https://countess.report countess.report Sun, 28 Apr 2024 01:38:00 +0000 https://countess.report en https://countess.report/home-acknowledgement Wed, 05 Jul 2023 00:21:19 +0000 countess.report https://countess.report/home-acknowledgement Countess.Report was founded in Naarm on Wurundjeri Woi Wurrung Country. We pay our respects to the Traditional Owners of this land and waterways, the Wurundjeri Woi Wurrung people of the Kulin Nation, as well as their Elders, past and present. We recognise and respect the deep and enduring spiritual connections and relationship Aboriginal and Torres Strait Islander people have with the land, waterways, sea and sky, their country, community, and culture. Furthermore, we acknowledge and pay our respects to Indigenous, First Nations people, and other Traditional Custodians of the many lands where Countess.Report works around the world. We acknowledge that the land we live, work, and play on, always was, and always will be, Aboriginal land. Sovereignty was never ceded. ︎︎︎ https://countess.report/2022-Countess-Report Wed, 05 Jul 2023 00:32:45 +0000 countess.report https://countess.report/2022-Countess-Report The 2022 Countess Report is now available for download <img width="1830" height="1239" width_o="1830" height_o="1239" data-src="https://freight.cargo.site/t/original/i/2db509cdf21ca199b9f01bdf7e2b419ae7b0d18262b37c385b4be0b4e064ed20/thetoken-landscape-2022TCR.jpg" data-mid="209869396" border="0" src="https://freight.cargo.site/w/1000/i/2db509cdf21ca199b9f01bdf7e2b419ae7b0d18262b37c385b4be0b4e064ed20/thetoken-landscape-2022TCR.jpg" /> Join co-editors Miranda Samuels and Shevaun Wright who will present the methodologies and findings of the 2022 Countess Report ︎︎︎ ACCA, Melbourne 6pm Thursday 2nd May 2024 ︎︎︎ Griffith University Brisbane, 5pm Wednesday 8th May︎︎︎Artspace, Sydney 130pm Saturday 11th May 2024 ︎︎︎DOWNLOAD The 2022 Countess Report. The 2022 Countess Report is here, our third comprehensive report on gender representation in the Australian art sector. Co-edited by Miranda Samuels and Shevaun Wright, the report continues Countess’s long standing inquiry into the structures and frameworks that govern artistic production and legitimation in the Australian contemporary art world, and has been expanded to include analysis of First Nations representation. &nbsp; The report analyses gallery and museum exhibition data as well as data on artist education, prizes, funding, organisational governance, collection acquisitions, and commercial gallery representation from across Australia in the calendar year of 2022. Data on approximately 22,000 artists across more than 450 galleries and arts institutions was manually counted and verified, while data on acquisitions and exhibitions was provided directly by state and territory galleries, allowing for closer scrutiny of asymmetry in acquisition methods, including the Cultural Gift Program. We looked at institutions of all sizes and budgets: artist run initiatives, contemporary art spaces, commercial galleries, public galleries, Aboriginal-owned art centres, university art museums, major museums, and state galleries ︎︎︎READ MORE Join co-Editors Miranda Samuels and Shevaun Wright will present the methodologies and findings of the 2022 Countess Report&nbsp; ︎︎︎&nbsp;ACCA, MELBOURNE 6PM THURSDAY 2ND MAY 2024︎︎︎ Griffith University Brisbane, 5pm Wednesday 8th May ︎︎︎ ARTSPACE, Sydney 130PM SATURDAY 11TH MAY 2024 https://countess.report/Spoiling-Illusions Sun, 28 Apr 2024 01:38:00 +0000 countess.report https://countess.report/Spoiling-Illusions <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/99d1ee3c2f339d048c50c0b40b4141fa27d8c9ecee2ae32123fe272d1f7864b3/CountessMR_ERAngleCOVER_photoCCrockerTEXT.jpg" data-mid="209869104" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/99d1ee3c2f339d048c50c0b40b4141fa27d8c9ecee2ae32123fe272d1f7864b3/CountessMR_ERAngleCOVER_photoCCrockerTEXT.jpg" /> <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/c0d4c81d23721fec385f61d614979b4658b9fe8f0c87a5813a98a8905e257ffc/CountessMR_ERAngleblogpost_photoCCrocker.jpg" data-mid="209869094" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/c0d4c81d23721fec385f61d614979b4658b9fe8f0c87a5813a98a8905e257ffc/CountessMR_ERAngleblogpost_photoCCrocker.jpg" /> <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/367455e7d2c77df52e6ea1dc5271534da52477f983bbb20d6308fd5581bf75da/CountessMR_ERAnglegallery_photoCCrocker.jpg" data-mid="209869096" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/367455e7d2c77df52e6ea1dc5271534da52477f983bbb20d6308fd5581bf75da/CountessMR_ERAnglegallery_photoCCrocker.jpg" /> <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/749c416425ef73ea95998810a8a492ef1d413a61d1fa6a93318817b5b32fe936/CountessMR_ERStraight_gallery_photoCCrocker.jpg" data-mid="209869098" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/749c416425ef73ea95998810a8a492ef1d413a61d1fa6a93318817b5b32fe936/CountessMR_ERStraight_gallery_photoCCrocker.jpg" /> <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/e26468e966aa8e3efe3ae70a18894f9991f37bc372f10a98c9daa548c6700b17/CountessMR_ERStraightgraph02_photoCCrocker.jpg" data-mid="209869099" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/e26468e966aa8e3efe3ae70a18894f9991f37bc372f10a98c9daa548c6700b17/CountessMR_ERStraightgraph02_photoCCrocker.jpg" /> <img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/70a29efdbe384038f126b4e213fc96b19736888033312a26a9b0ecf23bd7db59/CountessMR_ERAnglegraph01_photoCCrocker.jpg" data-mid="209869097" border="0" alt="Countess Report: Spoiling Illusions Since 2008 Publication" data-caption="Countess Report: Spoiling Illusions Since 2008 Publication" src="https://freight.cargo.site/w/1000/i/70a29efdbe384038f126b4e213fc96b19736888033312a26a9b0ecf23bd7db59/CountessMR_ERAnglegraph01_photoCCrocker.jpg" /> Countess: Spoiling Illusions Since 2008 byMelinda Rackham and Elvis Richardson Design: Maria Smit &amp; Elliott Bryce Foulkes. Photo: CCrocker Purchase Book ︎︎︎ COUNTESS: Spoiling Illusions Since 2008 is a book about data - data which exposes the inequity of gender representation in the Australian visual arts sector and the history and impact of the CoUNTess data collection and analysis project. It is also a book about the lives of women artists, writers and academics navigating an asymmetrical art world, where the odds are statistically weighted against them. CoUNTess is a uniquely Australian project which calls out gender inequity in the art world with biting humour backed by decades of data. Boldly and insightfully written by Melinda Rackham and Elvis Richardson, CoUNTess: Spoiling Illusions Since 2008 offers insights and actions for change. Statistical analysis combined with cultural and feminist theory chart how the education of artists, the role of galleries and museums, art prizes, magazines, curators, collectors and philanthropists contribute to an artworld where women miss out. From original cheeky anonymous CoUNTess Blog posts to today's collaborative Countess.Report collective interventions, this is vital reading. Designed by Elliott Bryce Foulkes and Maria Smit. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.This Project is supported by the Victorian Government through Creative Victoria. Purchase Book ︎︎︎ LISTEN TO AUTHORS ON RADIO NATIONAL&nbsp; ABC&nbsp;︎︎︎ REVIEW IN THE SATURDAY PAPER&nbsp;︎︎︎ https://countess.report/Clock Thu, 19 May 2022 01:40:36 +0000 countess.report https://countess.report/Clock Sunday March 1 2026 (function(){ function pad(number) { return number < 10 ? '0'+ number : number } function setTime() { var timeElement = document.getElementById('time'); if(timeElement) { var time = new Date(), hours = pad(time.getHours()), minutes = pad(time.getMinutes()), seconds = pad(time.getSeconds()); timeElement.innerText = hours + ':' + minutes + ':' + seconds; } } var