Born 1970, Melbourne, Victoria, Australia.
Lives and works in Melbourne.
Selected Solo Exhibitions | Selected Group Exhibitions | Other Projects | Selected Bibliography | Grants and Prizes
| 2019 | Composite Acts, Channels Festival, Abbotsford Convent, Melbourne |
| 2018 | Composite Images, Sutton Gallery, Melbourne |
| 2017 | David Rosetzky Photographs, Ten Cubed Collection, Melbourne |
| 2016 | Composite Portraits and Recent Photographic Work, Turner Galleries, Perth, Western Australia |
| 2015 | Untitled Portraits, Sutton Gallery, Melbourne True Self: David Rosetzky Selected Works, Devonport Regional Gallery, Devonport True Self: David Rosetzky Selected Works, Riddoch Art Gallery, Mount Gambier |
| 2014 | Gaps, Australian Centre of the Moving Image, Melbourne David Rosetzky, Ten Cubed Collection, Melbourne True Self: David Rosetzky Selected Works, Pica, Perth True Self: David Rosetzky Selected Works, Western Plains Cultural Centre, Dubbo True Self: David Rosetzky Selected Works, Bathurst Regional Art Gallery, Bathurst True Self: David Rosetzky Selected Works, Latrobe Regional Gallery, Morwell True Self: David Rosetzky Selected Works, Cairns Regional Gallery, Cairns |
| 2013 | True Self: David Rosetzky: Selected Works, Centre for Contemporary Photography, Melbourne |
| 2012 | Against Type, Sutton Gallery, Melbourne How to Feel, The Common Guild, Glasgow, Scotland |
| 2011 | How to Feel, Australian Centre for Contemporary Art, Melbourne Nothing Like This, Art Gallery of Ballarat, Ballarat |
| 2010 | ♥ Forever, Sutton Gallery, Melbourne |
| 2008 | Think of yourself as plural, Sutton Gallery, Melbourne One in five, Sutton Gallery Project Space, Melbourne |
| 2007 | David Rosetzky, Kings ARI, Melbourne Nothing Like This, Kaliman Gallery, Sydney Summer Blend, Le Case D’Arte Veterina, Milan Italy |
| 2006 | Worlds Apart, Sutton Gallery, Melbourne |
| 2005 | Self Defence, Contemporary Art Centre of South Australia, Adelaide |
| 2004 | Sutton Gallery, Melbourne Without You, Kaliman Gallery, Sydney |
| 2003 | Commune, Studio 12, Gertrude Contemporary Art Spaces, Melbourne Photographs, Kaliman Gallery, Sydney |
| 2002 | Weekender, Kaliman Gallery, Sydney Living together is easy, Hero apartments, Melbourne |
| 2001 | Weekender, 1st Floor Artists and Writers space, Melbourne |
| 2000 | Justine, 1st Floor Artists and Writers space, Melbourne Custom Made, Centre for Contemporary Photography, Melbourne |
| 1998 | Sarah, 1st Floor artists and writers’ space, Melbourne |
| 1997-98 | Society Lite, Dunedin Public Art Gallery, Dunedin, New Zealand |
| 1997 | Luke, Testrip, Auckland, New Zealand 1st Floor Artists and Writers space, Melbourne |
| 1995 | Building 40 project, Melbourne |
| 1994 | 1st Floor Artists and Writers space Melbourne |
Selected Group Exhibitions
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2019 |
Bauhaus Foto, Ballarat International Foto Biennale, Ballarat |
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2018 |
20/20: Celebrating twenty years with twenty new portrait commissions, National Portrait Gallery, Canberra |
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2017 |
Gardening is Not a Rational Act, c3 Gallery, Melbourne |
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2016 |
A Collecting Vision: Ten Cubed, Glen Eira City Council Gallery, Melbourne |
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2015 |
Cutting Edge: 21st Century Photography, Monash Gallery of Art, Melbourne |
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2014 |
So Long as You Move, Ark Galerie, Yogyakarta |
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2013 |
Limits of Language, Nomade Gallery, Hangzhou, China |
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2012 |
PICA Salon 2012, Perth Institute of Contemporary Arts, Perth |
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Beyond Like-ness: Contemporary Portraits, Lawrence Wilson Art Gallery, Perth |
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Self-Conscious: Contemporary Portraiture, Monash University Museum of Art, Melbourne |
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2011 |
South by Southeast: Recent Video Art from Australia and New Zealand, Tokyo Metropolitan Museum of Photography, Tokyo |
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Tender is the Night, City Gallery, Wellington, New Zealand |
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Face in a Crowd: New Portraiture, Ipswich Art Gallery, Ipswich |
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21st Century: Art in the First Decade, Queensland Art Gallery, Gallery of Modern Art, Brisbane |
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Face to Face: Portraiture in a Digital Age, Ayala Museum, Manila, Philippines; Seoul Art Museum, Seoul, South Korea |
