Brook Andrew Paintings & Artwork for Sale | Brook Andrew Art Value Price Guide

Apr. 16, 2025
BROOK ANDREW (born 1970) 18 Lives of Paradise 2011 photolithographs on cardboard (3), ed. of 50 50 x 50 x 50cm (each)
Est: $800 - $1,200
BROOK ANDREW (born 1970) 18 Lives of Paradise 2011 photolithographs on cardboard (3), ed. of 50 50 x 50 x 50cm (each) PROVENANCE: Tolarno Galleries, Melbourne 2011 Private collection, Melbourne EXHIBITIONS: Brook Andrew: Paradise. Tolarno Galleries, Melbourne. 18 June - 30 July 2011 Brook Andrew: 18 Lives in Paradise, The Installation), ArtSpace, Sydney, 20 July - 21 August 2011 (another example) Brook Andrew - Hope, Peace, and Paradise, Geelong Gallery, Victoria, 16 July - 23 October 2022 (another example) OTHER NOTES: "The box is also a parody of the courier box - those containers daily transported around the globe in the vast movement of lives and identities today. What was thought of as fixed may not be so. The images are sourced from postcards. The postcards range from the early to mid-twentieth century and form part of a worldwide curiosity in indigenous people, circus acts and personalities, environment, and resources ... The images come together as an assemblage of ‘freaks' and represent the collision paths of indigenous and non-indigenous cultures; those being documented out of curiosity and those belonging to dominant cultures who have used the land and its people for entertainment and wealth. 18 Lives in Paradise can form a column or wall. It can be a barrier, a beacon or epitaph. En masse, the boxes are a symbol of many lives whose identities are sometimes twisted for the gaze of the curious world." (Artist's statement) © Brook Andrew/Copyright Agency, 2025
Leonard Joel
Apr. 16, 2025
BROOK ANDREW (born 1970) Blackblack 2005 (from the Hope & Peace series) screenprint with collage additions 100 x 98cm (image); 107 x...
Est: $2,000 - $4,000
BROOK ANDREW (born 1970) Blackblack 2005 (from the Hope & Peace series) screenprint with collage additions 100 x 98cm (image); 107 x 100cm (sheet); 111 x 105.5cm (frame) PROVENANCE: The Estate of Larry Rawling, Melbourne EXHIBITIONS: Peace, The Man & Hope. Gabrielle Pizzi, Melbourne, 5 July – 7 August 2005 (another example) Brook Andrew - Hope & Peace, Stills Gallery, Sydney, 3 August - 3 September 2005 (another example) Eye to Eye, Monash University Museum of Art, Melbourne, 4 April – 23 June 2007 (another example) The Right to Offend is Sacred, National Gallery of Victoria, Melbourne, 3 March - 4 June 2017 (another example) Brook Andrew - Hope, Peace, and Paradise, Geelong Gallery, Victoria, 16 July - 23 October 2022 (another example) OTHER NOTES: Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra; and Geelong Art Gallery, Victoria. "Elements of Wiradjuri visual and spoken language intertwine to empower Andrew's Hope & Peace series of screenprints. Here slick advertising brands of cigarette packaging, chewing tobacco and chewing gum explode incongruously out of Wiradjuri texts and optical geometry in a dynamic echo of Russian Constructivism. The series unpacks contemporary global advertising by disclosing the way in which capitalist multinational corporations seduce consumers into buying the ultimate in First World consumer goods—cigarettes—through disingenuous trademarks such as ‘Peace & Hope' and ‘Frontier Lights'. Andrew also teases out the repercussions of brand names, including BlackBlack (high technical excellent flavour) and Black & White Special Cut, which serve to commercialise and glamorise at the same time as obfuscating difference." (Geelong Gallery, Victoria) © Brook Andrew/Copyright Agency, 2025
Leonard Joel
Apr. 16, 2025
BROOK ANDREW (born 1970) Peace 2005 (from the Hope & Peace series) screenprint with collage additions 100 x 98cm (image); 107 x 100c...
Est: $2,000 - $4,000
BROOK ANDREW (born 1970) Peace 2005 (from the Hope & Peace series) screenprint with collage additions 100 x 98cm (image); 107 x 100cm (sheet); 111 x 105.5cm (frame) PROVENANCE: The Estate of Larry Rawling, Melbourne EXHIBITIONS: Peace, The Man & Hope. Gabrielle Pizzi, Melbourne, 5 July – 7 August 2005 (another example) Brook Andrew - Hope & Peace, Stills Gallery, Sydney, 3 August - 3 September 2005 (another example) Eye to Eye, Monash University Museum of Art, Melbourne, 4 April – 23 June 2007 (another example) The Right to Offend is Sacred, National Gallery of Victoria, Melbourne, 3 March - 4 June 2017 (another example) Brook Andrew - Hope, Peace, and Paradise, Geelong Gallery, Victoria, 16 July - 23 October 2022 (another example) OTHER NOTES: Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra; and Geelong Art Gallery, Victoria. "Elements of Wiradjuri visual and spoken language intertwine to empower Andrew's Hope & Peace series of screenprints. Here slick advertising brands of cigarette packaging, chewing tobacco and chewing gum explode incongruously out of Wiradjuri texts and optical geometry in a dynamic echo of Russian Constructivism. The series unpacks contemporary global advertising by disclosing the way in which capitalist multinational corporations seduce consumers into buying the ultimate in First World consumer goods—cigarettes—through disingenuous trademarks such as ‘Peace & Hope' and ‘Frontier Lights'. Andrew also teases out the repercussions of brand names, including BlackBlack (high technical excellent flavour) and Black & White Special Cut, which serve to commercialise and glamorise at the same time as obfuscating difference." (Geelong Gallery, Victoria) © Brook Andrew/Copyright Agency, 2025
Leonard Joel
Mar. 26, 2025
BROOK ANDREW, AUSTRALIA II: PEACE, 2012
Est: $35,000 - $45,000