dateElement = document.getElementById('date'), weekdays = ['Sunday', 'Monday', 'Tuesday', 'Wednesday', 'Thursday', 'Friday', 'Saturday'], months = ['Jan', 'Feb', 'March', 'April', 'May', 'June', 'July', 'Aug', 'Sept', 'Oct', 'Nov', 'Dec']; // set the current date if(dateElement) { var time = new Date(), day = weekdays[time.getDay()], date = time.getDate(), month = months[time.getMonth()], year = time.getFullYear(); dateElement.innerText = day + ' ' + month + ' ' + date + ' ' + year; } // set the current time setTime(); // and update the current time every second setInterval(setTime, 1000); })(); https://countess.report/about Thu, 16 Jun 2022 08:00:01 +0000 countess.report https://countess.report/about About The Countess.Report is an evolving independent collaborative research project led by artists; Amy Prcevich, Elvis Richardson, Miranda Samuels and Shevaun Wright, with special guest collaborators including Melinda Rackham, co-author of Countess: Spoiling Illusions Since 2008 (2023). Countess.Report investigates the structures and frameworks that govern artistic production and legitimation in the Australian contemporary art world. We publish data and analysis on trends in gender representation, the education of artists, the distribution of arts funding, media representation and related topics. Our research is self-published in quadrennial sector-wide reports. The work of Countess is both art and advocacy; our role as artists is essential to the research we publish. We welcome conversations with museums and galleries around prospective collaborations, partnerships and commissions to work directly with their exhibitions and collections data in the production of research and artwork. ABOUTMETHODOLOGY COLLABORATORS SUPPORTERS MEDIACV EmailInstagram <img width="960" height="540" width_o="960" height_o="540" data-src="https://freight.cargo.site/t/original/i/09f9af97eb31fb493ba512d663ec9f6cba2204e463d4aea343f74d8d2d287312/we-excel.png" data-mid="184288341" border="0" data-scale="100" alt="excel spreadsheet accounting countess" data-caption="excel spreadsheet accounting countess" src="https://freight.cargo.site/w/960/i/09f9af97eb31fb493ba512d663ec9f6cba2204e463d4aea343f74d8d2d287312/we-excel.png" /> https://countess.report/Methodology Tue, 11 Jul 2023 02:09:05 +0000 countess.report https://countess.report/Methodology Methodology The focus of Countess.Report data collection is the production of our quadannrial Reports where the primary purpose is to quantify the representation of women and non-binary artists in exhibitions and public collections at museums and galleries across Australia over a twelve month period. &nbsp; We access this information from the public websites and annual reports of museum and galleries, and in the case of State Museums and Galleries we directly request the data. The information Countess.Report are collating is familiar to us all on museum wall labels - where both the artworks history and the artists identity are communicated didactically. Each line of data we collect represents each artist exhibited in a specific organisation, in a specific exhibition, at a specific time.&nbsp; Gender is then identified through the named artists professional website and/or gallery or media.&nbsp; Organisational structures surrounding the exhibition of the artists work such as Directors, Boards and Curators names and gender are also recorded.&nbsp; In some data sets we extend our research to obtain information on the age and educational qualifications of artists if&nbsp; available on their personal and/or gallery website.&nbsp; Countess.Report collate this data so that similarities and differences can be seen between and across organisations, locations, genders, ages, and education.