In 2007, Andrew Rogers created the geoglyph ‘Rhythms of Life’ in Rajasthan India. Many of the participants were women clad in brightly coloured traditional saris.
It measures 90m x 75m.
21 deg 34’ 12.43 deg N
78 deg 35’ 51.14 deg E
Mother Earth 2 2002
National Gallery of Victoria, Victoria, Australia
Bronze
57 H x 41 W x 17 D cm (22.4 x 16.1 x 6.7″)
Mother Earth 2 2002
Deakin University, Victoria, Australia
Bronze and Stone
23 H x 15 W x 7 D cm (9.1 x 5.9 x 2.8″)
‘Ratio’ in Rajasthan India is a 6.5m high stepped stone structure based on the Fibonacci sequence and part of Andrew Rogers Rhythms of Life land art project.
Created in 2007, it measures 8.5m long x 6.5m high.
Andrew Rogers created the geoglyph ‘Eagle’ in Akureyri, Iceland in 2006. Two other geoglyphs, ‘Rune’ and ‘Rhythms of Life’ complete the project in Iceland
It measures 100m x 100m.
65 deg 39’ 12.68 deg N
18 deg 08’ 35.55 deg N
Andrew Rogers created 3 geoglyphs in Akureyri, Iceland in 2006: ‘Rhythms of Life’, ‘Eagle’ and ‘Rune’.
Rhythms of Life was completed in 2006. It straddles the Eyjafjörður Fjord, and measures 100m x 100m.
65 deg 39’ 17.88 deg N
18 deg 10’ 10.80 deg W
Andrew Rogers created 3 geoglyphs in Akureyri, Iceland in 2006: ‘Rune’, ‘Eagle’ and ‘ Rhythms of Life’.
Rune, after several site changes, was finally built high on the top of Mount Vadlaheidi, where on good days it commands a view of the other two geoglyphs. It measures 100m x 100m.
65 deg 40’ 20.70 deg N
18 deg 01’ 38.07 deg W
Folded 2003
National Gallery of Victoria, Victoria, Australia
Bronze
106 H x 74 W x 50 D cm (42 x 29 x 20″)
Folded 2003
Point Leo Estate, Victoria, Australia
Bronze
3.0 H x 2.0 W x 1.5 D m (9.8 x 6.6 x 5′)
In 2006, Andrew Rogers created the largest ‘Rhythms of Life’ geoglyph in the Gobi Desert, China with 1,000 soldiers of the Chinese Army. It measures 200m x 200m.
39°44’ 03.55” N
98°13’54.84” E
Weightless 5 2004
Melbourne, Australia
Bronze
120 H x 70 W x 32 D cm (47 x 28 x 13″)
Weightless 5 2014
Cirque du Soleil Collection, Montreal, Canada
Bronze
260 H x 155 W x 50 D cm (102 x 61 x 20″)
Weightless 5 2015
Private Collection, Sunset Beach, California, USA
Bronze
285 H x 170 W x 58 D cm (112 x 67 x 23″)
In 2006, Andrew Rogers created the Geoglyph ‘The Messenger’ in the Gobi Desert, China with 1000 soldiers from the Chinese Army.
It measures 150m x 150m.
39° 43’ 12.13” N
98°12’ 49.36” E
2003
Melbourne Australia
Bronze
2003
Melbourne Australia
Bronze
2003
Melbourne Australia
Bronze
2003
Melbourne Australia
Bronze
Andrew Rogers created the Geoglyph ‘The Caveman’ in the Gobi Desert, China with 1000 soldiers from the Chinese Army.
It is based on an ancient petroglyph, and measures 150m x 150m.
39° 42’ 49.75” N
98°13’ 34.38” E
2003
Melbourne Australia
Bronze
Weightless 4.4 2007
Melbourne, Victoria
Bronze
45 H x 78 W x 49 D cm (17.7 × 30.7 × 19.3″)
Weightless 4.1 2007
Bronze
45 H x 40 W x 40 D cm (17.7x 15.7 x 15.7″)
The Geoglyph ‘Ancient Language’ is located in the Atacama Desert, and is based on an ancient petroglyph found in the region.
Completed in 2004, it measures 80m long x 3m high.
22° 54’ 05.35” S
68° 17’ 42.39” W
The Ancients is a pictureglyph attributed to the Tiwanaku culture (100-1100 AD, known as Lord of the Sceptres.
Its stone walls are 1,200 metres long (total size 90 x 90 m), and are made of volcanic rock and clay. A mixture of clay & guano binds the rocks.
It’s located on the Plain of Patience at an altitude of 2,469 metres above sea level, 13 kilometres from the town of San Pedro.
22° 54’ 05.35” S
68° 17’ 42.39” W
Folded 3 2003
Artist Proof
National Gallery of Victoria
Melbourne Australia
Bronze
75 H x 66 W x 66 D cm (30″ × 26″× 26″)
Folded 3 2012
Sculpture by the Sea Bondi 2013, New South Wales, Australia
Bronze
144 H x 93 W x 114 D cm (57 x 37 x 45″)
Folded 3 2012
Shimao Shenzhen-Hong Kong International Center, Shenzhen, China
Bronze
144 H x 93 W x 114 D cm (57 x 37 x 45″)
‘Rhythms of Life’ is located at an altitude of 2,603 meters on the Salt Mountain Range, which rises from the Plain of Patience and forms the head of the Valley of the Moon, a lunar-like geological formation. The Atacama Desert is the driest on Earth.
Completed in 2004, it measures 30m x 30m.
22° 54’ 05.35” S
68° 17’ 42.39” W
The geoglyph ‘Circles’ was created in the extremely high altitude of the Altiplano in Bolivia.
2005
Cerro Rico Mountains, Bolivia
100m diameter
19 deg 34’ 21.44 deg S
65 deg 46’ 28.03 deg W
‘Presence’ is based on the figure of a Shaman in the extremely high altitude of the Altiplano in Bolivia.
2005
Cerro Rico Mountains
100m x 100m
19 deg 33’ 31.71 deg S
65 deg 47’ 23.29 deg W
The ‘Rhythms of Life’ geoglyph by artist Andrew Rogers was created in the extremely high altitude of the Altiplano in Bolivia.
2005
Cerro Rico Mountains
100m x 100m
19 deg 38’ 49.86 deg S
65 deg 43’ 24.02 deg W
The creation of Andrew Rogers’ ‘Bunjil’ and ‘Rhythms of Life’ in Geelong was associated with the cultural activities for the 2006 Commonwealth Games. It measures 100m wingspan x 80m depth.
In the mythology of the Wathaurong, Bunjil is the supreme god, who still lives in the sky and who made the humans, animals, and the plants, and who taught mankind how to behave on Earth.
Bunjil is located in You Yangs National Park, Victoria.
38 deg 07’ 11.89 deg S
144 deg 20’ 20.07 deg E
Andrew Rogers’ ‘Bunjil’ and ‘Rhythms of Life’ were associated with cultural activities for the 2006 Conmmonwealth Games in Melbourne Australia.
Rhythms of life is located in Eastern Park, Geelong, Victoria. It measures 100m x 90m.
38 deg 08’ 42.02 deg S
144 deg 22’ 57.72 deg E
Andrew Rogers created ‘Rhythms of Life’, an ephemeral geoglyph, from Moraine gravel at the Dakshin Gangotri Glacier in Antarctica
2010
Dakshin Gangotri Glacier
60m x 60m
(197′ × 197′)
70° 45’ 58.23” S
11° 36’ 53.28” E
2003
Melbourne Australia
Bronze
90 H x 87 W x 65 D cm (35″ × 34″ × 26″)
Weightless 1 2004
Canberra, Australian Capital Territory, Australia
Bronze
1.5 H x 3.4 W x 1.3 D m (4.9 x 11.2 x 4.3′)
Weightless 1 2004
Chicago Navy Pier Walk, USA curated by Peter Schjeldahl, art critic of The New Yorker. Acquired for a Frank Gehry designed building in California, USA
Bronze
1.5 H x 3.4 W x 1.3 D m (4.9 x 11.2 x 4.3′)
Weightless 1 2004
Hall Vineyard, Napa Valley, California, USA
Bronze
1.5 H x 3.4 W x 1.3 D m (4.9 x 11.2 x 4.3′)
2012
Polyamide
675 H x 695 W x 385 D mm
(26.5″ × 27″ × 15″)
2014
Stainless Steel
430 H x 525 W x 400 D mm
(17″ x 20.5″ x 16″)
2012
Polyamide
77 H x 38 W x 34 D cm
(30″ × 15″ × 13″)
2012
Polyamide
61 H x 60 W x 58 D cm
(24″ × 23.5″ × 23″)
2012
Stainless Steel
56 H x 50 W x 50 D cm
(22″ × 20″ × 20″)
2012
Polyamide
644 H x 537 W x 435 D mm
(25″ × 21″ × 17″)
Deakin University, Melbourne Burwood Campus, Burwood, Victoria, Australia
National Gallery of Victoria, Melbourne Australia
International Sculpture Centre Symposium 2013 – Auckland, New Zealand
Art Gallery of NSW May 2010 – Sydney, Australia
agIdeas 2010 – Sydney, Australia
Art Month Sydney 2010 – Creative Collaborations: Art and Landscape
State of the World Forum – San Francisco, USA.
Artist in Residence, Institute of Technology at Technion University, Haifa, Israel.
The Young Presidents’ Organization. Auckland, New Zealand.
Symposium at Sculpture by the Sea, Bondi, NSW, Australia.
Frances Lindsay, FORMS, 2020, Essay ISBN: 978-0-9943685-6-0
Frances Lindsay, FORMS, 2018, Essay ISBN: 978-0-9943685-5-3
Silvia Langen, Andrew Rogers Rhythms of Life – A Global Land Art Project, Prestel, Germany, 2016. ISBN: 978-3-7913-5540-5
Phoebe Hoban, White Desert, 2016, Essay ISBN: 978-0-9943685-3-9
Phoebe Hoban, Sacred Fire, 2015, Essay ISBN: 978-0-9943685-1-5
Frances Lindsay, FORMS III, 2015, Essay ISBN: 978-0-9943685-2-2
Phoebe Hoban, Time and Space, 2015, Essay ISBN: 978-0-9943685-4-6
Phoebe Hoban, Shield, 2015, Essay ISBN: 978-0-9943685-0-8
David Elliott, Time & Space, 2013 Essay. ISBN: 978-0-9577671-5-7
Robert Lindsay, Forms II, 2012 Essay. ISBN: 978-0-9577671-6-4
Eleanor Heartney, Andrew Rogers Geoglyphs, Rhythms of Life. Edizioni Charta Milano, Italy, 2009. ISBN: 978-88-8158-712-4
Ken Scarlett, Rhythms of Life: The Art of Andrew Rogers. Melbourne Macmillian Art Publishing, 2003.
Comments by Edmund Capon, Director of the Australian Gallery, NSW, Australia, Edmund Pilsbury, former Director of Kimball Art Museum and Idit Porit, formerly of the Tel Aviv Museum of Art. ISBN: 187683261-4
Dr. Chris McAuliffe, Forms, Essay. ISBN: 0-9577671-3-7
Ken Scarlett, Elgee Park: Sculpture in Landscape. Melbourne, Macmillan Art Publishing, 2004. ISBN: 1-875-832-32-0
Grace Banks, Art Escapes – Hidden Art Experiences Outside the Museum, Gestalten, 2022. ISBN: 978-3-96704-052-4
Silvia Langen, Outdoor Art: Extraordinary Sculpture Parks and Art in Nature, Random House, 2015 ISBN: 978-3-7913-8118-3
Helen Lee, Urban Landscape Street Sculpture, Hi Design International Publishing, Hong Kong, 2014.
Chris van Uffelen, 500x Art in Public, Braun Publishing AG, Germany, 2011. ISBN 978-3-03768-098-8
Janet Markus et al, Art Works, Edmond Montgomery Publications Limited, Canada. ISBN 978-1-55239-320-8
CNN Inside the Middle East, The Sculpture Park you can see from Space, Reporter Ivan Watson, July 2010
PBS Sunday Arts Profile, Andrew Rogers, producer Bob Morris, October 2009
CBS Sunday Morning, The Big Picture, producer Anthony Laudato, April 2009
Reuters News, The World’s Largest Land Art Project reporter Sarah Toms, April 2009
CNN Inside the Middle East, Geoglyphs in the Arava Desert Israel, producer Michael Schwartz, 2005
The Australian Jewish News, Australia, 02 December 2019. One massive rock in their memory
The Dallas Morning News, USA, 26 November 2019. Frisco’s Texas Sculpture Garden brings art into the workplace at Hall Park
The Design Files, Australia, 15 May 2019. New work from the sculptor who’s gone where none have gone before.
Christie’s Magazine, United Kingdom, February-March 2018 Edition. Land of the Giants
New York Times T Qatar, Qatar, September-October 2017 Edition. Set in Stone: Land Artist Andrew Rogers
Art Guide, Australia, 03 October 2017. Life from Above
Artribune, Italy. 02 October 2017, Tra scultura e Land Art. Intervista a Andrew Rogers
Vogue Italia, Italy. 07 August 2017, Arte, Intervista ad Andrew Rogers
L’Uomo Vogue, Italy. 07 August 2017, Arte, Intervista ad Andrew Rogers
Art in America, USA. 01 August 2017, Steppe Forward: Art and Tech at Expo 2017 Astana
Studio International, UK. 01 August 2017, Andrew Rogers: I Am-Energy
Sciart Magazine, USA. August 2017, Working with and against the elements: I Am by Andrew Rogers
Yale Books Unbound, USA. 20 July 2017, Viva Art and Artists! The 2017 Venice Biennale Calls for Celebration, but is this a time to Party?