BROOK ANDREW born 1970 AUSTRALIA II: PEACE, 2012 mixed media on Belgian linen 200.0 x 300.0 cm edition of 3 + 2AP PROVENANCE Collection of the artist, Melbourne Artevent, National Gallery of Victoria, Melbourne, 16 October 2012, lot 5, donated by the above Private collection, Melbourne EXHIBITED 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide, 1 March – 11 May 2014 (another example) LITERATURE Mitzevich, N., 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide, 2014, pp. 12 – 13 (illus., another example), 62 (dated as 2013) RELATED WORK AUSTRALIA IV, 2013, mixed media on Belgian linen, 200.0 x 300.0 cm, in the collection of the Art Gallery of Western Australia, Perth AUSTRALIA VI: Theatre and Remembrance of Death, 2014, mixed media on Belgian linen, 200.0 x 300.0 cm, edition 1/3 + 2AP, in the collection of the Art Gallery of New South Wales, Sydney ESSAY While searching for anonymous ethnographic portraits of his Indigenous forebears in the imperial university museums of London in 2007, contemporary Wiradjuri and Ngunnawal artist, Brook Andrew, stumbled upon a little-known colonial document which led him to interrogate – ‘where is truth in representation when myth-making is integral to history?’1 – in two suites of monumental works: The Island and Australia. The album of prints he had found was commissioned by Prussian geologist and naturalist William Blandowski, illustrating his encounters with First Nations Australians during the 1850s, a time of significant ecological and social change. The chosen vignettes, filtered through the lens of the outsider and coloured by Romantic European notions of the ‘noble savage’, depict what the explorer had considered the most bizarre and dramatic aspects of Aboriginal life. They present a fanciful story of first contact, copied and retold several times, tinted with the same gothic fantasy of John Glover’s contemporaneous paintings of Tasmania’s Palawa enjoying full possession of their homelands during a violent chapter of Australian history. Brook Andrew’s impressive tableau, AUSTRALIA II: Peace, 2012 elevates to a grand scale Blandowski’s image of a mysterious diplomatic ceremony of Wiradjuri men on the Bogan River in North-West New South Wales.2 This work is one of six scenes ( AUSTRALIA I – VI, 2012 – 2014) that re-present etchings by Gustav Mützel, a German artist who never stepped foot on the Australian continent. Commissioned by Blandowski to immortalise the findings of his expedition to the Murray Darling basin in 1856 – 57, Mützel used original ethnographic sketches executed by Blandowski himself and his colleague Gerard Kreft to create composite illustrations ten years after the original expedition. The drawings since lost, these images today remain in minuscule photographic albumen prints published in Blandowski’s illustrated account, Australien in 142 Photographischen Abbildungen, 1862, only two full copies of which are extant in libraries in Europe.3 Largely unseen by Australian people, Indigenous or otherwise, their revelation by modern-day scholars and artists allows for a crucial post-colonial critique of narrative and image-making. Appropriated and transformed by Andrew, Mützel’s minute bookplate has been enlarged to a vast scale and applied by a screen-printing process to a coloured foil support, a dazzling format. Presenting their ‘primitive’ warrior virility in stiffly theatrical stances, the composition mirrors Neoclassical history paintings in the highest ranks of the French Salon. A young boy, his chest adorned with a large leafy branch, is flanked by two men, each with a hand on his shoulder, in a tense conversation with a third man carrying smoking sticks. The drama of this cultural performance remains mysterious and opaque, its sacred nature supposedly concealed to uninitiated viewers. The notes accompanying Blandowski’s sketch describe an offering of a boy as ‘a peace emissary’ and surprisingly reveal that this encounter was not observed directly. It derives instead from Sir Thomas Mitchell’s observation during his second exploration expedition following the Bogan River downstream to its confluence with the Darling some twenty years before, in 1835. Interestingly, the published record of Mitchell’s exploration in 1839 was accompanied by the first version of this image – a detailed engraving by G. Barnard derived from Mitchell’s own drawing. Within this print, titled ‘First Meeting with the Chief of the Bogan Tribe’ we see more clearly the emu feathers and body paint adorning the bodies of the men, the Chief on the right, and the green boughs that covered the ‘very fine’ boy’s body, although his ‘holiday look of gladness’ described in the account is not so discernable.4 In this ‘original image’ and in Blandowski’s version, there are several additional figures: the explorer Mitchell and his horse, and a seated Indigenous man and dog, all of whom Andrew has removed from his monumental composition. Plucking the ‘noble savage’ out from colonial archives, Andrew’s AUSTRALIA II places them instead in images of a heroic scale hitherto denied to ‘ethnographic’ subjects. Harnessed by a highly reflective gold foil, the light of discovery shines unevenly across the surface of the artwork. The glittering surface, scratched away by Andrew in several areas, alludes to the idealism of peace ceremonies in an untouched arcadia. An expression of Enlightenment humanism, these images nevertheless placed the European explorer at the apex and centre, observing and analysing for posterity those cultures on the periphery. By removing these European interlocutors from the composition, Andrew questions the very nature of representation and the interaction of divergent colonial agendas. Following their successful first presentation at Dark Heart: The 2014 Adelaide Biennial, one example from this series, the disquieting AUSTRALIA VI: Theatre of Death and Remembrance, was acquired by the Art Gallery of New South Wales. Since November 2021, it has been included in the current re-hang of the gallery’s Grand Courts, placed amongst idealised Impressionist landscapes by white settlers such as Arthur Streeton and Sydney Long which – devoid of their Indigenous inhabitants – have defined national imagery for the better part of the last hundred years. 