Dr Jan Hogan is an artist and printmaker, passionate about developing a visual language that responds to the environment in a sensitive and ethical way.
Following propositions seen in contemporary Australian Aboriginal and Torres Strait Islander Art, Dr Hogan is searching for an immersive response to place that acknowledges Indigenous precedence and the impacts of colonisation.
“My work is process led and reflective. I work directly in the environments where I find myself living.”
“My current focus is the Derwent River but I have worked in many regional areas of Australia including Darwin, Uluru, Kununurra and Gundaroo, NSW.”
Her work contributes to a discourse on the impact of colonisation on Australia and the importance of place-based research in understanding those impact.
“Working alongside Indigenous Australians in Darwin provided a focus for my work and future research, as I realised the impact of colonial attitudes to Indigenous Australian communities and the non-human community in the landscape.”
“The landscape tradition in Australia perpetuates the myth of humans separated from the environment. The depiction of scenery from a spectator’s gaze continues a belief that the natural world is a resource for human activities and ownership.
“My work is important as part of a field of developing a realisation that humans are part of nature. It contributes to an understanding of our relationship with nature as part of the research into the nonhuman turn.”
Dr Hogan is currently working with the Derwent Valley Arts association on an exhibition, which will continue her research into the Derwent River and aims to make stronger associations with community living on the shores, both human and non-human.
“I am constantly inspired by revelations in the natural world. By using place-based processes over time, I am constantly surprised and delighted by new insights into the nonhuman world.”
Place-based is a strength of Tasmanian research and Dr Hogan is developing conversations with the palawa community for appropriate responses to the place we share.
“By being immersed in place-based research I have developed wonderful conversations with the Tasmanian Aboriginal community. Their knowledge of ecologies and patterns in nature is inspiring.”
From a young age, Dr Hogan loved drawing and dreamt of being an artist. She also developed a great appreciation for the work of writers and philosophers and decided early in her higher education that she wanted to be in an academic and intellectually engaged environment.
“I feel very lucky to have the combination of both in my current appointment,” she said.
Dr Hogan is also the Head of Discipline in Fine Arts. As an educator, she believes in providing a safe, inclusive and supportive environment for students to learn in.
“Through iterative processes students learn the importance of going beyond an initial idea.
“The learning through processes of the creative arts enables students to develop skills in problem solving and reflective thinking. It makes them strong contributors to society and provides a strong framework for future possibilities.”
Dr Hogan worked collaboratively with Professor Andreas Philippopoulos-Mihalopoulos, director of the University of Westminster’s Law and Theory Lab, around material responses to spatial law in place. They collaborated again in 2020, resulting in Submergence, an online exhibition at Danielle Arnaud Gallery in London.
Dr Jan Hogan is the Head of Discipline (Art) and the coordinator of the Printmaking & Drawing Studio at the School of Creative Arts and Media, Hunter Street and Inveresk. Her practice-led research explores the traces left in the land of past events intertwining deep geological time with historical events and the present moment. Jan has lived and worked in many remote areas of Australia, which has had a profound impact on her practice-led research. Her work is held in major galleries around Australia including the National Gallery of Australia, the Art Gallery of NSW and Artbank.
Jan Hogan was appointed as coordinator of Printmaking at the School of Creative Arts, Hunter St in 2013. Before joining the University of Tasmania Jan was teaching Art Theory to undergraduate and postgraduate coursework students at the ANU School of Arts, Canberra. She graduated with a PhD from the ANU School of the Arts, Canberra in 2009 previously gaining a Masters degree there in 1996. Her undergraduate training was at the National Art School, Sydney and the College of Fine Arts, UNSW. Jan has extensive teaching experience having had an appointment at the Charles Darwin University as printmaking lecturer and taught a range of courses across Printmaking, Drawing and Art Theory at the ANU School of Arts, the College of Fine Arts, UNSW, and the National Art School.