Architectural Digest, USA. 13 July 2017, Land Artist Andrew Rogers’s Monumental Works Defy Belief
Art Temperature, Italy. 02 July 2017 La Terra è la sua tela e il Cielo il suo pubblico. Vi presentiamo Andrew Rogers
Sydney Morning Herald Australia. 19 May 2017, Venice Biennale 2017 – Viva Arte Viva
arskey Magazine, Italy. 16 May 2017, Biennale 2017: Andrew Rogers – We As Caretakers
Dream Idea Machine Art View, Greece. 11 May 2017, Interview: Andrew Rogers
ARTNews, USA. 11 May 2017, Scenes from the Venice Biennale: Day 3
Dream Idea Machine, Art View, Greece. April 2017, Words/Fake Words: Part IV
Byron Arts Magazine, Australia. 20 April 2017, Andrew Rogers’ WE ARE Collateral Exhibition to Venice Biennale
Financial Times, London, UK. July 2015, The Ibiza art Circus
ArtLA, Los Angeles, USA. January 2015, Andrew Rogers Global Awareness
The Age, Melbourne, Australia. 21 February 2014, Body of work is all about thinking big
ABC News, USA, 08 May 2013, Art Invades the UN
The Art Newspaper, UK, 21 May 2012, Sculpture, Satellites and what it means to be human
Canberra Times, Australia, 03 April 2012, Striking pose to alter perception of airport
Art in America, 05 December 2011, Andrew Rogers’s Turkish Earthworks
LaStampa, 08 November 2011 Rogers, il Ritmo della Vita in tonnellate di pietra
Huffington Post, 05 October 2011, Andrew Rogers: Rhythms of Life on Seven Continents
Google Lat Long Blogspot, 02 August 2011, Explore Land Art with Google Earth
Art Daily Blog, July 2011
Art and Architecture Journal, July 2011
Spectator.CO.UK, June 04, 2011 Out of the Ordinary
The LookOut news, May 18, 2011 Andrew Rogers’ Monumental “Rhythms of Life” at 18th Street Art Center
LA Weekly, May 13, 2011 Andrew Rogers, Land Artist: Now Playing on a Continent Near You
Art Knowledge News April 27, 2011 “Andrew Rogers: Time and Space” on View at the 18th Street Arts Center
Canvas, UAE, The Expanded Field, Issue 103, Summer 2022
Bellarine Times, Australia. Artistic Brilliance Honoured by Deakin, 20 February 2020
Christie’s Magazine, United Kingdom, February-March 2018 Edition. Land of the Giants
New York Times T Qatar, Qatar, September-October 2017 Edition. Set in Stone: Land Artist Andrew Rogers
Art Guide, Australia. Life from Above, October 2017
The Sydney Morning Herald, Weekend, Australia. Works take a Walk in the Park, 5-6 August, 2017
Collection & Auction, China. People: Andrew Rogers, 28 July 2017
The Age, Australia. Venice Biennale Review, 5 July 2017
Blouin Shop/Lifestyle Magazine, USA. The Dichotomy of the Human Heart, Summer 2017
National Gallery of Victoria Magazine, Australia. Studio: Andrew Rogers, Vol 4 May/June 2017
IbizaHEUTE, Ibiza, Spain. ‘Time and Space’ – der magische Steinkreis, March 2017
ArtLA, Los Angeles, USA. Andrew Rogers Global Awareness, January 2015
The Age, Melbourne, Australia, Body of work is all about thinking big, 21 February 2014
The Art Newspaper, United Kingdom, Think local, act global, No. 251, November 2013
Radikal Hayat, Turkey, Is Destiny a Choice or Luck? 06 May 2013
Today’s Zaman, Turkey, Sculptor Andrew Rogers’ monuments to truth at Elgiz, 22 April 2013
Canberra Times, Australia, Striking pose to alter perception of airport, 03 April 2012
Sculpture Magazine, Rome Biennale: International Exhibition of Sculpture March 2012 Vol.31 No.2
Art & Australia, Australia, Reclaimed by the land: Andrew Rogers’s ‘Time and Space’ 46 No. 3 March 2012
Landscape Architecture Magazine, USA, Seen From Afar, January 2012, Vol 102 No. 1
La Stampa, 08 November 2011 Rogers, il Ritmo della Vita in tonnellate di pietra
Kunstzeitung, Germany, Record Breaking, 31 October 2011
Hurriyet Daily News, Turkey, Discovering the rhythms of life in Cappadocia’s stones, 20 September 2011
Identity Magazine, USA, Scope for the Best, September 2011
Monopol, Jongleur der Superlative August 2011
Macquarie Matters, Macquarie University of New South Wales, Sculpture Park Winter 2011
Spectator, Out of the Ordinary, June 2011
The Arts Newspaper, Art Writ Large, May 2011
Chile Magazine, Rhythms of Life in Chile, November 2010
Asian Geographic, Giants Over Time and Space, No. 76 Issue 7/2010
Qantas, The Australian Way Magazine, Boulder and the Beautiful, August 2010
Skylife Magazine, Turkish Airlines, May 2010
Istanbul Contemporary Etc, Andrew Rogers Rhythms of Life, March-May 2010
The Age Newspaper, April 17, 2010, Melbourne Australia
Sculpture, USA, Geoglyphs Spanning the Globe, December 2009
Art in America, USA, Earthly Homage, October 2009
Goreme Open Air Museum, Turkey, August, 2009
Interior Design, USA, Sculptor as Artist, August 2009
Tell Magazine, Chile, Ritmos de Vida, June 2009
Hurriyet Daily News, Turkey, May 19 2009
Forbes Magazine, USA, May 13, 2009
Christian Science Monitor, USA, May 12, 2009
Podtatranské Noviny, National Slovakian Newspaper, May 27, 2008
Australasian Cemeteries and Crematoria Association News, _The Challenges of Monumental Landmark Sculptures, _Autumn 2008
SABAH Cuma, The Man Who Whispers to the Universe with Stones, Turkey 2007
La Prensa La Paz, Bolivia, Land Art Potosi, December 13 2006
Australian Art Review, Environmental Art, November 2006
Sculpture Magazine of China Sculptors Association, 2006
Parliament of Victoria, Victoria’s Hansard, March 18, 2006
The Age Newspaper, January 28, 2006
Jetstar Magazine, December2005/January 2006
Lino, Issue No. 10 2005
The Australian Newspaper, November 16, 17, 18, 2005
The Herald Sun Newspaper, November 7, 2005
The Australian Art Collector, Issue 34, October-December 2005
World Sculpture News, Volume 11 Number 2, Spring 2005
Melbourne Weekly Magazine, September 28 – October 4, 2005
Melbourne Magazine, Issue 032, August 2005
ABC Television, Foreign Correspondent, June 21, 2005
ABC Radio, June 19, 2005.
State of the Arts, Australia, 2005
Art in America, June/July 2005
Australian Art Monthly, May 2005
The Age Newspaper, May 16, 2005
Monument, Architecture & Design, April 2005
World Sculpture News, Volume 10 Number 4, Autumn 2004
Australian Financial Review, August 28-29, 2004
The Age Newspaper, March 3, 2004
Craft Arts International, #60 2004
Sculpture, Magazine of the International Sculpture Center, USA, April 2004
Good Reading, October 2003
World Sculpture News, Volume 9, Number 4, Autumn 2003
Victorian Arts Centre, Melbourne, Australia Website, 2002
University of Melbourne: Australian Sculpture Server, 2002
Sculpture, Magazine of the International Sculpture Center, USA: On Record, January/February 2003
Kult, Italy – March 2002
Victorian Arts Centre Home Page, February 2002
Jerusalem Post, Friday February 1 and February 8, 2002
Victorian Arts Centre News: Preview, December 2001
Melbourne City Art Walks, City of Melbourne, December 2001
World Sculpture News, Volume 7 Number 3, Summer 2001
The Jerusalem Post, Friday August 25, 2000
The Herald Sun, Arts & Entertainment, July 31, 2000
World Sculpture News, Volume 6 Number 2, Spring 2000
Monument Architecture & Design, April/May 2000
The Australian Magazine, April 1-2, 2000
World Sculpture News, Volume 5 No. 2, Spring 1999
Kurier Newspaper, Wein Austria, December 8, 1999
ORF Austrian Broadcasting Corporation, Wein Heute – Television, June 12, 1999
World Sculpture News, Volume 5 Number 4, Autumn 1999
The Age Newspaper, Melbourne, Australia – December 6, 1999
The Age Newspaper, Melbourne, Australia – October 25, 1999
Sculpture, Magazine of The International Sculpture Center, USA, Vol. 18 No. 7, September 1999
19th & 20th Century Australian Painting Sculpture and Decorative Arts, 1999. Lauraine Diggins Fine Art
Wiener Zeitang, March 22, 1999
Salzburger Nuchrichten, March 20, 1999
Die Presse Newspaper, Vienna Austria, March 20, 1999
World Sculpture News, Vol. 4 No. 4, Autumn 1998,
19th & 20th Century Australian Painting Sculpture and Decorative Arts, Catalogue 90, 1998. Lauraine Diggins Fine Art
Austria Today Newspaper, March 25, 1999
City of Melbourne Open Air Sculpture Museum, 1997
Generation, June 1995, January 1996, October 1996, October 1997, May 2000
Venice Magazine: Los Angeles Arts March 1998
City of Melbourne: Events Magazine, January, March, April 1998
Must See Melbourne: City of Melbourne, Greeting Service, December 1997
Becton Living, 1997
Miscellanea, Cultural Affairs Office of the Embassy of Australia, December 1997
19th & 20th Century Australian Painting Sculpture and Decorative Arts 1997, Lauraine Diggins Fine Arts
Herald Sun Newspaper, 1997
Australian Council for Educational Research, Administration Manual, 1997
Sunraysia Newspaper, May 18 1996
Architectural Review, Australia – Presenting the Future, Autumn 1996
YPO Worldwide, A Renaissance Legacy, December 1995
The Herald Sun Home Magazine, September 2 1995
The Qantas Club, Artistic Sensibilities, September 1995
Fourth Australian Contemporary Art Fair, October 1994
Herald Sun Newspaper, June 20 1993
2022 Sculpture by the Sea, Decade Club Member
2018 Museum Channel – France and French Speaking Europe, Russia, Spain, Africa; 11 half-hour and three one-hour episodes.
2017 Fox Arts Channels – Television Series; three one hour episodes
2016 Google Cultural Institute Art Project Partnership
2015 National Geographic Channels Television Series; 11 half-hour and three one-hour episodes
2014 Sky Arts New Zealand – Television Series -Three one-hour episodes
2014 Ibiza, Spain – First alignment of the setting sun on the Winter Solstice with the sculpture ‘Time and Space the Speed of Light’
2013 Gem Television Series, Middle East and United Kingdom – 10 half hour episodes
2012 Sky TV United Kingdom and Ireland – Television Series -Three one-hour episodes
2011 Arte TV, Germany – “Earth Art”
2011 Andrew Rogers Rhythms of Life Land Art Project Google Earth Tour, Google Lat Long Blog, August
2010 Nominated for the International Prix Pictet Photographic Award
2010 CNN International, “The Sculpture Park You Can See From Space”
2009 USA Ovation TV Series – Monumental Vision -10 half hour Episodes
2008 Discovery International Television Series – 3 half hour episodes.
2008 ABC Television Series – 8 half hour episodes.
2008 Canadian Television Series – 3 half hour episodes.
2007 Discovery International Television Series – 3 half hour episodes.
2007 ABC Television Series – 5 half hour episodes.
2005 CNN Television – ‘Inside the Middle East – Geoglyphs in the Arava Desert, Israel’.
2003 ‘Celebration of Life’ photographs of 42 pregnant women in the Arava Desert, Israel.