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Self-Conscious: Contemporary Portraiture, Switchback Gallery, Churchill, Gippsland |
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2010 |
Mortality, Australian Centre for Contemporary Art, Melbourne |
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ART#1, Wangaratta Art Gallery, Wangaratta |
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TWMA CONTEMPORARY 2010, TarraWarra Museum of Art, Melbourne |
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Kaldor Public Arts Projects ‘Move: The Exhibition’, Gallery 2.1, Gallery of Modern Art, Brisbane |
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Face to Face: Portraiture in a Digital Age, The Art Centre, Chulalongkorn University, Bangkok, Thailand; Nanyang Academy of Fine Arts, Singapore |
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2009 |
Viewpoints & Viewing Points, 2009 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung City, Taiwan |
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Dress Codes: The Third ICP Triennial of Photography and Video, International Centre for Photography, New York, USA |
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Testing Ground, Fortyfivedownstairs, Melbourne |
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2008 |
To Make a Work of Timeless Art: Primavera Acquisitions, Museum of Contemporary Art, Sydney |
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Open Air: Portrait in the Landscape, National Portrait Gallery, Canberra |
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Face to Face: Portraiture in a Digital Age, Newcastle Art Gallery, Newcastle |
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The Dating Show, IMA @ TBC, Brisbane |
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My Doubtful Mind, Linden Centre for Contemporary Arts, Melbourne |
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Circle of Friends, Art Gallery of Western Australia, Perth |
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2007 |
Video Lounge, curated by Cecilia Alemani, Artissima, Turin, Italy |
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iDAP (Digital Art Projects) QUT, Queensland Australia; Songzhuang Art Museum, Beijing; national tour of Japan (2008) |
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Intimacy, Ivan Dougherty Gallery, Sydney |
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Raised By Wolves, Art Gallery of Western Australia, Perth |
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2006 |
Crowds / Conversations / Confessions, Art Gallery of Alberta, Edmonton, Canada |
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2006 Adelaide Biennial of Australian Art: ‘21st Century Modern’, Art Gallery of South Australia, Adelaide |
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Home Goal: Diversity in Contemporary Art from the Collection of Dr Dick Quan, Bathurst Regional Art Gallery, Bathurst |
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Fantastic Voyage, Kaliman Gallery, Sydney |
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Drawn from the Collection, National Gallery of Victoria, Melbourne |
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2005 |
Remote Control, National Gallery of Victoria, Melbourne |
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Press Pause: Recent Australian Video Installations, Queensland Art Gallery, Brisbane |
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Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, Monash University Museum of Art, Melbourne |
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Gallery Artists, Kaliman Gallery, Sydney |
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2004/5 |
Anne Landa Award, Art Gallery of New South Wales, Sydney |
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I thought I knew but I was wrong, an Asialink and Australian Centre for the Moving Image touring exhibition in Asia, including Chulalongkorn University, Bangkok, Thailand; Nanyang Academy of Fine Arts, Singapore; Ssamzie Space, Seoul, South Korea |
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2004 |
Slow Rushes, Contemporary Art Centre, Vilnius, Lithuania |
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2004 Australian Culture Now, Australian Centre for the Moving Image, Melbourne |
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Swoon, Australian Centre for Contemporary Art, Melbourne |
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Living Together is Easy, Art Tower Mito, Mito, Japan and National Gallery of Victoria, Melbourne |
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2004 Adelaide Biennial of Australian Art: Contemporary Photo-media, Art Gallery of South Australia, Adelaide |
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2003 |