|Degree||Title of Thesis||University||Country||Awarded|
|PhD||The Affective Ground: research into the possibilities for cross-cultural dialogue through the visual arts||Australian National University||Australia||2009|
|MA (Visual Arts)||Under Dominion: Ordering Chaos in Colonial Australia||Australian National University||Australia||1995|
|BVA||COFA University of New South Wales. ANU School of Art||Australia||1989|
|Cert||East Sydney Technical College/National Art School||Australia||1985|
- Representing Tasmania on the Print Council of Australia, a national organisation dedicated to Australian printmaking
- Contemporary Art Tasmania, peak body for support of contemporary Tasmanian Artists
- Committee member of Tasmanian Art Teachers Association
AAANZ; Art Association of Australia acts as a professional body for the region's art historians, critics, curators, artists, and art students
- Head of the Art Discipline of CAM across Tasmania, which includes Hobart and Inveresk campuses
- Co-ordinator of Australasian Print Project, Charles Darwin University.& An international cross-cultural dialogue between artists from Arnhem Land, the Philippines, Indonesia, New Zealand and Australia
- Convenor of Introductory Art Theory Program, ANU School of Art
- Manager of Nomad Art Gallery, Canberra
- Development and delivery of distance blended learning postgraduate coursework program, ANU
Printmaking, drawing, landscape, environment, cross-cultural, Indigenous Australian Art, Asia Pacific Arts, Art Theory, Contemporary Art, Deleuze, Art-Science dialogues, Phenomenology.
Course and unit design of Bachelor and Diploma of Visual Arts at Charles Darwin University and UTAS.
Unit Design of 1st year Critical Practice modules in the Bachelor of Fine Arts, UTAS
Unit Design and coordination of Drawing and Printmaking Major Studios, UTAS
Unit Design and coordination of Third Year Studio Units, UTAS
Head of Studio and Lecturer of Printmaking courses at the School of Creative Arts and Media:
- Printmaking 1 (FSR111)
- Printmaking 2A (FSR211)
- Printmaking 2C (FSR281)
- Printmaking 2B (FSR212)
- Printmaking 2D (FSR282)
- Printmaking 3A (FSR311)
- Printmaking 3B (FSR312)
- Master of Fine Art & Design (Specialisation) (F7D)
- Graduate Certificate in Fine Art & Design (Specialisation) (F5D)
- Graduate Diploma in Fine Art & Design (Specialisation) (F6G)
- Bachelor of Fine Arts with Honours(F4A)
- Doctor of Philosophy (Creative Arts) (F9D)
- Print Council of Australia board member
- Invitation to work on TOUCH, part of the University of Westminster Law and the Senses series of books
- Practice-led research
- Contemporary Visual Art
- Place studies
- Cross-cultural dialogue through the Visual Arts
- Nonhuman turn
Jan has been involved in several national and international collaborations. She is currently involved in Tracing Submergence an international collaboration with Professor Andreas Philippopoulos-Mihalopoulos from the University of Westminster, London, UK. The research is founded on their mutual interests in the materiality of language, the poetics of water and geology as a way of decentring human perception. An online exhibition at the Danielle Artaud Gallery in London publishes the first experimentations and these will be followed up by traditional research articles and ongoing practice-led research.
Oceans of the Unknown, a previous cross disciplinary project involved a collaboration with Dr Vanessa Lucieer, Marine Spatial Analyst, Ecology and Biodiversity Program and artist and PhD candidate, Annalise Rees. This resulted in local and international exhibitions and publications
Spaces of connection was a research collaboration between 4 Australian artists with different cultural backgrounds. Over two years from 2012 -2014, a collaboration through practice-led research explored the interconnectedness between Indigenous and non-Indigenous relationships to land, place and each other. The research culminated in an exhibition at the South Australian School of Arts Gallery, an artist's talk and a blog. Researchers: Imiyari Yilpi Adamson, Elizabeth Hetzel, Jan Hogan, Jessica Sanguesa.
The Australasian Print Project was an international cross-cultural dialogue between artists from Arnhem Land, the Philippines, Indonesia, New Zealand and Australia. The concept was to use the medium of printmaking as a common tool for dialogue. This research culminated in exhibitions, conference papers and a catalogue.
Tracing Submergence an international collaboration with Professor of Law and Theory at University of Westminster, UK. This will result in ongoing traditional and non-traditional research outputs.
