PETER HILL'S MUSEUM OF CONTEMPORARY IDEAS

Peter Hill

The Albury Wodonga Superfiction 1993

Collaboration Peter Hill and J.J. Voss (Photographer)

S U P E R F I C T I O N S


Peter Hill

The exegesis for Peter Hill’s studio-based PhD can be read on this site (see Superfictions PhD)
Below is a list of other commentators’ writings about Peter Hill’s Superfictions

Flash Art magazine (Milan), Jan/Feb 1992:

Peter Hill, assistant press officer for New York’s most well-known nonexistent Museum of Contemporary Ideas, was recently in Melbourne at the Judith Pugh Gallery for the opening of his latest bogus project: The Third New York Contemporary Art Fair. The press release for this event reads: “This installation should be viewed as a single installation which fictionalizes those stressful but exhilarating two hours before an art fair opens, when some galleries are still panicking to get work hung in time for the opening while others are ahead of the game and have already broken open the champagne.” Works on sale included those by Aloha entitled If Mondrian Owned a Hairdressing Salon, The Baeslitz Coat Rail, and ‘I don’t know what art is’ Jan Hoet, documenta 1X by The Logical Extremists.

Dr Christopher Heathcote, Artmonthly Australia, October 1990:

The Museum of Contemporary Ideas is, to paraphrase the Baudrilliardians, the ultimate simulacrum; its exhibitions represent an unending semantic game, the ceaseless play of freefloating discourses across information space; and, of course, the artist’s [Hill’s] oeuvre is a sequence of inexplicable surrogates, pretend art objects of truly Borgesian consequences.

John A Walker, Art in the Age of Mass Media, Pluto Press (London), Third Edition, 2001

A more ambitious and longer-term exploration of fiction and humour within contemporary art is Peter Hill’s ‘Museum of Contemporary Ideas’ or MOCI (1986 - ). Hill, an installation artist, writer, art magazine editor and lecturer, was born in Glasgow in 1953 and subsequently travelled the globe (at the time of writing Australia is his base). Hill invents what he calls ‘Superfictions’ and, via an Internet encyclopaedia, he has documented over 60 artists around the world who work in a similar manner. (They include: Guillaume Bijl, Janet Cardiff, Rodney Glick, Res Ingold, Ilya Kabakov, Seymour Likely, David Wilson/Museum of Jurassic Technology, and Alexa Wright). A Superfiction is a fictional situation or narrative that deceives the eye and the mind in the sense that trompe-l’oeil  painting does. (Most viewers realize that such paintings – however illusionistic – are representations but some viewers are fooled into taking the image for reality). For instance, Hill’s ‘The Art Fair Murders’ (1994 - ) – a novel and art installation – claims that a serial killer is loose in the art world. Photographs of murder victims (actually mannequins) taken of installations fabricated by Hill are circulated by postcard and the Internet as evidence of the killer’s rampage. In 1989, Hill had decided that for a decade his creations would only exist to be photographed and reproduced in the press because he was not interested in selling art objects via private galleries.…Philosophers such as Thomas Kuhn and Karl Popper have influenced his thinking regarding the nature of truth and reality. He has also developed a theory called ‘synthetic modernism’ to overcome the difference between modernism and post-modernism.

Edward Colless, Art and Australia, Winter 1993

‘I like the idea of being at a centre of excellence at the edge of the world and manipulating things in the centre,’ says Peter Hill, speaking of his gargantuan satirical fantasy, The Museum of Contemporary Ideas.

Staged to look like a fragment of an authentic art fair, and scheduled in competition with the Australian Contemporary Art Fair around the corner, its booths were hung with works of real artists including Joseph Beuys, and A.R. Penck, as well as Hill’s own manifold fictional figures. One such pseudonym is a Brisbane collective called Aloha whose submission to the Fair, a ready-made called The Hermann Nitsch Shower Curtain, was a sly spoof (invoking the shower scene in Hitchcock’s Psycho) of the great curtains of ‘blood’ in Nitsch’s installation in the 1988 Sydney Biennale.

