Mark Kimber is currently Studio Head of Photography & New Media at the SA School of Art, University of South Australia and is one of Australia’s most respected photo-based artists. He completed his Bachelor of Visual Arts at the SA School of Art, University of South Australia in 1981 and his Masters in Fine Art at the Chelsea School of Art, London in 2000. Kimber has exhibited extensively and has held more than 100 solo exhibitions & 85 group exhibitions over the past 25 years. He has exhibited nationally & internationally including London, Paris, Spain, New Zealand and the United States. In 2002 & 2004 he undertook a Polaroid Studio project in New York and in 2008 he was commissioned by the National Portrait Gallery... Read more
About me
Mark Kimber is currently Studio Head of Photography & New Media at the SA School of Art, University of South Australia and is one of Australia’s most respected photo-based artists. He completed his Bachelor of Visual Arts at the SA School of Art, University of South Australia in 1981 and his Masters in Fine Art at the Chelsea School of Art, London in 2000. Kimber has exhibited extensively and has held more than 100 solo exhibitions & 85 group exhibitions over the past 25 years. He has exhibited nationally & internationally including London, Paris, Spain, New Zealand and the United States. In 2002 & 2004 he undertook a Polaroid Studio project in New York and in 2008 he was commissioned by the National Portrait Gallery to photograph renowned South Australian scientist Dr Basil Hetzel. Recent exhibitions include Phantasia, Photoquai Festival, Australian Embassy, Paris and Intangibles in Terra Australis, Kubo-Kuxta, San Sebastian, Spain. His work is represented in many major collections including the National Gallery of Australia; Art Gallery of SA; Art Gallery of WA; Sir Elton John Collection and Artbank. Mark Kimber is represented by Stills Gallery, Sydney.
About me
Master of Art London Institute
Bachelor of Arts (Fine Art) South Australian College of Advanced Education
Mark has taught a diverse range of Photo-Media disciplines at the South Australian School of Art, Architecture and Design for the past 30 years, obtaining his masters in Fine Art at the Chelsea School of Art in London in 1999-2000.
Cultural idenity and it's relationship to photography. Digital photography,As well as contemporary analogue and digital photography, I have a strong interest in early photography and I have been researching 19th century photographic techniques such as the Daguerreotype, Ambrotypes and Tintypes.
Research
Excludes commercial-in-confidence projects.
The investigation and advancement of knowledge in relation to 19th century photographic techniques
Research
Research outputs for the last seven years are shown below.
Open access indicates that an output is open access.
| Year | Output |
|---|---|
| 2014 |
|
review and critical writing on the history of photography
Research
Cultural idenity and it's relationship to photography. Digital photography,As well as contemporary analogue and digital photography, I have a strong interest in early photography and I have been researching 19th century photographic techniques such as the Daguerreotype, Ambrotypes and Tintypes.
External engagement & recognition
| Organisation | Country |
|---|---|
| University of South Australia | AUSTRALIA |
External engagement & recognition
| Engagement/recognition | Year |
|---|---|
Outstanding (UG Teaching) Student Evaluation Attainment AwardDivision of Education, Arts and Social Sciences, University of South Australia |
2017 |
Teaching & student supervision
Teaching & student supervision
Supervisions from 2010 shown
| Thesis title | Student status |
|---|---|
| Despair is not an option: Artistic responses to the Anthropocene | Current |
| Dissident dissonance: forging a visual arts practice informed by twentieth-century transatlantic avant-garde music | Current |
| Honest magic: an exploration of the nature of photographic reality in the age of digital imagery | Current |
| Camera vision: an investigation into uncertainties of visual perception through the practice of photography | Completed |
| Country photography: practicing ontological multiplicity within the work of art | Completed |
| Expanded understandings of place making through genre painting: a heuristic study in the Mid North of South Australia | Completed |
| Monsters, meat and meta; an artist’s guide to making a friend of the horror genre | Completed |
| The past that does not pass: manifestations of memory informing a contemporary sculpture and installation practice | Completed |
