Lyndall Milani first engaged with the Brisbane art scene during the 1970s. In the early 70s she became a member of the Sculpture Society and participated in various exhibitions and workshops organised by the society. In 1979 Lyndall was encouraged by the head of the Sculpture Department, Len Shillam, to attend The Qld College of Art, first as a miscellaneous student, then as a ‘resident independent artist’.
It was here she met a group of students some of whom (Jeanelle Hurst, Russell Lake Adam Boyd) became early initiators of the ARI scene. In 1982 Lyndall was for a while a member of Red Comb House, and subsequently an early participant in John Mills Himself, producing a site-specific installation there in 1984. During this time there was a lot of interaction within each other’s work, and across ARI spaces, which was stimulating and productive. Jay Younger, John Waller, Wayne Smith, Jane Richens, Virginia Barratt, members of THAT Contemporary Art Space, became colleagues and collaborators as a result of the interactions within the ARI scene.
The majority of Lyndall’s works were ephemeral installations, often accompanied by performances. Sometimes the performances were part of the production and evolution of the installation over the duration of the exhibition. In these what was being performed (therefore also exhibited) was ‘the agency’ or ‘the work’ of the artist. At other times, the performances were enacted in the landscape and the photographic and video documentation was exhibited in conjunction with the installation. Plants became a living element of many of the artworks during the eighties while our relationship to the environment was often the lens through which the works were conceived.
Video has featured as part of the work since the mid eighties. The early work was related to the documentation of ephemeral processes and performances. Video became a more central aspect of the artwork when affordable Hi8 cameras became available in the early nineties. This resulted in a video based installation in 1993 and Lyndall continues to utilise video as a primary medium. In 2013 a complex multimedia artwork TANGENT intervened into and re-animated news and current affairs footage as an aspect of the installation. She continues to source subject matter and images from the international news cycle.
During her career she has been the recipient of a number of awards and fellowships and in 1998 she was awarded a six month Residency with Bligh Voller Nield, architects, Brisbane. Lyndall collaborated with architects and landscape architects on a number of public art projects prior to completing her Doctorate through QUT Creative Industries in 2004. From 2004-2006 Lyndall worked part time as a researcher and educator for Griffith and Qld Universities respectively.
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Various Private Collections
2004 PhD (Divining Author(ity): co-evolutions in public places: evolution, creativity and the Visual Arts: a woman’s perspective, Creative Industries Research and Applications Centre, QUT.
1996 QUT Postgraduate Research Award
1993 Arts Queensland, V.A.C&D.B. – Fellowship Grant
1992 Australia Council, V.A.C.B. – Overseas Studio Grant
1988 Australia Council, V.A.C.B. – Project Grant
1985 Australia Council, V.A.C.B. – Project Grant
2000 Strand Redevelopment, Townsville, Strand Park integrated Artwork, Landscape 10: Hambeluna, a collaboration with Walter Smith and Associates
1999 Brisbane City Mall Redevelopment, Landscape 8: Confluence, Albert St Water Feature, with John Mainwaring, and Bligh Voller Nield, Architects
1998 Architecture Dept., QUT, Gardens Point, Brisbane, Landscape 7: Limina, a collaboration with Bligh Voller Nield, Architects
1998 Bligh Voller Nield, Architects, Brisbane, Artist in Residence (Arts Queensland)
SELECTED GROUP EXHIBITIONS
1996 Artlink – Sequinz: A survey of electronic art from Australia – a CD Rom publication of interactive multimedia art works, ‘Determinate Body’, in collaboration with Glenda Nalder
1995 Noosa Regional Gallery, Tewantin – Zero One: Digital Shifts 2, ‘Between Zero & One: Body Image’ a collaboration with Glenda Nalder
1995 Q.U.T. Art Gallery, Brisbane – Art and Technology: Recent works
1995 Plimsoll Gallery, Centre for the Arts, Hobart – Out of the Analogue
1994 Institute of Modern Art, Brisbane, Knowing the Sensorium, a collaboration with Jump-up-Arts
1994 Ivan Dougherty, Sydney, 25 Years of Performance Art
Institute of Modern Art, Brisbane, 25 Years of Performance Art
Experimental Art Foundation, Adelaide, 25 Years of Performance Art
Perth Institute of Contemporary Art, 25 Years of Performance Art
Aust. Centre of Contemporary Art, Melb. – 25 Years of Performance Art
1991 Penrith Lakes, Aust. Perspecta, (West. Sites), ‘Landscape 6’
1990 Heide Park and Art Gallery, 4th Australian Sculpture Triennial, ‘Landscape 5: Labyrinth’
1990 Qld. Art Gallery, Brisbane, Reference Points
1988 Mildura Arts Centre, 10th Mildura Sculpture Triennial, ‘Landscape 4: Temple’
1988 Qld. College of Art Gallery, Griffith University, Work to Screen (Projecting Performance)
1983 Institute of Modern Art, Brisbane, No Names, ‘Altered Perspectives’
SELECTED INDIVIDUAL INSTALLATION AND PERFORMANCES
2013 The Block, QUT Creative Industries, KG, Tangent
1993 Qld. College of Art Gallery, Griffith University, Viaggi
1991 Linden Gallery, Melbourne, Installation’91
Noosa Regional Gallery, Installation’91
1990 Qld. Art Gallery, Brisbane, Complicity l 2 3
1990 Institute of Modern Art, Brisbane, Evolution
1989 College Gallery S.A.C.A.E, Adelaide, Floating Shrine
Gryphon Gallery, Melbourne University, Floating Shrine
Irving Galleries, Sydney, Floating Shrine
1987 Bonython Meadmore Gallery, Adelaide, Landscape 3: Shrine
1985 Qld. Art Gallery, Brisbane, Landscape 2: Sentinel
1984 Institute of Modern Art, Brisbane, Landscape 1: Mandala