Past Selection Committee

Paris Neilson 

Paris Neilson is the former manager and curator of Sydney's White Rabbit Gallery, house of one of the world’s largest and most significant collections of Chinese contemporary art. Paris also sits on the board for the Biennial of Sydney and the Neilson Foundation and is a passionate collector and philanthropist. 

Dick Quan  

Dr Dick Quan is not only a founding director of Holdsworth House Medical Practice, but is one of Australia’s most respected collectors of contemporary art.

Based in Sydney, Dr Quan has contributed a huge amount of time and support to a myriad of different boards associated with contemporary art, including Sydney Contemporary Art Fair 2013, Foundation of the Museum of Contemporary Art Asutralia, Art Gallery Society of NSW, Contemporary Collection of Benefactors AGNSW, Gallery 4 A, Asia Australia Art Centre (Chair), START committee MCA Australia, Opera Australia (youth group), and ART MONTH SYDNEY Australian Art Fair Foundation.

Dr Quan has contributed to publications such as Art Basel / Year 44: Interview at ART BASEL HK 2013, and often loans parts of his extensive collection to museums.

Mikala Dwyer  

Mikala Dwyer was born in 1959. She lives and works in Sydney. She is represented by Roslyn Oxley9, Sydney. Anna Schwartz Gallery, Melbourne. Hamish McKay gallery NZ.

Selected solo exhibitions:

The garden of half life,  Sydney University Gallery 2014. Hollowwork, Anna Schwartz Gallery Melbourne 2014, Goldene Bender, ACCA, Melbourne 2013 and Teksas Denmark 2013. Panto Collapsar, Project Arts, Dublin, 2012; Divinations for the real thing, Roslyn Oxley9 Gallery, Sydney, 2012; Mikala Dwyer: drawing down the moon, Institute of Modern Art, Brisbane, 2012; The Silvering, Anna Schwartz Gallery, Melbourne (2011); Square Cloud Compound, Hamish Morrison Galerie, Berlin, 2010; Outfield, Roslyn Oxley9 Gallery, 2009; Swamp geometry, Anna Schwartz Gallery, 2008; Mono Clinic, Hamish McKay Gallery, NZ, 2008; Costumes and empty sculptures, Institute of Modern Art, 2008; The addition and subtractions and the hanging garden, Kunstraum, Potsdam, 2007; The shape of thoughts own making, Peleton, Sydney, 2007; Art lifts, National Gallery of Australia, Canberra, 2002; Mikala Dwyer, Museum of Contemporary Art, Sydney, 2000; My home is your home, Floating old man, Selfshelf, Chapter Arts Centre, Cardiff, Wales, 2000; I.O.U., C.B.D. Gallery, Sydney, 1998; Hollow-ware & a few solids, Sarah Cottier Gallery, Sydney and Australian Centre of Contemporary Art, Melbourne, 1995; and Sad songs, Artspace, Sydney,1995;

Selected group exhibitions:

2015 Deeply Highly Eccentic, Winchester gallery, Winchester School of Art, Hampshire UK. Glazed and Confused, Hazlehurst Gallery 2014, Curator -Prima Vera, MCA, 2014. Sydney. Silly Canvas, Utopian Slumps, Melbourne 2014,You Imagine What You Desire, Sydney Biennale, 2014. The End of the 20th Century. The Best is Yet to Come. A Dialogue with the Marx Collection, Hamburger Bahnhof National Galerie Berlin, 2013. Plus ou Moins Sorcières, Maison Populaire, Paris, 2012; Abstraction and the body, Anna Schwartz Gallery, Sydney, 2012 Less is more: minimal and post-minimal art in Australia, Heide Museum of Modern Art, Melbourne, 2012; Monanism, Museum of Old and New Art, Hobart, 2011; Beauty of distance: songs of survival in a precarious age, Biennale of Sydney, 2010; Before and after science, Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2010; Mirror mirror: then and now, Institute of Modern Art, Brisbane; Tin Sheds Gallery, Sydney and Samstag Museum of Art, Adelaide, 2009; Lost and found: an archeology of the present, TarraWarra Biennial, Healesville, 2008; High Tide, Zacheta National Gallery, Warsaw and CAC Vilnius, Lithuania, 2006; De Overkant /Down Under, Den Haag Sculptuur, The Netherlands, 2007; Face up: contemporary art from Australia, Hamburger Bahnhoff, Berlin, 2003; This was the future… Australian sculpture of the 1950s, 60s, 70s + today, Heide Museum of Modern Art, 2003; Fieldwork: Australian art 1968-2002, National Gallery of Victoria, Melbourne, 2002; Monochromes, University Art Museum, University of Queensland, Brisbane, 2000; Contempora 5, Ian Potter Museum of Art, the University of Melbourne, 1999; The infinite space: women, minimalism and the sculptural object, Ian Potter Museum of Art, the University of Melbourne, 1998; Close quarters: contemporary art from Australia and New Zealand, Australian Centre for Contemporary Art, Melbourne; Canberra School of Art; and Govett Brewster Art Gallery, New Plymouth, 1998; The aberrant object: women Dada and Surrealism, Museum of Modern Art at Heide, year?; OrientATION: 4th International Istanbul Biennale, Turkey, 1995; A night at the show, Field, Zurich, 1994; Australian Perspecta Art Gallery of New South Wales, Sydney, 1993; and Primavera, Museum of Contemporary Art, Sydney, 1992.