1. Andrew, B., ‘Remember How We See: The Island’, in Allen, H., Australia: William Blandowski’s Illustrated Encyclopaedia of Aboriginal Australia, Aboriginal Studies Press, Canberra, 2010, p. 165 2. Allen, ibid., p. 96 3. Allen, H., ‘Authorship and Ownership in Blandowski’s Australien in 142 Photographischen Abbildungen’, Australasian Historical Archaeology, Sydney, vol. 24, 2006, p. 32 4. Mitchell, T. L., ‘Three Expeditions Into the Interior of Eastern Australia with Descriptions of the Recently Explored Region of Australia Felix, and of the Present Colony of New South Wales, vol. 1’ in Journal of an Expedition Sent to Explore the Course of the River Darling, in 1835, by Order of the British Government, 2nd rev., T. & W. Boone, London, 1839, p. 194 LUCIE REEVES-SMITH © Brook Andrew/Copyright Agency 2025
Deutscher and Hackett
May. 26, 2024
ANDREW Brook (b.1970), 'Kalar Midday - Gary,' 2002-03., Cibachrome Photograph 1/10, 86.5x95cm (sight)
Est: $2,000 - $4,000
ANDREW, Brook (b.1970) 'Kalar Midday - Gary,' 2002-03. Ex Greenaway Art Gallery, Adelaide (label verso) Accompanied by exhibition catalogue for 'Brook Andrew - Kalar Midday - Land of the Three Rivers', Greenaway Art Gallery, Adelaide, November 2003. Cibachrome Photograph 1/10 86.5x95cm (sight)
Davidson Auctions
Apr. 10, 2024
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 screenprint 100 x 98cm
Est: $2,000 - $4,000
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 screenprint 100 x 98cm PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another example) OTHER NOTES: "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; and Geelong Art Gallery, Victoria.
Leonard Joel
Apr. 10, 2024
BROOK ANDREW (born 1970) Frontier Lights 2005 screenprint, collage and diamond dust, ed. A/P 1 100 x 98cm
Est: $2,000 - $4,000
BROOK ANDREW (born 1970) Frontier Lights 2005 screenprint, collage and diamond dust, ed. A/P 1 editioned lower right 100 x 98cm PROVENANCE: The Estate of Larry Rawling, Melbourne EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another example) OTHER NOTES: Another example of this print is held in the collection of the Geelong Art Gallery, Victoria. "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew's Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) © Brook Andrews/Copyright Agency, 2024
Leonard Joel
Nov. 25, 2023
ANDREW Brook (b.1970), 'Kalar Midday - Gary,' 2002-03., Cibachrome Photograph 1/10, 86.5x95cm (sight)
Est: $3,000 - $5,000
ANDREW, Brook (b.1970) 'Kalar Midday - Gary,' 2002-03. Ex Greenaway Art Gallery, Adelaide (label verso) Accompanied by exhibition catalogue for 'Brook Andrew - Kalar Midday - Land of the Three Rivers', Greenaway Art Gallery, Adelaide, November 2003. Cibachrome Photograph 1/10 86.5x95cm (sight)
Davidson Auctions
Nov. 08, 2023
Brook Andrew - Blush, 2000
Est: $1,200 - $1,600
Through his work, in a variety of areas, Brook Andrew is a fervent and forthright social commentator who explores the history of race relations in Australia, as well as colonialism, ethnography, cultural identity, gender politics, globalisation, and other themes. By employing powerful post-modern imagery, delivered with sociological savvy and slick visual appeal, his high-impact, high-energy works are both beautiful and humorous. Created on a large scale, and produced in a refined yet glossy pop style, his works are provocative, challenging, and visually dynamic.
Cooee Art
Aug. 30, 2023
BROOK ANDREW born 1970, Wiradjuri language group, Kalar Midday - Gary 2002-03
Est: $5,000 - $7,000
BROOK ANDREW born 1970 Wiradjuri language group Kalar Midday - Gary 2002-03 Ilfochrome print 86.5 x 95.0 cm (image) edition of 10
Menzies
Jul. 19, 2023
BROOK ANDREW (born 1970) The Rallying The Rallying 2016 collage of cut hand-coloured photolithographs on colour photolithograph, ed....
Est: $1,000 - $2,000
BROOK ANDREW (born 1970) The Rallying The Rallying 2016 collage of cut hand-coloured photolithographs on colour photolithograph, ed. 4/12 signed lower right: BAndrew titled in plate editioned lower left 76 x 56.5cm (sheet) PROVENANCE: Australian Print Workshop, Melbourne Private collection, Melbourne OTHER NOTES: Another impression of this print is held in the permanent collection of the National Gallery of Victoria, Melbourne. © Brook Andrew/Copyright Agency, 2023
Leonard Joel
Jun. 28, 2023
BROOK ANDREW born 1970, Wiradjuri language group, Sexy and Dangerous II 1997 (printed 2006)
Est: $35,000 - $45,000
BROOK ANDREW born 1970 Wiradjuri language group Sexy and Dangerous II 1997 (printed 2006) duraclear print on Perspex 144.5 x 108.0 cm (sheet) edition: 9/10|
Menzies
Apr. 20, 2023
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 (Hope & Peace Series) screenprint
Est: $2,600 - $3,600
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 (Hope & Peace Series) screenprint 100 x 98cm PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another impression) OTHER NOTES: "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) Other impressions of this print are held in the permanent collections of the National Gallery of Victoria, Melbourne; and Geelong Art Gallery, Victoria.
Leonard Joel
Apr. 05, 2023
§ BROOK ANDREW (born 1970) The Right to Offend is Sacred 2017 archival pigment print, ed. 10/20
Est: $600 - $800
