Education/ Qualifications

1963-1966    
          The Slade School of Art:        The Slade Diploma
          Award: Proxime Accessit
          Sculpture Prize, Prizes for Perspective,
          Anatomy and Art History.
1960-1963     
          Chelsea College of Art:          The Chelsea Diploma.
          Commendation in Sculpture.

Visiting Artist Residencies

March-April,2004         Poznan Academy of Arts, Poland: Slade / Poznan collaboration, Skoki
Sept.-Nov., 2003         The McDermott Visiting Artist at the University of Texas at Dallas
Dec.  1996                   The International Art Education Workshop, National College of the Arts, Lahore, Pakistan.
July-Aug.,  1987           Artist in Residence, Kettle’s Yard, Cambridge University, Cambridge.

Governorship

1997 (onwards)        Byam Shaw School of Art          Director/ Chair of Governors: Alister Warman

Appointments to Selection and Award Panels

2003                Invited nominator for the Beck’s Futures Arts Awards, ICA.
2001                Nominator for the Arts Foundation Awards for 2001.
2001                Nominator for the Paul Hamlyn Awards, 2001
2001                Selector for 'Sculpture' , New Ashgate Gallery, Farnham.
2000                Elected to the selection panel for the new Slade Professorship
1999                Selector for the Kettles Yard Open Exhibition, Cambridge
1998                Selector for the 1998 New Contemporaries: with Eddie Berg, Christine Hohenbuchler
             and Adrian Searle.  Chair: Sacha Craddock
1994                Selector for the Prudential Awards for the Visual Arts: with Cedric Price, Richard Wentworth, chaired by Julian Forrester.
1994-1998      Selection Panel: British School at Rome, Fine Art Faculty Board
1993-1994      Selection Panel: British School at Rome, The Sargent Fellowship
1995                Nominator for the Sculpture Awards: The Arts Foundation
            Nominator of Award Winner: Melanie Counsell]
1990-1993      Selection Panel: The British School at Rome, Rome Scholarship
1992                Selector of Installation Art Section at ‘Fresh Art’, Islington Business Design Centre

Awards, Grants

2006
The Dupree Family Award to a Woman Artist
Royal Academy Summer Exhibition Courtyard Commission
‘untitled Red/Brown: 2006’
2003
The Henry Moore Foundation to Black Dog Publishing Ltd., for production costs, including a round table discussion
titled ‘Sculpture Now’, forthe monograph ‘Objects for…and other things’ on the sculpture, drawings and writings of
Phyllida Barlow.
2003
The Elephant Trust for production costs of ‘Objects for…and other things’ a monograph on the sculpture,
drawings and writings of Phyllida Barlow, published by Black Dog Publishing Ltd.
2003
Dean’s Award University College London. Research travel award to theUniversity of Texas at Dallas, USA.
1996
Dean’s Award University College London. Research travel award to travel to Lahore, Pakistan: International Art
Education Workshop: National College of Arts.
1996
British Council Travel Bursary To participate in the International Art Education Workshop at the invitation of
the National College of Arts, Lahore.
1995
Elephant Trust Award
For a four sculpture installation, ‘Depot’, for the Museum of Installation, London.

Solo Exhibitions, Installations and Commissions.

