Elvis Richardson, (she/her) lives and works in Naarm, on the lands of the Wurundjeri people of the Kulin Nation.


Treasuring the intimacies of ordinary lives, Elvis Richardson collects and curates personalised objects and imagery she extracts from public sources and re-constructs them as the raw materials of her studio practice. Her works employ kitsch and formalist approaches and mediums to comment on taste, class, the sublime and her own agency as an artist when also trapped in an aspirational exposure-based system of certain economic precarity.

Richardson’s objects and images disrupt the everyday commodification’s of lifestyle to satirically expose the promises, disappointments and contradictions that we all live with.

Recent exhibitions include Melbourne Now: NGV (2023); Future40: Performance Space (2023); Canberra Art Biennale Contour 556: ACT (2022); Force Fields, Kyneton Contemporary Art Triennial (2018); Unfinished Business: Perspectives on art and feminism, Australian Centre for Contemporary Art, Melbourne (2018); Versus Rodin: Bodies across space and time, Art Gallery of South Australia (2017); CCP Declares: On the Social Contract, Centre for Contemporary Photography, Melbourne (2016); Octopus 15: Lost and Profound, Gertrude Contemporary, Melbourne (2015); and Transmission: Legacies of The Television Age, National Gallery of Victoria (2015).

Richardson has been the director of a number of artist run initiatives including First Draft (96/97), Elastic (99/00), Ocular Lab (08/10) DEATH BE KIND (2010/12) and True Estate (2017/18).

Richardson’s works are held in the collections of National Gallery of Victoria, Art Gallery of NSW,  Heide Museum of Art, Art Gallery of Ballarat, Artbank, City of Fremantle, MerriBek Council and the Cruthers Collection of Women’s Art.

Richardson is the founding editor of CoUNTess a blog publishing data on gender representation in the Australian visual arts sector.

The first Countess Report authored by Richardson, was released in 2016 a sector wide bench marking data collection project, and which re-launched as Countess.Report in 2017 in collaboration with Amy Prcevich and Miranda Samuels and producing the updated 2019 Countess Report


Elvis Richardson
Art Guide Australia
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Elvis Richardson - Season 1, Episode 6
Fine Art Fiona Podcast
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Unsolved Murder 1965, Void_Melbourne 

Lorne Sculpture Biennale


Melbourne Now, National Gallery of Victoria

Mural Commission for Future40 at Performance Space, Sydney

Room to Create, Collingwood Yards

Resartis, Collingwood

Spring1888, Art Fair with Void_Melbourne


2022 Canberra Art Biennale, Contour556, ACT


Group Show Hugo Michell Gallery, Adelaide

Care Project curated by Macushla Robinson, Bus Projects, Melbourne


Solo: Settlement and the Gatekeepers, Hugo Michell Gallery, Adelaide and Occassional Space, Melbourne 


Concrete, Jam Factory, Adelaide (touring) 

Solo: Time Frames @ Galerie Pompom

For Love or Money, curated by Sophia Chai, Hawthorne Arts Centre, Melbourne

Fires, Fires Gallery, curated by Nicholas Kleindenst, Sydney 2018

Force Fields, Kyneton Contemporary Art Triennale, VIC

Elvis Richardson’s PhD Show, True Estate Gallery, Melbourne

True Estate, Counihan Gallery, Melbourne and Knulp, Sydney

Borrowed Scenery, curated by Jasmine Kean, Campbelltown Art Centre, with Countess


Vs Rodin curated by Leigh Robb, Art Gallery of South Australia

Sports – curated by Ross Taylor, Kyneton Stockroom

Open House, True Estate Gallery, Melbourne

Boundless Volumes, Parliament House Gallery, Canberra

Unfinished Business: Perspectives on Art and Feminism, ACCA, Melbourne

Public Billboards for Moonee Valley Council and Incinerator Art Gallery

Video Contemporary curated by Serena Bentley, Sydney Contemporary, Carraigeworks


Settlement @ Hugo Michell Gallery, Adelaide

Vote For Me! Curated by Powerhouse, Format Gallery, Adelaide 

Name That Artist! Ideas Platform, Artspace Sydney 

Future Feminist Archive @ Cross Art Projects, Sydney

CCP Declares! curated by Pip Murray @ Centre for Contemporary Photography

Representing Hugo Michell Gallery at Spring Art Fair, Melbourne


FEMMO™, with Virginia Fraser, BoxCopy, Brisbane. 