§ BROOK ANDREW (born 1970) The Right to Offend is Sacred 2017 archival pigment print, ed. 10/20 signed and dated upon image lower right: Brook Andrew 2017 editioned lower left 75 x 92cm PROVENANCE: Tolarno Galleries, Melbourne Private collection, Melbourne OTHER NOTES: This print is based on collages made during an International Studio & Curatorial Program residency in New York City in 2009. Brook Andrew's The Right to Offend is Sacred revisits, and extends upon, the artist's extensive print series 'Danger of Authority'.
Leonard Joel
Apr. 05, 2023
BROOK ANDREW (born 1970) Frontier Lights 2005 (Hope & Peace Series) screenprint, collage and diamond dust, ed. A/P 1
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Frontier Lights 2005 (Hope & Peace Series) screenprint, collage and diamond dust, ed. A/P 1 editioned lower right 100 x 98cm PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another impression) OTHER NOTES: "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew's Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) Another impression of this print is held in the permanent collection of the Geelong Art Gallery, Victoria.
Leonard Joel
Apr. 05, 2023
BROOK ANDREW (born 1970) Blackblack 2005 (Hope & Peace Series) screenprint and collage
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Blackblack 2005 (Hope & Peace Series) screenprint and collage 100 x 98cm PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another impression) OTHER NOTES: "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew's Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) Other impressions of this print are held in the permanent collections of the Art Gallery of Western Australia, Perth; Geelong Art Gallery, Victoria; and National Gallery of Australia, Canberra.
Leonard Joel
Apr. 05, 2023
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 (Hope & Peace Series) screenprint
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Ngajuu Ngaay Nginduugirr (I see you) 2005 (Hope & Peace Series) screenprint 100 x 98cm PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: Brook Andrew - Hope, Peace, and Paradise, Geelong Art Gallery, Victoria, 16 July - 23 October 2022 (another impression) OTHER NOTES: "Brook Andrew's Hope and Peace series merges traditional Wiradjuri designs with consumer icons in a retro aesthetic. These objects - cigarettes, chewing gum packets, and rubbing tobacco - are all thematically entwined with war, conflict, and the 'hero'. The works are reminiscent of billboards - bright, bold colours featuring everyday objects or huge, skewed lettering that offers a seductive and ironic glimpse into hollow promises of capitalism, corporations, and white culture. The geometric patterns in the background are drawn from Andrew Wiradjuri heritage, coupled with phrases 'Ngajuu ngaay Nginduugirr' meaning, 'I see you' and 'Nginduugirr ngaay ngajuu' meaning, 'You see me'." (Wollongong Art Gallery, Victoria) Other impressions of this print are held in the permanent collections of the National Gallery of Victoria, Melbourne; and Geelong Art Gallery, Victoria.
Leonard Joel
Oct. 11, 2022
Brook Andrew - Frontier Lights, 2005
Est: $6,000 - $8,000
Through his work, in a variety of areas, Brook Andrew is a fervent and forthright social commentator who explores the history of race relations in Australia, as well as colonialism, ethnography, cultural identity, gender politics, globalisation, and other themes. By employing powerful post-modern imagery, delivered with sociological savvy and slick visual appeal, his high impact, high-energy works are immediate, urgent, and can be at once both beautiful and humorous. They comment on, and elicit responses from, both Indigenous and non-indigenous viewers through a variety of computer-generated photo-media, including conventional screen print neon projected onto large-scale screens lit from behind, and printing on to Duraclear, a material conventionally used in advertising. Created on a large scale, and produced in a refined yet glossy pop style, his works are provocative, challenging, and visually dynamic.
Cooee Art
Jul. 28, 2022
Brook Andrew (b. 1970)
Est: $2,000 - $3,000
Black, 2010 neon mounted on an acrylic base, edition: 26/50, special edition for Art & Australia magazine
Shapiro Auctioneers
May. 09, 2022
BROOK ANDREW (born 1970) The Man (Tomato) 2005 screenprint on Italian rag, ed. 4/10
Est: $4,000 - $5,000
BROOK ANDREW (born 1970) The Man (Tomato) 2005 screenprint on Italian rag, ed. 4/10 signed and dated lower right: B Andrew 2005 editioned lower left titled lower centre 149 x 98cm (image) PROVENANCE: Gallery Gabrielle Pizzi, Melbourne Private collection, Melbourne OTHER NOTES: © Brook Andrew/Copyright Agency 2022
Leonard Joel
Dec. 02, 2021
BROOK ANDREW (born 1970) Kalmaldain/Composer 2005 screenprint and collage
Est: $2,000 - $2,500
BROOK ANDREW (born 1970) Kalmaldain/Composer 2005 screenprint and collage titled, signed and dated in pencil below image 99.5 x 100cm PROVENANCE: The Collection of Larry Rawling, Melbourne
Leonard Joel
Nov. 23, 2021
BROOK ANDREW (born 1970) Miriam (Kalar Midday Series) 2003 ilfochrome print, edition of 10
Est: $5,000 - $6,000
BROOK ANDREW (born 1970) Miriam (Kalar Midday Series) 2003 ilfochrome print, edition of 10 102 x 111cm PROVENANCE: Greenaway Art Gallery, Adelaide Private collection, Melbourne EXHIBITIONS: Brook Andrew: Kalar Midday, Greenaway Art Gallery, Adelaide, November 2003 Brook Andrew: Kalar Midday, Gallery Gabrielle Pizzi, Melbourne, 13-27 March 2004 Brook Andrew: Photography and Neon, Stills Gallery, Sydney, 4 August - 4 September 2004 LITERATURE: Delany, M., Papastergiadis, N., Riphagen, M., Andrew, B., Barlow, B., Loxley, A., Russell, L., Brook Andrew: Eye to Eye, MUMA, Melbourne, 2007, illus. in exhibition catalogue p. 27 OTHER NOTES: Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
Leonard Joel
Nov. 10, 2021
BROOK ANDREW, SEXY AND DANGEROUS II, 1997
Est: $25,000 - $35,000