2005        
‘Untitled: demo’: a nine sculpture installation: Studio 1.1, London, E2
A Sense of Place: A Place of Sense, ‘Untitled: after’, a nine sculpture installation: Beacon Art project,
The Maltings, Sleaford, Lincs.
‘Remnants, dallas, 2003’ an exhibition of small sculptures by Phyllida Barlow, McDermott Visiting Artist, 2003,
MAC, Centre for Contemporary Art, Dallas, Texas.
SCAPE: a nine sculpture installation, Spacex, Exeter
SKIT: a seven sculpture installation, Bloomberg Space, London
2004        
Peninsula: a nine sculpture commission, Baltic, Centre for Contemporary Art, Gateshead. Nov.19, 2004-April17,2005
Tannery Arts Exhibitions, 2004, Phyllida Barlow, selected by Clem Crosby: Tannery Arts, Brunswick Wharf,
London, E2 8BD. July 22-28
An Installation and a selection of drawings to celebrate the publication of ‘Objects for…and other things’:
Program, New Burlington Place, W1S 2HP, June 11-16.
Four sculpture installation for ‘Explicit Faith’, July5-16, choreographed by Gaby Agis, performed by Gaby Agis,
Jo Moran, Florence Peake, Eva Mari Mukta, Marie Clair McKenna at The Jerwood Hall, St Lukes Church.
2003
untitled: Dallas,2003, five sculpture installation for the University of Texas at Dallas, Visual Arts Gallery,
sponsored by the McDermott Foundation.
Remnants, sixteen sculptures for The Magnet School, Dallas, Texas, curated by Nash Flores.
Remnants, fifteen sculptures for the Angstrom Gallery, Dallas, Texas.
2002
New Sculpture, curated by Sotiris Kyriacou for the Richard Salmon Gallery, London.
Fete, installation curated by Louise Short for Station, Phoenix Wharf, Bristol.
2001
Knives in Hens, set design commissioned by The Attic Theatre Company, at Wimbledon Theatre,
directed by Jenny Lee, written by David Harrower, touring to 11 venues throughout the UK.
1996
Recall, Marshall’s Mill, Dean Clough,Halifax. Supported by Sir Ernest Hall and Dean Clough Business Centre.
1995
Depot, Museum of Installation, London.
Sculptures for the Library, curated by Penelope Curtis, Henry Moore Institute, Leeds.
1994
In Place, A series of privately commissioned site specific works titled: ‘Objects for Objects’.
1994
Out of Place, ‘Installation for a Country House Hallway’, and ‘Installation for a Garage’
1991
Plantation, commissioned by the Business Design Centre Islington, and the MOI, for Fresh Art
Deep, installation for the Museum of Installation, London, sponsored by Abbott Packaging.
Closed (Vigil II,) two sculpture installation, RIBA Sculpture Court, Portland Place, London, curated by Lady Gibberd.
1990
Fall, DEGW  Offices, London, curated by Kapil Jarawala.
1989
Crowd, installation for Unit 1, Hermitage Road Industrial Estate, sponsored by Skyman Paper and Plastics.
Wallworks, ten wall sculptures, Smith Jarawala Gallery, London.
Vigil I, three site-specific sculptures        commissioned for Site3, The Churchyard, Windsor,
SW Arts/Windsor Festival.
1988
Slope, installation for Dean Clough, Halifax, curated by Paul Bradley for Sir Ernest Hall, Director, funded by
Dean Clough Business Enterprises.
1987
Expanse , installation for Unit 7, curated Nicola Oxley, Nico D’Olivera & Michael Petrie. GLAA funding.
1987
Oracle, installation for St.Peter’s Churchyard, Cambridge. Kettle’s        Yard Residency. Supported by Eastern Arts.