&nbsp; Names are always de-identified when publishing the aggregated data but are recorded to maintain accuracy and provide meaningful robust context to the data. Our data is stored in password protected folders. We record the information into excell spreadsheets using the following categories: ABOUTMETHODOLOGY COLLABORATORS SUPPORTERS MEDIACV EmailInstagram Allows us to identify individual organisations ︎︎︎Organisations Name Name of the museum; gallery; media; event. Allows us to identify and compare areas of activity and ensure we represent as broad a sample as possible. ︎︎︎State/Territory Organisations state location reflect state based funding boundaries. This category also helps us to further group&nbsp; galleries operating in various locations. ︎︎︎Regional/Metro Organisations regional or metro location reflect various funding budgets and priorities. We group the museums and galleries to best reflect their varying operational budgets ︎︎︎Org Category&nbsp; ︎︎︎State Museum and Galleries&nbsp; ︎︎︎Major Public/Private Museums ︎︎︎Public Regional Galleries&nbsp;︎︎︎University Galleries ︎︎︎Commercial Galleries︎︎︎Contemporary Art Spaces ︎︎︎Artist Run Galleries ︎︎︎Media Identifying the exhibition title allows us to count artists within specific group exhibitions. ︎︎︎Exhibition Title This category helps us to examine value, space and exposure and to describe specific types of group exhibitions ︎︎︎Exhibition Type ︎︎︎Solo Exhibition︎︎︎Group Exhibition ︎︎︎Biennale︎︎︎Triennale︎︎︎Art Prize Each line of data is linked to a name, this category identifies the role of that person in the exhibition or gallery context ︎︎︎Role&nbsp; ︎︎︎Exhibited Artist︎︎︎Curator︎︎︎Gallery Director︎︎︎Represented Artist︎︎︎Writer︎︎︎Editor︎︎︎Chairperson︎︎︎Board Member︎︎︎CEO&nbsp;︎︎︎Unknown Artists names and artworks are forever joined. ︎︎︎Name&nbsp; Names are always de-identified when publishing the aggregated data but are recorded to maintain accuracy and meaningful context. Our data is stored securely in password protected folders. We clarify and record the&nbsp; gender of artists via further research into how artist self identifies according to professional and gallery websites.Collaboration while obviously not a gender, represents a significant alternate mode of working as an artist that is not singular. ︎︎︎Gender ︎︎︎Collaboration︎︎︎ Non-Binary ︎︎︎ Female︎︎︎ Male&nbsp; Further research is necessary to identify artists year of birth via artists professional website and/or gallery where an artist age is often recorded. ︎︎︎Year of Birth&nbsp; &nbsp; When an artists work is collected or exhibited by a public instiution this information is displayed on an exhibition wall label and registration data. We collect this additional information to examine how prescriptive age is to established career pathways. Further research is necessary to identify artists education via artists professional website and/or gallery where an artists education is often recorded on a CV. ︎︎︎Highest Education&nbsp; We collect this additional information to examine and test the connections between educational insitutions legitimating an artists practice and career pathways. https://countess.report/Collaborators Wed, 14 Jun 2023 03:54:55 +0000 countess.report https://countess.report/Collaborators Collaborators The Countess.Report is a collaborative artist-run project in 2026 run by Rae Haynes, Naomi Blacklock, Rosie Carr and Scarlett Davies and Elvis Richardson. <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/1cfd92c237071af0af4e4814a941b978df3c2e1801373ba66c236d6023a317c2/countessish.jpg" data-mid="184911212" border="0" src="https://freight.cargo.site/w/1000/i/1cfd92c237071af0af4e4814a941b978df3c2e1801373ba66c236d6023a317c2/countessish.jpg" /> ABOUTMETHODOLOGY COLLABORATORSSUPPORTERSMEDIACVEmailInstagram Rae HaynesEditor 2026 Countess Report Rae Haynes (she/ they) is a contemporary artist and educator who lives and works in Meanjin/ Brisbane, Australia. Rae’s art practice engages with feminist archives, collective agency and care ethics by examining the social and personal constructs of language and gender. Rae completed