Centre for Contemporary Art, catalogue essayNaomi Cass, ‘Home is where the Heart is’, The Wandering Jew Myth and Metaphor, The Jewish Museum of Australia, catalogue essay, p. 22
Jill Bennett, ‘Blow Up’, Art/Text, no. 52, p. 84
Clare Williamson, Seven Histories of Australia, Australian Center for Contemporary Art, catalogue essay
Simeon Kronenberg and Natalie King, Constructed City, Plimsoll Gallery, catalogue essay
Anna Clabburn, ‘Contemporary Voices’, Asian Art News, vol. 5, May/June
Natalie King, Blow Up, Roslyn Oxley9 Gallery, catalogue essay
Anne Wayson and Melissa Banta, Essence and Persuasion, Anderson Gallery, catalogue essay
1994
Natalie King, Bag Lady, Karyn Lovegrove Gallery, catalogue essayAlan & Susan McCulloch, The Encyclopedia of Australian Art, Allen & Unwin, Sydney
Melanie Marino, Erptcponise (perceptions), Information Gallery, catalogue essay
1993
Natalie King, Lauren Berkowitz, Stephen Bram, Debra Ostrow, Kathy Temin, Studio 14 at 200 Gertrude Street, catalogue essay -
2022
Dookie Agricultural College, Shepparton, Victoria2018
RU (Residency Unlimited) Brooklyn, New YorkNew Work, Visual Arts & Craft Board of the Australia Council, Sydney
ISCP (International Studio and Curatorial Program), Brooklyn, New York
Artspace Residency, Sydney
2017
New Work Grant, Visual Arts & Craft Board of the Australia Council, SydneyDame Joan Sutherland Fund Grant, American Australian Alliance, New York
2011
New Work, Visual Arts & Crafts Board of the Australia Council, Sydney2008
New Work, Visual Arts & Crafts Board of the Australia Council, Sydney2006
New Work, Visual Arts & Crafts Board of the Australia Council, Sydney2004
New Work, Creation, Arts Victoria Project Grant, Melbourne2002
Arts Victoria, International Cultural Exchange Grant, MelbourneNew Work, Presentation Arts Victoria Project Grant, Melbourne
2001
Project Grant, Visual Arts & Crafts Board of the Australia Council, SydneyArts Victoria Project Grant, Melbourne
1998
Besen Foundation Grant, Melbourne1996–97
Project Grant, Visual Arts/ Craft Board of Australia Council, Sydney1992–93
Dyson Bequest Traveling Scholarship, Art Gallery of NSW, Sydney1991–92
Marten Bequest Traveling Scholarship, Sydney, AustraliaDyson Bequest Traveling Scholarship, Art Gallery of NSW, Sydney
1990
Project Grant, Visual Arts & Crafts Board of the Australia Council, Sydney -
2007
Graceful, collaboration with poet Fabrice Melquiot, published by Gervais Jassaud, France1996
Mona Lisa, collaboration with poet John Yau, published by Gervais Jassaud, France1995
Collected Histories, published by the City of Stonnington, Melbourne1994
Bags, Bottles, Newspapers, published by Lauren Berkowitz, MelbourneTerza Natura, published by Lauren Berkowitz, New York
1993
Recyclable, published by Lauren Berkowitz, New York -
2000
Idyll, produced and directed by Lauren Berkowitz and Lisa Andrew1998
Rustbelt, produced and directed by Lauren Berkowitz and Lisa AndrewEndoscope, produced and directed by Lauren Berkowitz and Tara Gilbee
The Sleep of Reason Produces Monsters, produced and directed by Lauren Berkowitz
Yarn, produced and directed by Lauren Berkowitz
1993
Sightseeing Tours, produced and directed by Lauren Berkowitz and Lisa Andrew -
Art Gallery of New South Wales, Sydney
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
Heide Museum of Modern Art, Melbourne
Jewish Museum of Australia, Melbourne
Bendigo Art Gallery, Victoria
Monash University Museum of Art, Melbourne
La Trobe University Collection, Melbourne
Griffith University Art Collection, Brisbane
State Library of Queensland, Brisbane
Museum of Modern Art Library, Artists’ Book Collection, New York
Brooklyn Museum of Art Library, New York
Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Miami
National Library of the Netherlands (Koopman Collection), The Hague
Arthur and Mata Jaffe Collection, Florida Atlantic University, Florida
Albright-Knox Art Gallery Library, Buffalo
Fogg Art Museum, Harvard University, Boston
School of the Art Institute of Chicago, John M. Flaxman Library, Chicago
Texas Women’s University, Texas
University of California Art Library, Los Angeles
Yale Center for British Art, New Haven
Private collections in Australia and overseas