Nick Waterlow, 4-time Sydney Biennale Director, Channel Ten television documentary, Inside Edition, 12/5/93

Aloha doesn’t exist. They are supposedly a group based in Brisbane, but they are a fiction. Peter Hill, the person behind this, is a rather elusive character and you will have to go to Hobart to find him. It’s not by chance he lives in Tasmania – the most unlikely place for this fiction to emerge from, and yet perhaps the only place it could emerge from.

Leon Paroissien, Director of the Museum of Contemporary Art, Sydney, Channel Ten television documentary, Inside Edition, 12/5/93

It is a very clever idea to invent an institution with a New York address yet to be working from somewhere else in the world. I see that very much as the art of the 90s.

Dr Charles Green, Australian correspondent for Artforum, catalogue essay, 1994

Scottish artist Peter Hill adopts two personae – first is the flip cynic reminiscent of West German bad boys – Oehlen or Dahn for example. We see this in Nouvelle Kunst Faction’s installation of a red card table collaged onto a hot pink field of colour – No More Neo-Geo, 1990. Hill’s second role is the cool, analytic reporter – like Hans Haacke…The artist’s work is another form of second order art. Like that of Robert Gober or Franz West, it is a very literal meditation on the place of art. At a time when the lecturing of an audience is taken critically, Hill’s target – art galleries and his fellow artists – is more unusual and commands respect for its real risk.

Associate Professor Joanna Mendelssohn, The Bulletin/Newsweek, January 15, 1991

Best of all, for those who think art must be topical, is his exhibition space The Changing Room. Based on recent events in world politics, The Changing Room purports to “be able to react within hours to current events, bringing the deadline tensions of the newsroom and the pressures of the press office, to the presentation of art and ideas.” Hill’s hoaxes are just close enough to the reality of the avant garde art market to pass as real. One German magazine Wolkenkratzer, thought they were and rewrote the press release as fact…If something exists in a newspaper or magazine, people tend to believe it is real, so perhaps it is not so absurd to create an institution entirely through press releases. In Germany, the same people [Wolkenkratzer] who believed in the fake Museum of Contemporary Ideas are preparing to create their own genuine version. Fiction becomes truths.

Gabriele Knapstein, Wolkenkratzer Art Journal, October, 1989
Das von der Alice and Abner “Bucky” Cameron Foundation getragene “Museum of Contemporary Ideas” in New York, dessen Program die Bereiche bildende Kunst, Film, Philosophie der Wissenschaft, Architektur, Technologie und Performance umfaßt, hat einen neuen Ausstellungsraum eröffnet: “The Changing Room”…Das “Museum of Contemporary Ideas” sieht in diesen neuen künstlerischen Strategien einen weltweiten trend für die Kunst der 90er Jahre: “Weg vom Individuum, hin zur Gruppe.”

Susanne Kippenberger, Der Tagesspiegel, Berlin, Sonntag, 19 Juni, 2005
Der Schotte wusste genau, was er werden wollte: Leuchtturmwärter oder Astronaut. Da war Peter Hill fünf Jahre alt. Heute, 47 Jahre Später, ist er Künstler und Kritiker, Schriftsteller und promovierter Leuchtturmwärter. In Glasgow geboren, lebt er inzwischen am entgegengesetzten Ende der Welt; im Land seiner Sehnsucht, in Tazmanien, hat er seine Frau gefunden, und an der Universität von Melbourne unterrichtet er Kunst, in Theorie und Praxis. Und jedes Jahr reist der Direktor des ersaten Museums ohne Grenzen, dem fiktiven “Museum of Contemporary Ideas”, einmal um die Welt.

Kunstforum International, Bd. 117, Cologne
Nitsch – Duschvorhang
Das Australische Künstlerkollektiv “Aloha” wurde mit dem “Cameron Prize for Contemporary Art 1992” ausgezeichnet, den das New Yorker “Museum of Contemporary Ideas” auslobte. 100,000 Dollar Preisgeld und einen ein einjärigen New-York-Aufenthalt handelte sich “Aloha” mit dem Beitrag “The Hermann Nitsch Shower Curtain” ein.

