Biography:

Born in Geelong, Australia in 1962.
Studied at the Canberra School of Art (1982-86),
Victorian College of the Arts (1989-90) and Sydney
College of the Arts (2000-2001).
Lives and works in Sydney, Australia.
Currently undertaking a residency at the Kunstlerhaus
Bethanien in Berlin.

Andrew Hurle studied printmedia at the Canberra School
of Art in the early 1980's, working with photocopiers
and screened image reproduction techniques. He moved
to Melbourne in 1989 to study at the Victorian College
of the Arts and around this time began to use digital
photocopiers and computers.
Andrew now lives and works in Sydney, exhibiting with
the Darren Knight Gallery as well as smaller
artist-run galleries in Sydney and Melbourne. He was a
member of the Elastic artist-run gallery and recently
co-edited the 180 page Elastic artists publication.
For the past decade his work has been concerned with
economies of printed reproduction. His most recent
exhibitions have investigated the relation between
ornamentation and printed money, the materiality of
digital pornography in print, and optical stereo
lenticular imaging. Andrew Hurle currently lectures at
Sydney College of the Arts in Digital Print and Studio
Theory and also at the University of Technology,
Sydney in the areas of computer typography and web
design.

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"76 Defunct Artist-run Galleries":

"76 Defunct Artist-run Galleries was originally
conceived as a project for publication in an artist
book.
It consists of contemporary photographs taken of the
sites of artist-run galleries in the two largest
Australian cities of Sydney and Melbourne.
The 76 galleries were as many as I was able to confirm
in a year of research. Some of them are galleries I
have been involved in, some were discreet or temporal
projects that only a few knew about, some were around
long before I was practicing as an artist.

The criteria for inclusion were simply that the
gallery had to have a name and, at the time of
photographing, be no longer active as a gallery. It
also had to have been organised and run by artists who
weren,t accountable to a parent organisation.

There is deliberately no indication of dates or
specific locations. This is meant to encourage the
representation,s collapse into a flattened and printed
contemporaneity. They are not informative in a
documentary sense - they are more like abstracted
tabloid 'obituaries' for artist-initiated activities.

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Quadratmeter:

For the first six months of my residency at the
Kunstlerhaus Bethanien I have maintained a small
exhibition space in the corridor outside my studio.
This space is called "Quadratmeter and, as the name
suggests, consists of an exhibition surface measuring
one square meter made of painted plywood. Over six
months I have had a total of fifteen exhibitions on
this surface - each remaining for about 10 days to 2
weeks.

"Exhaustion is an elaboration of a recent display
that reconstructed designs used for the
"certification of cigarettes and alcohol, identifying
the levy of Government taxes from the value of these
goods. The goods in this case are those that commonly
stimulate and regulate artists, time within the
workplace or studio. They are also goods, from which
one suffers addiction, illness and, in inspired
solitude, a strange companionability.

"Untitled (Clark,s Myriorama) is a reconstruction and
abstraction of a cover-spread from a copy of the
"Readers Digest. The magazine, which condenses and
abridges literature for the easy digestion of its
readers, owns a substantial collection of contemporary
art. The work featured on the back of this issue is a
painting by one of Australia,s more interesting and
intelligent contemporary artists, Tony Clark.