The Future in Every Direction, National Gallery of Victoria, Melbourne |
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Gertrude Studios 2003, Gertrude Contemporary Art Spaces, Melbourne |
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Face Up – Contemporary Art from Australia, Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany |
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New 03, Australian Centre for Contemporary Art, Melbourne |
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Staring in the Dark, Australian Centre for Photography, Sydney |
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2002 |
Gertrude Studios 2002, Gertrude Contemporary Art Spaces, Melbourne |
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Melbourne Piece By Piece, Room, Rotterdam, the Netherlands |
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BitterSweet, Art Gallery of New South Wales, Sydney |
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Love Stories, 1st Floor Artists and Writers Space, Melbourne |
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Art on Paper 02, Kaliman Gallery, Sydney |
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Happiness, Perth Institute of Contemporary Arts, Perth |
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Screen Life, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain |
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Connections, Contemporary Artists from Australia, House of Croatian Artists, Zagreb, Croatia |
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2001 |
Artful Park, Centennial Park, Sydney |
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Happiness, Adam Art Gallery, Wellington, New Zealand |
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hybrid forms, Netherlands Media Art Institute, Amsterdam, the Netherlands |
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2000 |
Heart On Your Sleeve, Plimsoll Gallery, Hobart |
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Outer Limits, Video lounge, Millennium Film Workshop, New York, USA |
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Rent, Overgaden – Institut for Samtidskunst, Copenhagen, Denmark, and Australian Centre for Contemporary Art, Melbourne |
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Mayonnaise, 1st Floor Artists and Writers Space, Melbourne |
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Pixelvision, Collective Gallery, Edinburgh, Scotland |
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1999 |
The Persistence of Pop, Monash University Gallery, Melbourne |
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The 1999 Moët & Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide; Art Gallery of New South Wales, Sydney; RMIT Gallery Storey Hall, Melbourne; National Gallery of Australia, Canberra |
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1998 |
Steven Birrel and David Rosetzky, Transmission Gallery, Glasgow, Scotland |
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Habitat, Centre for Contemporary Photography, Melbourne |
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Hype: Fashion Art and Advertising, RMIT Gallery Storey Hall, Melbourne |
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Likeness, 1st Floor Artists and Writers Space, Melbourne |
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All This and Heaven Too – 1998 Adelaide Biennial of Contemporary Art, Art Gallery of South Australia, Adelaide |
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1997 |
ambient (male) identity, Contemporary Art Centre of South Australia, Adelaide |
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Objects and Ideas: Revisiting Minimalism, Museum of Contemporary Art, Sydney |
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Juice, Art Gallery of New South Wales, Sydney |
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1996 |
Lifestyle, 200 Gertrude Street, Melbourne |
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Primavera, Museum of Contemporary Art, Sydney |
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Jessica Rankin, David Rosetzky, 1st Floor Artists and Writers Space, Melbourne |
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1995 |
Blow Up, Roslyn Oxley9 Gallery, Sydney |
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David Rosetzky, Megan Woodward, 1st Floor, Melbourne |
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1994 |
1st Floor Group Show 2, 1st Floor Artists and Writers Space, Melbourne |
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1992 |
Hearts and Minds, Store 5, Melbourne |
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1990 |
10 Animals, Store 5, Melbourne |
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2003 |
