CURRICULUM VITAE
EDUCATION
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Master of Fine Arts, University of California, 2019, Los Angeles.
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Master of Art, College of Fine Arts, University of New South Wales, 2013, Sydney.
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Masters of Law, University of Melbourne, 2010, Melbourne.
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Bachelor of Arts/Law, Macquarie University, 2008, Sydney.
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International Baccalaureate, 2002, Sydney.
AWARDS / SCHOLARSHIPS
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John Fries Award, Highly Commended, 2021, Sydney.
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Arts New South Wales Artist Support Round 2 Grant, 2017, Sydney.
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Australian John Monash Cultural Scholar, 2016, Melbourne.
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Parliament of New South Wales Acquisitive Aboriginal Art Prize, Parliament of New South Wales, 2015, Sydney.
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Dame Joan Sutherland Fund Grant, American Australian Association, 2015, New York.
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Ian Potter Cultural Trust Grant, Ian Potter Trust, 2015, Sydney.
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Art Start Grant, Australia Council for the Arts, 2015, Sydney.
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Prize for Most Outstanding Painting in College of Fine Arts Graduating Show, Eckersleys, 2014, Sydney.
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Arc Grant, Arc College of Fine Arts, 2014, Sydney.
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Prize for Outstanding Achievement, Nura Gili Centre, 2013, Sydney.
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Parliament of New South Wales Postgraduate Aboriginal Art Scholarship Recipient, Parliament of New South Wales, 2012, Sydney.
FELLOWSHIPS / RESIDENCIES / CONFERENCES
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Banff International Curatorial Institute Fellow, Banff Centre for Arts and Creativity, 2020, Banff.
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Banff International Curatorial Institute Symposium: Living Agreement (Participating Artist Faculty), Banff Centre for Arts and Creativity, 2019, Banff.
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Banff Research in Culture, Banff Centre for Arts and Creativity, 2017, Banff.
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Whitney Independent Study Program (Studio), Whitney, 2015, New York.
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Art + Law Program Fellow, Art + Law Program, 2015, New York.
EXHIBITIONS / PERFORMANCES
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‘An Alternative Economics’, Institute of Modern Art, (forthcoming 2022), Brisbane.
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‘Tax Box’, solo show, Los Angeles Contemporary Archive, 2021, Los Angeles.
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‘Rewriting, the Politics of Care’, Bus Projects, 2021, Melbourne.
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‘False Sense of Security’, The Lock Up, Newcastle, 2021, Australia.
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‘The Amended Artist’s Reserved Rights Transfer and Sale Agreement’, solo show, Walter Philips Gallery, Banff Centre for Arts and Creativity, 2019, Banff.
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‘In the Historical Present’, Sheila Johnson Design Center, the New School, 2019, New York.
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‘Consent’ (collaboration with Vanessa Place), The Unwellness Center, 2019, New York.
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‘By and By: Hope for the Future’, Durden and Ray SOIL Gallery, 2019, Los Angeles.
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‘Apologies’, solo show, MARS Gallery, 2018, Melbourne.
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‘Unfinished Business: Perspectives on art and feminism’, Australian Centre for Contemporary Art, 2017, Melbourne.
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‘Looking at me through you’, Campbelltown Arts Centre, 2017, Sydney.
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‘Paratextual’, Samuel Freeman Gallery, 2017, Los Angeles.
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Whitney Independent Study Program Studio Show, 2016, New York.
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Parliament of New South Wales Aboriginal Art Prize, Parliament of New South Wales, 2015, Sydney.
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Parliament of New South Wales Aboriginal Art Prize (Finalist), Parliament of New South Wales, 2014, Sydney.
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‘The Mediated Self’, solo show, Since I Left You, 2013, Sydney.
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Winsor and Newton Art Masters by Coursework Prize (Finalist), College of Fine Arts Space, 2012, Sydney.
PUBLICATIONS
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Katherine Biber, Trish Luker, Priya Vaughan (eds), Law’s Documents: Materiality, Authority, Aesthetics (Sydney: Routledge, forthcoming December 2021).
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Kimberli Meyer, ‘Artists at Work: Shevaun Wright’, East of Borneo, 8 September 2020, https://eastofborneo.org/articles/artists-at-work-shevaun-wright/.
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Dr Nizan Shaked, ‘So Much for Philanthropy: the Marciano and “All the Usual Suspects” – A Los Angeles Perspective’, East of Borneo, 12 May 2020, https://eastofborneo.org/articles/so-much-for-philanthropy.
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Asha Bukojemsky, ‘You’ve been served: Shevaun Wright on the boundary between art, the law & philanthropy within the public institution’, AQNB, 17 July 2019, https://www.aqnb.com/2019/07/17/youve-been-served-shevaun-wright-on-the-boundary-between-art-the-law-philanthropy-within-the-public-institution/.
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Rosa Aiello, Nataleah Hunter-Young and Michael Litwack (eds), ‘Smoke: Figures, Genres, Forms’, Public (58) 2019.
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Will Cox, ‘A Blind Date with an Artist, at Her Own Show’, Broadsheet, 26 February 2018, https://www.broadsheet.com.au/melbourne/art-and-design/article/blind-date-artist-her-own-show.
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Tara Heffernan, ‘(Very) Unfinished Business: Perspectives on Curating Feminism in the age of tumblr politics’, Eyeline Magazine, 2018, https://www.academia.edu/38324120/_Very_Unfinished_Business_Perspectives_on_Curating_Feminism_in_the_age_of_tumblr_politics.
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Ronlee Corren, ‘A Review of Unfinished Business’, Verve, 8 February 2018, https://www.vervezine.com/home/2018/2/8/ronlee-korren-on-unfinished-business.
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Rebecca Gallo, ‘Facts and Figures’, Art + Australia, 2017, http://www.artandaustralia.com/online/discursions/facts-and-figures.
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Manny Tsigas, ‘Turning statistics into art: Exhibition explores multiculturalism, changing landscapes through numbers’, SBS News, 25 May 2017, https://www.sbs.com.au/news/turning-statistics-into-art-exhibition-explores-multiculturalism-changing-landscapes-through-numbers.
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‘looking at me through you. Artist Interview with Shevaun Wright’, 2017, https://vimeo.com/222603939.
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Angela D’Avignon, ‘Paratextual at Samuel Freeman’, Carla, 1 June 2017, https://contemporaryartreview.la/paratextual-at-samuel-freeman/.