BROOK ANDREW born 1970 SEXY AND DANGEROUS II, 1997 printed 2006 duraclear print on Perspex 144.5 x 108.0 cm edition: 9/10 PROVENANCE Greenaway Gallery, Adelaide Private collection, Melbourne, acquired from the above in 2006 EXHIBITED Brook Andrew: Eye to Eye, Monash University Art Museum, Melbourne, 4 April – 23 June 2007; Penrith Regional Gallery and the Lewers Bequest, Sydney, 18 August – 14 October 2007; The John Curtin Gallery, Curtin University of Technology, Perth, 4 April – 30 May 2008 (another example, illus. in exhibition catalogue, pp. 6, 11) RELATED WORK Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne ESSAY Brook Andrew is a contemporary artist whose conceptual approach to his art production focuses on how we view images. In both his use of mediums, print, neon and photo-media and in his investigation of power relationships, particularly global ideas of cultural and race constructions, he quietly confronts the viewer. His often seemingly benign work will house an underlying assault on conventional values. Ashley Crawford has observed that Brook Andrew's photography 'is imbued with a gentle poetry and a savage anger at the same time, a strange balance that he describes as extremely powerful... a finely honed aesthetic sense, humour and tough political social commentary are Andrew's signature.'1 Sexy and Dangerous II 1997 is the twin of Andrew's most well-known work Sexy and Dangerous 1996, first exhibited in 1998 at the Ian Potter Museum University of Melbourne, where it was awarded the RAKA prize. In 1999 the National Gallery of Victoria acquired a copy of Sexy and Dangerous for its permanent collection. Both works subvert anthropological representations of Aboriginal men, re-contextualising them out of the museum diorama and into a space which is both sexy and dangerous, political and poetic. The work highlights one of the central tenets of Andrew's practice, described by him as being 'the joy and the mystery of art. That we can somehow work out a strategy of conveying the world or parts of it. In many cases, art has been a moveable social justice system; a system that condenses and clarifies questions about morality, nationhood, personal expression, beliefs, etc' So maybe it is a loop - a loop where artists address and imagine other possibilities.'2 1. Loxley, A., 'The Battles continue: Brook Andrew', in Ryan, J., (ed.) Colour Power: Aboriginal Art Post 1984 in the collection of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2004, p. 142 2. From a conversation between Brook Andrew and Maria Hlavajova, ‘The Imagined Place Down Under’, in Brook Andrew: Theme Park, Museum of Contemporary Aboriginal Art, The Netherlands, 2008, p. 22 CRISPIN GUTTERIDGE © Brook Andrew/Copyright Agency 2021
Deutscher and Hackett
Nov. 10, 2021
BROOK ANDREW (born 1970) Kalmaldain/Composer 2005 screenprint and collage
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Kalmaldain/Composer 2005 screenprint and collage titled, signed and dated in pencil below image 99.5 x 100cm PROVENANCE: The Collection of Larry Rawling, Melbourne
Leonard Joel
Nov. 10, 2021
BROOK ANDREW (born 1970) Frontier Lights 1 screenprint, collage with graphite and diamond dust, ed. 4/7
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Frontier Lights 1 screenprint, collage with graphite and diamond dust, ed. 4/7 editioned in pencil below image 100 x 98cm PROVENANCE: The Collection of Larry Rawling, Melbourne
Leonard Joel
Jul. 28, 2021
BROOK ANDREW (born 1970) Peace 2005 screenprint with collage additions ed. W/P
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Peace 2005 screenprint with collage additions ed. W/P editioned, titled, signed and dated in pencil below image 100 x 98cm PROVENANCE: The Larry Rawling Collection OTHER NOTES: Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Leonard Joel
Jul. 28, 2021
BROOK ANDREW (born 1970) Black & White Special Cut 2005 screenprint ed. W/P2
Est: $3,000 - $4,000
BROOK ANDREW (born 1970) Black & White Special Cut 2005 screenprint ed. W/P2 editioned, titled, signed and dated in pencil below image 100 x 98cm PROVENANCE: The Larry Rawling Collection OTHER NOTES: Another example of this print is held in the Collection of the National Gallery of Victoria, Melbourne (another example). Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Leonard Joel
Mar. 17, 2021
BROOK ANDREW, SEXY AND DANGEROUS II, 1997
Est: $20,000 - $30,000
BROOK ANDREW born 1970 SEXY AND DANGEROUS II, 1997 printed 2006 duraclear print on Perspex 144.5 x 108.0 cm PROVENANCE Greenaway Gallery, Adelaide Private collection, Melbourne, acquired from the above in 2006 EXHIBITED Brook Andrew: Eye to Eye, Monash University Art Museum, Melbourne, 4 April – 23 June 2007; Penrith Regional Gallery and the Lewers Bequest, Sydney, 18 August – 14 October 2007; The John Curtin Gallery, Curtin University of Technology, Perth, 4 April – 30 May 2008 (another example, illus. in exhibition catalogue, pp. 6, 11) RELATED WORK Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne ESSAY Brook Andrew is a contemporary artist whose conceptual approach to his art production focuses on how we view images. In both his use of mediums, print, neon and photo-media and in his investigation of power relationships, particularly global ideas of cultural and race constructions, he quietly confronts the viewer. His often seemingly benign work will house an underlying assault on conventional values. Ashley Crawford has observed that Brook Andrew's photography 'is imbued with a gentle poetry and a savage anger at the same time, a strange balance that he describes as extremely powerful... a finely honed aesthetic sense, humour and tough political social commentary are Andrews signature.'1 Sexy and Dangerous II 1997 is the twin of Andrew's most well-known work Sexy and Dangerous 1996, first exhibited in 1998 at the Ian Potter Museum University of Melbourne, where it was awarded the RAKA prize. In 1999 