Reservoir of Giving 1 & 2, collaboration with choreographer Lucy Guerin as part of Plasticine Park live dance performance at ACMI, Melbourne International Arts Festival |
Commissions
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2019 |
Portrait of the Honourable Alex Chernov AC QC for the Peter O’Callaghan QC Gallery Foundation |
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2018 |
Portrait of Jessica Mauboy for the National Portrait Gallery, Canberra |
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2011 |
How to Feel, ACCA Commission, Australian Centre for Contemporary Art, Melbourne |
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2008 |
Lindsey, The Gertrude Edition, Gertrude Contemporary Art Spaces, Melbourne |
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Portrait of Cate Blanchett, commissioned for the opening of the new National Portrait Gallery, Canberra, with funds provided by Ian Darling |
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2004 |
Maniac de Luxe, commissioned by the Australian Centre for the Moving Image, Melbourne, for the exhibition 2004 Australian Culture Now |
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2003 |
Untouchable, commissioned by the Australian Centre for Contemporary Art, Melbourne, for the exhibition New 03 |
Residencies
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2013 |
Monash University Prato Centre Visual Residency, Prato, Italy |
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2011 |
CultureLAB, Arts House, Melbourne, Australia |
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2009 |
Australia Council Residency, Milan, Italy |
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1997 |
Artist in residence, Dunedin Public Art Gallery, Dunedin, New Zealand |
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1998/9 |
Artist in residence, Glasgow School of Art Masters Program, part of Morning Star Evening Star: Melbourne–Scotland Cultural Exchange |
Collections
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Art Gallery of New South Wales, Sydney |
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Art Gallery of South Australia, Adelaide |
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Art Gallery of Western Australia, Perth |
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Australian Centre for the Moving Image, Melbourne |
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Ipswich Art Gallery, Ipswich |
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The Michael Buxton Contemporary Australian Art Collection, Melbourne |
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Monash Gallery of Art, Melbourne |
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Monash University Museum of Art, Melbourne |
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Murdoch University Art Collection, Perth |
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National Gallery of Victoria, Melbourne |
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National Gallery of Australia, Canberra |
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National Portrait Gallery, Canberra |
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Newcastle Art Gallery, Newcastle |
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Queensland Art Gallery & Gallery of Modern Art, Brisbane |
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Ten Cubed Collection, Melbourne |
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2011 |
Modra, P, ‘How to feel’, The Age, 29 Aug |
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Rule, D, ‘David Rosetzky’s How to Feel at ACCA’, Broadsheet, 19 Aug, http://www.broadsheet.com.au/melbourne/arts-and-entertainment/article/david-rosetzkys-how-feel-acca |
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Palmer, D, ‘The difficulty of being oneself’, Art & Australia, Vol 48 No 3, Autumn 2011, pp 486–93 |
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2010 |
Barrett, O, ‘David Rosetzky’, ART#1, exhibition catalogue, pp 20–1 |
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Nelson, R, ‘Fantasy of an unsoiled present’, The Age, 30 Nov |
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Rule, D, ‘David Rosetsky: (heart) Forever’, Broadsheet, 10 Nov, http://www.broadsheet.com.au/melbourne/arts-and-entertainment/article/david-rosetzky-forever |
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Rule, D, ‘Around the Galleries’, The Age, 20 Nov |
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Vaughan, G, ‘David Rosetzky’, TWMA Contemporary 2010, exhibition catalogue, pp 22–3 |
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2009 |
Dress Codes: The Third ICP Triennial of Photography and Video’, Dress Codes, exhibition catalogue, New York: International Center of Photography, 2009 |
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Engberg, J, ‘Person incognita’, Art & Australia, Vol 46 No 4, Winter 2009, pp 584–5 |