Connexion: entanglements in place, a collaborative exploration of the Derwent Estuary with Keven Francis was exhibited at Moonah Arts Centre in November 2020. This place-based practice led research is ongoing and will result in further publications in traditional and non-traditional research outputs.
Reparation: Three points of contact is a collaboration between three creative practitioners; Jan Hogan, Sarah Stubbs and Zoe Veness exploring the Hamilton Inn Sofa housed in the Tasmanian Museum and Art Gallery. The aim is to work collaboratively and in-dialogue to explore the complexities bound within Tasmanian colonial artefacts/archives. This will result in an exhibition and catalogue at the Tasmanian Museum and Art Gallery in 2021.
Fields of Research
- Fine arts (360602)
- Visual cultures (360104)
- Performance art (360603)
- Heritage, archive and museum studies (430299)
- Art criticism (360101)
- Environmental law (480203)
- Law and society and socio-legal research (480405)
- Art history, theory and criticism (360199)
- Art theory (360103)
- Geospatial information systems and geospatial data modelling (401302)
- Music performance (360304)
- Visual arts (360699)
- Conservation and biodiversity (410401)
- The creative arts (130103)
- Arts (130199)
- Assessment and management of terrestrial ecosystems (180601)
- Environmental policy, legislation and standards (190299)
- Justice and the law (230499)
- Communication across languages and culture (130201)
- Expanding knowledge in the environmental sciences (280111)
- Music (130102)
- Communication (130299)
As a practicing artist Jan's publications have been focused on Non Traditional research outputs in the form of Solo and Group exhibitions. However, as a regular contributor to Conferences she has been invited to submit articles for forthcoming peer-reviewed journals.
Journal Article(4 outputs)
|2018||Hogan J, 'Surfacing', Lo Squaderno, 48, (June) pp. 37-40. ISSN 1973-9141 (2018) [Refereed Article]|
|2018||Hogan JM, Richardson Benjamin, 'Between nature and culture: The Remarkable Tasmanian Devil' at TMAG', Art Monthly Australia, 306 pp. 30-31. ISSN 1033-4025 (2018) [Letter or Note in Journal]|
Co-authors: Richardson Benjamin
|2018||Richardson BJ, Hogan J, 'The Remarkable Tasmanian Devil': The aesthetics of persecution and protection', Alternative Law Journal, 43, (4) pp. 269-274. ISSN 1037-969X (2018) [Refereed Article]|
Co-authors: Richardson BJ
|2017||Hogan J, 'Touching Evidence: a case for sensation over representation', Non Liquet [The Westminster Online Working Papers], Law and the Senses Series: TOUCH, (3/Oct) pp. 28-51. ISSN 1758-0218 (2017) [Refereed Article]|
Chapter in Book(3 outputs)
|2020||Hogan J, 'A Touching Contract'', Touch, University of Westminster Press, C Nirta et al (ed), London, UK, pp. 89-118. ISBN 9781912656660 (2020) [Research Book Chapter]|
|2020||Hogan J, 'The Breathing Line', Place. Space. Art. An Anthology, Chinese Academy of Art Press, Xu Hong et al (ed), China, pp. 60-72. ISBN 9787550318212 (2020) [Other Book Chapter]|
|2018||Hogan J, 'Resonating estuary: Transitions from site to art', ARt and Future: Energy, Climate, Cultures, Cambridge Scholars Publishing, P Stupples (ed), United Kingdom, pp. 99-115. ISBN 978-1-5275-0410-3 (2018) [Research Book Chapter]|
Conference Publication(7 outputs)
|2016||Hogan JM, 'Touching evidence: a case for sensation over representation', The Westminster Online Working Papers Series, Law and the Senses, pp. 28-51. (2016) [Non Refereed Conference Paper]|
|2015||Hogan J, 'Transversing Truganini Track', Transversal Practices: Matter, Ecology and Relationality , VI Conference on New Materialisms, December, Melbourne (2015) [Non Refereed Conference Paper]|
|2013||Hogan JM, 'Grounded Memory', Interpellations: Law, Literature and the Humanities Association of Australasia Conference, September, Australian National University, Canberra (2013) [Non Refereed Conference Paper]|