Hall Park Frisco, Texas, USA
The Air We Breathe, 6.4m (21′)
Zhengzhou Public Art Program, Henan, China
I Am, 2.7m (8.85′)
Shenzhen, Guangdong, China
Folded 3, 1.44m (57″)
2017 Expo Future Energy
Astana, Kazakhstan
I Am – Energy, 10.5m high (34.5’)
Gibbs Farm
Kaipara Makarau, New Zealand
Sentinels, 15m high (50′)
Manetti Shrem Museum,
University of California Davis,
California, USA
I Am, 2.2m (7’ 3”)
Hall Arts, Dallas, USA
Rhythms of Life, 2.6m (8’ 6”)
The Israel Museum, Jerusalem, Israel
Rhythms of Life
To Life
Slice
Google Headquarters, California, USA
Photograph
Nevada Museum of Art, Nevada, USA
Archives
Rhythms of Life Land Art Project Exhibition of Photographs
106 prints
United Jewish Federation,
New York, USA
Celebration of Life Photographic Exhibition
Yale University, Connecticut, USA
Photograph
Residence of the Australian Consul General
New York, USA
Rhythms of Life, H 67cm (2’ 2″)
Weightless 3, H71cm (2’ 4″)
Borusan Holdings, Istanbul, Turkey
Unfurling, 3.1m (10’)
Grounds for Sculpture, New Jersey, USA
Flora Exemplar, H 2.2m (7’ 3″)
Leading 1, H 2m (6’ 7″)
Flora Exemplar, H 4.6m (15’ )
Akureyri Museum, Iceland
Rhythms of Life – Bronze relief
Hall Park, Dallas, Texas, USA
Rhythms of the Metropolis, H 6m (19’ 8″)
Flora Exemplar, H 2.2m (7’ 3″)
Growing, H 4m (13’ 2″)
Leading 2, H 2.2m (7’ 3″)
Evolving, H 2.4m (7’ 10″)
Macrocosm, H 3m (9’ 10″)
Observe, H 3m (9’ 10″)
Living, H 4m (13’ 2″)
Balanced, H 4m (13’ 2″)
Ripening, H 4m (13’ 2″)
Propagating, H 4m (13’ 2″)
Coil 1, H 3m (9’ 10″)
Growth, H 4m (13’ 2″)
Organic, H 4m (13’ 2″)
Breaking Out, H 3m (9ft. 10″)
Hebrew University of Jerusalem, Jerusalem, Israel
Torch of Learning
Rhythms of the Metropolis, H 6m (19’ 8″)
Technion – Institute of Technology, Haifa, Israel
(Artist in Residence)
Transform, H 3.8m (12’ 6″)
Flora Exemplar
Australian Consul General’s Residence, Kobe, Japan
Rhythms of the Metropolis
Sound
Sapir, Arava, Israel
Flora Exemplar, H 2.2m (7’ 3″)
To Life, H 38.5m X 33m (126′ × 10′)
Rhythms of Life, 29m x 20m (95′ × 65′)
Slice, 60m x 38m (197′ × 125′)
Ratio, 8m x 32m (26′ × 105′)
Harwood Center, Dallas, Texas, USA
Running Man, H 1.5m (4’ 11″)
Transitory
Hall Vineyard Inc., California, USA
Reaching Away, H 4.6m (15’)
I Dreamed, H 2.6m (8’ 6″)
Flora Exemplar, H 2.2m (7’ 3″)
Growing, H 2.6m (8’ 6″)
Spirit, H 3m (9’ 10″)
Evolution, H 4m (13’ 2″)
Balance, H 2.4m (7’ 10″)
Organic, H 4m (13’ 2″)
Growth, H 4m (13’ 2″)
Coil 1, H 3m (9’ 10″)
Warner Brothers Complex, Taipei, Taiwan
Film Director, H 3.5m (11’ 6″)
Warner Village Cinemas, Berkshire, UK
Film Director, H 3.5m (11’ 6″)
Hokoku Construction, Kobe, Japan
Flora Exemplar, H 2.2m (7’ 3″)
Balexert Cinemas, Switzerland
Film Director, H 3.5m (11’ 6″)
City of Vienna, Nussdorferstrasse, Vienna, Austria
Flora Exemplar, H 3.1m (10’ 2″)
Estate of Dr Simon Wiesenthal, Vienna, Austria
Resistance
Office of Hasfat Abiola,
Founder, Kuridat Institute for Nigerian
Democracy
Resistance
Office of Vincente Fox,
Former President of Mexico
Resistance
Machu Picchu Municipality, Peru
Rhythms of the Andes, H 3.5m (11’ 6″)
Office of Jigme Lynpo,
Minister for Culture, Bhutan
Flora Exemplar
Golden Village, Marine Square South Multiplex, Singapore
Camera Man, H 2m (6’ 7″)
Maroussi Multiplex, Athens, Greece
Camera Man 2, H 2m (6’ 7″)
International Conference Center, Jerusalem, Israel
Rhythms of Life, H 2.6m (8’ 6″)
Museou do Holocausto de Curitiba, Curitiba, Brazil
Holocaust Memorial
Walker Corporation Collins Square, Melbourne, Victoria, 2023
The Air We Breathe, 6.4m (21′)
WestConnex Canal to Creek Public Art Program,
St Peters Interchange, Sydney, NSW, 2020
To Be – Ikigai, Diptych 5m (16’5″)
Deakin University, Burwood, Victoria (70)
Pt Leo Estate
Merricks, Victoria
Rise 1, 7.1m (23’ 4”)
Folded, 3.0m (9’10”)
Weightless 9, 1.5m (5’)
National Gallery of Victoria, Melbourne, Victoria
We Are, 8 bronze sculptures abating in height from 2.4m (7’11”)
Folded, 78cm (31”)
The Ian Potter Museum of Art
University of Melbourne, Parkville, Victoria
Flora Exemplar, 65cm (25.6”)
Living, 41cm (16.1”)
Evolution, 38cm (15”)
Coiled, 100cm (39.4”)
Ode to Kairos, 87cm (34.3”)
Molten Concept 13, 68cm (27”)
Random 1, 22.6cm (9”)
I Am, triptych 65cm (26”)
Geelong Gallery, Geelong, Victoria
Balanced, 32cm (12.6”)
Growth, 40cm (15.8”)
Ripening, 39cm (15.4”)
National Gallery of Australia, Canberra, ACT
Growing, 68cm (26.8”)
Flora Exemplar, 65cm (25.6”)
Spirit, 64cm (25.2”)
Leading 1, 67cm (26.4”)
Catching Wind, 78cm (30.7”)
Rhythms of the Metropolis, 67cm (26.4”)
Mother Earth 1, 42cm (16.5”)
Coil, 39cm (15.4”)
Coiled, 100cm (39.4”)
Rise, 44cm (17.3”)
Ode to Kairos, 87cm (34.3”)
Weightless 8, 148cm (58.3”)
Folded 1, 105cm (41.3”)
Molten Concept 13, 42cm (16.5”)
Living, 41cm (16.1”)
Evolution, 38cm (15”)
The Fiddler, 55cm (21.7”)
I Am, Artist Proof 1.6m (63”)
Perception & Reality 1, maquette
I Am, 65cm (26”)
Rhythms of Life, H 65cm (26″)
McClelland Sculpture Park+Gallery, Langwarrin, Victoria
Rhythms of Life, 117cm (46”)
Gaia, 9m (29.5’)
A Winding Path, A Search for Truth, 22m x 26m (72′ x 85′)
Organic, H 4.2m, (13’ 9″)
Observe, H 2.6m (8’ 6″)
Yabby Lake Vineyard, Mornington Peninsula, Victoria
From Hope to Optimism
3.5m x 3.5m x 3.0m (11.5’ x 11.5’ x 10’)
University of Sydney, Sydney, New South Wales
Individuals
15 bronze sculptures abating in height from 3.5m (11.5’)
To Be, 2.15m (7′)
National Alpine Museum of Australia, Mount Buller, Victoria
Beyond Origins, 2.5m (8’3”)
Ode to Kairos, 3.0m (10′)
Nature Exemplar, 3.16m (10’4″)
Australian National Airport, Canberra, ACT
Perception & Reality 1, 7.5m (24’6″)
I Am, 7.5m (24’6″)
Residence of the Australian Consul General
New York, USA
Rhythms of Life, H 67cm (2’ 2″)
Weightless 3, H 71cm (2’ 4″)
Willinga Park,
Bawley Point, New South Wales
Heide Museum of Modern Art, Victoria
Unfurling, H 2.7m (9’)
Art Gallery of New South Wales
Flora Exemplar, H 2.6m (8’ 6″)
Victorian Arts Centre, Melbourne
Rhythms of Life, H 2.6m (8’ 6″)
City of Melbourne, King Street, Melbourne, Victoria
City Living, H 5m (16’ 5″)
City of Melbourne, Jolimont Terrace, Melbourne, Victoria
I Dreamed, H 3.6m (11’ 10″)
The Victorian State Government – City of
Melbourne
Reaching Away, H 4.6m (15’)
Sale Regional Art Gallery, Victoria
Running Man
Mornington Peninsula Art Gallery, Victoria
Perception & Reality 2
Castlemaine Art Gallery, Victoria
Reaching Away
Mildura Art Centre, Victoria
Running Man
Bendigo Regional Art Gallery, Victoria
Growing
High Court Building, Queen & Little Bourke Streets, Melbourne, Victoria
Rhythms of the Metropolis, H 4.7m (15’ 5″)
Office of the Prime Minister
Commonwealth Parliamentary Offices,
Treasury Place, Melbourne
Ascend
Citibank Building, 350 Collins Street,
Melbourne, Victoria
I Dropped My Bow, H 3.5m (11’ 6″)
Jam Factory, Prahran, Victoria
Camera Man, H 2m (6’ 7″)
Westfield Corporate Ltd., Sydney, NSW
The Experience
Crown Casino Complex, Melbourne, Victoria
Film Director, H 3m (9’ 10″)
University of Melbourne, Victoria
Running Man
Copelen, South Yarra, Victoria
Flora Exemplar, H 3.6m (11’ 10″)
Wesley College, Prahran, Victoria
Together
Novotel International Hotel, Glen Waverly, Victoria
Industrial City, 7.5m x 4.5m (24’ 6″ × 14′ 8″)
Bristol Myers Squib, Victoria
Leading 2
The Becton Corporation, Port Melbourne, Victoria
Observe, H 2.6m (8’ 6″)
Shoreham, Victoria
Growing, H 4m (13’ 2″)
Melbourne Holocaust Museum, Elsternwick
Pillars of Witness, H 6m (19’ 8″)
Mount Scopus College, Melbourne
Growth, H 4m (13’ 2″)
Port Melbourne, Victoria
Leading 1, H 2m (6’ 7″)
Jewish Museum of Victoria
Resistance
Springvale Cemetery, Victoria 2000
Buchenwald Memorial, H 4m (13’ 2″)
Tomb Memorial, H 3.5m (11’ 6″)
Chevra Kadisha, Noble Park, Victoria 2006
Babi-Yar Memorial, 2006
World Square – Sydney NSW
Rhythms of Life, H 2.6m (8’ 6″)
Leading, H 2.2m (7’ 3″)
Elgee Park, Red Hill, Victoria
Leading 1, H 2m (6’ 7″)
Macquarie University, NSW
Coil, H 3m (9’ 10″)
Labile, H 3m (9’ 10″)
Peter MacCallum Cancer Centre, Victoria
Catching Wind, H 1.5m (4’ 11″)
University of New South Wales
Screen, H 2.5m (8’ 2″)
2015 McClelland Sculpture Park + Gallery, Australia: Andrew Rogers A Retrospective – Maquettes 1996-2015 ISBN: 978-0-9874010-6-9
2015 Mossgreen Gallery, Australia: Come to the Edge ISBN: 978-0-9577671-8-8
2012 Mossgreen Gallery, Australia: Molten Concepts
2007 William Mora Galleries: Weightless ISBN: 0-9677671-4-5
2007 Akureyri Art Museum, Iceland: Rhythms of Life I-VII, ISBN: 978-9979-9632-7-1
2002 Mudima Foundation, Italy: Rhythms of Life II, ISBN: 0 957 767 10
2000 Rhythms of Life II
1999 Pillars of Witness, ISBN 0 646 38229 2
1997 Rhythms of Life, Lauraine Diggins Fine Art
1995 Of Freedom and Will
1993 Mankind in the Gesture of an Individual
Hall Park Frisco, Texas, USA
The Air We Breathe, 6.4m (21′) 2023
Zhengzhou Public Art Program, Henan, China
I Am, 2.7m (8.8′) 2020
Vanke and Rongxin Investment Group
Zhejiang, China
I Danced 2, 3.5m (11.5′)
United Nations Environment
Programme Ozone Secretariat,
Nairobi, Kenya
Montreal Protocol Ozone Award for
Scientific Leadership 2017
2017 Expo Future Energy
Astana, Kazakhstan
Unfurling Energy, 10.5m high (34.5’)
Gibbs Farm
Kaipara Makarau, New Zealand
Sentinels, 15m high (5′)
Manetti Shrem Museum,
University of California Davis,
California, USA
I Am, 2.2m (7’ 3”)
Kihei, Hawaii, USA
Motion, 1.5m (60”)
Sunset Beach, California, USA
Weightless 5, 2.85m (9’4”)
Cirque du Soleil,
Montreal, Canada 2014
Labile, 3m H (9’10”)
Rhythms of Life, 5.0 m H (18’)
Torn, 3m H (9’10”)
Weightless 5, 2.6m H (8’ 6”)
Aspen, Colorado, USA 2014
Rhythms of Life, 2.6H (102″)
Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey, 2013
The Winding Path, the Search for Truth
19 tons of white Turkish quartz lifted to the museum rooftop by crane.
18m diameter (59′)
Linzhou, Henan Province, China, 20 September 2012
Fire & Understanding
Dragon
4,000 people
Taihang Great Valley
Fibonacci Sequence
3,500 people
Red Flag Canal
Basel, Switzerland 2012
Winding Path, 22m x 21 m (72′ × 69′)
Borusan Holdings, Istanbul, Turkey 2009
Unfurling, 3.1m (10’)
Bank Garanti, Istanbul, Turkey 2008
Rhythms of Life, 5.5m (18’)
Bank One Tower, Fort Worth, Texas, USA 2006
Unfurling, 3.5m (11’ 6″)
Grounds for Sculpture, New Jersey, USA 2006
Flora Exemplar, 4.6m (15’ 1″)
City of Jerusalem, Israel 2005
Ratio, 4.5m x 5m (14’ 9″ × 16′ 5″)
Curitiba, Brazil 2002
Holocaust Memorial
Hebrew University, Jerusalem, Israel 2002
Rhythms of the Metropolis, 6m (19’ 8″)
Hall Park Dallas, Texas, USA 2001
Rhythms of the Metropolis, 6m (19’ 8″)
Flora Exemplar, 2.2m (7’ 3”)
Growing, 4m (13’ 2”)
Leading 2, 2.2m (7’ 3”)
Evolving, 2.4m (7’ 10”)
Macrocosm, 3m (9’10”)
Observe, 3m (9’ 10”)
Living, 4m (13’ 2”)
Balanced, 4m (13’ 2”)
Ripening, 4m (13’ 2”)
Propagating, 4m (13’ 2”)
Coil 1, 3m (9’ 10”)
Rhythms of Life, 2.6m (8’ 6”)
Growth, 4m (13’ 2”)
Organic, 4m (13’ 2”)
Breaking Out, 3m (9’ 10”)
Harwood Center, Dallas, Texas, USA
Running Man, 1.5m (4’ 11”)
Transitory
Hall Vineyard Inc., California, USA
Reaching Away, 4.6m (15’)
I Dreamed, 2.6m (8’ 6”)
Flora Exemplar, 2.2m (7’ 3”)
Growing, 2.6m (8’ 6”)
Evolution, 4m (13’ 2”)
Organic, 4m (13’ 2”)
Coil 1, 3m (9’ 10”)
Spirit, 3m (9’ 10”)
Balance, 2.4m (7’ 10”)
Growth, 4m (13’ 2”)
Presented in Vienna to Simon Wiesenthal by the
Ambassador of the United States to Vienna, Austria
for the State of the World Forum 1999
Resistance
Young Presidents’ Organization, New Zealand 1999
Rhythms of Life
State of the World Forum, San Francisco, USA 1999
Ripple
City of Vienna, Nussdorferstrasse, Austria 1999
Presented to the City of Vienna on behalf of State of the World Forum by the United States Ambassador to Austria
Flora Exemplar
Technion – Israel Institute of Technology, Haifa, Israel 1998
Artist in Residence
Transform, H 3.8m (12’.)
