Professor Bradford Buckley

MFA (RISD) GradDipEd (SCAE)
Professor of Contemporary Art and Culture

N01P - Sydney College Of The Arts - Rozelle - (Kirkbride)
The University of Sydney

Telephone +61 2 9351 1061
Fax +61 2 9351 1199

Website Brad Buckley
Office for Learning and Teaching
Wikipedia

Biographical details

Brad Buckley spent his childhood years in Sydney. His father, Jim Buckley, owned the Newcastle Hotel in Lower George Street. The Newcastle was one of the Push pubs and Buckley Senior presided over this place, which was frequented by artists, poets, underworld figures and philosophers, for almost 20 years. Buckley was deeply influenced by this early exposure to the possibilities of a libertine life.

Buckley was educated at St Martin’s School of Art, London, and the Rhode Island School of Design, where he graduated with a Master of Fine Arts in 1982. He is the editor, with John Conomos, of Republics of Ideas (2001) and Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy (2009). Buckley has also developed and chaired (with Conomos) a number of conference sessions for the College Art Association, including ‘America: The Divine Empire’ (Atlanta 2005), ‘The Contemporary Collaborator in an Interdisciplinary World’ (Dallas 2008) and ‘The Erasure of Contemporary Memory’ (New York 2011).

Buckley has a longstanding interest in curating and has undertaken projects at the Museum of Art, Rhode Island School of Design and other institutions. His most recent project, Reading and Writing Rooms, was curated with Blair French. It was a major survey of the work of the Canadian-based artist Bruce Barber, and was held in 2008 at Artspace Visual Arts Centre, Sydney.

Over the past decade he has lectured and written widely on higher degrees and research in the art school context. In 2003 Buckley was invited to be the keynote speaker at the Visual Arts PhD Programs seminar at the Royal Danish Academy of Fine Arts. He was also a keynote speaker in 2007 at the International Symposium on Art and Design: University Art Practice and Research Funding at the University of Tsukuba (Japan). With Su Baker, Director of Victorian College of the Arts, the University of Melbourne, Buckley received in 2008–09 a Australian Learning and Teaching Council (ALTC) grant to undertake research into the impact of the PhD in creative arts in Australian universities over the past decade.

He has been a visiting professor at the National College of Art and Design (Dublin), at the Nova Scotia College of Art and Design University and at the Royal Danish Academy of Fine Arts. In October 2009, Buckley was a Visiting Scholar at Parsons The New School for Design (New York). He also convened with senior faculty ‘Evolution: Art and Design Research and the PhD’, a conference on higher degrees and research in the art and design school context in the USA at The New School in October 2010.

Research interests

His work, which operates at the intersection of installation, theatre and performance, investigates questions of cultural control, democracy, freedom and social responsibility. While the primary outcome of his research is manifested in exhibitions and the curating of exhibitions, Buckley has at times also pursued more traditional academic contexts, which include the development of conferences, conference papers and anthologies.

The concerns of his research and creative work over the past two decades have been explored through a series of installations or interventions, using text, video, sound, neon and wall paintings, titled The Slaughterhouse Project. The Slaughterhouse Project stands as a suite of works, which interrogate the roles and responsibilities of cultures to consider and address diverse concerns. Over the course of more than a decade, his works have considered a range of apparently diverse thinkers and issues. Yet each work shares a common concern for the freedoms of individuals and the responsibilities of communities, cultures and nations.

His work has been cited in many journals including New Observations (New York), Art + Text (Sydney), Flash Art (Milan) and Artforum International (New York).

Teaching and supervision

• Hayley French, Future Abstraction: Relationships between Aboriginal and non-Indigenous art in Australia, PhD
• Richard Kean, The Night of Time and the Time of Light, PhD
• Paul Greedy, Induction, transduction, synthesis - Liminal Forms in Contemporary Art Practice, PhD
• Justine Taylor, Shapeshifting: Visualising the Future of Fashion as Transformative Paradigms in Function, Form and Construction, PhD
• Yiorgos Zafiriou, The Invisible Artist: Undertaking performance without undertaking performance or how art can make itself, PhD
• Tracey Clement, Post-Premonitionism: An investigation in to the intersection between dystopian fiction, as typified by J. G. Ballard’s The Drowned World, and contemporary art, PhD
• Camilla Cassidy, Vision in the twenty first century: an act of scopic continuum or radical departure?, PhD

Associations

Artspace Visual Arts Centre
College Art Association (US)