Group Exhibitions

2006
•        Royal Academy of Art Summer Exhibition courtyard commission
•        Please Close the Gate: Painted sculpture at Roche Court, selected by Penelope Curtis.
2005
•        Sleigh, Arts & Business, London SE1
•        Zoo Art Fair, Studio 1.1, London Zoo, Mappin Terraces, London, NW1
•        New Acquisitions: Works on Paper,Phyllida Barlow,Cecile Johnson-Soliz, Sarah Staton:  
Henry Moore Institute, Leeds,
•        Rough Diamond, Program, London
•        Drawing Two Hundred, Biennial Fundraiser, The Drawing Room, Tannery Arts, London, E2
•        Merveilles du Monde, Musee de L’Art Contemporain, Dunkirque
•        Arte Fiera Boulogna, Boulogna, Italy
•        Ebb and Flow: Three Colts Gallery, London
2004
•        Love Story, curated by Erica Winstone fro the Danielle Arnaud gallery, 123,
Kennington Road, SE11 6SF. Nov.5-Dec.12 (6 artists)
•        Zoo Art Fair: Program, Mappin Terrace, Regents Park, (8 artists)
•        Zoo Art Fair:        Studio1.1 Gallery, Prince Albert Suite, Regents Park (8 artists)
•        BirdHouse, 38, Mitchell Street, London, EC1, March4-27. (20 artists)
2003
•        Shelf Life, ‘60 minutes’: Studio 1.1, curated by Gill Ord
•        Location,Location, Location, ‘holed up: red yellow green pink’: Albury Arts, Potsford House, Guildford.
•        The Drawing Auction, ‘untitled: engraved acrylic’: The Drawing Room, Laburnham Street, E8
•        The Greatest Show on Earth, ‘untitled: metropole, 2003’: curated by Peter Fillingham, Metropole
•        Gallery, Folkestone.
2002
•        Harvey's Bodies, ‘untitled: red coil’: Metropole Gallery, Folkestone
•        Royal Academy Summer  Exhibition, ‘Neck’:  Invited Artist, curated by Alison Wilding.
2001
•        Station to Station, Spacex 2, ‘Four’: curated by Louise Short, Exeter Maritime Museum, Exeter, Devon.
•        Mile End Park Sculpture Exhibition, ‘View’:  Mile End Park, Tower Hamlets, London, E8.
•        British Art Show 5. ‘after dark into black’: commissioned by the Hayward Gallery, selected by Pippa Coles,
Matthew Higgs, Jaqueline Poncelet, a National Touring Exhibition, organised by the Hayward Gallery, London, supported by the Arts Council
of England, 2000. Touring to Edinburgh, Southampton, Cardiff, Birmingham.
1999
•        Sculpture, ‘dawn till dusk’: The Royal Western Academy, Bristol: six sculptors, selected by Alison Wilding
and John Maine, for the Triennial Sculpture Exhibiton.
•        O Pas La - Surprising Places, ‘Far Away’:  L.A.C.:Lieu D'Art Contemporain, Narbonne, France, curated by
Aude Herail Jaeger. Supported by the Henry Moore Foundation, FRAC, DRAC: Rousillon-Langudoc,
British Academy, British Council, Richard Salmon Gallery, James Herrick.
•        Furniture, ‘Object for a Piano’: curated by Paul Heber-Percy for Richard Salmon Gallery, London,
touring to John Hansard Gallery, Southampton, Bluecoat Gallery, Liverpool
•        Dumbfounded, ‘Plug it, Bad fit, Stand up’: curated by Carmel Buckley, Battersea Arts Centre, London,
touring to New York, Chicago, San Francisco: 2001-2002
1998
•        Not Nothing Nowhere, ‘after dark’: The Master Shipwrights House, Deptford, London, curated
by Willy Robertson and Chris Mazieka, supported by Greenwich Millenium Fund, Docklands,
Millenium Regeneration, and private sponsors.
•        Out of Place, ‘Time and Time Again’: Chapter Art Gallery, Cardiff, Wales curated by Nilofar Akmut,
from the National College of Arts, Lahore, Pakistan,
International Workshop, supported by the Arts Council of Wales,  Pakistan Airlines.
•        Touching Matters, ‘Little Drunks’:  The Gallery, Swiss Cottage Library, London, curated by Francois Dupre
for the Women in Focus, commissioned by Camden Arts.
•        The Ugly Edge, ‘Big Bad Ugly’: The Henry Moore Institute Gallery, curated by Elizabeth Rosser,
for the Ugly Edge Conference.
1997
•        EAST International, ‘Truce’: Norwich School of Art, selected by Nicholas Logsdail and Tacita Dean,
supported by the Arts Council of  England.
1997-2000
•        Musee Imaginaire, The Box Project, Museum of Installation, curated by Nicola Oxley,
Nicholas d'Olivera, Michael Petry, supported by the Arts Council, the Henry Moore Foundation, British Council,
touring to Nottingham, Edinburgh, Birmingham (UK); Oslo, Stavanger (Norway);  Berlin (Germany).
•        Barely Made, ‘Object for a Dressing Table’: Norwich Art Gallery, curated by Jaqueline Poncelet.
1996
•        9 Months 2 Seconds, ‘Undercover’:  Manhattan Lofts, Bankside, London, curated by Maria Marshall,
supported by Bankside Business Development, Manhattan Associates Property.
•        TRY,  ‘Stand off’: Gulbenkian Gallery, Royal College of Art, London curated by the MA in VAA,
Royal College of Art, supported by the Paul Hamlyn Foundation.
1995
•        Contemporary Arts Society Fair, ‘Reds’, ‘Lie’, ‘Bodything’: Royal Festival  Hall, London.
•        The Gas Station, ‘SPAT’: a work commissioned by the Laboratory, Ruskin School of Drawing,
Oxford University, curated by Paul Banaventura, for an Internet Exhibiton: www.ruskin.sch.ox.ac.uk/lab
supported by the Arts Council of England
1994
•        Leich und Luft, ‘untitled foil, paper, thread series’: Die Neuue Fabrik, Hamburg, Germany,
curated by Andreas Ruthi and Ruprecht Racht.
1993
•        Shopping Sensations, ‘Home’: Bradford City Art Gallery, toured from the Rothschild Centre, Croydon.
Curated by Jane Heath for the Disabled, supported by the Arts Council and Croydon Council
1992
•        Three Sculptors, ‘Up’, ‘Around’, ‘Across’: curated by Phyllida Barlow, Diorama, Regents Park.
1990
•        Gateshead 90, ‘Seam’, commissioned by the National Garden Festival Gateshead,
curated by Isabel Vasseur, funded by The Arts Council and N.E. Arts.
•        MAAD Festival Cambridge, ‘Out of Bounds’: collaboration with dancer Louise Tonkin,
Kettle’s Yard Gallery, Cambridge.
1988
•        Houseworks, ‘Fold’: curated by Mark Dunhill, for 13,  Clarynge Road, Bristol.
1986
•        Casting an Eye, ‘Engulf’: curated by Richard Deacon and Alison Wilding for The Corner House, Manchester.
•        Third Generation, ‘Threat’: curated by Sandra Drew for the Canterbury Festival Sculpture Exhib.

