Rose Nolan

Nolan was a member of the group of artists who formed ‘Store 5’, a loose experimental collective and artist run space based in Melbourne between 1989 and 1993.[5] She was one of a group of Australian artists who were part a loose cooperative and space connected to the experimental Store 5 Melbourne ARI between 1989 and 1993.[3] The Store 5 artists shared an interest in the traditions of non-objective art, a form of art that relinquishes describing the exterior world in favour of examining the artwork in its material form.[4] Frequent tropes include language, concentrating on the linguistic qualities of words and their connection to architectural space as a material form .[3] Additionally conceptual art, as well the aesthetics of Russian constructivism which adopts the language of abstraction and revolutionary aesthetics and its relationship to a pragmatic utilitarian approach to art, architecture and design with utopian, even revolutionary, social ideals continue to inform Nolan's work today.[3][4] Since the 1980s Nolan has exhibited widely, both nationally and internationally.[2]Nolan is represented by Anna Schwartz Gallery.[3]

Selected shows include

• f_OCUS, Counihan Gallery, Brunswick, (2020)[6]
• Bauhaus Now, Buxton Contemporary Art, Melbourne, curated by Ann Stephen, (2019)[7]
• The National 2017; New Australian Art, Museum of Contemporary Art, Sydney, (2017)[3]
• GIVE OR TAKE, Public Art Commission, Monash University Caulfield Library , (2017)[8]
• Let's Talk About Text, Artbank, Sydney, (2017)[9]
• Big Words – To keep going, breathing helps (circle work), Museum of Contemporary Art, Sydney, (2016–17)
• Image Worth Reading, Key Projects, Long Island City, New York (2015)[3]
• Big Words – UP DATE/DOWN LOAD (circle work), Art Basel, Hong Kong, (2014)
• Taking it all away: MCA Collection, Museum of Contemporary Art Australia, Sydney, (2014)[10]
• Performance Architecture, Anna Schwartz Gallery, Melbourne (2013)[2]
• It’s okay to be alright Melbourne Art Tram. Commissioned by Yarra Trams and Melbourne Festival, (2013)[11]
• Melbourne Now, National Gallery of Victoria, Melbourne, 2013[10]
• Panorama de 31 artistas internacionales, MINUS SPACE en Oaxaca, Multiple Cultural Venues, Oaxaca, Mexico, curated by Matthew Deleget & Emi Winter (2012)[12]
• Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne, (2011)[10]
• The Solo Projects, VCA Margaret Lawrence Gallery, Melbourne International Arts Festival (2011)[3]
• It's not good to worry about space, Museum of Contemporary Art, Sydney, (2008)[4]
• Why Do We Do The Things We Do, Institute of Modern Art, Brisbane (2008)[3]
• Whenever, Christchurch Art Gallery, New Zealand, (2007)[13]
• Work in Progress #3, Ian Potter Museum of Art, Melbourne (2002)[3]
• White trash banners: Congratulations!, It's a girl!, Mother and daughter are both well!, First tooth!, She walked for the first time!, She said 'Papa' for the first time! The Potter Museum of Art, (1996)[14]
• My way to God # 1-30, Store 5, Melbourne, (1990)[15]
• No.One, Store 5, Melbourne (1989)[15]

Reviews include

• The national, New Australian Art, Kelly McDonald, Big Words – To keep going, breathing helps (circle work), (2017)[16]
• Rose Nolan, With all one’s might and main, Chris McAuliffe, Project Space, RMIT, 1996, (2014)[17]
• Un Projects, Carolyn Barnes, Conflicted Territory: Aesthetics and practices in the work of Melinda Harper, Anne-Marie May, Rose Nolan and Kerrie Poliness, 2012) [18]
• Art Gallery of New South Wales Contemporary Collection Handbook, An orange constructed one, (2006)[19]
• Frieze, Sue Cramer, Forever, Ian Potter Museum, Melbourne, Australia, (2002)[20]

• Big Words (Not Mine) – Read the words 'public space'... Published by Negative Press, (2017)[21]
• Enough, Rose Nolan, Limited edition, Published by Negative Press (2016)[22]
• Rose Nolan, Why Do We Do The Things We Do, 2011, Eds.: Blair French, Robert Leonard, Published by Artspace Sydney and Institute of Modern Art. (2011)[23]