People

Callum Morton is an artist, Professor of Fine Art at MADA (Monash Art Design and Architecture) Melbourne and Director of Monash Art Projects. He has been exhibiting nationally and internationally since 1987, including solo shows at the Santa Monica Museum of Art (1999), the MCA in Sydney (2003), The Indian Triennale in New Delhi (2004) and ACCA in Melbourne (2005). Morton represented Australia at the Venice Biennale in 2007 with his work Valhalla. His public projects include Hotel (2008) on the Eastlink freeway in Melbourne, the permanent pavilion Grotto (2009) for the Fundament Foundation in Tilburg, the Netherlands, Silverscreen (2011) for the new location of MUMA in Melbourne in 2010 and Monument Park in Melbourne’s Docklands (2014). In 2011 Morton’s work was the subject of a retrospective at Heide Museum of Modern Art, Melbourne and in 2014 he participated in the 19^th Sydney Biennale, Imagine What You Desire. In 2017 he completed the outdoor work Sisyphus in Silkeborg, Denmark for the European Capital of Culture and in 2019 was included in the show Down Under at PAC in Milan. He has designed for theatre a number of occasions including for productions of Other Desert Cities (2013) and Endgame (2015) for the MTC, Ranter’s Theatre production of Come Away with Me to the End of the World (2017) and the set for Chunky Move’s major production ‘Yung Lung.’ (2021). He is currently completing multiple public commissions internationally and nationally.

Su Baker is an artist, a highly respected arts leader and cultural advocate. Long versed in the arts sector as a mentor, lecturer and for many years Head of the School of Art at the Victorian College of the Arts. Her current roles are Pro Vice Chancellor Community and Cultural Partnerships at the University of Melbourne; and Director of the Centre of Visual Arts at the VCA, which she instigated as an initiative to bring connectivity across various departments of the University of Melbourne. In addition to these roles, she is Trustee of the NGV and Chair of the Australian Tapestry Workshop.

Bianca is a Partner in PwC's Deals team, specialising in valuations. She works with her clients to assess the value implications of business decisions and to prepare valuations for financial statement and regulatory purposes. Bianca has more than 13 years' of corporate finance experience with PwC and has worked extensively in Australia and Switzerland. Bianca is passionate about creative expression and encouraging diversity of thought. 

Kim Brockett has been involved in the arts for over 15 years as a fundraiser, curator, writer and supporter. She is currently Development Manager, Melbourne Law School and the Faculty of Business and Economics, at the University of Melbourne. Prior to that, Kim has held fundraising positions at the National Gallery of Victoria, Australian Centre for Contemporary Art and Malthouse Theatre. She is also on the Board of un Projects, an independent platform for art writing and was previously Deputy Chair at artist-run organisation Bus Projects between 2011 and 2019. Kim holds a Master of Art Curatorship and a Bachelor of Arts (Art History & Cinema Studies) from the University of Melbourne.

Yhonnie Scarce belongs to the Kokatha and Nukunu peoples, South Australia. Yhonnie’s interdiscip linary practice explores the political nature and aesthetic qualities of glass and photography. Her work often references the on-going effects of colonisation on Aboriginal people. Exhibitions in 2022 include The Near Breeder, IKON Gallery Birmingham, Shadow Creeper, exhibited at Palais de Tokyo and acquired by the Foundation Opale (Lens, Switzerland), Aichi Triennale (Japan),  Remember Royalty (2018) in ‘A Year In Art: Australia 1992’ at the Tate, London, Missile Park (2021), Australian Centre for Contemporary Art (2021), Institute of Modern Art (2021) and Gropius Bau, Berlin (2022). Recent exhibitions include Seoul Museum of Art, Seoul, Korea, 2021, IAIA Museum of Contemporary Native Arts, Sante Fe, USA, 2021, 2020 Adelaide Biennial, South Australia, Paris Photo, Paris, France, Pavilion of Contemporary Art, Milan, Italy, Museum of London, Ontario, Canada. Previous international shows include the National Gallery of Modern Art, New Delhi, India, 2018, 55th Venice Biennale collateral exhibition Personal Structures 2013, Venice, Galway Art Centre, Ireland 2016, Harvard Art Museum, Massachusetts 2016, Kluge-Ruhe Aboriginal Art Museum, Virginia, USA 2012.

Anna Schwartz has owned and directed a private gallery for four decades working closely with leading Australian and international artists and has been committed to the development and promotion of contemporary art and audiences in presenting protagonistic ideas in art. Schwartz has brought renowned artists to Australian audiences, as well as supporting Australian artists in their overseas endeavours. She has cultivated and supported the collection of significant work by Australian and international artists in public and private institutions. Schwartz has represented a number of artists at the Venice Biennale and numerous other significant events on the world art stage. Anna Schwartz Gallery has participated in art fairs in the US, Europe, and Asia, presenting either solo exhibitions or curated group shows.
 
Schwartz opened SCHWARTZCARRIAGEWORKS in Sydney in 2008 to challenge the relationship between the public and the private institution, presenting major projects by international and Australian artists and curators. The project continued for 10 years.
 
Anna Schwartz Gallery publishes books and artist monographs through Schwartz City; substantial texts by leading writers on the country’s most influential artists. Cultivating close ties between the gallery, the imprint, and the broader culture, Schwartz supports Australian writers, designers, performers, and filmmakers, through ongoing dialogue and patronage.

Mia Boe is a painter from Brisbane, with Butchulla and Burmese ancestry. The inheritance and 'disinheritance' of both of these cultures focus her work. Mia's paintings respond, sometimes obliquely, to Empire’s deliberate, violent interferences with the cultural heritages of Burma and K’gari.

Mia's practice records and recovers Indigenous histories which Australia seeks to deny. This practice of recovery is urgent in contemporary Australia: the patient work of tracing historical trauma and violence can open new perspectives on the reasons for Aboriginal Australians' present suffering.

Ruth Höflich’s lens-based practice is grounded in moving image and photography, often in interrelated configurations. She also regularly makes work through collaboration and expanded forms of artists’ publishing. Interested in sub-visible logics of sense, her work engages processes of form-finding at different registers of scale from atmosphere to thought. Beginning with the photograph as the daily imprint of energy and information flows, it spans film, installation and occasional lecturer performances in presentation.