State of the World Forum, San Francisco, USA 1998
Critical Power
Ibiza, Spain, 2014
Time and Space – The Speed of Light, 10m x 19.2m x 36m (39’ x 63’ x 118’)
Namib Desert, Namibia 2012
Sacred Fire, 14m Diameter (46’)
Cappadocia, Turkey 2007 – 2011
Time and Space Geoglyph Park
Geoglyph Presence, 24 basalt columns 9m (30’) high
Geoglyph A Day On Earth, 31.5m x 51m x 19.5m (103′ × 167′ × 64′)
Geoglyph Listen, 14.5m (52’) tall basalt arch
Geoglyph Sentinels, 8 basalt columns, 6m (18’) high
Geoglyph Grind, 100m x 100m (328’ x 328’)
Geoglyph Strength, 100m x 50m (328’ x 165’)
Geoglyph Sustenance, 100m x 100m (328’ x 328’)
Geoglyph Siren, 65m x100m (213’ x 328’)
Geoglyph Time and Space, 24m x 16m x 5.3m (79’ x 53’ x 18’)
Geoglyph Predicting the Past, 4.2m x 1.1m x 4.7m (14’ x 3.6’ x 15.5’)
Geoglyph Yesterday Today Tomorrow, 6m (18’)
Geoglyph Rhythms of Life, 100m x 90m (328′ × 295′)
Geoglyph The Gift, 60m x 60m (197′ × 197′)
Green River, Utah, USA, 2010
Geoglyph Ratio, 13.5m x 13m x 2m (44′ × 42′ × 6′)
Dakshin Gangotri Glacier, Antarctica, 2010
Geoglyph Rhythms of Life, 60m x 60m (197′ × 197′)
Chyulu Hills, Kenya 2010
Geoglyph Shield, 100m x 70m (328′ × 230′)
Geoglyph Lions Paw, 40m x 40m(131′ × 131′)
Geoglyph Rhythms of Life, 69m x 69m (226′ × 226′)
Yucca Valley, California, USA 2008
Geoglyph Rhythms of Life, 50m x 50m (164′ × 164′)
Geoglyph Atlatl, 61m (200’)
Poprad, Slovakia 2008
Geoglyph Rhythms of Life, 35m x 45m (115′ × 148′)
Geoglyph Sacred, 100m x 100m (328′ × 328′)
Jomsom, Nepal 2008
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Labyrinth, 60m x 60m (197′ × 197′)
Pokhara, Nepal 2008
Geoglyph Knot, 60m x 60m (197′ × 197′)
Rajasthan, India 2007
Geoglyph Rhythms of Life, 90m x 75m (295′ × 246′)
Sculpture Ratio, 8.5m x 6.5m (28′ × 21′)
Gobi Desert, China 2006
Geoglyph Rhythms of Life, 200m x 200m (656’. × 656′)
Geoglyph Messenger, 150m x 150m (492′ × 492′)
Geoglyph Caveman, 150 m x 150 m (492′ × 492′)
Akureyri, Iceland 2006
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Rune, 100m x 100m (328′ × 328′)
Geoglyph Eagle, 100m x 100m (328′ × 328′)
Kurunegala, Sri Lanka 2005
Geoglyph Rhythms of Life, 60m x 60m (95′ × 197′)
Geoglyph Pride, 60m x 60m (197′ × 197′)
Sculpture Ratio, 6.5m x 6.5m (21’ 4″)
Bolivia, 2005
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Presence, 100m x 100m (328′ × 328′)
Geoglyph Circles, 100 m x 100 m (328′ × 328′)
Arava Desert, Israel 2004
Sculpture Ratio, 8m x 32m (262′ × 105′)
Atacama Desert, Chile 2004
Geoglyph Rhythms of Life, 40m x 30m (132′ × 98′)
Geoglyph The Ancients, 90m x 88m (295′ × 288′)
Geoglyph Ancient Language, 80m x 2.8m (262′ × 9′)
Arava Desert, Israel
Geoglyph Slice, 2003, 80m x 38.15m, 2003 (262′ × 125′)
Geoglyph Rhythms of Life, 2001, 29m x 24m, (95′ × 79′)
Geoglyph, To Life, 1999, 38m x 33m, 1999 (125′ × 108′)
Arava Regional Council, Sapir Town, Israel 1999
Geoglyph To Life, 38m x 33m (125′ × 108′)
Walker Corporation, Collins Square, Melbourne, Victoria, 2023
The Air We Breathe
WestConnex Public Art Program,
St Peters Interchange, Sydney, NSW, 2020
To Be – Ikigai’
Jewish Care, Windsor, Victoria, 2020
To Be
Lyndhurst, Victoria 2019
Memory
Flinders, Victoria 2015
I Am
Springvale Cemetery, Victoria 2013
Lodz Ghetto Memorial
Australian National Airport, Canberra, ACT, 2012
Perception & Reality 1
I Am
Mosman, Sydney, 2011
Flora Exemplar
McClelland Sculpture Park, Langwarrin 2010
Labyrinth The Winding Path, The Search for Truth
Stone and crushed rock 22 × 26m
East Melbourne, 2009
Unfurling
Folded
Bourke Street, Docklands, 2008
Unfurling x 4
South Yarra, Victoria, 2008
Flora Exemplar
Docklands, Victoria, 2008
Unfurling
Springvale, Victoria, 2006
Babi-Yar Memorial
Caulfield, Victoria, 2005
Rise, 4.6m (15’ 1″)
Holocaust Memorial, Melbourne, 2005
Tomb
Presented to the President of Israel, 2005
Mother Earth
Australia/Israel Chamber of Commerce
Award – 1997, 1998, 2004 and 2007
Commerce
World Square – George Street, Sydney, NSW, 2003
Rhythms of Life
Leading
Hebrew University of Jerusalem Friends, 2001
Torch of Learning
Village Roadshow Theatres
Presentation 1998, 1999, 2002 – Melbourne Cup, Australia
Film Director, Maquette
Presented to Prime Minister John Howard
Located at Commonwealth Parliamentary Offices,Treasury Place, Melbourne, 2000
Ascend
Springvale Cemetery, Victoria, 2000
Buchenwald Memorial
Jewish Holocaust Museum, Elsternwick, Victoria, 1999
Pillars of Witness
Australian Israel Scientific Foundation
Flora Exemplar
Commonwealth Games 2006, Victoria
Geoglyph Bunjil, 100m x 100m (328’ x 328’)
Geoglyph Rhythms of Life, 100m x 90m (328’ x 295’)
2018 Wynne Prize, Art Gallery of New South Wales, NSW, Australia
2014 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2012 Mt Buller Sculpture Award, Victoria, Australia
2012 Wynne Prize, Sydney, NSW, Australia
2012 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2010 Commended Global, Freedom to Create
2010 Nominee, International Prix Prictet Photographic Award
2007 Contempora2, Sculpture Award at Docklands, Melbourne, Australia
2005 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2004 Chicago Navy Pier Walk, USA
2004 Helen Lempriere National Sculpture Award, Victoria, Australia
2003 McClelland Survey and Sculpture Park, Victoria, Australia
Andrew is a distinguished and internationally recognized artist. His critically acclaimed sculptures and photographs are exhibited internationally and held in numerous private and prominent public collections around the world. Rogers’ body of work is diverse and substantial. He receives many international commissions for large-scale works in bronze and stainless steel and has created “Rhythms of Life”, the largest contemporary land art undertaking in the world. A connected series of 51 massive stone sculptures, or Geoglyphs, around the globe visible from space. The project has involved over 7,500 people in 16 countries across 7 continents. Rogers has been awarded an honorary doctorate from Deakin.
Andrew is a distinguished and internationally recognized artist. His critically acclaimed sculptures and photographs are exhibited internationally and held in numerous private and prominent public collections around the world. Rogers’ body of work is diverse and substantial. He receives many international commissions for large-scale works in bronze and stainless steel and has created “Rhythms of Life”, the largest contemporary land art undertaking in the world. A connected series of 51 massive stone sculptures, or Geoglyphs, around the globe visible from space. The project has involved over 7,500 people in 16 countries across 7 continents. Rogers has been awarded an honorary doctorate from Deakin University, Victoria, Australia for his contribution to contemporary art and culture.
2024 The Jewish Museum of Australia, Victoria, Australia: Andrew Rogers: Where We Are
2019 Scott Livesey Galleries, Armadale, Victoria, Australia: Kairos
2019 Dominik Mersch Gallery, Sydney, New South Wales, Australia: Frisson
2019 Deakin University Art Gallery, Burwood, Victoria, Australia: Retrospective Andrew Rogers Evolution
2018 National Gallery of Australia, Canberra, Australia: Andrew Rogers Maquettes and Sculptures 1996-2016
2017 European Cultural Centre, Collateral Exhibition to the 57th Venice Biennale, Palazzo Mora, Venice, Italy: We Are
2017 National Gallery of Victoria, Melbourne, Australia: We Are
2017 Mossgreen, Armadale, Victoria, Australia: We Are
2015 Geelong Gallery, Geelong, Australia: Geoglyphs – the land art projects of Andrew Rogers
2015 McClelland Sculpture Park + Gallery, Langwarrin, Australia: Andrew Rogers A Retrospective – Maquettes 1996-2015
2015 Mossgreen Gallery, Melbourne, Australia: Come to the Edge
2013 Dag Hammarskjold Plaza, City of New York, USA: Individuals
2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: A Winding Path A Search for Truth
2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: Time and Space – Rhythms of Life
2012 Mossgreen Gallery, South Yarra, Victoria, Australia: Molten Concepts
2012 Wriston Art Galleries, Lawrence University, Wisconsin, USA: Andrew Rogers: Rhythms of Life
2012 Center for Contemporary Arts Santa Fe, New Mexico, USA: Rhythms of Life
2012 Aidekman Arts Center, Tufts University Art Gallery, Massachusetts, USA: Global Land Art: Projects by Andrew Rogers
2012 hammer gallery, Zurich, Switzerland: Rhythms of Life
2012 Nevada Museum of Art, Nevada, USA: Andrew Rogers Contemporary Geoglyphs
2011 Art Gallery, Istanbul, Turkey: Andrew Rogers: Time and Space
2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth
2011 18th Street Arts Center, Santa Monica, USA: Time and Space
2009 White Box Gallery, New York, USA: Andrew Rogers: Odysseys and Sitings (1998-2008)
2008 William Mora Galleries, Richmond, Australia: Weightless
2007 Propad, Slovakia: Rhythms of Life I-VII
2007 William Mora Galleries, Richmond, Victoria, Australia
2007 Akureyri Art Museum, Iceland: Rhythms of Life I-VII
2007 James Gray Gallery, Los Angeles, U.S.A.
2005 Arts Centre of Victoria, Australia: ‘Rhythms of Life’
2004 Grounds for Sculpture, International Sculpture Park, New Jersey, U.S.A.: ‘Rhythms of Life’
2004 Gomboc Sculpture Park, W.A. Australia
2003 Deakin University, Survey Exhibition, Victoria, Australia: Rhythms of Life
2002 Auronzo di Cadore, Italy
2002 Le Venezie, Treviso, Italy
2002 Mudima Foundation, Milan, Italy: Rhythms of Life II
1999 Boritzer Gray Hamano, Santa Monica, California, USA Rhythms of Life
1998 Embassy of Australia, Washington, United States of America, ‘Rhythms of Life’
1997 Lauraine Diggins Fine Art, Victoria, Australia, ‘Rhythms of Life’
1994 Meridian Gallery, Victoria, Australia, ‘Of Freedom & Will’
1993 Meridian Gallery, Victoria, Australia, ‘Mankind in the gesture of an Individual’
2023 Deakin University Art Gallery, Burwood, Victoria, Australia: Text Re Read
2022 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2021 Scott Livesey Galleries, Prahran, Victoria, Australia
2019 Sydney Contemporary, Sydney, NSW, Australia
2019 Desert X 2019 Parallel Project, Rhythms of Life, Yucca Valley, Mojave Desert, California, USA
2018 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2018 The Wynne Exhibition, Art Gallery of New South Wales, NSW, Australia
2017 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2017 Sculpture by the Sea, Barangaroo, Sydney, NSW Australia
2017 Mossgreen Gallery, Armadale, Victoria, Australia
2016 Sculpture by the Sea, Sculpture Inside, Cottesloe, WA, Australia
2015 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2015 Gasworks, Victoria, Australia: From Nature