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Smith, R, ‘Beyond a Simple Fashion Statement’, The New York Times, Weekend, 8 Oct |
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2008 |
‘David Rosetzky’, in Current: Contemporary Art from Australia and New Zealand, edited by Art & Australia, Paddington, NSW: Dott Publishing, pp 280–3 |
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Annear, J, ‘Blank Face’, Art & Australia, Vol 46 No 2, Summer 2008, pp 276–85 |
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Chapman, C, ‘Being Cate’, Portrait 31, Autumn 2008, pp 28–30 |
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Jinman, R, ‘Cate’s laid back approach to a digital portrait’, Sydney Morning Herald, 22 Nov, p 3 |
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Millner, J, ‘Australian Video Art since 1980s’, Video Logic, exhibition catalogue, Museum of Contemporary Art, Sydney |
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Stephens, A, ‘Too close for comfort’, The Age, A2 section, 11 Oct, pp 16–7 |
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Stephens, A, ‘An ever-shifting sense of self’, The Age, A2 section, 20 Dec, pp 12–3 |
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Zagala, A, ‘David Rosetzky’, Art & Australia, Vol 46 No 3, Autumn 2009 |
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2007 |
Cook, R, ‘Lifestyle Sublime: David Rosetzky’, Art Papers, Issue 32, Oct/Nov |
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Cook, R, ‘David Rosetzky’, Raised by Wolves, exhibition catalogue, Art Gallery of Western Australia, Perth |
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Cook, R, Circle of Friends, exhibition catalogue, Art Gallery of Western Australia, Perth |
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Dwyer, C, ‘50 Most Collectable Artists – David Rosetzky’, Australian Art Collector, Issue 39, Jan/Mar, pp 184–5 |
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Webb, P, ‘Rosetzky’s consuming passion enacted with grace’, The Age, 20 Jun |
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Coslovich, G, ‘The tyranny of distance for Australian art, The Age, 7 Jul |
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2006 |
Sullivan, E, ‘Modernism is Back! 21st Century Modern: 2006 Adelaide Biennial of Australian Art’, Art Monthly, Issue 190 |
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Glass, A, ‘David Rosetzky: Maniac De Luxe’, 21st Century Modern: 2006 Adelaide Biennial of Australia Art, exhibition catalogue, Art Gallery of South Australia, Adelaide |
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Michael, L, (ed), 21st Century Modern: 2006 Adelaide Biennial of Australia Art, exhibition catalogue, Art Gallery of South Australia, Adelaide |
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Zenko, D, ‘Taking technology over to the dark side’, Vue Weekly, 9 Mar, Alberta, Canada |
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Perram, R, Home Goal: Diversity in Contemporary Art from the Collection of Dr Dick Quan, exhibition catalogue, Bathurst Regional Art Gallery, Bathurst |
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2005 |
Dwyer, T; Huppatz, DJ and Tutton, S, ‘Camping and Tramping: 1st Floor Artists and Writers Space 1994–2002, Pitch Your Own Tent, exhibition catalogue, Monash University of Art, Melbourne, pp 74–104 |
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Millner, J, ‘Anne Landa Award’, review, Contemporary Visual Arts & Culture Broadsheet, Vol 34 No 1, Mar–May |
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Brennan, B, ‘Video Hits’, profile, Vogue Living, Australia, May/Jun |
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Palmer, D, (ed), ‘Relations’, Photogenic: essays, photography, CCP 2000–2004, Melbourne: Centre for Contemporary Photography and Ellikon Press, pp 40–1 |
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Zagala, M, Drawn from the collection, exhibition catalogue, National Gallery of Victoria, 2005, pp 16–7 |
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Tutton, S, ‘David Rosetzky & the Art of Self Defence’, David Rosetzky, David Haines, exhibition catalogue, Contemporary Art Centre South Australia, Adelaide |
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Rhodes, K, Remote Control – Contemporary Photomedia, exhibition catalogue, National Gallery of Victoria, Melbourne |
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Marsh, A, ‘Piercing the subject: 21C anxiety in the works of David Rosetzky’, Eyeline, Issue 57, pp 16–8 |
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2004 |
Hill, P, ‘State of original cine’, The Sydney Morning Herald, Weekend, 8–9 Jan |
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Backhouse, M, ‘Drawn-out control quest’, The Age, Review section, 11 Dec, p 7 |