Collections
2006
untitled: yellow 2006, Private collection
8 coloured drawings from ‘Street Objects archive’ 2001-02, bought for
the Henry Moore Institute, Leeds

Exhibitions Curated by Phyllida Barlow
1996
Artists for a Day, Dee Meaden: Flowers East, London
AD HOC, London Art Forms-16 artists
1992
Three Sculptors, Diorama, Regents Park, London, Phyllida Barlow, Fernando Palma, Keith Wilson


PHYLLIDA BARLOW
click on image for larger view
For the last four decades, Phyllida Barlow's work has consisted predominantly of large
three-dimensional installations in which the use of space – and our relationship to it – plays
an important role. The identity of the materials she uses (wood, cloth, plaster, paper and
house paint) remains visible in the completed work. Structures and forms, both rudimentary
in construction and densely built, explore ideas of mass and volume. Containing references
to architecture, such as staircases, platforms, walls and barriers her work provokes
recognition and narratives but also demands that they be read as abstract form.

Phyllida Barlow’s sculptural installations function somewhere between the autonomous and
the associative. By shifting scale and composition her structures and objects play with the
familiar and seem to take command of a space whilst appearing temporary and incomplete.
Her work references painterly abstraction both through the deployment of colour and the
materials she uses. Barlow’s daubed application of paint amplifies the use of pattern and
repetition in her constructions. Scale and materials are used to bring about a sense of place
where pieces are to be walked around and through. The built structures dwell in the space
implying some kind of contingent purpose.