the National Gallery of Victoria acquired a copy of Sexy and Dangerous for its permanent collection. Both works subvert anthropological representations of Aboriginal men, re-contextualising them out of the museum diorama and into a space which is both sexy and dangerous, political and poetic. The work highlights one of the central tenets of Andrew's practice, described by him as being 'the joy and the mystery of art. That we can somehow work out a strategy of conveying the world or parts of it. In many cases, art has been a moveable social justice system; a system that condenses and clarifies questions about morality, nationhood, personal expression, beliefs, etc' So maybe it is a loop - a loop where artists address and imagine other possibilities.'2 1. Loxley, A., 'The Battles continue: Brook Andrew', in Ryan, J., (ed.) Colour Power: Aboriginal Art Post 1984 in the collection of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2004, p. 142 2. From a conversation between Brook Andrew and Maria Hlavajova, ‘The Imagined Place Down Under’, in Brook Andrew: Theme Park, Museum of Contemporary Aboriginal Art, The Netherlands, 2008, p. 22 CRISPIN GUTTERIDGE © Brook Andrew/Copyright Agency, 2021
Deutscher and Hackett
Feb. 21, 2021
BROOK ANDREW, NEW DHAAGUN STORY, 2021
Est: $20,000 - $28,000
BROOK ANDREW NEW DHAAGUN STORY, 2021 paper, timber, perspex and neon 66.0 x 52.0 cm Courtesy of Artist, Chapman and Bailey Gallery, Karl Gorton Australian Neon Services and Tolarno Galleries This artwork is located at Deutscher and Hackett, Melbourne
Deutscher and Hackett
Jan. 21, 2021
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue)
Est: $2,000 - $3,000
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue) editioned, titled, signed and dated below image 100 x 97cm, frame size: 121 x 113.5cm
Leonard Joel
Dec. 17, 2020
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue)
Est: $2,500 - $3,500
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue) editioned, titled, signed and dated below image 100 x 97cm, frame size: 121 x 113.5cm
Leonard Joel
Dec. 10, 2020
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue)
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue) editioned, titled, signed and dated below image 100 x 97cm, frame size: 121 x 113.5cm
Leonard Joel
Dec. 01, 2020
BROOK ANDREW, THE PROSELYTISER, 2000
Est: $6,000 - $8,000
BROOK ANDREW born 1970 THE PROSELYTISER, 2000 Cibachrome print 123.0 x 123.0 cm (image) 128.0 x 128.0 cm (frame) edition of 10 PROVENANCE Private collection, Melbourne, acquired directly from the artist Deutscher and Hackett, Melbourne, 27 March 2013, lot 48 Corrigan Collection, Sydney on long-term loan to the University of Technology, Sydney, April 2013 – November 2020 EXHIBITED Polemics, Gallery Gabrielle Pizzi, Melbourne, 2000 Brook Andrew Eye to Eye, Monash University Museum of Art, Melbourne, 4 April – 23 June 2007, and touring (another example) Over the Fence: Contemporary Indigenous Photography from the Corrigan Collection, UQ Art Museum, Brisbane, 6 August – 30 October 2016 LITERATURE Brook Andrew: Eye to Eye, exhibition catalogue, Monash University Museum of Art, Melbourne, 2007, pp. 54, 55 (illus., another example), 56 Craig, G., and Presley, R., Over the Fence: Contemporary Indigenous Photography from the Corrigan Collection, UQ Art Museum, Brisbane, 2016, pp. 88 (illus.), 90 RELATED WORK Other examples of this print are held in the Vizard Foundation Art Collection of the 1990s, Potter Museum of Art, University of Melbourne, the Penrith Regional Gallery Collection, NSW and the Casula Powerhouse Arts Centre, NSW This work is located at our Melbourne Gallery © Brook Andrew/Copyright Agency, 2020
Deutscher and Hackett
Dec. 01, 2020
BROOK ANDREW , SEXY AND DANGEROUS, 1996
Est: $20,000 - $30,000
BROOK ANDREW born 1970 SEXY AND DANGEROUS, 1996 inkjet print on paper 64.0 x 42.0 cm (image) 97.0 x 71.5 cm (frame) edition: 5/20 signed, dated and numbered below image PROVENANCE Corrigan Collection, Sydney on long-term loan to the University of Technology, Sydney, June 2004 – June 2006; June 2013 – November 2020 EXHIBITED Brook Andrew Eye to Eye, Monash University Art Museum, Melbourne, 4 April – 23 June 2007, and touring (another example) Over the Fence: Contemporary Indigenous Photography from the Corrigan Collection, UQ Art Museum, Brisbane, 6 August – 30 October 2016 Brook Andrew The Right to Offend is Sacred, National Gallery of Victoria, Melbourne, 3 March – 4 June 2017 (another example) LITERATURE Chapman, C., ‘The Work and Ideas of Brook Andrew’, Art and Australia, Autumn 2003, vol. 40, no. 3, p. 446 (illus. another example) Brook Andrew: Eye to Eye, Monash University Museum of Art, Melbourne, 2007, pp. 7 (illus., another example) 30 Craig, G., and Presley, R., Over the Fence: Contemporary Indigenous Photography from the Corrigan Collection, UQ Art Museum, Brisbane, 2016, pp. 68 (illus.) 90 Snell, T., ‘Here’s looking at: Sexy and Dangerous’, The Conversation, 9 March 2017 (illus., another example) RELATED WORK Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne This work is located at our Melbourne Gallery © Brook Andrew/Copyright Agency, 2020
Deutscher and Hackett
Nov. 18, 2020
BROOK ANDREW (born 1970) Black and White Special Cut Red 2005 screenprint W/P
Est: $3,500 - $4,500
BROOK ANDREW (born 1970) Black and White Special Cut Red 2005 screenprint W/P editioned, titled, signed and dated below image 100 x 98cm, frame size: 123 x 113cm
Leonard Joel
Nov. 18, 2020
BROOK ANDREW (born 1970) Frontier Lights 2005 screenprint and collage 2/*
Est: $4,000 - $6,000
BROOK ANDREW (born 1970) Frontier Lights 2005 screenprint and collage 2/* editioned, titled, signed and dated below image 100 x 97cm, frame size: 121 x 113.5cm
Leonard Joel
Nov. 18, 2020
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue)