Awards and honours

  • La Chambre Blanche, Quebec (funded by the Canadian Council for the Arts and Culture and Communications), The Slaughterhouse Project: In Medias Res, 2005
  • Nova Scotia College of Art and Design University, Halifax, Canada, Every Great Idea Begins as a Heresy, 2005
  • Awarded the first College of Humanities and Social Sciences (CHASS) Award for Excellence in Research, Higher Degree Supervision at the University of Sydney, 2004
  • Nova Scotia College of Art and Design University, Halifax, Canada, Visiting professor and artist, 2004
  • New Work Grant from the Visual Art/Craft Fund of the Australia Council, New work, 2000
  • Fellowship Residency, Institute for Contemporary Art, PS1/MoMA, New York, from the Visual Arts/Craft Board of the Australia Council, Fellowship residency, 1990 -1991

Additional Grants

  • Research grant from the Australian Learning and Teaching Council, Creative Arts PhD: Future-Proofing the Creative Arts in Higher Education, Scoping for Quality in Tertiary Creative Arts Learning, Teaching, and Research Training, 2008–09
  • Research Grant, SCA, The University of Sydney, Hotel of Fire, Kelowna Art Gallery, Canada, 1997
  • Research Grant, SCA, The University of Sydney, Co-existence: The 5th Construction in Process. The Artists' Museum, Mitzpe Ramon, Israel, 1995
  • Standard grant from the Visual Arts/Craft Board of the Australia Council, New Work, 1987
  • Standard Grant from the Visual Arts/Craft Board of the Australia Council, New Work, 1985

International links

Japan

(University of Tsukuba) International Symposium on Art and Design: University Art Practice and Research Funding

Selected grants

2005

  • Artist-in-Residence Program, La Chambre Blanche, Quebec; Buckley B; Canadian Council for the Arts and Culture and Communications and the City of Quebec/Artist-in-Residence Program.
  • Artist -in -Residence Program, Nova Scotia College of Art and Design University; Buckley B; Nova Scotia College of Art and Design University/Artist-in-Residence Program.

2004

  • Artist-in-Residence Program, Nova Scotia College of Art and Design University; Buckley B; Nova Scotia College of Art and Design University/Artist-in-Residence Program.

2000

  • New Work Grant; Buckley B; Australia Council for the Arts/New Work Grant.

Selected publications & creative works

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Edited Books

  • Buckley, B., Conomos, J., Dong, A. (2013). Ecologies of Invention. Sydney, Australia: Sydney University Press.
  • Buckley, B., Conomos, J. (2009). Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy. Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B., Conomos, J. (2001). Republics of Ideas: Republicanism Culture Visual Arts. Australia: Pluto Press.

Book Chapters

  • Dong, A., Conomos, J., Buckley, B. (2013). Introduction. In Andy Dong, John Conomos, Brad Buckley (Eds.), Ecologies of Invention, (pp. 14-25). Sydney, Australia: Sydney University Press.
  • Buckley, B., Conomos, J. (2013). The Artist-Run Initiative: An Agent that Blurs the Studio, Laboratory and Exhibition Space, Creating a Site for Inventiveness. In Andy Dong, John Conomos, Brad Buckley (Eds.), Ecologies of Invention, (pp. 92-98). Sydney, Australia: Sydney University Press.
  • Buckley, B., Conomos, J. (2012). What is the current state of thinking on the PhD by art practice? In James Elkins (Eds.), What Do Artists Know?, (pp. 178-180). University Park, Pennsylvania: Pennsylvania State University Press.
  • Buckley, B., Conomos, J. (2009). Funding Model Condemns Art Schools to a Bleak Future. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 87-89). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B., Conomos, J. (2009). Introduction to 'Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy'. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 2-26). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B. (2009). What is with the Ceiling! The Artist, Higher Degrees and Research in the University Art School. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 76-86). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B., Conomos, J. (2001). Introduction. In J. Conomos and B. Buckley (Eds.), Republics of Ideas: Republicanism, Culture, Visual Arts, (pp. 15-32). Australia: Pluto Press.

Journals

  • Buckley, B., Conomos, J. (2014). dirty money hollow men. Contemporary Visual Art + Culture: Broadsheet, 43(3), 6-15.
  • Buckley, B., Conomos, J. (2012). The Delinquent Curator: Or How Curators Shafted Australian Art. Contemporary Visual Art + Culture: Broadsheet, 41(1), 46-51.
  • Buckley, B., Conomos, J. (2011). Flat White Australia:Whatever happened to an arts and culture policy? Contemporary Visual Art + Culture: Broadsheet, 40.2 (June), 96-99.
  • Buckley, B. (2011). From Floor to Sky: The Experience of the Art School Studio and the Teaching of Peter Kardia, Roderick Coyne, Hester Westley, Peter Kardia and Malcolm Le Grice (2010). International Journal of Education through Art, 7(1), 97-99.