|2013||Hogan JM, 'On Commoning', Intersections and Counterpoints: Proceedings of Impact 7, an International Multi-Disciplinary Printmaking Conference, 27th - 30th September 2011, Melbourne, pp. 101-106. ISBN 978-1-921867-56-9 (2013) [Refereed Conference Paper]|
|2010||Hogan JM, 'Tradition & Transformation', Inter discipline AAANZ Conference, Decmber 7-9, Melbourne (2010) [Non Refereed Conference Paper]|
|2010||Hogan JM, 'Imaging Identities', Conference National Portrait Gallery (2010) [Non Refereed Conference Paper]|
|2010||Hogan JM, 'xxx', Arte-Polis 3 International Conference (2010) [Non Refereed Conference Paper]|
Major Creative Work(14 outputs)
|2019||Hogan J, 'Rhizoming: Language of Print and Place', Craft + Design Centre, Canberra, ACT (2019) [Published Creative Work]|
|2018||Hogan J, 'Audrey Macdonald's Turkish Suite', Schoolhouse Gallery and Art at Wharepuke, Australia and New Zealand (2018) [Published Creative Work]|
|2017||Hogan J, 'Stain of Blackening Plumes', Ten Days on the Island, Hobart, Tasmania and Freemantle, WA (2017) [Published Creative Work]|
|2016||Lucieer V, Hogan J, Rees A, 'Oceans of the Unknown', University of Tasmania, IMAS Gallery Salamanca (2016) [Curated Exhibition]|
Co-authors: Lucieer V; Rees A
|2015||Hogan J, 'Membrane of Memory: Care instructions', Langford 120 Gallery, Melbourne, 1 (2015) [Published Creative Work]|
|2015||Hogan J, 'The Stone Dialogues', Nomad Art Darwin, Darwin, 1, pp. 21 (2015) [Published Creative Work]|
|2014||Hogan JM, 'Broken Line', Northern Centre for Contemporary Art, NCCA Darwin Northern Territory, 1 (2014) [Published Creative Work]|
|2014||Hogan JM, 'Spaces of Connection', SASA Gallery, Adelaide, SA, 1 (2014) [Published Creative Work]|
|2011||Hogan JM, 'To Shadow', Canberra Museum and Art Gallery, Canberra, 1 (2011) [Published Creative Work]|
|2011||Hogan JM, 'Shadows on the Common', Seedling Art Space, Adelaide, SA, 1 (2011) [Published Creative Work]|
|2009||Hogan JM, 'The Fourth Day', Grahame Galleries + Editions, Brisbane, QLD, 1 (2009) [Published Creative Work]|
|1998||Hogan JM, 'The Deluge', 24HR Art, NT Contemporary Art Space, Darwin, NT, 1 (1998) [Published Creative Work]|
|1997||Hogan JM, 'The Promised Womb', aGOG, Canberra, ACT, 1 (1997) [Published Creative Work]|
|1996||Hogan JM, 'Chain of Being', Studio One, Canberra, ACT, 1 (1996) [Published Creative Work]|
Other Creative Work(23 outputs)
|2020||Hogan J, 'The Reveal', Maitland Regional Art Gallery, NSW (2020) [Minor Creative Work]|
|2020||Hogan J, 'Terra Celestial: Artists-in-residence 2019 and Wayfaring, Exhibition essay', Craft ACT: Art and Design, Canberra, ACT, pp. 3 (2020) [Minor Creative Work]|
|2019||Hogan J, 'Mountain Rocks Caress', Brooke Street Pier, Hobart, and China Cultural Centre, Sydney (2019) [Minor Creative Work]|
|2019||Hogan J, 'Wayfinding: Derwent River', Caloundra Regional Gallery, Sunshine Coast, QLD, Caloundra, Queensland, pp. 1 (2019) [Minor Creative Work]|
|2018||Hogan J, 'Vital Signs: Taroona', IMPACT 10 Symposium, Santander, Spain, pp. 1 (2018) [Minor Creative Work]|
|2015||Hogan J, 'Trajectories: Fifteen', Langford 120, Melbourne, pp. 1 (2015) [Representation of Original Art]|
|2015||Hogan J, 'New Makings', Tanjung Malim, Malaysia (2015) [Representation of Original Art]|
|2015||Hogan J, 'Behind the Personal Library: Collectors Creating the Canon', Center for Book Arts, New York (2015) [Representation of Original Art]|
|2015||Hogan J, 'New Makings', Plimsoll Gallery, Hobart (2015) [Representation of Original Art]|
|2015||Hogan J, 'Location', JAM JAR Galleries: Crossing the Line 2: Drawing in the Middle East, Dubai, UAE (2015) [Representation of Original Art]|
|2015||Hogan J, 'Three Figures at the Base of a Mountain: finalist Hobart Art Prize', TMAG, Hobart (2015) [Representation of Original Art]|