Est: $4,000 - $6,000
BROOK ANDREW (born 1970) Kalmaldain/ Composer 2005 screenprint with collage additions W/P (red and blue) editioned, titled, signed and dated below image 100 x 97cm, frame size: 121 x 113.5cm
Leonard Joel
Aug. 27, 2020
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P
Est: $1,600 - $2,600
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P editioned, titled, signed and dated below image 78 x 107cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Aug. 20, 2020
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P
Est: $2,200 - $4,200
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P editioned, titled, signed and dated below image 78 x 107cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Jul. 29, 2020
BROOK ANDREW (born 1970) Black and White Special Cut 2005 screenprint W/P 1/2
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Black and White Special Cut 2005 screenprint W/P 1/2 editioned, titled, signed and dated below image 107 x 100cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Jul. 29, 2020
BROOK ANDREW (born 1970) Black and White Special Cut 2005 screenprint W/P
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Black and White Special Cut 2005 screenprint W/P editioned, titled and signed below image 107 x 100cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Jul. 29, 2020
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P
Est: $2,500 - $4,500
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P editioned, titled, signed and dated below image 78 x 107cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Apr. 08, 2020
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Mundine Test 2005 screenprint W/P editioned, titled, signed and dated below image 78 x 107cm (sheet size) PROVENANCE: The Larry Rawling Collection
Leonard Joel
Apr. 08, 2020
BROOK ANDREW (born 1970) Peace (Pink, Orange, Yellow and Silver) 2005 screenprint W/P
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Peace (Pink, Orange, Yellow and Silver) 2005 screenprint W/P editioned, titled, signed and dated below image 100 x 98cm PROVENANCE: The Larry Rawling Collection
Leonard Joel
Apr. 08, 2020
BROOK ANDREW (born 1970) Hope 2005 screenprint
Est: $3,000 - $5,000
BROOK ANDREW (born 1970) Hope 2005 screenprint unsigned and uneditioned 100 x 98cm PROVENANCE: The Larry Rawling Collection EXHIBITIONS: 'Brook Andrew Hope & Peace' Gallery Gabrielle Pizzi Melb, 5 July 7 August 2005.
Leonard Joel
Sep. 26, 2019
BROOK ANDREW born 1970, Wiradjuri language group Ignoratia (Kookaburra) 2003
Est: $15,000 - $20,000
BROOK ANDREW born 1970, Wiradjuri language group Ignoratia (Kookaburra) 2003, Cibachrome print, 124.0 x 200.0 cm, artist's proof from an edition of 5| , Greenaway Art Gallery, Adelaide Private collection, Adelaide Brook Andrew - Kalar Midday, Gallery Gabrielle Pizzi, Melbourne, 13 - 27 March 2004 (another example) Brook Andrew: Photography and Neon, Stills Gallery, Sydney, 4 August - 4 September 2004, cat. 7 (illus. on exhibition invitation, another example) Brook Andrew - Kalar Midday (Land of the Three Rivers), Greenaway Art Gallery, Adelaide, 13 October - 23 November 2004, cat. 5 (illus. in exhibition catalogue) Brook Andrew: Eye to Eye, Monash University Museum of Art, Melbourne, 4 April - 23 June 2007; Penrith Regional Gallery & The Lewers Bequest, Sydney, 18 August - 14 October 2007; John Curtin Gallery, Curtin University of Technology, Perth, 4 April - 30 May 2008 (another example)
Menzies
Aug. 28, 2019
BROOK ANDREW , born 1970 , IGNORATIA (KOOKABURRA), 2003 (FROM ‘KALAR MIDDAY’ SERIES), Ilfochrome print
Est: $12,000 - $16,000
BROOK ANDREW , born 1970 , IGNORATIA (KOOKABURRA), 2003 (FROM ‘KALAR MIDDAY’ SERIES), Ilfochrome print DIMENSIONS: 124.0 x 200.0 cm PROVENANCE: Private collection Sotheby's, Sydney, 21 March 2005, lot 58 Company Collection, Sydney EXHIBITED: Brook Andrew - Kalar Midday, Gallery Gabrielle Pizzi, Melbourne, 13 – 27 March 2004 (another example) Brook Andrew Photography and Neon, Stills Gallery, Sydney, 4 August – 4 September 2004, cat. 7 (illus. on exhibition invitation, another example) Brook Andrew – Kalar Midday (land of the three rivers), Greenaway Art Gallery, Adelaide, 13 October – 23 November 2004, cat. 5 (illus. in exhibition catalogue, another example) Brook Andrew: Eye to Eye, Monash University Museum of Art, Melbourne, 4 April – 23 June 2007; Penrith Regional Gallery & the Lewers Bequest, Sydney, 18 August – 14 October 2007; John Curtin Gallery, Curtin University of Technology, Perth, 4 April – 30 May 2008 (another example) LITERATURE: Crawford, A., ‘Brook Andrew’, Australian Art Collector, Sydney, no. 27, January – March 2004, p. 171 (illus., another example) Crawford, A., ‘Putting Black Beauty Up in Lights’, The Age, Melbourne, 1 April 2004 Newall, M., ‘Brook Andrew’, Photofile, Australian Centre for Photography, Sydney, issue 71, Winter 2004, p. 69 McCulloch, A., McCulloch, S., & McCulloch Childs, E ., The New McCulloch’s Encyclopedia of Australian Art, Aus Art Editions, The Miegunyah Press, Melbourne, 2006, p. 1138 (illus., another example) Brook Andrew: Eye to Eye, exhibition catalogue, Monash University Museum of Art, Melbourne, 2007, pp. 22, 34, 54, 85 (illus., another example) Langton, M., 'Brook Andrew: Ethical portraits and ghost scapes', Art Bulletin of Victoria 48, National Gallery of Victoria, Melbourne, 2008 (published online 29 January 2014) [https://www.ngv.vic.gov.au/essay/brook-andrew-ethical-portraits-and-ghost-scapes/] Slocum, C., Beyond the Aesthetic – A Study of Indigeneity and Narrative in Contemporary Australian Art, thesis, Australian National University, Canberra, 2016, vol. 1, pp. 167, 168; vol. 2, fig. 7.9, p. 151 (illus., another example)
Deutscher and Hackett
Aug. 28, 2019
BROOK ANDREW , born 1970, AUSTRALIA I, 2012, mixed media, silkscreen and gold foil on Belgian linen