Alice Motard, Esse: Arts and Opinion, Printemps-été, Montréal
En 1989, Peter Hill fonde ainsi le Museum of Contemporary Ideas (MOCI) qui n’existe à ses débuts qu’à travers les communiqués de presses don’t l’artiste inonde littéralement le miliey de l’art. Sur le papier, il sagit ni plus ni moins du plus grand nouveau musée du monde… Cette enterprise, qu’il dénomme <<Superfictions>>, évolue et se fragmente plus tard en différents projets (expositions, nouvelle littéraire, lectures) parmi lesquels les Art Fair Murders, série de meurtres qui ont pour cadre des foires d’art contemporain fictionnelles, créé pour metre en crise et le monde de l’art contemporain et celui de la fiction littéraire. Selon Hill, les Art Fair Murders se situent à la lisière du canular et du mécanisme test de la philosophie scientifique connu sous le nom de <<falsificationnisme méthodologique sophistiqué>>, attribué à Karl Popper.

Artpress, April, 2002, pp 67 – 71,Paris

A special issue of Artpresse translated and printed a chapter of Peter Hill’s PhD exegesis (RMIT University, 2000), alongside a number of other international artists who link fiction with the visual arts. This chapter, which covers five pages, focuses on Hill’s on-going Superfiction The Art Fair Murders which is part-novel, part art installation. It describes how the project grew from a small ad placed in The London Review of Books and how it gradually took on a life of its own as it was absorbed, and changed, by the media.

Dr Peter Hill:

Annotated CV

Contact details: superfictions@bigpond.com

Qualifications 
PhD, RMIT University (2000); BA (Hons), First Class, Fine Art, West Surrey College of Art and Design, UK, (1981); SDAD (Hons) West Surrey College of Art and Design (1976); SIAD, Diploma Member, London, (1976)

Most recent full-time university position
2006 – 09        Associate Professor of Fine Art, and Head of Painting, at the
College of Fine Arts, UNSW, Sydney

Previous positions:
1985;    Painting lecturer, Gray’s School of Art, Aberdeen, Scotland
1991 – 97        Painting Lecturer, University of Tasmania, Hobart
2001 – 03        Art History and Theory Lecturer, promoted to Senior Lecturer, College Fine Arts, UNSW, Sydney
2004 – 06        Senior Lecturer, University of Melbourne, theory and practice

Biography, including research and teaching strengths
Dr Peter Hill is a Scottish-born Australian (Glasgow, 1953). He has an Australian mother and Scottish father. He trained as an Industrial Designer and then as a Fine Artist and has written critically in both disciplines since 1981 for over 40 publications around the world, many of which are cited in ARTbibliographies Modern. Peter Hill returned to Glasgow from London in 1981 and started to write about art in Scotland for numerous international magazines outside Scotland. Along with the work of many others (artists, educators, curators) this helped to inject a new confidence into the art scene in Scotland in general and Glasgow in particular.
Hill has exhibited in some of the art world’s major institutions including The Museum of Modern Art, Oxford, and the Museum of Contemporary Art, Sydney. In 1993 he launched one of the world’s first web-sites-as-artwork the latest edition of which can be accessed at: www.superfictions.com. His academic research covers three main areas within the contemporary art world: studio research (the Superfiction); art writing; and curating. Additionally, he has worked as a publisher, editor, and guest editor in the UK and Australia. He has wide experience coordinating undergraduate and postgraduate courses and continues to develop new ways of delivering studio units. He has lectured in Museum Studies and developed and delivered Art Writing programs. Dr Hill has been a guest lecturer at some of the world’s leading art schools, including The Royal College of Art (London), CALARTS (California); the Sorbonne (Paris); Yale (New Haven); Oxford Brookes (UK); Shanghai (China),and all major art schools in Australia and Scotland. He is currently writing several books:

  • The El Greco Search Engine, how the art world changed between 1980 – 2010  (two volumes)
  • Great Art Schools of the World
  • Superfictions: new ways of approaching art

Peter Hill’s teaching strengths are based on his ability to move between the areas of studio practice and theory, and in his passion for internationalising the curriculum. In conjunction with the Scottish Arts Council and staff at the universities of Tasmania (Hobart) and the ANU (Canberra) Hill established an international residency program between Scotland and Australia which brought over nine artists to both centres. He is developing several ARC applications for future submission. He is also a prize-winning artist, author and memoirist.