a Doctor of Philosophy in Visual Arts (2009) with the support of an Australian Postgraduate Award for research at the Queensland University of Technology, and is now a Senior Lecturer (Contemporary Art/ Visual Arts) at QUT. Rae has been actively involved with independent galleries since 2010 – as the Gallery Director of Boxcopy Contemporary Art Space (2012-2018), a board director for the Institute of Modern Art (IMA) and a member of the Engagement Council for the University of Queensland Art Museum. Rae was also a founding member of the feminist art collective LEVEL (2010 – 2018) and is a current member of the CoUNTESS.Report. Rae’s writing on feminism and art has been published in international journals including Feminist Review, Feminist Encounters: A Journal of Critical Studies in Culture and Politics, Journal of Australian Studies, Educational Philosophy and Theory and was also included in the Routledge Handbook of Contemporary Feminism (2019). www.rachaelhaynes.com Shevaun Wright Co-editor 2024 Countess Report Shevaun Wright is a lawyer and artist engaged in the growing field of legal aesthetics. Her art practice is interdisciplinary and research based, utilizing the contractual medium and the notion of the ‘social contract,’ as well as re-contextualized dialogues as a tool for engaging in institutional legal and artistic critique. Informed by her Aboriginal heritage, she aims to extrapolate feminist and post-colonial critiques of the law and art as a means to access and reveal similarities in their discursive practices. She is licensed as a lawyer in Australia and California. She is now working with Dr Terri Janke, specialising in Indigenous Cultural and Intellectual Property matters, AI and assisting Indigenous businesses to thrive. She has undertaken numerous residencies, including the Whitney Independent Study Program (Studio) and the Banff International Curatorial Institute and will be Creative Australia’s resident artist at ACME East London studios in June. She has masters degrees in art and law including a Master of Fine Arts from UCLA’s Interdisciplinary Studio program. Miranda Samuels Co-editor 2024 Countess Report Miranda Samuels is an educator, researcher, and artist based in New York. She is a Critic at the Yale School of Art in the Painting and Drawing Department, Head Researcher at legacy stewardship firm Davila-Villa &amp; Stothart, and Assistant Director at the Interdisciplinary Art and Theory Program. She has worked in museum education and public engagement at various Australian art galleries. As a Fulbright Scholar Miranda completed postgraduate studies at the New School for Social Research focusing on aesthetics and political philosophy (2021), and has a degree in fine arts from UNSW Art and Design (2014). Amy Prcevich Editor 2019 Countess Report Amy Prcevich interrogates narratives of social and public space, time, the office, language and labour – specifically the nature and value of artists’ labour. Her employment in galleries and museums and engagement with artist communities informs her conceptual, spatial and text-based practice. Amy recently completed a Master of Fine Arts at University of New South Wales, entitled Workaround. Informed by her experience as artist-as-worker this research resulted in a new video work entitled Workaround (2023) which draws on office tropes and the conventions of the instructional video to present a series of strategies used to claim time and space for art making in the context of the office. Amy has been the recipient of several grants and residencies including Test Sites, Public Art Project Development Grant from the City of Melbourne and Parramatta Artist Studios. Amy has exhibited at The Substation, Arts House Meat Market, Arts House North Melbourne, True Estate, First Site Gallery (VIC) and Wellington Street Projects, PARI and Firstdraft (NSW). She is lead curator for Language Exchange (working title) at