Est: $40,000 - $50,000
BROOK ANDREW , born 1970, AUSTRALIA I, 2012, mixed media, silkscreen and gold foil on Belgian linen DIMENSIONS: 200.0 x 300.0 cm PROVENANCE: Tolarno Galleries, Melbourne pARTners Art Collective, Melbourne, acquired from the above in September 2012 EXHIBITED: The Basil Sellers Art Prize, The Ian Potter Museum of Art, University of Melbourne, Melbourne, 3 August – 4 November 2012, cat. 1 (another example) DARK HEART Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 1 March – 11 May 2014 (another example) LITERATURE: Wearne, S., ‘Brook Andrew’, Basil Sellers Art Prize 2012, Ian Potter Museum of Art, University of Melbourne, Melbourne, 2012, pp. 8 (illus., another example), 9 Nelson, R., ‘Lofty Jocks Strapped for Meaning’, Sydney Morning Herald, Sydney, 19 September 2012 McSpedden, S., ‘Howzat! : An Australian Spin on Sport and Art’, Eyeline Contemporary Visual Arts, Eyeline Publishing Limited, Brisbane, issue 78/79, 2013 [https://www.eyelinepublishing.com/eyeline-78-79/review/howzat-australian-spin-sport-and-art] (accessed 3/07/19) Mitzevich, N., DARK HEART: 2014 Adelaide Biennial of Australian Art, Art Gallery of South Australia, 2014, pp. 54 – 64 (illus., another example, dated as 2013), 184 Thomson, J., ‘Dark Heart: Adelaide Biennial’, Asian Art News, vol. 24, no. 3, May / June 2014, p. 44 (illus., another example) Pesa, M., ‘Dark Heart: 2014 Adelaide Biennial of Australian Art’, Art Almanac, Sydney, March 2014, p. 47 (illus., another example) Laurie, V., ‘Indigenous gems book passage to Asia for art tour’, The Australian, Sydney, 18 October 2018 (illus., another example) RELATED WORK: Australia IV, 2013, mixed media on Belgian linen, 200.0 x 300.0 cm, in the collection of the Art Gallery of Western Australia, Perth Australia VI Theatre and remembrance of death, 2014, mixed media on Belgian linen, 200.0 x 300.0 cm, in the collection of the Art Gallery of New South Wales, Sydney ESSAY: Humans are social creatures, relying on sense of collective identity to ensure emotional and physical wellbeing. Brook Andrew’s impressive tableau, Australia I, 2012, is an acknowledgement of the vital role collective physical activity plays in the creation of a community. Based on a colonial ethnographic study from the late 1850s, the work depicts a group of Nyeri-Nyeri men from north-western Victoria participating in a game of marngrook, an indigenous precursor to Australian Rules football.1 Consequently, Australia I, 2012 was included in the 2012 Basil Sellers’ Art Prize, an award celebrating contemporary art works addressing sport, creating a bridge between the nation’s most revered pastime and its cultural counterpart. This work is one of six large-scale historical scenes ( Australia I – VI, 2012 – 2014) that re-present a selection of etchings by Gustav Mützel, a German artist who never stepped foot on the Australian continent. Commissioned by Prussian geologist and naturalist William Blandowski to immortalise the findings of his expedition to the Murray Darling basin in 1856 – 57, Mützel used original ethnographic sketches executed by Blandowski himself and his colleague Gerard Kreft to create composite illustrations. The drawings since lost, many of these images only remain in the minuscule photographic albumen prints composed by Mützel (each measuring 70 x 40mm) published in the illustrated account, Australien in 142 Photographischen Abbildungen, 1862, only two full copies of which are extant in libraries in Europe.2 The image upon which Australia I is based also exists as a photographic print in the Anthropology Library of the British Museum. Largely unseen by Australian people, indigenous or otherwise, these archives have recently been excavated by scholars and artists, stimulating a post-colonial critique of documentary images of indigenous Australians during the colonial period. Already employed in Andrew’s earlier series, The Island, 2008, examples of Blandowski’s visual documents are appropriated and transformed, their well-worn format blown up to a vast scale and applied by a screen-printing process to a coloured foil support. The resulting effect is not dissimilar to that of a noble history painting of the Western canon. The drama of the cultural activities performed remains mysterious and opaque, their sacred nature concealed to uninitiated viewers. The subjects of this picture clamour for the invisible possum-fur ball or ball of plant roots, seeming to struggle to attain something intangible. Harnessed by a highly reflective gold foil, the light of discovery shines unevenly across the surface of the artwork. Throwing light on the glorification of the ‘noble savage’ in colonial archives, Brook Andrew’s Australia I takes this romantic view one step further, displaying it on the heroic scale hitherto denied to ‘ethnographic’ subjects. Andrew questions the very nature of representation, and the interaction between a truthful observation and voyeuristic colonial curiosity. 1. Wearne, S., ‘Brook Andrew’, Basil Sellers Art Prize 2012, Ian Potter Museum of Art, University of Melbourne, Melbourne, 2012, p. 9. The role of Marngrook or Marn-grook in the formation of AFL football in Victoria in 1858 has been suggested by numerous historians since the 1980s, and in 2008 it was included in the official history of the game by the Melbourne Football Club. 2. Allen, H., ‘Authorship and Ownership in Blandowski’s Australien in 142 Photographischen Abbildungen’, Australasian Historical Archaeology, Sydney, vol. 24, 2006, p. 32 LUCIE REEVES-SMITH
Deutscher and Hackett

Lots Per Page:

Brook Andrew Sold at Auction Prices

b. 1970 -

Upcoming Lots

Past Lots

0 Lots

Categories

Auction Date

Seller

Seller Location

Price Range

Popular Artists

Get Invaluable on Your Phone

Bid On-the-Go!