2014 Sculpture by the Sea, Sculpture Inside, Cottesloe, WA, Australia
2014 Lorne Sculpture Biennale, Victoria, Australia
2013 Art Miami, Florida, USA
2013 Sculpture by the Sea, Sydney, NSW, Australia
2013 Sydney Contemporary, Sydney, NSW, Australia
2013 Pulse Art Fair, New York City, USA
2013 Art Stage Singapore, Singapore
2012 Scope Basel, Switzerland
2012 The Wynne Exhibition, Art Gallery of New South Wales, Australia
2011 Sculpture by the Sea, Sydney, NSW, Australia
2011 Sculpture by the Sea, Aarhus, Denmark
2011 The Sculpture Foundation and the City of West Hollywood, California USA: Elemental
2011 Scope Basel, Switzerland
2011 Rassegna Internazionale di Scultura di Roma
2010 Sculpture by the Sea, Sydney, NSW, Australia
2010 Scope Basel, Switzerland
2010 Art Karlsruhe, Germany
2009 Yeshiva University Museum, New York, USA: In the Beginning: Artists Respond to Genesis
2009 Sarasota Season of Sculpture, Florida, USA
2008 Soho Galleries, Sydney, NSW, Australia
2007 Sculpture by the Sea, Cottesloe, WA, Australia
2007 Soho Galleries, Sydney, NSW, Australia
2007 Corniche International Art Fair, Venice, Italy
2006 Sculpture by the Sea, Sydney, NSW, Australia
2006 Soho Galleries, Sydney, NSW, Australia
2005 Soho Galleries, Sydney, NSW, Australia
2004 Soho Gallery, Sydney, NSW, Australia
2004 Geelong Art Gallery, Victoria, Australia
2003 Soho Galleries, Sydney, NSW, Australia
2003 Sculpture by the Sea, Sydney, NSW, Australia
2002 Art Singapore – Contemporary Asian Art, Singapore
2002 Soho Galleries, Sydney, NSW, Australia
2001 Sofa, Chicago, USA
1998 Grounds for Sculpture, New Jersey, USA
1998 Latrobe University, Victoria, Australia.
1997 Sculpture at Heidelberg Medical Centre, Victoria, Australia
1994 4th Australian Contemporary Art Fair
2018 Wynne Prize, Art Gallery of New South Wales, NSW, Australia
2014 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2012 Mt Buller Sculpture Award, Victoria, Australia
2012 Wynne Prize, Sydney, NSW, Australia
2012 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2010 Commended Global, Freedom to Create
2010 Nominee, International Prix Prictet Photographic Award
2007 Contempora2, Sculpture Award at Docklands, Melbourne, Australia
2005 McClelland Contemporary Sculpture Survey & Award, Langwarrin, Victoria, Australia
2004 Chicago Navy Pier Walk, USA
2004 Helen Lempriere National Sculpture Award, Victoria, Australia
2003 McClelland Survey and Sculpture Park, Victoria, Australia
Hall Park Frisco
Texas, USA 2023
Zhengzhou Public Art Program,
Henan, China 2020
Vanke and Rongxin Investment Group
Zhejiang, China 2019
United Nations Environment Programme Ozone Secretariat 2017
2017 Expo Future Energy
Astana, Kazakhstan 2017
Gibbs Farm
Kaipara, Makarau, New Zealand 2017
Manetti Shrem Museum,
University of California Davis,
California, USA 2016
Kihei, Hawaii, USA 2016
Sunset Beach, California, USA 2016
Cirque du Soleil/Guy Laliberte,
Canada, Tahiti and Spain 2014 (7)
Aspen, Colorado, USA 2014
Proje4L Elgiz Museum of Contemporary Art, Istanbul,
Turkey 2013
City of Linzhou, Henan Province,
China 2012 (2)
Basel, Switzerland 2012
Borusan Contemporary Museum of Art,
Istanbul, Turkey 2009
Bank Garanti, Istanbul, Turkey 2008
Grounds for Sculpture,
New Jersey, USA 2006
City of Jerusalem, Israel 2005
Presented to the President of Israel, 2005
Curitiba, Brazil 2002
Hebrew University,
Jerusalem, Israel 2002
Harwood Center,
Dallas, Texas, USA (3)
Hall Vineyard Inc.,
California, USA 2001 (8)
Hall Park Dallas,
Texas, USA 2001 (16)
State of the World Forum,
San Francisco, USA 1999
City of Vienna, Nussdorferstrasse, Austria 1999
Presented to the City of Vienna on behalf of
State of the World Forum by the United States Ambassador to Austria
Estate of Dr Simon Wiesenthal
Vienna, Austria
Young Presidents’ Organization,
USA 1999
Technion – Israel Institute of Technology, Haifa, Israel 1998
Artist in Residence
State of the World Forum,
San Francisco, USA 1998
Ibiza, Spain, 2014
Time and Space – The Speed of Light, 10m x 19.2m x 36m (39’ x 63’ x 118’)
Namib Desert, Namibia 2012
Sacred Fire, 14m Diameter (46’)
Cappadocia, Turkey 2007 – 2011
Time and Space Geoglyph Park
Geoglyph Presence, 24 basalt columns 9m (30’) high
Geoglyph A Day On Earth, 31.5m x 51m x 19.5m (103′ × 167′ × 64′)
Geoglyph Listen, 14.5m (52’) tall basalt arch
Geoglyph Sentinels, 8 basalt columns, 6m (18’) high
Geoglyph Grind, 100m x 100m (328’ x 328’)
Geoglyph Strength, 100m x 50m (328’ x 165’)
Geoglyph Sustenance, 100m x 100m (328’ x 328’)
Geoglyph Siren, 65m x100m (213’ x 328’)
Geoglyph Time and Space, 24m x 16m x 5.3m (79’ x 53’ x 18’)
Geoglyph Predicting the Past, 4.2m x 1.1m x 4.7m (14’ x 3.6’ x 15.5’)
Geoglyph Yesterday Today Tomorrow, 6m (18’)
Geoglyph Rhythms of Life, 100m x 90m (328′ × 295′)
Geoglyph The Gift, 60m x 60m (197′ × 197′)
Green River, Utah, USA, 2010
Geoglyph Ratio, 13.5m x 13m x 2m (44′ × 42′ × 6′)
Dakshin Gangotri Glacier, Antarctica, 2010
Geoglyph Rhythms of Life, 60m x 60m (197′ × 197′)
Chyulu Hills, Kenya 2010
Geoglyph Shield, 100m x 70m (328′ × 230′)
Geoglyph Lions Paw, 40m x 40m(131′ × 131′)
Geoglyph Rhythms of Life, 69m x 69m (226′ × 226′)
Yucca Valley, California, USA 2008
Geoglyph Rhythms of Life, 50m x 50m (164′ × 164′)
Geoglyph Atlatl, 61m (200’)
Poprad, Slovakia 2008
Geoglyph Rhythms of Life, 35m x 45m (115′ × 148′)
Geoglyph Sacred, 100m x 100m (328′ × 328′)
Jomsom, Nepal 2008
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Labyrinth, 60m x 60m (197′ × 197′)
Pokhara, Nepal 2008
Geoglyph Knot, 60m x 60m (197′ × 197′)
Rajasthan, India 2007
Geoglyph Rhythms of Life, 90m x 75m (295′ × 246′)
Sculpture Ratio, 8.5m x 6.5m (28′ × 21′)
Gobi Desert, China 2006
Geoglyph Rhythms of Life, 200m x 200m (656’. × 656′)
Geoglyph Messenger, 150m x 150m (492′ × 492′)
Geoglyph Caveman, 150 m x 150 m (492′ × 492′)
Akureyri, Iceland 2006
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Rune, 100m x 100m (328′ × 328′)
Geoglyph Eagle, 100m x 100m (328′ × 328′)
Kurunegala, Sri Lanka 2005
Geoglyph Rhythms of Life, 60m x 60m (95′ × 197′)
Geoglyph Pride, 60m x 60m (197′ × 197′)
Sculpture Ratio, 6.5m x 6.5m (21’ 4″)
Bolivia, 2005
Geoglyph Rhythms of Life, 100m x 100m (328′ × 328′)
Geoglyph Presence, 100m x 100m (328′ × 328′)
Geoglyph Circles, 100 m x 100 m (328′ × 328′)
Arava Desert, Israel 2004
Sculpture Ratio, 8m x 32m (262′ × 105′)
Atacama Desert, Chile 2004
Geoglyph Rhythms of Life, 40m x 30m (132′ × 98′)
Geoglyph The Ancients, 90m x 88m (295′ × 288′)
Geoglyph Ancient Language, 80m x 2.8m (262′ × 9′)
Arava Desert, Israel
Geoglyph Slice, 2003, 80m x 38.15m, 2003 (262′ × 125′)
Geoglyph Rhythms of Life, 2001, 29m x 24m, (95′ × 79′)
Geoglyph, To Life, 1999, 38m x 33m, 1999 (125′ × 108′)
Arava Regional Council, Sapir Town, Israel 1999
Geoglyph To Life, 38m x 33m (125′ × 108′)
Walker Corporation
Collins Square, Melbourne, Victoria, 2023
WestConnex Canal to Creek Public Art Program,
St Peters Interchange, Sydney, NSW, 2020
Jewish Care, Windsor, Victoria, 2020
Lyndhurst, Victoria 2019
Flinders, Victoria 2015
Springvale Cemetery,
Victoria 2013
Australian National Airport,
Canberra, ACT, 2012 (2)
Mosman, NSW, 2011
McClelland Sculpture Park
Langwarrin, Victoria 2010
Shoreham, Victoria 2009
One East
East Melbourne, Victoria 2009 (2)
National Foods Headquarters
Docklands, Victoria 2008(4)
South Yarra, Victoria, 2008
Springvale Cemetery, Victoria, 2006
Caulfield, Victoria, 2005
Springvale Cemetery, Victoria, 2005
Australia/Israel Chamber of Commerce Award – 1997, 1998, 2004
and 2007
Temple Beth Israel, St Kilda, Victoria, 2005
World Square, Sydney, NSW, 2003 (2)
Village Roadshow Theatres
Presentation 1998, 1999, 2002 –
Melbourne Cup, Australia
Springvale Cemetery, Victoria, 2000
Presented to former Prime Minister the Hon. John Howard,
Commonwealth Parliamentary Offices, Treasury Place, Melbourne, 2000
Jewish Holocaust Museum,
Elsternwick, Victoria, 1999
Australian Israel Scientific Foundation
Melbourne, Victoria, 1999
Commonwealth Games 2006, Victoria
Geoglyph Bunjil, 100m x 100m (328’ x 328’)
Geoglyph Rhythms of Life, 100m x 90m (328’ x 295’)
Zhengzhou Public Art Program, Henan, China 2020
Vanke and Rongxin Investment Group
Zhejiang, China 2019
Shenzhen, Guangdong, China
2017 Expo Future Energy
Astana, Kazakhstan
Gibbs Farm
Kaipara Makarau, New Zealand
Manetti Shrem Museum,
University of California Davis,
California, USA
Hall Arts, Dallas, USA
The Israel Museum,
Jerusalem, Israel (3)
Google Headquarters,
California, USA
Tufts University Arts Center,
Massachusetts, USA
Ronald S. Lauder Foundation
New York, USA
Nevada Museum of Art,
Nevada, USA
United Jewish Federation,
New York, USA
Yale University, Connecticut, USA
Residence of the Australian Consul
General, New York, USA (2)
Borusan Contemporary Museum
of Art, Istanbul, Turkey
Grounds for Sculpture,
New Jersey, USA (3)
Akureyri Museum, Iceland
Hebrew University of Jerusalem,
Jerusalem, Israel (2)
Hall Park, Dallas, Texas, USA (16)
Machu Picchu Municipality, Peru
Office of Jigme Lynpo,
Minister for Culture, Bhutan
Technion – Institute of Technology,
Haifa, Israel (2)
(Artist in Residence)
Australian Consul General’s
Residence, Kobe, Japan (2)
Sapir, Arava, Israel
Hall Vineyard Inc.,
California, USA (8)
Harwood Center,
Dallas, Texas, USA (3)
Warner Brothers Complex,
Taipei, Taiwan
Warner Village Cinemas,
Berkshire, UK
Hokoku Construction,
Kobe, Japan
Balexert Cinemas, Switzerland
City of Vienna, Nussdorferstrasse,
Vienna, Austria
Estate of Dr Simon Wiesenthal,
Austria
Office of Hasfat Abiola, Founder,
Kuridat Institute for Nigerian
Democracy
Office of Vincente Fox,
Former President of Mexico
Golden Village, Marine Square South
Multiplex, Singapore
Maroussi Multiplex,
Athens, Greece
International Conference Center,
Jerusalem, Israel
Curitiba, Brazil
WestConnex Canal to Creek Public Art Program,
St Peters Interchange, Sydney, NSW, 2020
Deakin University, Burwood, Victoria
Point Leo Estate
Merricks, Victoria (3)
National Gallery of Victoria
Melbourne, Victoria (22)
The Ian Potter Museum of Art
University of Melbourne,
Parkville, Victoria (8)
City Recital Hall
Sydney, New South Wales (2)
National Alpine Museum of Australia,
Mount Buller, Victoria (3)
Geelong Gallery
Geelong, Victoria (3)
National Gallery of Australia
Canberra, ACT (22)
McClelland Sculpture Park+Gallery
Langwarrin, Victoria (5)
Yabby Lake Vineyard
Mornington Peninsula, Victoria
University of Sydney,
Sydney, New South Wales (16)
Willinga Park,
Bawley Point, New South Wales
Heide Museum of Modern Art,
Bulleen, Victoria
Art Gallery of New South Wales
Sydney, New South Wales
Victorian Arts Centre,
Melbourne, Victoria
City of Melbourne, King Street,
Melbourne, Victoria
City of Melbourne, Jolimont Terrace, Melbourne, Victoria
The Victorian State Government –
City of Melbourne, Victoria
Sale Regional Art Gallery, Victoria
Mornington Peninsula Art Gallery,
Mornington, Victoria
Castlemaine Art Gallery,
Castlemaine Victoria
Mildura Art Centre, Mildura, Victoria
Bendigo Regional Art Gallery,
Bendigo, Victoria
High Court Building,
Melbourne, Victoria
Office of the Prime Minister
Commonwealth Parliamentary
Offices, Melbourne, Victoria
Citibank Building,
350 Collins Street,Melbourne, Victoria
Jam Factory, Prahran, Victoria
Westfield Corporate Ltd.,
Sydney, New South Wales
Crown Casino Complex,
Melbourne, Victoria
University of Melbourne,
Parkville, Victoria
Copelen, South Yarra, Victoria
Wesley College, Prahran, Victoria
Novotel International Hotel,
Glen Waverley, Victoria (2)
Bristol Myer Squib, Victoria
The Becton Corporation,
Port Melbourne, Victoria
Shoreham, Victoria
Melbourne Holocaust Museum,
Elsternwick, Victoria
Mount Scopus College,
Melbourne, Victoria
Port Melbourne, Victoria
Jewish Museum of Victoria
Springvale Cemetery, Victoria (4)
World Square, Sydney, NSW (2)
Elgee Park, Red Hill, Victoria (2)
Macquarie University, Sydney, NSW (2)
Peter MacCallum Cancer Centre,
Melbourne, Victoria
University of New South Wales, Sydney, NSW
Australian Israel Scientific Foundation
Montefiore, Melbourne, Victoria
2022 Sculpture by the Sea, Decade Club Member
2018 Museum Channel – France and French Speaking Europe, Russia, Spain, Africa; 11 half-hour and three one-hour episodes.