|2014||Hogan JM, 'Stains on the Track: Truganini Reserve', Formed and Unformed: ArtSpace, Hobart, pp. 1 (2014) [Representation of Original Art]|
|2014||Hogan JM, 'to come 4', Australian National Botanic Gardens, Canberra, pp. 1 (2014) [Representation of Original Art]|
|2014||Hogan JM, 'Presence: Gundaroo Common', Center for Book Arts, New York, pp. 1 Artists Book (2014) [Representation of Original Art]|
|2013||Hogan JM, 'Slippage in Togart Contempoary Art Award Exhibition', The Chan Contemporary Art Space, Darwin, NT, pp. 1 (2013) [Representation of Original Art]|
|2012||Hogan JM, 'Fine Lines', ANU School of Art Gallery, Canberra, pp. 1 (2012) [Representation of Original Art]|
|2011||Hogan JM, 'to come', Megalo Print Studion, Canberra, pp. 1 (2011) [Representation of Original Art]|
|2010||Hogan JM, 'to come 2', Belconnen Art Centre, Canberra, pp. 1 (2010) [Representation of Original Art]|
|2010||Hogan JM, 'to come 3', Vivid National Photography Festival, Canberra, pp. 1 (2010) [Representation of Original Art]|
|2009||Hogan JM, 'Becoming,', School of Art Gallery, School of Art Gallery, pp. 1 (2009) [Representation of Original Art]|
|2007||Hogan JM, 'Dancing with Shadows', Foyer Gallery, Canberra School of Art, Foyer Gallery, Canberra School of Art, pp. 1 (2007) [Representation of Original Art]|
|2007||Hogan JM, 'to come 5', Canberra School Art Gallery, Canberra, pp. 1 (2007) [Representation of Original Art]|
|2006||Hogan JM, 'Little Red Rididng Hood', State Library of Queensland, Queensland, pp. 1 (2006) [Representation of Original Art]|
Other Public Output(2 outputs)
|2019||Hogan J, 'The ladybird garden of Chen Ping', Garland Magazine, Australia Council for the Arts, Australia, 15 (2019) [Magazine Article]|
|2014||Hogan JM, 'Artist-in-residence,', Megalo Print Studio, Canberra, ACT (2014) [Award]|
Grants & Funding
- University of Tasmania Internal Cross Disciplinary Incentive Grant - Oceans of the unknown: visually representing the unseen
- Regional Arts Tasmania, quick response grant
- APA Postgraduate Scholarship
- Australia Council Grant for Australasian Print Project
- Project Grant: New Work, Visual Arts/Craft Fund, Australia Council
Number of grants
- The project aims to improve academic knowledge and practical knowhow in developing a richer and moresocially inclusive framework for engaging communities in nature conservation through aesthetics, includingthe arts, and thereby to generate recommendations for nongovernmental organisations and governmentpolicymakers working on environmental issues. This will be achieved through a community workshop, fieldCALHothouseResearchEnhancementProgramEOI2017Page5of12trip to a nature reserve, engagement with stakeholders especially school teachers, and scholarlypublications.Aesthetics is vital for engaging communities in their natural environments because it can generate anemotional and cultural commitment in a way that science and economics cannot easily solicit. However, theappeal to environmental aesthetics has tended to exalt landscapes that are pristine, without people, andto use imagery or messages that appeal primarily to specific socio-economic groups (eg, the well educated,affluent, and urban) while of less relevance to others, such as poorer, rural populations, disaffected youth,and sometimes Aboriginal communities.Because Australian society is deeply divided in how it values landscapes, we urgently need a moreinclusive and varied approach to reading aesthetic values in the environment (eg spiritual and historicvalues, and recreational benefits, in addition to ecological values). If environmental law and policy, and thepractices of environmental organisations, are to achieve broader community support, a more sophisticatedframework for assessing aesthetic values is needed to underpin environmental decisions.The project (in the UTAS-funded