Lindeman, Michael

Michael Lindeman, born in 1973, lives and works in Sydney. He received both a Bachelor of Fine Arts, Honours (First Class) in 1998 and a Master of Fine Arts, in 2004 from College of Fine Arts, University of New South Wales.

Lindeman’s conceptual text paintings and corresponding watercolour imagery are derived from published newspaper advertisements offering paintings for sale. He is interested in making paintings that replicate the printing process, demonstrated through his text painting’s hard-edged aesthetic. With deadpan humour and irreverence, Lindeman’s work wryly addresses issues surrounding cultural meaning and the commodification of art. By using text that references various Australian suburbs and regional locations his work resuscitates amateur painting, presenting it in a new light.

 

"Michael Lindeman is a young artist with an exceptionally sharp mind. When so much would-be Conceptual Art seems to have no idea whatsoever, Lindeman’s conceptually-based paintings are incisive and genuinely witty. Based on classified advertisements for works of art, they are as well observed as any landscape painting. The wording, at once banal but revealing, provides a timely reminder of the way the vast majority of the population approach the subject of art. They’d be depressing if they weren’t so funny."
John McDonald, 2011

 

 Lindeman has exhibited in a number of exhibitions nationally and internationally. Solo exhibitions include LA International Biennal, 18th Street Arts Complex, Santa Monica, Los Angeles, 2001 and The Lounge, Casula Powerhouse Arts Centre, Sydney, 2000. Recent group exhibitions include Subtext: Art for Literacy, Carriageworks, Sydney, 2011, I’m worse at what I do best – curated by Tom Polo, Parramatta Artists Studios, Sydney, 2009. In 2007 he was awarded a residency through the International Studio and Curatorial Program, New York. In 2010 Lindeman won both the Fisher’s Ghost Art Award, Campbelltown Arts Centre, Sydney and the Sulman Prize, Art Gallery of NSW, Sydney. He was a finalist for the Archibald Prize in 2011.