2017 Fox Arts Channels – Television Series; three one hour episodes
2016 Google Cultural Institute Art Project Partnership
2015 National Geographic Channels Television Series; 11 half-hour and 3 one-hour episodes
2014 Sky Arts New Zealand – Television Series -Three one-hour episodes
2014 Ibiza, Spain – First alignment of the setting sun on the Winter Solstice with the sculpture
‘Time and Space the Speed of Light’
2013 Gem Television Series, Middle East and United Kingdom – 10 half hour episodes
2012 Sky TV United Kingdom and Ireland – Television Series -Three one-hour episodes
2011 Arte TV, Germany – “Earth Art”
2011 Google Earth Tour, Google LatLong Blog, August
2010 Nominated for the International Prix Pictet Photographic Award
2010 CNN International, The Sculpture Park you can see from Space
2009 USA Ovation TV Series – Monumental Vision -10 half hour Episodes
2008 Discovery International Television Series – 3 half hour episodes
2008 ABC Television Series – 8 half hour episodes
2008 Canadian Television Series – 3 half hour episodes
2007 Discovery International Television Series – 3 half hour episodes
2007 ABC Television Series – 5 half hour episodes
2005 CNN Television – “Inside the Middle East – Geoglyphs in the Arava Desert, Israel”
2003 “Celebration of Life” photographs of 42 pregnant women in the Arava Desert, Israel
Deakin University, Melbourne Burwood Campus, Burwood, Victoria, Australia
National Gallery of Victoria, Melbourne Australia
International Sculpture Centre Symposium 2013 – Auckland, New Zealand
Art Gallery of New South Wales, May 2010 – Sydney, Australia
agIdeas 2010 – Sydney, Australia
Art Month Sydney 2010 – Creative Collaborations: Art and Landscape
State of the World Forum – San Francisco, U.S.A.
Artist in Residence, Institute of Technology at Technion University, Haifa, Israel.
The Young Presidents’ Organization. Auckland, New Zealand.
Symposium at Sculptures by the Sea, Bondi, NSW, Australia.
Frances Lindsay, FORMS, 2020, Essay ISBN: 978-0-9943685-6-0
Frances Lindsay, FORMS, 2018, Essay ISBN: 978-0-9943685-5-3
Silvia Langen, Andrew Rogers Rhythms of Life – A Global Land Art Project, Prestel, Germany, 2016. ISBN: 978-3-7913-5540-5
Phoebe Hoban, White Desert, 2016, Essay ISBN: 978-0-9943685-3-9
Phoebe Hoban, Sacred Fire, 2015, Essay ISBN: 978-0-9943685-1-5
Frances Lindsay, FORMS III, 2015, Essay ISBN: 978-0-9943685-2-2
Phoebe Hoban, Time and Space, 2015, Essay ISBN: 978-0-9943685-4-6
Phoebe Hoban, Shield, 2015, Essay ISBN 978-0-9943685-0-8
David Elliott, Time & Space, 2013 Essay. ISBN: 978-0-9577671-5-7
Robert Lindsay, Forms II, 2012 Essay. ISBN: 978-0-9577671-6-4
Eleanor Heartney, Andrew Rogers Geoglyphs, Rhythms of Life. Edizioni Charta Milano, Italy, 2009 Essay ISBN: 978-88-8158-712-4
Ken Scarlett, Rhythms of Life: The Art of Andrew Rogers. Melbourne Macmillian Art Publishing, 2003 Comments by Edmund Capon, Director of the Australian Gallery, NSW, Australia, Edmund Pilsbury, former Director of Kimball Art Museum and Idit Porit, formerly of Tel Aviv Museum of Art. ISBN: 187683261-4
Dr. Chris McAuliffe, Forms, Essay. ISBN: 0-9577671-3-7
Ken Scarlett, Elgee Park: Sculpture in Landscape. Melbourne, Macmillan Art Publishing, 2004. ISBN: 1-875-832-32-0
Grace Banks, Art Escapes – Hidden Art Experiences Outside the Museum, Gestalten, 2022. ISBN: 978-3-96704-052-4
Silvia Langen, Outdoor Art: Extraordinary Sculpture Parks and Art in Nature, Random House, 2015 ISBN: 978-3-7913-8118-3
Helen Lee, Urban Landscape Street Sculpture, Hi Design International Publishing, Hong Kong, 2014.
Chris van Uffelen, 500x Art in Public, Braun Publishing AG, Germany, 2011. ISBN 978-3-03768-098-8
Janet Markus et al, Art Works, Edmond Montgomery Publications Limited, Canada. ISBN 978-1-55239-320-8
CNN Inside the Middle East, The Sculpture Park you can see from Space, Reporter Ivan Watson, July 2010
PBS Sunday Arts Profile, Andrew Rogers, producer Bob Morris, October 2009
CBS Sunday Morning, The Big Picture, producer Anthony Laudato, April 2009
Reuters News, The World’s Largest Land Art Project reporter Sarah Toms, April 2009
CNN Inside the Middle East, Geoglyphs in the Arava Desert Israel, producer Michael Schwartz, 2005
The Design Files, Australia, 15 May 2019. New work from the sculptor who’s gone where none have gone before.
Christie’s Magazine, United Kingdom, February-March 2018 Edition. Land of the Giants
New York Times T Qatar, Qatar, September-October 2017 Edition. Set in Stone: Land Artist Andrew Rogers
Art Guide, Australia, 03 October 2017. Life from Above
Artribune, Italy. 02 October 2017, Tra scultura e Land Art. Intervista a Andrew Rogers
Vogue Italia, Italy. 07 August 2017, Arte, Intervista ad Andrew Rogers
L’uomo Vogue, Italy. 07 August 2017, Arte, Intervista ad Andrew Rogers
Art in America, USA. 01 August 2017, Steppe Forward: Art and Tech at Expo 2017 Astana
Studio International, UK. 01 August 2017, Andrew Rogers: I Am-Energy
Sciart Magazine, USA. August 2017, Working with and against the elements: I Am by Andrew Rogers
Yale Books Unbound, USA. 20 July 2017, Viva Art and Artists! The 2017 Venice Biennale Calls for Celebration, but is this a time to Party?
Architectural Digest, USA. 13 July 2017, Land Artist Andrew Rogers’s Monumental Works Defy Belief
Art Temperature, Italy. 02 July 2017 La Terra è la sua tela e il Cielo il suo pubblico. Vi presentiamo Andrew Rogers
Sydney Morning Herald Australia. 19 May 2017, Venice Biennale 2017 – Viva Arte Viva
arskey Magazine, Italy. 16 May 2017, Biennale 2017: Andrew Rogers – We As Caretakers
Dream Idea Machine Art View, Greece. 11 May 2017, Interview: Andrew Rogers
ARTNews, USA. 11 May 2017, Scenes from the Venice Biennale: Day 3
Dream Idea Machine, Art View, Greece. April 2017, Words/Fake Words: Part IV
Byron Arts Magazine, Australia. 20 April 2017, Andrew Rogers’ WE ARE Collateral Exhibition to Venice Biennale
Financial Times, London, UK. July 2015, The Ibiza art Circus
ArtLA, California, USA. January 2015, Andrew Rogers Global Awareness
The Age, Melbourne, Australia. 21 February 2014, Body of work is all about thinking big
ABC News, USA. 08 May 2013, Art Invades the UN
The Art Newspaper, UK. 21 May 2012, Sculpture, Satellites and what it means to be human
Canberra Times, Australia. 03 April 2012, Striking pose to alter perception of airport
Art in America, USA. 05 December 2011, Andrew Rogers’s Turkish Earthworks
Google Lat Long Blogspot, USA. 02 August 2011, Explore Land Art with Google Earth
Art Daily Blog, USA. July 2011
Art and Architecture Journal, USA. July 2011
Spectator.CO.UK. June 04, 2011 Out of the Ordinary
The LookOut news, USA. May 18, 2011, Andrew Rogers’ Monumental “Rhythms of Life” at 18th Street Art Center
LA Weekly, USA. May 13, 2011 Andrew Rogers, Land Artist: Now Playing on a Continent Near You
Art Knowledge News, USA. April 27, 2011 “Andrew Rogers: Time and Space” on View at the 18th Street Arts Center
Canvas, UAE, The Expanded Field, Issue 103, Summer 2022
Bellarine Times, Australia. Artistic Brilliance Honoured by Deakin. 20 February 2020
Christie’s Magazine, United Kingdom, February-March 2018 Edition. Land of the Giants
New York Times T Qatar, Qatar September-October 2017 Edition. Set in Stone: Land Artist Andrew Rogers
Art Guide, Australia. October 2017, Life from Above
The Art Newspaper Sculpture Magazine, UK. 01 September, 2017 My Park’s Bigger Than Yours
The Sydney Morning Herald, Weekend, Australia. Works take a Walk in the Park, 5-6 August, 2017
Collection & Auction, China. People: Andrew Rogers, 28 July 2017
The Age, Australia. Venice Biennale Review, 5 July 2017
Blouin Shop/Lifestyle Magazine, USA. The Dichotomy of the Human Heart, Summer 2017
National Gallery of Victoria Magazine, Australia. Studio: Andrew Rogers, Vol 4 May/June 2017
IbizaHEUTE, Ibiza, Spain. ‘Time and Space’ – der magische Steinkreis, March 2017
ArtLA, California, USA, Andrew Rogers Global Awareness, January 2015
The Age, Melbourne, Australia, Body of work is all about thinking big, 21 February 2014
The Art Newspaper, United Kingdom, Think local, act global, Number 251, November 2013
Radikal Hayat, Turkey, Is Destiny a Choice or Luck? 06 May 2013
Today’s Zaman, Turkey, Sculptor Andrew Rogers’ monuments to truth at Elgiz, 22 April 2013
Canberra Times, Australia, 03 April 2012, Striking pose to alter perception of airport
Sculpture Magazine, USA, Rome Biennale: International Exhibition of Sculpture March 2012 Vol.31 No.2
Art & Australia, Australia, Reclaimed by the land: Andrew Rogers’s ‘Time and Space’ March 2012 46 No. 3
Landscape Architecture Magazine, USA, Seen From Afar, January 2012, Vol 102 No. 1
La Stampa, 08 November 2011 Rogers, il Ritmo della Vita in tonnellate di pietra
Kunstzeitung, Germany, Record Breaking, 31 October 2011
Hurriyet Daily News, Turkey, Discovering the rhythms of life in Cappadocia’s stones, 20 September 2011
Identity Magazine, USA, Scope for the Best, September 2011
Monopol, Jongleur der Superlative August 2011
Macquarie Matters, Macquarie University of New South Wales, Sculpture Park Winter 2011
Spectator, Out of the Ordinary, June 2011
The Arts Newspaper, Art Writ Large, May 2011
Chile Magazine, Rhythms of Life in Chile, November 2010
Asian Geographic, Giants Over Time and Space, No. 76 Issue 7/2010
Qantas, The Australian Way Magazine, Boulder and the Beautiful, August 2010
Skylife Magazine, Turkish Airlines, May 2010
Istanbul Contemporary Etc, Andrew Rogers Rhythms of Life, March-May 2010
Sculpture, USA, Geoglyphs Spanning the Globe, December 2009
Art in America, USA, Earthly Homage, October 2009
Goreme Open Air Museum, Turkey, August, 2009
Interior Design, USA, Sculptor as Artist, August 2009
Tell Magazine, Chile, Ritmos de Vida, June 2009
Hurriyet Daily News, Turkey, May 19 2009
Forbes Magazine, USA, May 13, 2009
Christian Science Monitor, USA, May 12, 2009
Podtatranské Noviny, National Slovakian Newspaper, May 27, 2008
Australasian Cemeteries and Crematoria Association News, The Challenges of Monumental Landmark Sculptures, Autumn 2008
SABAH Cuma, The Man Who Whispers to the Universe with Stones, Turkey 2007
La Prensa La Paz, Bolivia, Land Art Potosi, December 13 2006
Australian Art Review, Environmental Art, November 2006
Sculpture Magazine of China Sculptors Association, 2006
Parliament of Victoria, Victoria’s Hansard, March 18, 2006
The Age Newspaper, January 28, 2006
Jetstar Magazine, December2005/January 2006
Lino, Issue No. 10 2005
CNN Television, Inside the Middle East, Geoglyphs in the Arava Desert, Israel, November 21-25, 2005
The Australian Newspaper, November 16, 17, 18, 2005
The Herald Sun Newspaper, November 7, 2005
The Australian Art Collector, Issue 34, October-December 2005
World Sculpture News, Volume 11 Number 2, Spring 2005
Melbourne Weekly Magazine, September 28 – October 4, 2005
Melbourne Magazine, Issue 032, August 2005
ABC Television, Foreign Correspondent, June 21, 2005
ABC Radio, June 19, 2005.