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Nelson, R, ‘Australian Culture Now’, The Age, 23 Jun |
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Nelson, R, ‘Swoon’, The Age, review, 9 Jun |
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Coates, R, Swoon, exhibition catalogue, Australian Centre for Contemporary Art, Melbourne, p 34 |
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Engberg J, Swoon, exhibition catalogue, Australian Centre for Contemporary Art, Melbourne, pp 3–4 |
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Frost, A, ‘Trouble in Paradise’, Australian Art Collector, Issue 28, Apr–Jun, pp 74–7 |
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Chapman, C, ‘Mesh, Artists Profile: David Rosetzky’, Contemporary Visual Arts & Culture Broadsheet, Vol 33, No 4 |
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Strachan, L, ‘Taking a slow burn to phony lifestyles’, The Age, ‘Review’, 13 Mar, p 7 |
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Engberg, J, ‘The last days of disco’, 2004 Adelaide Biennial of Australian Art: Contemporary Photo-media, exhibition catalogue, Art Gallery of South Australia, Adelaide |
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Wahjudi, C, ‘Face up – Contemporary Art from Australia’, review, Kunstforum International, No 168 Jan/Feb, pp 284–5 |
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2003 |
Palmer, D, ‘New 03: David Rosetzky & Daniel von Sturmer’, Photofile, Issue 69 |
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Engberg, J, ‘Loop-back, New Australian Art in Berlin’, Artlink, Vol 23 No 3 |
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Engberg, J, New 03, exhibition catalogue, Australian Centre for Contemporary Art, Melbourne |
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Tunnicliffe, W, ‘Untouchable’, New 03 exhibition catalogue, Australian Centre for Contemporary Art, Melbourne |
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2002 |
Cook, R, ‘Happiness’, review, Contemporary Visual Arts & Culture Broadsheet, Vol 31, No 4 |
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Geczy, A, ‘Crypto-realism’, Art Monthly Australia, issue 151 |
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Storer, R, ‘Look At Me’, Photofile, issue 65, May |
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Genocchio, B, ‘Twitchy escapist impulses’, The Weekend Australian, May 4 |
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Tunnicliffe, W, BitterSweet, exhibition catalogue, Art Gallery of New South Wales, Sydney |
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Stipancic, B, Connections, Contemporary Artists from Australia, exhibition catalogue, House of Croatian Artists, Zagreb |
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Delany, M and Koop, S, Screen Life, exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia, Madrid |
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2000/1 |
Klaosen, D, ‘Voyeurism, vulnerability and Elvis’, Real Time, Dec/Jan, p 31 |
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Loxley, A, ‘A stroll in the park…’, Sydney Morning Herald, 5 Dec |
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Stanhope, Z, ‘Photogenic’, Weekender, exhibition catalogue, 1st Floor Artists and Writers Space, Melbourne |
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Day, C, Happiness, exhibition catalogue, Adam Art Gallery, Wellington, New Zealand |
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2000 |
Turner, R, and Xu, M, ‘Ten Takes’, Australian Style, Issue 50, pp 68–77 |
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Hjorth, L, ‘Custom Made’, review, Artlink, Vol 20 No 3, pp 93–4 |
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Rossiter, N, ‘Custom made confessions at CCP’, RealTime, No 38, Aug |
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Palmer, D, Custom Made, exhibition catalogue, Centre for Contemporary Photography, Melbourne |
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Tutton, S, Custom Made, exhibition catalogue, Centre for Contemporary Photography, Melbourne |
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Petrie, A, ‘The portraits that move’ Melbourne Yarra Leader, 14 Feb, p 3 |
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Palmer, D, ‘Mayonnaise’, review, Frieze, No 53, Jun–Aug |
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Nelson, R, ‘Puff and nonsense’, review, The Age, 16 Feb |
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Nelson, R, ‘Signs jostle in a posh forum’, review, The Age, 14 Jun |
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Day, C, ‘Absorbing Summer Blend’, Like, Art Magazine, No 12 |
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Day, C, ‘Interview with Peter Hill’, Photofile, No 59, Apr |