Selected bibliography:

Mikala Dwyer, Drawing Down the Moon, IMA catalogue. Mikala Dwyer, Goldene Bend’er, ACCA catalogue, Mikala Dwyer, The Garden of Half-Life, University Art gallery, Sydney University, catalogue, Anthony Byrt, ‘Frontier Spirits’, Frieze, no. 139, 2011; An Apparition of a Subtraction, The beauty of distance: songs of survival in a precarious age, Biennale of Sydney, exhibition catalogue, 2010; Before and after science, Biennial of Australian Art, Charlotte Day/Sarah Tutton, exhibition catalogue, 2009; Anne Loxley, ‘Mikala Dwyer: coalescence and dissolution’, Art World, June-July, 2008; Susan Rothnie, ‘Mikala Dwyer in conversation with Susan Rothnie’, Eyeline, no.55, 2004; Anne Loxley, 'A stroll in the park to exercise mind and body', Sydney Morning Herald, 5 December, 2001; Hannah Scott, 'Plastika', Govett-Brewster Art Gallery, summer, 2001; Edward Colless, ‘untitled’, Mikala Dwyer, I exhibition catalogue, Museum of Contemporary Art, Sydney, 2000; Benjamin Genocchio, 'Alchemy with a mischievous touch', Sydney Morning Herald, 29 December, 2000; Linda Michael, 'The little temples of love for the dead things', Mikala Dwyer, exhibition catalogue, Museum of Contemporary Art, Sydney, 2000; Rachel Kent, ‘Minimalism past and present', Infinite space: women, minimalism and the sculptural object, exhibition catalogue, Ian Potter Museum of Art, the University of Melbourne, 1999; Toni Ross, 'Mikala Dwyer', Contempora5, exhibition catalogue, National Gallery of Victoria, Melbourne, 1999; Toni Ross, 'The trouble with spectator-centred criticism: encountering Mikala Dwyer's art with Eva Hesse and minimalism', Eyeline, no. 35, 1997; Edward Colless, 'Undon', Mikala Dwyer, Museum of Contemporary Art, Sydney, 1996; Benjamin Genocchio, ‘Mikala Dwyer: woops’, Eyeline, no.25, 1994; Felicity Fenner, 'Coming up: the lowdown art of Mikala Dwyer', Art and Australia, vol. 31, no.2, 1993; Jeff Gibson, 'Avant-grunge', Art+Text, no.45, 1993; and Linda Michael, Primavera: The Belinda Jackson exhibition of young artists, exhibition catalogue, Museum of Contemporary Art, Sydney, 1992.

Virginia Wilson 

Virginia Wilson has worked as a Sydney based independent fine art adviser for over a decade. She specialises in commissioning large scale public art for government, commercial and residential developments.

She has worked with Deutsche Bank for a decade on their Australian collection of free standing and site specific artworks.

In early 2009, Virginia created THE WILLOW ART GROUP to support the grass-roots art scene and has instigated 2 charity events, The Rug Project and Out of the Comfort Zone. She is a founding member of the Art Consultants Association of Australia and is on the executive committee.

Megan Robson 

Megan Robson is Assistant Curator at the Museum of Contemporary Art Australia, where she recently curated the exhibitions Martu Art from the Far Western Desert (co-curated with Anna Davis) (2014) and MCA Collection: New Acquisitions in Context (2013). She has worked across a range of exhibitions at MCA Australia including Sylvie Blocher, Runa Islam, Anish Kapoor, Christian Marclay: The Clock, Annette Messager: motion / emotion and string theory: Focus on contemporary Australian art.

Previously she has worked for a number of art organisations in Australia and the UK, including the Barbican Centre, London and the Biennale of Sydney. She received an MA from Goldsmiths College, University of London and a BA (Hons) from the College of Fine Arts, University of New South Wales. She has developed a number of independent curatorial projects and writes regularly on contemporary art. In 2011, Megan received an Asialink grant to undertake curatorial research in Hong Kong with co-curator Joel Mu.