A brief explanation of ‘The Superfiction’

Peter Hill invented the Superfiction both as an artwork and as a way of testing ideas and expanding the notion of ‘lateral thinking’. In 1989 he created the fictitious Museum of Contemporary Ideas which existed only through its Press Office. Supposedly the biggest new museum in the world, it was written about in Germany and Austria (Gabriele Knapstein, Wolkenkratzer magazine, October 1989) as if it was real, and a meeting of German industrialists and curators (chaired by Dr Wolfgang Max Faust) was held to see if Frankfurt could build a real museum based on this model. Many of these testing mechanisms come from the philosophy of science (see Sir Karl Popper; Thomas Kuhn; Paul Feyerabend). Hill has used Superfiction projects as a way of teaching undergraduate students across a wide variety of studio disciplines.

Editorial and publishing positions
1985 - 86         Scottish editor for Artists Newsletter (Sunderland, UK)
1985 - 90         Publisher and Editor of ALBA magazine (Edinburgh), Scottish and International Contemporary Art.
May 1999        Guest editor Artmonthly Australia (Canberra) No 119
April 2000       Guest editor Photofile (Sydney) No 59, special ‘Fictions’ edition
June 2000        Guest editor Artmonthly Australia (Canberra), No 130

Peter Hill’s experience as editor of an international art magazine (ALBA) involved commissioning articles, interviews, and reviews from around the world; giving the magazine, and Scotland, a presence at international art fairs: Cologne; Frankfurt; Chicago; Los Angeles; and London; a hands-on involvement in subscriptions, advertising, proof-reading; chairing meetings; fund-raising and sponsorship; meeting deadlines with printers, designers, type-setters, advertisers and sales-outlets; events management and organizing overseas travel to cultural events for ALBA subscribers.

Conferences
Peter Hill has given key-note addresses and papers at many conferences in the UK and Australia. Notably, in 2006, he was key-note speaker at the Sorbonne (Paris): ‘Visual Arts, The Web, and Fiction’ organised by Professor Bernard Guelton. This conference took place on the 24th and 25th of November, 2006. Peter Hill read his paper in English and it was simultaneously translated into French by Stephen Wright the co-director of the Biennale of Paris. Professor Guelton is keen to collaborate with Hill on future research projects involving the Sorbonne. All papers have been published electronically on the web and can be accessed at:
http://www.rap.prd.fr/ressources/vod.php?videotheque=paris1/secom
Hill’s paper will be published as a chapter in a book, along with all conference proceedings, in Autumn 2009, by Publications de la Sorbonne, Paris.

Hill has also given readings from his books, and presentations on his topic of Superfictions, at many book festivals including The Edinburgh International Book Festival (1987 + 2003) and others in Melbourne, Sydney, Brisbane, and Byron Bay.

Biennales
2002:  Peter Hill was one of 56 artists from 21 countries selected for the 2002 Biennale of Sydney by international artist and curator            Richard Grayson. Hill’s work was exhibited in the Museum of Contemporary Art and was a survey of fourteen years of his work            with Superfictions. Hill’s biennale catalogue essay was written by leading UK art theorist John A Walker (Art Since Pop, Thames            and Hudson, and many other texts). He ends his introduction by saying: “Hill’s contributions to the ocean of information are playful            but have serious intentions: to mirror and critique the commercial art world, to subvert mass media news reporting and government            propaganda by making viewers more alert and sceptical.”