Conferences

  • Buckley, B., Conomos, J. (2014). The Delinquent Curator: has the curator failed contemporary art? - Session Chairs. College Art Association (CAA) 102nd Annual Conference, Chicago: College Art Association (CAA).
  • Buckley, B. (2012). A New Horizon: What is on Offer for the Artist with a PhD? College Art Association 100th Annual Conference, US: College Art Association (CAA).
  • Buckley, B., Conomos, J. (2011). Where is the zeitgeist of creativity and the critique? Broadsheet @ 40: The Australian Contemporary one day symposium, South Australia: Contemporary Art Centre of South Australia (CACSA).
  • Buckley, B. (2007). Re-thinking the Contemporary Art School. "Research Grants for Fine Arts and Design in Universities" International Symposium, Tsukuba, Japan: University of Tsukuba, Japan.
  • Buckley, B. (2002). Why a Ceiling? The Visual Arts should embrace the PhD. 90th College Art Association Conference.

Visual Art

  • Buckley, B. (2013). The Slaughterhouse Project: Alignment and Boundaries (L'Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian (revisited). In: The Slaughterhouse Project. Australian Centre for Photography, Sydney, Australia.
  • Buckley, B. (2012). The Slaughterhouse Project: Alignment and Boundaries (L'Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian. In: 2020. Damien Minton Annex Space, Sydney, Australia.
  • Buckley, B. (2011). Manifest Destiny 1. print edition 2. neon installation. In: Plato's Cave. EIDIA House Project. EIDIA House Studio, New York, United States of America.
  • Buckley, B. (2010). 1. australians all let us rejoice (perhaps) 2. A new world order (after zizek and the radical left ha ha). In: the cosmopolitan community. University of Tsukuba, Tsukuba, Japan.
  • Buckley, B. (2010). A thinker of totality or what Lord Auch can teach us about life. In: The Wall of Sound (apologies to Phil Spector): A project in three parts'. SNO contemporary art projects, Sydney, Australia.
  • Buckley, B. (2010). HOPE is a four letter four. In: Acchrochage Interstate. Conny Dietzschold Gallery, Sydney, Australia.
  • Buckley, B. (2010). The Slaughterhouse Project: (hope) is still a four letter word. In: Giving Notice: Words on Walls. Dalhousie Art Gallery, Halifax, Nova Scotia, Canada.
  • Buckley, B. (2009). a GRAMMAR of rMark [s] and an Elaboration on those who would persecut.(e). In: Hope House: Contemporary Art Exhibition Auction - To aid Afghan widows. Sydney College of the Arts, University of Sydney. SCA Gallery, Sydney, Australia.
  • Buckley, B. (2009). Hope: Is a Four Letter Word. In: Langue Froide… Cold Language/Tongue. Conny Dietzschold Gallery, Sydney, Australia.
  • Buckley, B. (2008). Welcome to the desert of the REAL (or a place for new songs). In: Welcome to the desert of the REAL (or a place for new songs). Institute of Contemporary Art Newtown, Sydney, Australia.
  • Buckley, B. (2006). International Postcard Project. In: International Postcard Project V1. Australia.
  • Buckley, B. (2005). Every Great Idea Begins as a Heresy. In: Every Great Idea Begins as a Heresy. Nova Scotia College of Art and Design University. Anna Leonowens Gallery, Halifax, Canada.
  • Buckley, B. (2005). The Slaughterhouse Project: In Medias Res. In: The Slaughterhouse Project: In Medias Res. La Chambre Blanche, Quebec, Canada.
  • Buckley, B. (2005). TITLES?. In: Artists Against Sedition Laws. Casula Powerhouse Museum, Sydney, Australia.
  • Buckley, B. (2003). Etiquette Ring. In: Target. Hood Gallery, Los Angelos, United States of America.
  • Buckley, B. (2003). Unthinkable: etiquette. In: Unthinkable: etiquette. Artspace Visual Arts Centre, Sydney, Australia.
  • Buckley, B. (2002). The Slaughterhouse Project : The Light on the Hill. In: The Slaughterhouse Project : The Light on the Hill. University of Alabama at Birmingham. The Visual Arts Gallery, Birmingham, Alabama, United States of America.
  • Buckley, B. (2001). [ SUB ROSA ] .…and so I hasten to turn aside from this extraordinary heat. In: [ SUB ROSA ]. Contemporary Art Services Tasmania (CAST), Australia.