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Travis, L, ‘Signs of the Times, Art, Music and Fashion’, Good Thinking, |
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1st Floor Artists and Writers Space |
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Huppatz, DJ, ‘Lifestyle Portraits’, Good Thinking, 1st Floor Artists and Writers Space |
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1999 |
Brown, S, ‘Give me something to believe in’, Moët & Chandon Touring Exhibition, exhibition catalogue, National Gallery of Australia, Canberra |
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Travis, L, ‘Running for their lives’, The Age, Today Arts section, 23 Jun, p 7 |
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Hudson, S, ‘Selling direct to the public’, Herald Sun, 20 Aug |
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1998 |
O’Connell, S, ‘Buttercup’, All This and Heaven Too – 1998 Adelaide Biennial of Contemporary Art, exhibition catalogue, Art Gallery of South Australia, Adelaide |
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Clabburn, A, ‘Breaking through the barriers to intimacy’, review, The Age, Living.Arts, 20 May |
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King, N, Private parts, exhibition catalogue, Monash University Gallery, Melbourne |
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Chapman, C, ‘The Real Deal’, Art & Australia, Vol 35 No 3, Autumn |
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McKenzie, R, ‘Being and Time; The New Existentialism’, Beaux Arts, No 168, May |
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1998/7 |
Porter, G, Society Lite, catalogue essay, Dunedin Public Art Gallery, Dunedin |
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DJ Huppatz, Society Lite, catalogue essay, Dunedin Public Art Gallery, Dunedin |
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1997 |
Tunnicliffe, W, Juice, exhibition catalogue, Art Gallery of New South Wales, Sydney |
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Tutton, S, ‘The Real Thing’, Like, Art Magazine, No 2 |
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Gibson, J, ‘Primavera 96’, review, Art + Text, Issue 56 |
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1996 |
Cramer, S, Primavera 96, exhibition catalogue, Museum of Contemporary Art, Sydney |
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Tutton, S, ‘…And how does that make you feel?’, Primavera 96, exhibition catalogue, Museum of Contemporary Art, Sydney |
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Travis, L, Lifestyle, exhibition catalogue, 200 Gertrude Street, Melbourne |
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1995 |
King, N, Blow Up, exhibition catalogue, Roslyn Oxley9 Gallery, Sydney |
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Jelbart, ML, ‘A space of their own’, Herald Sun, 27 Sep, p 58 |
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Dwyer, T, ‘Little han(d)s make light work’, Little Hans, exhibition catalogue, The Building 40 Project, Royal Melbourne Institute of Technology, Melbourne |
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Dwyer, T, Tutton S and Walker, L, David Rosetzky, Megan Woodward, exhibition catalogue, 1st Floor Artists and Writers Space, Melbourne |
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1994 |
Chapman, C, Conceptual Vertigo, ‘New object art from Australia’, Midwest No 6, Dunedin, pp 31–5 |
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2020 |
Melbourne City Council Quick Response Arts Grant |
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2019 |
Australia Council Arts Projects Grant |
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2007 |
Creation Grant, Arts Development, Arts Victoria |
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2006 |
New Work Grant, Visual Arts Board, Australia Council |
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2005 |
Inaugural Anne Landa Art Award for Moving Image and New Media Art, Art Gallery of New South Wales |
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2003 |
Arts Victoria, Arts and Professional Development – Presentation |
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2002 |
Arts Victoria, Arts Development, Travel Grant |
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1999 |
Australia Council New Media Arts Fund, New Work |
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City of Yarra, Arts Grant |
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Arts Victoria, Arts Development, New Work |
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Besen Family Foundation, Arts Grant |
David Rosetzky is represented by Sutton Gallery, Melbourne, Australia.
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