Fairfield City Museum and Gallery (NSW) in 2024. This exhibition explores the feelings of loss and revival associated with losing and regaining a connection to a heritage language. Elvis Richardson Co-author Countess: Spoiling Illusions Since 2008, Editor 2016 Countess Report, Editor Countess blog 2008-2017 Elvis Richardson is a Melbourne based artist whose collecting based practice curates personalised objects and imagery extracted from public sources and re-constructed to comment on taste, class, the sublime and her own agency as an artist when also trapped in an aspirational exposure-based system of certain economic precarity. Richardson’s objects and images disrupt the everyday commodification’s of lifestyle to satirically expose the promises, disappointments and contradictions that we all live with.&nbsp; Dr Elvis Richardson completed a BFA at UNSW 1992, MA UNSW 1996, MFA Columbia University in New York 2002, and PhD Deakin University 2019.&nbsp; Elvis was awarded the Samstag Internaional Visual Art Fellowship in 2000, and project grants from the Australia Council in 2015 and 2018, and Creative Victoria 2018. Richardson has been an active member of a number of artist run initiatives including First Draft (96/97), Elastic (99/00), Ocular Lab (08/10) DEATH BE KIND (2010/12) and True Estate (2017/18). Melinda Rackham Co-author Countess: Spoiling Illusions Since 2008 (2023) Melinda Rackham&nbsp;writes on issues that matter; exploring online intimacy in early web sites and Virtual Reality worlds, and founding the widely re-published critical media arts forum -empyre- [2002-2022]. &nbsp;Her practice introduces diverse and experimental art, cultures and ideas to new audiences through organisations and institutions such as ACMI, ANAT, The Royal Institution of Australia, UniSA, RMIT, MCA, NGA, Rhizome, ISEA and Ars Electronica. Recent publications&nbsp;include the substantial monograph Catherine Truman - Touching Distance [2016]; poetic co-authored ADOPTED anthology [2018]; an essay series for cyberfeminist icons VNS Matrix [2019]; the Instagram performative parody #remakemistresses [2020]; and now CoUNTess: Spoiling Illusions Since 2008 [2023]. Brigid Hansen Website and social media Brigid Hansen is a media and arts professional with a strong interest in communications and contemporary culture. She has worked with organisations as La Trobe Art Institute, ACCA, Blindside, 3RRR and the National Gallery of Victoria.&nbsp; Counters on the 2019 Countess Report Annalise Bosnjak, Eloise Breskvar, Nikita Holcombe, Niki Koutouzis, Safari Lee, Lauren May, Alice Pengilley, Amy Prcevich, Elvis Richardson, Miranda Samuels, Sarah Thomson, Catherine Woolley, Lauren Wraight. Counters on the 2016 Countess Report Mark Hislop, Sadie Chandler, Danielle Hakim, Virginia Fraser and Amy-Noel Van Eymeren Advisory Board on the 2016 Countess Report John Cruthers, Dr. Eva Cox AO, Dr. Jacqueline Milner, Tamara Winikoff OAM, and Amanda Rowell https://countess.report/Funding-Supporters-1 Mon, 06 Mar 2023 07:31:19 +0000 countess.report https://countess.report/Funding-Supporters-1 Supporters The Countess.Report gratefully acknowledges the siginificant financial support of the following organisationsSheila Foundation whose research funding and partnership was pivotal in producing the 2016, 2019 and upcoming 2024 Countess ReportsNAVA, the National Association for the Visual Arts, have provided generous in-kind support to professionally market and disseminate the 2016 and 2019 Countess.Reports The Australia Council awarded Countess.Report an organisation project grant to research and edit and publish the 2024 Countess Report Copyright Agency awarded Countess.Report writers funding towards producing the 2024 Countess ReportNational Gallery of Australia - who invited Countess.Report as a cultural partner to both the ‘Know My Name: Australian Women Artists 1900-Now’ Exhibition and their Gender Equity Action Plan