Textual Creative Works

  • Buckley, B. (2010). Coversations to infinity: on arts schools and art education, Brad Buckley. Broadsheet, (pp. 208 - 213). Adelaide, Australia: Contemporary Art Centre of South Australia (CACSA).

Exhibitions / Events

  • Buckley, B. (2010). An Oeuvre Both Abundant and Diverse. Sydney, Australia: Sydney College of the Arts.
  • Buckley, B. (2010). The Wall of Sound (apologies to Phil Spector). Sydney, Australia: SNO contemporary art projects.
  • Buckley, B., French, B. (2008). Bruce Barber: Reading and Writing Rooms. Sydney, Australia: Artspace.
  • Buckley, B. (2008). Encore: recent and current PhDs from the Sydney College of the Arts. York University, Toronto, Canada: York University, Toronto, Canada.
  • Buckley, B., Vickers, N. (2008). The Fragile Absolute. Delmare Gallery, Australia.

2014

  • Buckley, B., Conomos, J. (2014). dirty money hollow men. Contemporary Visual Art + Culture: Broadsheet, 43(3), 6-15.
  • Buckley, B., Conomos, J. (2014). The Delinquent Curator: has the curator failed contemporary art? - Session Chairs. College Art Association (CAA) 102nd Annual Conference, Chicago: College Art Association (CAA).

2013

  • Buckley, B., Conomos, J., Dong, A. (2013). Ecologies of Invention. Sydney, Australia: Sydney University Press.
  • Dong, A., Conomos, J., Buckley, B. (2013). Introduction. In Andy Dong, John Conomos, Brad Buckley (Eds.), Ecologies of Invention, (pp. 14-25). Sydney, Australia: Sydney University Press.
  • Buckley, B., Conomos, J. (2013). The Artist-Run Initiative: An Agent that Blurs the Studio, Laboratory and Exhibition Space, Creating a Site for Inventiveness. In Andy Dong, John Conomos, Brad Buckley (Eds.), Ecologies of Invention, (pp. 92-98). Sydney, Australia: Sydney University Press.
  • Buckley, B. (2013). The Slaughterhouse Project: Alignment and Boundaries (L'Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian (revisited). In: The Slaughterhouse Project. Australian Centre for Photography, Sydney, Australia.

2012

  • Buckley, B. (2012). A New Horizon: What is on Offer for the Artist with a PhD? College Art Association 100th Annual Conference, US: College Art Association (CAA).
  • Buckley, B., Conomos, J. (2012). The Delinquent Curator: Or How Curators Shafted Australian Art. Contemporary Visual Art + Culture: Broadsheet, 41(1), 46-51.
  • Buckley, B. (2012). The Slaughterhouse Project: Alignment and Boundaries (L'Origine du monde) and I wonder whether that's Joanna Hiffernan with a Brazilian. In: 2020. Damien Minton Annex Space, Sydney, Australia.
  • Buckley, B., Conomos, J. (2012). What is the current state of thinking on the PhD by art practice? In James Elkins (Eds.), What Do Artists Know?, (pp. 178-180). University Park, Pennsylvania: Pennsylvania State University Press.

2011

  • Buckley, B., Conomos, J. (2011). Flat White Australia:Whatever happened to an arts and culture policy? Contemporary Visual Art + Culture: Broadsheet, 40.2 (June), 96-99.
  • Buckley, B. (2011). From Floor to Sky: The Experience of the Art School Studio and the Teaching of Peter Kardia, Roderick Coyne, Hester Westley, Peter Kardia and Malcolm Le Grice (2010). International Journal of Education through Art, 7(1), 97-99.
  • Buckley, B. (2011). Manifest Destiny 1. print edition 2. neon installation. In: Plato's Cave. EIDIA House Project. EIDIA House Studio, New York, United States of America.
  • Buckley, B., Conomos, J. (2011). Where is the zeitgeist of creativity and the critique? Broadsheet @ 40: The Australian Contemporary one day symposium, South Australia: Contemporary Art Centre of South Australia (CACSA).