International Art Writing

Since 1981 Peter Hill has written for over forty journals, magazines and newspapers around the world. These include: Studio International (London); Artscribe (London); Design Magazine (London); Artmonthly (London); The London Review of Books; The Times Higher Education Supplement (London); Artists Newsletter (Sunderland); Aspects (Bath); ALBA (Scotland); ARTnews (New York); Interview (New York); Artpresse (Paris); Neue Bildende Kunst (Berlin); Art and Text (Sydney); Artmonthly Australia (Canberra); Artlink (Adelaide); Art and Australia (Sydney); Art World (Sydney); Tension (Melbourne); World Art (Melbourne). This writing has included articles, interviews, profiles, and reviews. Significantly, Peter Hill has conducted major interviews with some of the world’s leading artists including:

  • The first interview in English with Jorg Immendorff (Artscribe No 43, 1983, London)
  • First major interview with Ian Hamilton Finlay (Studio International, Vol 196, No 1004, 1984, London)
  • First interview in English with Komar and Melamid (Artscribe No 54, 1985, London)
  • The first interview with Stephen Campbell (made in December 1983, New York, published ALBA, Launch issue, 1986, Scotland)
  • Bill Woodrow (Artmonthly, October, 1986, London)
  • Krzysztof Wodiczko (ALBA, No 2, 1986, Scotland)
  • Achille Bonita Oliva (ALBA, No 6, 1987, Scotland)
  • Dan Cameron (ALBA, No 10, Scotland)
  • Martin Kippenberger (Art and Text, No 44, 1993, Sydney)
  • Thomas Sokolowski, director Andy Warhol Museum, Pittsburgh, (ArtmonthlyAustralia, Canberra)
  • Dr Gerard Vaughan (Artmonthly Australia, No 120, June 1999, Canberra)
  • Elizabeth Ann Macgregor (Artmonthly Australia, No 123, September 1999)
  • Tracey Emin (Sydney Morning Herald, February 14, 2003, Sydney)
  • Ron Mueck (Art and Australia, Vol 45, No 2, Summer 2007,Sydney))
  • Ai Wei Wei (Art World, Issue 3, June/July 2008, Sydney,)
  • David Griggs (Art World, Issue 4, August/September 2008, Sydney)

Peter Hill is currently compiling these interviews and other writings into a two-volume book called The El Greco Search Engine: how the art world changed between 1980 and 2010.

Peter Hill has also worked as an art critic for The Bulletin/Newsweek; The Age; The Australian; The Sydney Morning Herald; The Glasgow Herald and The Scotsman. These broadsheet articles and reviews, as opposed to the academic journals above, are aimed at reaching a broad audience, many of whom are outside the art world, and welcoming them in to that world through curiosity, enthusiasm, and critical debate. Hill’s various positions as an editor have given him good proof-reading skills which also aids PhD examining.

International correspondent;           

Since 1987 Peter Hill has been an international correspondent for ARTnews magazine in New York, one of the world’s oldest art magazines which has a history of employing artists who are also writers, such as Donald Judd. He has reported for ARTnews from the UK, Australia, and New Zealand.

Curating
2002:   ‘Stranger than Truth’ at the Australian Centre for Photography in Sydney. This exhibition was part of the 2002 Sydney Festival. It              was The Australian Centre for Photography’s major exhibition, in terms of funding and Promotion for that year. It was opened by              Festival Director Brett Sheehy and Included Superfictions by artists as varied as Joan Fontcuberta (Barcelona), Alexa Wright ; (London), Seymour Likely Group  (Amsterdam), Patrick Poun (NZ/Melbourne) Sir Arthur Conan Doyle (spirit photographs), as              well as Hill’s fictive group Made in Palestine/Made in Israel. The Sydney Festival described it in its program as “a dazzling ; display…a museum of dreams and fantasies. And all you need to gain admission is your imagination”.

Major Exhibitions

In addition to the 2002 Biennale of Sydney, Peter Hill has mounted major exhibitions and projects in museums, university galleries, and commercial galleries around the world. These include: The Auckland City Gallery (1997) where he was the British Council ‘Link’ artist-in-residence. This exhibition was sponsored by Montana Wines ($20,000), Creative New Zealand, Telecom New Zealand, Toi O Tamaki, and Hyatt Hotels. The Museum of Modern Art Oxford (2000), sponsored by the UK Millennial Fund ($50,000). The Art Gallery of New South Wales Project Space, Sydney, curated by Anthony Bond (1994); The Cité Internationale des Arts, Paris (1984); Mario Flecha Gallery, London (1984); Sue Rankin Gallery, London (1985); Judith Pugh Gallery, Melbourne (1990 and 1992); Cullity Gallery, University of Western Australia Perth (1995); University of South Australia Art Museum, Adelaide (1995); Storey Hall Gallery, RMIT, Melbourne, (2000); Geelong Art Gallery (2000), supported by VIC Arts; Boutwell Draper Gallery, Sydney (2007).