phase) collaborates closely with the Tasmanian Land Conservancy (TLC),the leading private land conserver in the state, to investigate how these challenges can be met through acase study of its Five Rivers Reserve in the central highlands. A community workshop and site-visit overtwo-days will involve academics, artists and local stakeholders to identify and evaluate a process forunderstanding environmental aesthetics, and to extrapolate how this can inform the work of organisationssuch as the TLC and government regulators such as the Department of Primary Industries, Parks, Waterand Environment (DPIPWE).Thereafter, the project with external funding would be scaled up to include additional community-focusedcase studies in Tasmania and one mainland state, and partnering with a community nature conservationorganisation in that mainland state in order to develop a more comprehensive framework of relevance toother stakeholders across Australia.
- University of Tasmania ($13,742)
- Grant - CALE Hothouse Alignment Scheme
- Administered By
- University of Tasmania
- Research Team
- Richardson BJ; MacDonald AJ; Hogan JM; Walch MB; Rees A
- Collaborative project between IMAS and TCotA to explore new ways of communicating ideas about the unknown and unseen environment of the ocean.
- University of Tasmania ($6,975)
- Grant-Cross-Disciplinary Incentive
- Administered By
- University of Tasmania
- Research Team
- Hogan JM; Lucieer VL; Rees A
Her supervisions focus on practice–led research in the Creative Arts. Research interests are focused on understandings of Place through the Visual Arts with a specialist interest in Drawing and Printmaking. Research investigations encompass sensitivity and awareness of other cultures and ways of being in the land. Many of the supervisions are site-specific examinations or challenge notions of belonging in Place. She has an interest in Asian and Pacific visual art traditions and would welcome researchers in this area. She currently supervise artists from China and Korea whose work explores contemporary innovation on tradition.
|PhD||Mutable Terrains: A photographic exploration of bushland close to home||2015|
|PhD||Bringing the Peripheries to the Centre/Places at the Edge of the World||2019|
|PhD||Choreography as an Embodied Spatial Inscription: Discovering of architectures site-specificity in search for an atmospheric approach to designing and perceiving environments||2019|
|PhD||Using the Arts and Creativity to Promote Wellbeing and Better Health||2020|
|PhD||Deep Listening: In search of curatorial practice for Tasmanian Aboriginal storytelling||2020|
|PhD||Field Notes: The hidden art of documentation and its impact on cultural perceptions of place||2020|
|PhD||Walking with uncertainty: cultivating chlorophilia, art and ecological practices in the Planthropocene||2021|
|PhD||Building Out Whispering: Con--structions on the imagination of place||2021|
|PhD||Porosity and Poiesis Across Fragile Membranes: Patterning fluid arrangements in human biology|
Candidate: Susan Quinn
|Masters||Affect and the Anthropocene: The art artefact and ecological grief|
Candidate: Catherine Faye Phillips
|Masters||The Golden Years: Reimaging postmenopausal womanhood|
Candidate: Janine Helen Miller
|PhD||Walking Contested Ground: Navigating settler colonial place through drawing and printmaking|
Candidate: Antonia Beatrice Clare Aitken
|Masters||Song in a Strange Land: An investigation, in paint, into the music of Arauco Libre|
Candidate: Ronald Alan Wilson
|PhD||Wrinkles in Time: Folding song dynasty into contemporary art|
Candidate: Xingming Wu
|PhD||Agitating the Void: Phenomenology and its practical application in drawing|
Candidate: David Philip Faulds Edgar
|Masters||Poem Number 124: Visualizing the material folds and sacred spaces in Emily Dickinsons poem, through printmaking|
Candidate: Jane Slade