2010

  • Buckley, B. (2010). 1. australians all let us rejoice (perhaps) 2. A new world order (after zizek and the radical left ha ha). In: the cosmopolitan community. University of Tsukuba, Tsukuba, Japan.
  • Buckley, B. (2010). A thinker of totality or what Lord Auch can teach us about life. In: The Wall of Sound (apologies to Phil Spector): A project in three parts'. SNO contemporary art projects, Sydney, Australia.
  • Buckley, B. (2010). An Oeuvre Both Abundant and Diverse. Sydney, Australia: Sydney College of the Arts.
  • Buckley, B. (2010). Coversations to infinity: on arts schools and art education, Brad Buckley. Broadsheet, (pp. 208 - 213). Adelaide, Australia: Contemporary Art Centre of South Australia (CACSA).
  • Buckley, B. (2010). HOPE is a four letter four. In: Acchrochage Interstate. Conny Dietzschold Gallery, Sydney, Australia.
  • Buckley, B. (2010). The Slaughterhouse Project: (hope) is still a four letter word. In: Giving Notice: Words on Walls. Dalhousie Art Gallery, Halifax, Nova Scotia, Canada.
  • Buckley, B. (2010). The Wall of Sound (apologies to Phil Spector). Sydney, Australia: SNO contemporary art projects.

2009

  • Buckley, B. (2009). a GRAMMAR of rMark [s] and an Elaboration on those who would persecut.(e). In: Hope House: Contemporary Art Exhibition Auction - To aid Afghan widows. Sydney College of the Arts, University of Sydney. SCA Gallery, Sydney, Australia.
  • Buckley, B., Conomos, J. (2009). Funding Model Condemns Art Schools to a Bleak Future. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 87-89). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B. (2009). Hope: Is a Four Letter Word. In: Langue Froide… Cold Language/Tongue. Conny Dietzschold Gallery, Sydney, Australia.
  • Buckley, B., Conomos, J. (2009). Introduction to 'Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy'. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 2-26). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B., Conomos, J. (2009). Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy. Hallifax, Canada: The Press of Nova Scotia College of Art and Design.
  • Buckley, B. (2009). What is with the Ceiling! The Artist, Higher Degrees and Research in the University Art School. In Buckley, Bradford; Conomos, John (Eds.), Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy, (pp. 76-86). Hallifax, Canada: The Press of Nova Scotia College of Art and Design.

2008

  • Buckley, B., French, B. (2008). Bruce Barber: Reading and Writing Rooms. Sydney, Australia: Artspace.
  • Buckley, B. (2008). Encore: recent and current PhDs from the Sydney College of the Arts. York University, Toronto, Canada: York University, Toronto, Canada.
  • Buckley, B., Vickers, N. (2008). The Fragile Absolute. Delmare Gallery, Australia.
  • Buckley, B. (2008). Welcome to the desert of the REAL (or a place for new songs). In: Welcome to the desert of the REAL (or a place for new songs). Institute of Contemporary Art Newtown, Sydney, Australia.

2007

  • Buckley, B. (2007). Re-thinking the Contemporary Art School. "Research Grants for Fine Arts and Design in Universities" International Symposium, Tsukuba, Japan: University of Tsukuba, Japan.

2006

  • Buckley, B. (2006). International Postcard Project. In: International Postcard Project V1. Australia.

2005

  • Buckley, B. (2005). Every Great Idea Begins as a Heresy. In: Every Great Idea Begins as a Heresy. Nova Scotia College of Art and Design University. Anna Leonowens Gallery, Halifax, Canada.
  • Buckley, B. (2005). The Slaughterhouse Project: In Medias Res. In: The Slaughterhouse Project: In Medias Res. La Chambre Blanche, Quebec, Canada.
  • Buckley, B. (2005). TITLES?. In: Artists Against Sedition Laws. Casula Powerhouse Museum, Sydney, Australia.

2003

  • Buckley, B. (2003). Etiquette Ring. In: Target. Hood Gallery, Los Angelos, United States of America.
  • Buckley, B. (2003). Unthinkable: etiquette. In: Unthinkable: etiquette. Artspace Visual Arts Centre, Sydney, Australia.

2002

  • Buckley, B. (2002). The Slaughterhouse Project : The Light on the Hill. In: The Slaughterhouse Project : The Light on the Hill. University of Alabama at Birmingham. The Visual Arts Gallery, Birmingham, Alabama, United States of America.
  • Buckley, B. (2002). Why a Ceiling? The Visual Arts should embrace the PhD. 90th College Art Association Conference.

2001

  • Buckley, B. (2001). [ SUB ROSA ] .…and so I hasten to turn aside from this extraordinary heat. In: [ SUB ROSA ]. Contemporary Art Services Tasmania (CAST), Australia.
  • Buckley, B., Conomos, J. (2001). Introduction. In J. Conomos and B. Buckley (Eds.), Republics of Ideas: Republicanism, Culture, Visual Arts, (pp. 15-32). Australia: Pluto Press.
  • Buckley, B., Conomos, J. (2001). Republics of Ideas: Republicanism Culture Visual Arts. Australia: Pluto Press.

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