Collections

Peter Hill has work in collections in New York, London, Edinburgh, Melbourne, and Sydney.

Prizes and Awards
1983:   Latimer Award for Painting, Royal Scottish Academy, Edinburgh
2004:   Saltire Award for best First Book of the Year for Stargazing: memoirs of a young lighthouse keeper (Canongate (UK); ;Random House (Australia and New Zealand); Grove Atlantic (USA); MacArthur (Canada); Rogner and Bernhard (Germany, in ;translation). The award was made at the National Library of Scotland, Edinburgh, followed by interviews on the BBC. Stargazing ;was later read on BBC Radio 4 in the UK as ‘Book of the Week’ by actor David Tennant. In Australia it was serialised and read ;on the ABC by  Peter Hill each weekday for two weeks (First Person, Radio National) Stargazing was auctioned globally for ;$255,000 and this money supported Hill’s academic research for several years – a symbiotic relationship he between the populist ;and the specialist which he is pursuing in other projects.

Judging Prizes and Assessing Scholarships

Peter Hill has judged many art prizes and awards in the UK and Australia.

Committees

Peter Hill has served on many committees in Scotland, London, and Australia, ranging from Artspace Gallery in Aberdeen to the Society of Industrial Artists and Designers in London. Within the university system he has also served on all major committees from Higher Degree to Library and ‘International’ (for several years in Hobart he was International Program Coordinator).

Competitive grants, scholarships, awards, fellowships
2002    Faculty research grant COFA/UNSW
2001    Australia Council New Media grant: $25,000
2000    Arts Victoria grant of $10,000 towards two museum exhibitions
1999    Australia Council grant to visit MASS MoCA, USA
1996    Research travel grant, University of Tasmania
1993    Research ‘start-up’ grant, University of Tasmania
86/90    Annual grants towards publishing and editing ALBA magazine
1983    Major award from Scottish Arts Council towards one year residency, and major exhibition, at the Cité Internationale des Arts, ;Paris

Peter Hill has had wide experience of writing and re-writing ARC grant applications in several institutions and helping colleagues critique their applications.

Consultancies
2000    Peter Hill was employed as a consultant by Duncan of Jordanstone College of Art, Dundee (UK). The background to this grows ;from the art school coming equal top in the UK’s then recent Research Quality Audit (along with the Royal College of Art and Wimbledon). As a result it was awarded funds to examine best practice in Japanese and Australian art schools. Hill’s brief was to ;set up a fact-finding tour around eleven Australian art schools in five states and territories, to accompany Professor Alan Robb on ;this trip, to arrange interviews with Heads of Schools and senior staff, and to write a detailed report on the whole exercise. In the end it became a healthy, and very collegial, two-way exchange of information and Artmonthly Australia published an interview ;between Hill and Robb on the topic of university research funding. (Hill, Peter, ‘Challenges for Art and Design Education in the ;21st Century – Interview with Professor Alan Robb’, Artmonthly Australia (Canberra), No 129, May 2000, Interview)

Educational Reviews
2005    Peter Hill was one of two external reviewers for all of Monash University’s Art and Design School’s Undergraduate Programs
2006    External reviewer for University of Ballarat’s internal research quality exercise

Examinations

In addition to wide experience examining at all stages of Undergraduate and Honours courses in the UK and Australia, Peter Hill has examined over 20 PhDs and over 35 MFAs for 15 universities in five states in Australia, and in Singapore and Hong Kong.