State of the Arts, Australia, 2005
Art in America, June/July 2005
Australian Art Monthly, May 2005
The Age Newspaper, May 16, 2005
Monument, Architecture & Design, April 2005
World Sculpture News, Volume 10 Number 4, Autumn 2004
Australian Financial Review, August 28-29, 2004
The Age Newspaper, March 3, 2004
Craft Arts International, #60 2004
Sculpture, Magazine of the International Sculpture Center, USA, April 2004
Good Reading, October 2003
World Sculpture News, Volume 9, Number 4, Autumn 2003
Victorian Arts Centre, Melbourne, Australia Website, 2002
University of Melbourne: Australian Sculpture Server, 2002
Sculpture, Magazine of the International Sculpture Center, USA: On Record, January/February 2003
Kult, Italy – March 2002
Victorian Arts Centre Home Page, February 2002
Jerusalem Post, Friday February 1 and February 8, 2002
Victorian Arts Centre News: Preview, December 2001
Melbourne City Art Walks, City of Melbourne, December 2001
World Sculpture News, Volume 7 Number 3, Summer 2001
The Jerusalem Post, Friday August 25, 2000
The Herald Sun, Arts & Entertainment, July 31, 2000
World Sculpture News, Volume 6 Number 2, Spring 2000
Monument Architecture & Design, April/May 2000
The Australian Magazine, April 1-2, 2000
World Sculpture News, Volume 5 No. 2, Spring 1999
Kurier Newspaper, Wein Austria, December 8, 1999
ORF Austrian Broadcasting Corporation, Wein Heute – Television, June 12, 1999
World Sculpture News, Volume 5 Number 4, Autumn 1999
The Age Newspaper, Melbourne, Australia – December 6, 1999
The Age Newspaper, Melbourne, Australia – October 25, 1999
Sculpture, Magazine of The International Sculpture Center, USA, Vol. 18 No. 7, September 1999
19th & 20th Century Australian Painting Sculpture and Decorative Arts, 1999. Lauraine Diggins Fine Art
Wiener Zeitang, March 22, 1999
Salzburger Nuchrichten, March 20, 1999
Die Presse Newspaper, Vienna Austria, March 20, 1999
World Sculpture News, Vol. 4 No. 4, Autumn 1998,
19th & 20th Century Australian Painting Sculpture and Decorative Arts, Catalogue 90, 1998. Lauraine Diggins Fine Art
Austria Today Newspaper, March 25, 1999
City of Melbourne Open Air Sculpture Museum, 1997
Generation, June 1995, January 1996, October 1996, October 1997, May 2000
Venice Magazine: Los Angeles Arts March 1998
City of Melbourne: Events Magazine, January, March, April 1998
Must See Melbourne: City of Melbourne, Greeting Service, December 1997
Becton Living, 1997
Miscellanea, Cultural Affairs Office of the Embassy of Australia, December 1997
19th & 20th Century Australian Painting Sculpture and Decorative Arts 1997, Lauraine Diggins Fine Arts
Herald Sun Newspaper, 1997
Australian Council for Educational Research, Administration Manual, 1997
Sunraysia Newspaper, May 18 1996
Architectural Review, Australia – Presenting the Future, Autumn 1996
YPO Worldwide, A Renaissance Legacy, December 1995
The Herald Sun Home Magazine, September 2 1995
The Qantas Club, Artistic Sensibilities, September 1995
Fourth Australian Contemporary Art Fair, October 1994
Herald Sun Newspaper, June 20 1993
2019 Deakin University: Andrew Rogers Evolution From Maquettes to Major Sculptures 1996 – 2019. ISBN: 978-0-6483226-6-5
2015 McClelland Sculpture Park + Gallery: Andrew Rogers A Retrospective – Maquettes 1996-2015 ISBN: 978-0-9874010-6-9
2015 Mossgreen Gallery, Australia: Come to the Edge ISBN: 978-0-9577671-8-8
2012 Mossgreen Gallery, Australia: Molten Concepts
2007 William Mora Galleries, Australia: Weightless ISBN: 0-9677671-4-5
2007 Akureyri Art Museum, Iceland: Rhythms of Life I-VII ISBN: 978-9979-9632-7-1
2002 Mudima Foundation, Italy: Rhythms of Life II, ISBN: 0 957 767 10
2000 Rhythms of life II
1999 Pillars of Witness, ISBN 0 646 38229 2
1997 Lauraine Diggins Fine Art, Australia: Rhythms of Life
1995 Meridian Gallery, Australia: Of Freedom and Will
1993 Meridian Gallery, Australia: Mankind in the Gesture of an Individual
Fine Art Invest Group AG, Wettingen, Zurich
Ethan Cohen, New York, New York
Sponder Gallery, Miami, Florida
Dominik Mersch Gallery, Sydney, NSW
Scott Livesey Galleries, Armadale, Victoria
In 1998, Australian sculptor Andrew Rogers, told the Second Annual State of the World Forum Awards in San Francisco that, ‘To express oneself is a timeless need – sculpture is a manifestation of this need. This need is always relevant: and how better to express our dreams and aspirations and the spirit of humanity – sculpture does mirror our society.’ In his address, titled The Passion of Sculpting, Rogers told the 800-strong forum that being a sculptor was for him a personal journey. ‘The journey necessary to create sculpture is just as important and meaningful as the final form and, yes, hopefully people will see what we are trying to express.’
Andrew Rogers commenced on his artistic journey just over 30 years ago, as a painter. But in the late 1980s, after numerous visits to the Musee Rodin in Paris, he decided to switch from painting to sculpture. Yet, subconsciously, as he noted in his speech, the origins of his decision lay in a much earlier experience of Rodin’s art: the “Rodin and His Contemporaries” exhibition which he had seen at the National Gallery of Victoria in 1967. ’Sculpture is an expression of the heart, not just the application of a skill. With sculpture we learn to perceive, to recognize differences, to clarify, to make a decision, and eventually one can see what it is that matters to create a form. For me, the works in the 1967 exhibition captured the essence of mankind simply through the gesture of an individual.
The earliest sculptures by Rogers were representations of the human hand, an image which Rodin himself had fashioned so perspicuously. So it was fitting that five of Rogers’ edition of his bronze sculpture of a clenched fist, Critical Power (1993), were presented to the forum’s award winners, including Richard Butler, then executive chairman of the United Nations Special Commission on Iraq and now Governor of Tasmania, and Vincente Fox, who was elected President of Mexico shortly afterwards. ‘It is my hope that these wonderful and worthy recipients look at their sculpture and remember their magnificent achievements and the critical difference they have made to our world, which has become a better place in which to live,’ Rogers stated at the time.
It is this solemn philosophy that seems to have informed the uniqueness of Rogers’ oeuvre. By 1993, when Critical Power was first cast, he had crystallised a style that incorporated realism, symbolism, and surrealism. It was at this time, too, that he began to abstract the human figure, hollowing out a number of his male and female forms. He developed a technique of slashing the forms with a series of parallel incisions to reveal a figure’s interior. Some of these forms were shown in his 1993 exhibition “Mankind in the Gesture of an Individual” (after Rodin), at Melbourne’s Meridian Gallery, which stood out as testament to his achievement in working in the figurative tradition.
This exhibition earned Rogers his first critical acclaim as a sculptor and, just as importantly, brought him to the attention of the corporate world. As the renowned curator and critic, Ken Scarlett, states: ‘Rogers is an interesting phenomenon, an artist who had painted for many years before turning to sculpture as his essential means of expression. He may have had a long gestation period, but the rate of growth has since been extremely rapid and, following his first solo exhibition in 1993, his career has progressed at an extraordinary rate. In 12 years he has reached a position that other Australian sculptors have striven to achieve over their lifetime.’1
Shortly after the 1993 exhibition, the Becton Corporation, on behalf of the Victorian State Government, commissioned one of the editions of Reaching Away (1993), an ethereal bronze depicting a kneeling, nude female figure gesturing to the heavens, for placement in the gardens of a new residential development in Wellington Terrace, East Melbourne. Reaching Away was also acquired by the Castlemaine Art Gallery in regional Victoria, and by Hall Vineyard Inc. in California, US which, incidentally, now has 10 of Rogers’ sculptures in its collection. Worldwide, Rogers currently has more than 50 works placed in major museum and corporate collections, including nine of the edition of Flora Exemplar (1997) in collections as various as the Art Galley of NSW; Grounds for Sculpture, New Jersey and Stonebriar Park, Dallas, US; Hokoku Construction, Kobe, Japan; and Nusserdorfer Strasse in the City of Vienna.
Each of Rogers’ sculptures ferments firstly as a charcoal sketch on paper, completed by the artist well before the process of making commences. From the sketch, each piece is then realised as a bronze maquette, 60 cm high.
Finally, the actual bronze sculpture is cast, limited to an edition of 12. ‘Bronze is a very durable material that interacts with the environment over time,’ says Rogers. ‘It reacts to, and with, its surroundings. So, you can create a dialogue with the people who are viewing the sculpture in its specific environment. The advantage of bronze is that the message you’re trying to incorporate doesn’t get corrupted by the ravages of time, unlike a lot of other materials where form is lost.’
In 1996, a maquette of Flora Exemplar was presented to the visiting president of Technion, the University of Technology, Haifa, Israel, in the Queens Hall of Parliament House, Melbourne. This led to the commissioning of a 2.6 m version of the sculpture in Sapir Town, Arava, Israel. Speaking of this piece, one critic wrote, ‘The mysterious body plant embodies nature’s pure beauty perceived through the appreciation of the human eye.’ Nonetheless, Rogers is emphatic that human touch also plays a vital role in a vigorous appreciation of his work. ‘The changing of a sculpture that occurs through the effect of the environment, including human touch, helps enrich the form to become a “living” object in the real world,’ he says. ‘I particularly like people to touch my sculptures, to feel, in the case of bronze, the cool surface and strength of the metal. The effects of the environment and people’s responses to a sculpture create an intriguing dialogue.’ Rogers is honoured that almost the entire edition of Flora Exemplar is now situated in outdoor locations around the world, but is especially intrigued with the sculpture’s placement in the Arava Desert, where the climatic conditions are so extreme. ’It’s always interesting to see the same form set in different surroundings. But the intense heat and cold of the Arava Desert will test the strength of this work, and the desert sands will tear into it, reshaping it over time. In fact, it’s already happening. There are a lot of chemicals in the water that is drawn from under the ground in that area, so there has been oxidation on the sculpture. The bronze is now a totally different colour to when it was installed and a very different colour to the others in, say, the Art Gallery of NSW or Dallas.’
The inherent, abstracted beauty of Flora Exemplar is best summed up by Edmund Capon, Director of the Art Gallery of NSW, who considers it to be one of Rogers’ most distinctive and characteristic works. Capon states: ‘In its elegant and attenuated form, which reaches up and then twists and peers down, it does vaguely resemble a stem and a bud. But it is, I believe, much more than mere imitation of a natural feature, for its sheer expressiveness evokes in us emotions of human striving and introspection. Just as his forms, in particular a work such as Flora Exemplar, have a basis in naturalism, so do they convey natural and inherent human sensibilities. The abstraction of our strivings and imaginations are resolved into the quiet drama of Andrew Rogers’ sculptural forms.’ 2
Rogers asserts that, following the completion of works for his second solo exhibition at Meridian Gallery in 1995, “Of Freedom & Will”, he found the making of figurative sculpture constraining. ‘There is only so much you can do with the human form; he says. ’With abstraction you are able to create many different forms, flows and shapes, and manipulate the spaces around you with the object more freely than when sculpting figuratively.’
Ken Scarlett believes that this transition by Rogers from figuration to abstraction was an impressive achievement and is euphonious in his praise. ‘In 1995 Andrew Rogers underwent a miraculous metamorphosis; wrote Scarlett. ’Like a cicada that has spent part of its life underground, then crawled out from its confining tunnel to come forth into daylight, Rogers put his figurative style behind him and accepted abstraction as his means of communication. Just as a cicada bursts out of its old shell and almost immediately learns to fly, so too, Rogers emerged confident and assured, articulate and with a new vocabulary of forms.’ 3
Flora Exemplar, it would seem, is Rogers’ most successful articulation of this new vocabulary and it’s significant that most of the edition has now been placed in prominent national and international collections. But, perhaps the real consequence of Flora Exemplar was that its site in Sapir Town exposed Rogers to the ruggedness and pulchritude of the Arava Desert. Currently, the Arava Desert forms part of the border between Jordan and Israel and is of vast historical import. It also separates two vastly contrasting cultures. With these factors in mind, Rogers has recently completed his third geoglyph, Slice (2003), in the Arava. Constructed from rocks dynamited from its surrounds, the shell-like form of Slice, enlarged to gargantuan proportions, lays horizontal on the ground where it is intended to be viewed from the mountainous settings above.
Writer, Idit Porat, believes that Slice is an ‘intensified metaphor for the fossil, a reminder of a far older presence in this place’, and believes that by situating artworks in the Arava Desert, Rogers transforms the site ‘from a place of artistic value to one that seems to expose form within the landscape’s primordial archaeological discoveries and ancient values that reach far beyond time and place’. 4 Porat also claims that the artist’s decision to make landscape art which can only be fully grasped from a bird’s-eye view aims ‘at creating a concrete, participatory relationship with the surrounding culture. By inviting physical interaction between the geoglyphs and their visitors, the sculptor has established a new context which simultaneously comments upon the connection to history and land, while engaging its continued evolution’.
Rogers completed the first of the three geoglyphs in the Arava Desert, Chai in 1999, aware that any sculpture positioned in such an environment would not only need to contain a powerful visual aura in order to match the competing surrounds, but should also be constructed from appropriate natural materials. ‘For the first sculpture, Chai, two words taken from the Old Testament meaning Longevity or Life, the stones were taken from the dry water beds of the river,’ Rogers explains. ‘Stone has a natural association with its surroundings. It’s just a natural material for me to handle in an environment with which you have to be sympathetic – while at the same time you are making sure that the form stands out in it. These stones had been rolled along the ground for thousands of years in floods.