initiative in 2000-2002. NGA have also made a $25,000 donation to Countess.In 2017 Countess.Report held a fundraiser through the Australian Cultural Fund. Over 200 generous supporters helped us raise $15,000, enabling us to consolidate and set up a new website, evaluate, reflect and evolve. ABOUTMETHODOLOGY COLLABORATORSSUPPORTERSMEDIACVEmailInstagram <img width="1304" height="1871" width_o="1304" height_o="1871" data-src="https://freight.cargo.site/t/original/i/d5aa3af8fd68899e9b9fd09a0b640d3d12a71c5844a9c6574e6bfcd4dcf8e182/9.47-spiral-template-orange.jpg" data-mid="184288387" border="0" alt="Poster magazine insert by Countess Report for Know My Name Exhibition " data-caption="Poster magazine insert by Countess Report for Know My Name Exhibition " src="https://freight.cargo.site/w/1000/i/d5aa3af8fd68899e9b9fd09a0b640d3d12a71c5844a9c6574e6bfcd4dcf8e182/9.47-spiral-template-orange.jpg" /> Poster magazine insert by Countess.Report for Know My Name, National Gallery of Australia 2021 https://countess.report/Media Mon, 06 Mar 2023 06:49:37 +0000 countess.report https://countess.report/Media Selected MediaThe Countess Report findings have been reported on by The Arts Show, (ABC RN), The Age and The Sydney Morning Herald, a non-exhaustive list of coverage following our most recent report in 2019 is below.Hobday, L. (2024) Gender equality flatlines in visual arts Canberra City News, April 30 2024 Burke, K. (2024) Male artists overrepresented in Australian galleries and museums, research shows The Guardian, April 30 2024 Freeland, A. (2024) Countess Report findings show Australian visual arts institutions are lagging on gender equity ABC News, April 30 2024&nbsp;Morris, L. (2019) Women Artists win parity but report shows there’s still more work to do, Sydney Morning Herald, 30 October 2019&nbsp;The Arts Show (2019), The Countess Report shows gains and losses in equal gender representation, 30 October 2019&nbsp; Editorial, Art's gender imbalance affects way we see the world, Sydney Morning Herald, 30 October 2019 Morris, L NGA first major institution to commit to gender parity in artistic program, Canberra Times, 30 October 2019&nbsp; Anotolitis, E New Countess Report: Independent sectors lead the visual arts in gender equality, while state institutions fall behind National Association of Visual Arts, 30 October 2019 ABOUTMETHODOLOGY COLLABORATORSSUPPORTERSMEDIACVEmailInstagram https://countess.report/CV Mon, 06 Mar 2023 07:16:47 +0000 countess.report https://countess.report/CV CV /Selected Exhibitions Equalessable (2024) Artbank, Sydney The Data Imaginary (2022) curated by Angela Goddard, Flinders University Gallery (SA)Female Drivers (2022) curated by Madeline Snow, Maitland Gallery (NSW)Asset Class (2022) curated by Mark Feary, Gertrude Contemporary at Melbourne Art Fair (VIC)Energetical (2020) curated by Illana Russell and Amber Smith with Dr. Anne Wilson, Deakin University and&nbsp; Platform Arts, Geelong (VIC)Borrowed Scenery (2018)&nbsp;commissioned, artwork + performance, Campbelltown Arts Centre (NSW)/Published Works The Countess Report, (2024). Edited by Shevaun Wright and Miranda Samuels Countess: Spoiling Illusions Since 2008 by Melinda Rackham and Elvis Richardson The Countess Report, (2019). Edited by Amy PrcevichClear Expectations: Guidelines For Institutions, Galleries And Curators Working With Trans, Non-Binary And Gender Diverse Artists, (2018). Archie Barry &amp; Spence Messih. Commissioned by Countess.The Countess Report (2016). Elvis Richardson /Research &amp; Residencies &amp; Talks 2023 Residency, Joshua Tree, California (USA) 2022 Greg Binns Memorial Lecture, Art Gallery of Ballarat 2020 Cultural Partner, Know My Name, National Gallery of Australia (NGA) (ACT),2018-19 Campbelltown Arts Centre Research Residency (NSW)2018 Research + Advocacy - Community Counting Sessions, ACCA, Norma Redpath House ABOUTMETHODOLOGY COLLABORATORSSUPPORTERSMEDIACVEmailInstagram