 Public commentator

Through his writings in academic and non-academic journals (as well as broadsheet newspapers), Peter Hill has contributed to the field by examining issues in diverse areas including Higher Education, Cultural Tourism, and Museology. Notably, his article ‘Is There A Doctor In The Art School’ (Artmonthly Australia, No 84, October 1995 – sponsored by the National Library, Canberra) helped to generate debate around the introduction of studio-based PhDs within university art schools and the use of the exegesis as an educational tool.

Charity work

In 2005 Peter Hill was approached by Sarah Brown, wife of the current UK Prime Minister, who had read his memoir Stargazing, to write a chapter for a book called Journey to the Sea. This was published by Ebury Press (Random House) and has raised large sums of money for the children’s charity PiggyBankKids and the Jennifer Brown Research Fund to seek solutions to pregnancy difficulties and help save newborn lives.

“Before you yawn ‘Not another celebrity author anthology’ let us assure you this one is definitely worth a second glance…it works on many levels, exploring relationships with the sea as well as covering a range of writing styles that manage to both please and challenge in the most rewarding way.” Glamour magazine, April 2005

“Don’t just buy this as an act of charity – it’s a great read.” The Daily Mirror, April 2005. Like many artists Peter Hill has also donated artworks to charity and fund-raising auctions.

Major projects and superfictions
Peter Hill is currently advancing two major, on-going projects using ‘the superfiction’ as a device for project managing large events, and the press and media as a way of moving these concepts forwards. Briefly, they are:

  • The establishment of a Pacific City of Culture, based on the European model and encouraged by Prime Minister Kevin Rudd’s desire for a Regional Pacific Community. Hill learned much through the late 1980s watching Glasgow grow into its role as European Capital of Culture and, crucially, how Glasgow built on this throughout the 1990s by winning other major events before and after including The National Garden Festival (with large, international, visual art component) in 1998; UK City of Architecture and Design in 1999; and European Capital of Sport in 2003
  • The establishment of Paintforum International, a triennial event that will aim to be a platform for painters in the same way that the Munster Sculpture Project has been for sculptors and installation artists. If support for this can be found, Paintforum International will take place in a different city every three years, for example, 2012, London; 2015, Melbourne; 2018 Edinburgh; 2021 Chicago; 2024 Auckland; 2027 Amsterdam; 2030 Hong Kong. All major museums, public spaces, and commercial galleries will be encouraged to put on their best painting exhibition for the year, and major conferences will be built around each event

Collegiality

Peter Hill has worked in many different institutions and values the opportunities for collegiality that this offers. In an age when universities often compete against each other ruthlessly, Hill prefers to work across institutions, and between cities and nations, for the general good of Art and Design as a research area. Over the past thirty years he has built a network of friends and colleagues and enjoys nothing more than bringing them together and collaborating on projects. Similarly, he likes to enthuse students and research candidates, encouraging them to work globally as well as locally through a deliberate internationalisation of the curriculum. He has encouraged numerous students to apply, usually successfully, for fellowships such as the Greenshield Scholarships (Canada) and the Samstag Fellowships (Adelaide).

The following quote is from a feature on artist Troy Ruffels in The Peak magazine, Malaysia, (carried in First and Business Class in Lufthansa and Air-France), October 2007:

One of my early lecturers, Dr Pete Hill, had encouraged a generation of young Tasmanian artists to consider themselves as part of a larger global community of artists. It was not intended to diminish the importance of the local, but rather to apply for opportunities such as funding, exhibitions, and arts residencies internationally as well as locally. This attitude has certainly had a lasting impression, and resulted in a range of experiences, friendships, and opportunities around the globe and I would certainly recommend it to young artists as well

Dr Troy Ruffels, Head of Photomedia, University of Tasmania, Launceston




The Biennale of Sydney 2002 | Elevator Surfing | Encyclopaedia of Superfictions | The Manhattan Archives | The Art Fair Murders | Book Reviews | International Portrait Gallery | The Changing Room | The El Greco Search Engine | Press Office | Museum Shop | Current Writing | The Sorbonne Conference | Superfictions Phd | Basement - Plato's Cave

Feedback, comments and enquires

Back to museum lift