Kathleen Herbert
Kathleen Herbert lives and works in Kent. She has received several major awards from the Arts Council England and the British Council. In 2005 she was nominated for the Beck’s Futures Award. Recently Herbert’s proposals A History of The Receding Horizon and Their Land Is Our Country were selected for the Artangel Open Longlist and Artangel Open 100.
Kathleen has completed several major commissions from the Southbank Centre, London, Royal Opera House, London and Firstsite Gallery, Colchester. She has exhibited both nationally and internationally, including: The New York Public Library, USA (2018/19), Fotografskia, Stockholm, (2017), Art in Motion, Messeums Wiltshire, UK (2017) A Light Shines in the Darkness, Film and Video Umbrella Tour, UK (2014-2015); Stable, Museum of Biblical Art, New York (2014); Force of Nature: Picturing Ruskin’s Landscape, Millennium Museum, Sheffield, (2013); Triumph of the Will, Camberwell Space, Camberwell College of Arts, London (2013); Garden of Reason, National Trust, Ham House, London (2013); Restless Times, Norwich Castle Museum and Art Gallery, Norwich (2012); Firstsite, Colchester (2012); VOLTA NY, New York, (2010); Vita, Kuben, Umea, Sweden (2009); Hå gamle prestegard, Norway (2009); Sint Lukas Gallery, Brussels (2008); Auckland Triennial, Auckland (2004); Out of Site, Arnolfini, Bristol (2004), Time & Again, Crawford Gallery, Cork (2003); The Heimlich/Unheimlich, RMIT Gallery, Melbourne (2002); SCAPE, Art & Industry Bienniale, Christchurch (2002); BOP, Gallery Caldeira 213, Porto (2001); The Silk Purse Procedure, Arnolfini & Spike Island, Bristol (2001).
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Herbert’s practice has also been featured in various publications including Artforum International, where Zack Hatfield, reviewing Anna Atkins Refracted: Contemporary Works, described Everything is Fleeing to its Presence as ‘mesmerising’ and ‘majestic’. Kathleen has also been featured in Wall Street International; Time Out; The Sunday Times Culture Magazine; a-n magazine; Art Monthly; The Guardian Guide and recently ‘Installation as Encounter: Ernesto Neto, Do Ho Suh and Kathleen Herbert Considered’, in Contemplations of the Spiritual in Contemporary Art, edited by Rina Arya.