Kylie Banyard is a multidisciplinary artist and educator. Banyard’s artistic practice investigates alternate models for living and learning. Her artistic practice is grounded in painting and intersects with photography, video, sculpture and immersive architectural spaces. She has been the recipient of several competitive artist’s residencies, such as: The Cité International des Arts Paris, France, the Firstdraft Emerging Studio Residency Program, Sydney and the Historic Hill End Artists residency (forthcoming). She has received competitive funding from Arts NSW and the National Association for the Visual Arts, as well as a Start-up Research Grant from La Trobe University and postgraduate research grants, such as the Australian Postgraduate Award from the University of NSW and the COFA, UNSW Travel Grant. She was a recent finalist in the inaugural Ravenswood Australian Women’s Art Prize and winner of the National Tertiary Art Prize and The Basil and Muriel Art’s Scholarship, Art Gallery of NSW. She holds a PhD in Fine Arts from the University of NSW and is a Lecturer of Visual Art at La Trobe University. She has over eight years undergraduate and postgraduate teaching experience at Australia’s leading Art and Design Colleges. Her work is held in numerous public and private collections including Artbank, Australia.
THE IMPROBABLE OUTSIDE
28 FEBRUARY TO 18 MARCH
In the introduction of Architecture from the Outside Elizabeth Grosz refers to the outside as "the place one can never occupy fully or completely, for it is always other, different, at a distance from where one is." (Grosz, 2000, p.16) She talks about the unexpected and liberating joy of "outsideness" as being able to see what one might not be able to see from the inside. Grosz's proposition is not particularly comforting or reassuring, but it is alluring and it appeals to the utopian imaginary. This group of paintings occupies an affectual reckoning of Grosz's "outsideness". In the process of making these works I've tried to hover somewhere else for a while, in a state of unknowing, to make paintings in a more intuitive way. There are associations with works I've made in the past but the connections are casual and have become obscured.
EXHIBITION PRESS Link to Art Almanac Exhibition Preview here
KYLIE BANYARD’S INSTALLATION ‘MODES OF ASSOCIATED LIVING’ EXHIBITED AT THE MUSEUM OF CONTEMPORARY ART, AUSTRALIA AS PART OF ‘THE NATIONAL 2019: NEW AUSTRALIAN ART’
KYLIE BANYARD INTERVIEWED ON RADIO NATIONAL ‘THE ART SHOW’ ON THE NATIONAL, SYDNEY
Kylie Banyard interviewed by ABC Radio National’s ‘The Art Show’ today on the artist’s fascination with idealised ways of living and her latest artworks, showing at The National in Sydney . Kylie Banyard’s work is exhibited at the Museum of Contemporary Art, Australia as part of ‘The National 2019: New Australian Art’ – a presentation…
KYLIE BANYARD ANNOUNCED AS EXHIBITING ARTIST IN ‘THE NATIONAL 2019: NEW AUSTRALIAN ART’ AT MUSEUM OF CONTEMPORARY ART, SYDNEY
The Art Gallery of New South Wales (AGNSW), Carriageworks and the Museum of Contemporary Art Australia (MCA) today announced that The National 2019: New Australian Art will present the work of 65 emerging, mid-career and established Australian contemporary artists living across the country and abroad. A major collaborative venture, The National 2019 is the second…
KYLIE BANYARD DISCUSSES DANA SCHUTZ’S ‘BREASTFEEDING’ WITH ART GUIDE
Five on Five: Kylie Banyard on Dana Schutz’s Breastfeeding In this first series of Five on Five we’re asking five painters to speak about a painting that has influenced, inspired or resonated with them. In this episode Kylie Banyard reflects on Breastfeeding (2015) by American artist Dana Schutz. As you listen, you can see in the painting (reproduced above) that Banyard is captivated…
KYLIE BANYARD EXHIBITION PREVIEWED IN ART ALMANAC
Kylie Banyard: The Improbable Outside 28 February 2018 | Art Almanac Kylie Banyard’s paintings for ‘The Improbable Outside’ consider philosopher Elizabeth Grosz’ idea of ‘outsideness’ – searching from an outward perspective for what one might not be able to see from the inside. ‘In the process of making these works I’ve tried to hover somewhere…