About

ACM003 (Self-Portrait)

 

Josh Foley, (B. 1983) holds a Bachelor of Contemporary Art (Hons) from the University of Tasmania. He has exhibited extensively throughout Australia and has received a number of prestigious awards, grants and residencies. His work is held in many public and private collections throughout Australia, notably, in the collection of the Queen Victoria Museum & Art Gallery.

In 2011 Josh won The John Glover Prize which is the richest landscape prize in Australia. Anthony Bond OAM, speaking in 2011, then Curator of International Art at the Art Gallery of New South Wales and head judge of the Glover prize 2011, said of Josh’s work; it’s “…talking about the whole history of the conventions of western painting.”

Selected recent residencies include, Bundanon, Illaroo, New South Wales (2016); Cite Internationale des Arts, Paris, France (2015). Recent commissions include, Tasmanian Government Artsite Scheme, Taroona High School, Taroona (2016); Tasmanian Government Artsite Scheme, Latrobe Primary School, Latrobe (2016).

Recent solo exhibitions include Blue Lines at MOP Projects: Hosted by Galerie pompom, Sydney (2015); Parametric Painting Institute at Gallerysmith Project Space, North Melbourne (2015); Transference at Devonport Regional Gallery, Devonport (2014); Caffeine as part of PAINTFACE Curated by Polly Dance at Constance ARI, Hobart (2014); The Parataxic Sublime at Kings ARI, Melbourne (2013); The Uncarved Block, at Outward Project, Launceston (2013).

Selected recent group exhibitions include The Black Swan Prize: Finalist Exhibition, Art Gallery of Western Australia, Perth (2016); The John Leslie Prize: Finalist exhibition, Gippsland Art Gallery, Gippsland (2016); Museum of Doubt, Curated By Dr Peter Hill at Despard Gallery, Hobart (2016); Exhaust, Curated By Erin Sickler at Contemporary Art Tasmania, Hobart (2016); Rick Amor Art Prize: Finalist Exhibition, Art Gallery of Ballarat, Ballarat (2016)The John Glover Prize: Finalist Exhibition, Falls Park Pavilion, Evandale (2016, 2015).

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