Octopus 2015 Lost and Profound, curated by Daniel Mudie Cunningham, Gertrude

Contemporary Melbourne

Exhibit A curated by Carrie Miller, The Lock Up, Newcastle

Crafted Histories curated by Lisa Byrne, Maroondah Art Gallery, Melbourne

Finalist Fremantle Print Art Award (Highly Commended)

Representing gallerie pompom at Sydney Contemporary Art Fair


Rendezvoodoo curated by Bridgid Noone, Fontanelle Gallery, Adelaide

Curating Feminism, Sydney College of the Arts Galleries, Sydney

Benglis 73/74, curated by Geoff Newton, Sutton Project Space, Melbourne

Re-raising Consciousness curated by Fayen deEvie, TCB, Melbourne

FIN, Utopian Slumps, Melbourne

Winner ROI Art Prize


National Housing Search Centre for Contemporary Photography, Melbourne

Slide Show Land, Nellie Castan Gallery, Melbourne

Game On curated by Toni Bailey, Casula Powerhouse, Sydney

Dirt Ruins and Dust curated by Zanny Begg, Tin Sheds Gallery, University of Sydney

Regimes of Value curated by Elizabeth Gower VCA Gallery

CoUNTess @ Rae and Bennett Gallery Melbourne 2012

Because I did it first, Hugo Michell Gallery, Adelaide

Ocular Lab Inc. VCA Margaret Lawrence Gallery, Melbourne

Westpac Redlands Art Prize, National Art School, Sydney


It's about time, DEATH BE KIND, Melbourne

Have you ever, Hotel Lincoln Art Projects in partnership with the Ian Potter Museum of Art

The fall before the fall, UTS Gallery, Sydney (with Daniel Mudie Cunningham)

Trophy Wife, curated by Sarah Jones, DEATH BE KIND, Melbourne


DEATH BE KIND Gallery founder and Director Melbourne

Because I am different – Hugo Michell Gallery, Adelaide

Because I am Lucky – Conical Melbourne


Housed - VCA Margaret Lawrence Gallery Melbourne

Illume – Campletown Arts Center commissioned building projection

Reality Check – Hazelhurst Regional Gallery curated by Daniel M Cunningham

Photographer Unknown- curated by Kyla McFarlane, Monash University Museum of Art


Televisuals/Salute Elvis, Utopian Slumps, Melbourne

Now 7 Years Later - Freemantle Arts Center, Freemantle

Finalist – Basil Sellers Art Prize Ian Potter Museum, Melbourne

Dream Home – Plimsoll Gallery, Hobart curated by Mary Pridmore 2007

Ocular Notes – George Patton Gallery, Melbourne University

An edge meets an edge – Edith Cowan University Spectrum Project Space

Clip Art – curated by Daniel Mudie Cunningham, First Draft Sydney


Domain – temporary public art project Canberra

If you leave me can I come too? Curated by Bec Dean, Australian Centre for Photography

Shelf Life – curated by Daniel Mudie Cunningham MOP, Sydney

Tomorrow Again – curated by Scott Donovan, Artspace Sydney


Predictive TXT Hamish Mackay Gallery, NZ

Room 35 Gitte Weiss Gallery, Sydney


2019 – PhD Deakin University 

2002 – MFA Columbia University, New York

1995 - MA University of New South Wales

1992 – BFA University of New South Wales


Australia Council Individual Project Grant 2018 

Creative Victoria Individual Project Grant 2018

Second Prize Fremantle Art Prize 2016

Australia Council Individual Project Grant 2015

Winner ROI Art Prize 2014

Columbia University Presidents and Provosts Initiative Award and Grant 2003

The Anne & Gordon Samstag International Visual Arts Scholarship 2000

NAVA Artist Grants 2005, 2010


Elastic a Printed Project 2002

And the rest is silence – Death be Kind 2010

CoUNTess: SPOILING ILLUSIONS since 2008 co-authored with Melinda Rackham 2021