‘Initially I started with the geoglyphs one at a time and the concept developed as I went on,’ Rogers maintains. ‘When halfway through the first, I knew that I would do a second, and a few minutes after starting the second I knew there would be a third. The concept was that the geoglyphs should be able to be seen and understood fully only from a height. Not necessarily from a helicopter (from where the photos you see were taken) or from a satellite from which the objects can be seen. The concept was to be near a mountain so that people could walk up the slope and then see the three objects together as they rotated around. You actually cannot see all the objects at the same time or even two together. You have to rotate your body, which is by design. When you’re on the same level as the geoglyphs you cannot see any of the objects together. They are isolated parts of the rhythms until you reach the top and see it all together.’
‘Rhythms of Life’ is a catch-cry Rogers has employed unceasingly over the past six years. It is the title he has given to each of his solo exhibitions since 1997, including exhibitions at Lorraine Diggins Fine Art, Melbourne in 1997 and 1999, the Australian Embassy in Washington, DC and BGH Gallery in Santa Monica, California in 1998, as well as Soho Gallery, Sydney and his survey show at Deakin University, Melbourne in 2003. It is also the title of one of his most wistful and exotic bronzes installed outside the Victorian Arts Centre in Melbourne’s Southbank complex in February, 2001.
After installing Rhythms of Life, Rogers returned to the Arava Desert to create the second geoglyph, a mammoth replica of the Southbank sculpture, this time in stone blasted from the desert surrounds. ‘Deserts are pristine environments – they’re like large blank canvases to work on,’ says Rogers. ‘No matter how large you make the form, it’s really only a speck in space. But it needs to be a monumental speck against the dome of the sky and against the vastness of the landscape. It’s really exploring what scale does, while at the same time looking at these types of different environments and how important they have been to mankind, both in traditional indigenous societies through to modern Western societies. It was an opportunity to explore the desert environment and take your symbols out of a modern urban setting and try to get the symbols understood in another context. Rhythms of Life, outside the Victorian Arts Centre, a 2.7-metre bronze, is now in the Arava Desert, made in stone at 28 metres in length. It’s daunting to find an untouched tract of desert and realise what you have to cope with in terms of the technical skills as well as the impact you are going to have on it permanently.’
Of the meaning of his catch-cry, Rogers states: ’It’s an interplay. There are only two things certain in life, being born and dying. I’m interested in our interaction with the environment and with other people around us. I like to look at the states we pass through and the changes that occur around us, the changes that happen to us as we go through life. Working figuratively made it easy to create works that were effortlessly recognisable in terms of expressions and moods. It’s much more difficult to create the message in a form which is abstracted and to develop the appropriate symbolism and communication so people can understand what they’re looking at.’
On completion of the first geoglyph in the Arava Desert, Rogers travelled to Peru, to the small Andean village of Machu Picchu, where he constructed his stunning sculptural commission Rhythm of the Andes (2000), an obelisk shaped bronze totem filled with stones. He had first visited Peru in 1996 and was overwhelmed by the dramatic scenery and archaeological ruins of Machu Picchu, which he described ‘as one of the most spectacular sites that I’ve ever seen in the world’. Rogers made further visits to the village over the ensuing years, and was finally commissioned by the mayor of Machu Picchu, Dr Jose Soto Vera, to construct a sculpture that would consider both “Anthropological and Historic Fundamentals’.
‘The idea behind Rhythm of the Andes was to allow the indigenous people to become part of the project, to be integrated with it,’ Rogers explains. ‘We began with the concept of conveying the history of the people of the Andes which is represented by the bronze work. The idea of then filling it with local stone, the first stone being from the sanctuary of Machu Picchu, was an opportunity for the people who are very dependent on the land to tie themselves back to the land and to tie themselves to their history, to be proud of their history through the sculpture. Like many indigenous groups in many parts of the world, they suffered at the hands of invaders, so it was great to be able to look at their history and reflect it back to them and allow them to participate in something they could be proud of. The sculpture can be read as three different things: as a shape, as a story, and it is also topped by an important symbol of the indigenous people, the condor bird, which circles around the area.’
Over the past twelve months Rogers has begun to incorporate stone with bronze on a regular basis, with works from his Mother Earth series testifying to his abilities to efficaciously merge the organic and the abstract into a unifying whole. ‘I began by incorporating the rocks into the bronze, then just using rocks,’ he says. ‘Now I’m attempting to imitate nature by making the rocks out of bronze. There’s a practical reason for this. When you make very large sculptures, it means there is an imbalance with weight. But the deeper pursuit is that it’s great to be able to try and imitate nature. That’s the fascination, using bronze and pushing its use to create objects which aren’t normally cast in this material.’
But it is with his most recent series of highly abstracted and poignant bronzes, the Weightless series, exhibited recently at Sydney’s Soho Gallery, that Rogers has faced his most serious technical challenges. ‘By its nature, bronze is heavy, yet I prefer to exploit its lightness and fluidity,’ he says. ‘I like to push the bronze to its limits. The challenge is always to try to make the material obey your will. Not only do you forge it in the furnace of your mind, but you must also get the molten bronze to flow in the right direction to create the required form. It is much easier to fabricate than it is to cast. These pieces are interesting because of their form, shape and ridge, and the nature of both their internal and external surfaces. What I’ve tried to do with the bronze in this series is to look at our states of being and explore the idea of weightlessness. They are meant to look light, folded and very accidental. It almost appears as if somebody has crushed a piece of metal.’
Roger Taylor
Roger Taylor is a freelance journalist based in Melbourne who writes on contemporary sculpture for Australian and international publications.
1 Ken Scarlett, “Andrew Rogers: a sense of optimism”, in Andrew Rogers: Rhythms of life 11, exhibition catalogue, Mudima Foundation of Contemporary Art, Milan, 2002, unpaginated.
2 Edmund Capon, “Andrew Rogers: Flora Exemplar”, in Ken Scarlett’s, Rhythms of Life: The Art of Andrew Rogers, Macmillan Art Publishing, Melbourne, 2003, p 49.
3 Ken Scarlett, Rhythms of Life: The Art of Andrew Rogers, op cit., p 35.
4 Idit Porat, “The Many Layered Desert Geoglyphs”, in Ken Scarlett’s Rhythms of Life: The Art of Andrew Rogers, op cit., p 25.
Craft Arts International No. 60, 2004
The making of monumental sculpture holds a special place in the heart of Australian sculptor Andrew Rogers. During the past five years he has placed monumental sculptures in locations as the ancient Inca city of Machu Picchu, Peru, the Arava region of the Negev Desert, Israel, in Melbourne, Australia, and Vienna, Austria. The heart of his work is the act of remembrance.
Humankind’s need to bear witness to its history through art has been with us for millennia. Since the earliest cave paintings to the colossal sculptures of Easter Island or the enormous Buddha figures scattered throughout Asia the artist’s mark has clearly been of central importance to collective memory and culture. In the modern world, with its myriad new technologies and materials, the construction of simple and complex monumental sculptures has never been more readily attainable. Yet the emotion of making sculpture is not lost on the sculptors when they turn their attention to monumental pieces. Indeed, the sheer scale of such works often intensifies the emotional impact.
For Andrew Rogers monumental sculptural is but one aspect of his art but his forms are of special significance as a conduit of remembrance. The very public nature of many of his monumental pieces is striking and supports his belief that “the eye leads and the mind follows.” His 4.5 meter bronze entitled Rhythms of the Andes (2000) at Machu Picchu, Peru, speaks of a rich past and the trials of a proud people. His Melbourne bronzes Rhythms of Life (2001), Buchenwald Memorial (2000), and his dramatic monumental six column Pillars of Witness (1999), which stands at the Holocaust Research Center, bear witness to one of the most harrowing of human tragedies. These are truly moving works filled with extraordinary details and cannot be ignored in the way much smaller public artworks sadly often are. Once seen, the mind does not forget either the subject matter or the presence of such works. These are clearly memorials that are deeply felt and as witnesses to history they are meant to stand throughout time.
Bearing witness is essential in some measure, large or small, within Rogers’s work, including his abstractions. “It is important that subsequent generations, who are distanced from the immediate events, remember. This to me is the ethos of monumental memorial sculptures. It is the collective memory that is important and it should not be diminished because without memory we are nothing,” says Rogers. “The resonating question is always: how can we expose and explain when tragedy fades from living memory, when no-one is left to bear witness? The challenge is to honor the individual lives of people that have gone before us, who breathed and laughed and loved. To be able to interpret the needs of many people to express themselves is even a greater difficulty. It requires total immersion in the subject at hand. It is a sensitive task in the case of the Buchenwald Memorial. To talk to older men who were children when they escaped the horrors of the Holocaust is sobering. Likewise the people of Machu Picchu are aware of the destruction that occurred to their forebears and the twisting of their beliefs.
“Interpretation is always open and conflicting because of different points of view. But it is the diversity of views that makes the creation of monumental works interesting. This develops into a journey through people’s often turbulent and painful memories, where the sculptor can interpret what people are trying to say. Capturing the essence and the feeling is essential. But how best to show the truth is a constant quest. Does one use just the facts of realism or use symbols and myths from the surreal to deal with devastation?”
For Rogers to bring his work alive requires various challenges and processes that require both individual attention and the dedicated collaborative efforts of numerous skilled people. As he says, “Research is always involved, from wide reading to talking with descendants, and even victims, as from the Holocaust, for example.” But to begin with he notes the “crystallization of ideas is always the challenge,” and then “making the message always greater than the form.” Working in bronze and stone, Rogers notes that for his work to be successful he needs “to get the materials to convey the message.”
Henry Moore said “there is truth in material,” and this is something with which Rogers both identifies and agrees. Yet in obtaining this “truth” he is not guided by one simple formula or idea. It is in essence the result of a lifetime’s experiences, an awareness of the collective cultural mind, time, and place, the fundamental knowing that life is important even in the most tragic of times. Rogers notes that the locations in which his sculptures are made and are placed also “create their own dialogue which affects the form. For me an essential ingredient is that a memorial should be of the moment and distinctive in form, and, at the same time, be harmonious with the surroundings. Reality always fights to reassert itself over any form.”
Though Rogers says, “Sculpture is the expression of the heart, not just the application of the skill,” the physical reality of making his monumental works is balanced to some extent against the physical and emotional reality of locations as different as the high mountains of Machu Picchu, the urban world of Melbourne, the open spaces of Texas, and the searing 3540 degree dry heat and sun of the Arava Desert, where the only shelter are sparsely leafed acacia trees. In such conditions, as Rogers notes, the ordinary becomes extraordinary.
“Steel reinforcing bars were heated so hot by the desert sun that they burn the skin on your hands when picking them up. Ordinary rocks can take on a special meaning.”
Yet for all the problems of arranging permits, materials, and people, approval of historical, heritage, safety, and municipal, as well as engineering approval and the permission of religious authorities the adventure of creating the first works at various sites has always been exhilarating for Rogers and his collaborators. For all the discomfort of any particular location and the uncertainty of achieving one’s goals, each place, along with the people collaborating in raising the work to a physical reality, adds significantly to the emotional impact of the experience. In the Arava, Rogers says, “From the dangers of the foundry process through to the satisfaction of putting a sculpture in place and seeing the poignant expression of the people looking at the sculpture-watching them touch, expressing themselves in tears and joy, through to the simple act of placing stones and flowers on works, means a deep satisfaction for the sculptor. In Machu Picchu, too, the unveiling ceremony involved local descendants of the area, who each used granite stones to fill the sculpture to signify their identity with the land. Without this memory we cannot function as human beings. That is why I think it is worthwhile to depict in sculpture icons, as in the Rhythms of the Andes, which embody the spirit the people derive from their heritage. It is very satisfying to help people recall their heritage in a way they can be proud of. At the unveiling of Rhythms of the Andes one could not help but think about spirituality when the wonderful astronomy of the Incas was demonstrated 500 years later as the sun rose cutting across the Condor rock to shine in a cave behind it, as it was meant to do on the day of the Ante Zenith. What clever people went before us is a very humbling thought.”
As people view the completed works in their intended scale, it is easy to forget just how monumental the task has been. Chai – To Life is 38-meters-long and comprises 650 cubic meters of material, yet it is insignificant within a vast landscape. Rhythms of the Andes, made of bronze and granite, is at 4.5 meters of significant size, but it pales against the physical reality of the Andes backdrop. Erection of monumental sculptures creates dangerous work sites and in strange location there may well be language problems, for mis-communication could well result in serious injury. Chai – To Life required 20 people communicating in English, Hebrew, and Arabic, as well as sign language as they brought the work to life and shaped it. “Even in the modern City of Melbourne, to get the right crane and the correct welding device to erect bronze columns representing the Holocaust was not a simple task, while in Machu Picchu it took two days to acclimatize to cope with the thin air,” says Rogers. “In Vienna, too, intense cold had to be fought as well as the clearing of snow to put up the Flora Exemplar sculpture. So one has to respect one’s helpers, their commitment and skill, even when tempers flare.”
While many people may see Rogers’s monumental sculptures as merely about man’s inhumanity man, as in the Holocaust or the Inca persecution, these are symbols that give voice to silent masses and to some of the most indescribable events of modern times. But this is just a part of the message of his work. At the very core of Rogers’s work is the affirmation of life, that, while we live, we ought not to forget the past and we should hold close the memories of others, and that there should be a significant way of passing these memories on to future generations. For Rogers, and for many of the cultures he has dealt with, acts of remembrance are in essence acts of life.
World Sculpture News, Summer 2001
2023 Deakin University Art Gallery, Burwood, Victoria, Australia: Text – Re Read
2022 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2021 Scott Livesey Galleries, Prahran, Victoria, Australia
2019 Sydney Contemporary, Sydney, NSW, Australia
2019 Desert X 2019 Parallel Project, Rhythms of Life, Yucca Valley, Mojave Desert, California, USA
2018 Sculpture by the Sea, Bondi, Sydney, New South Wales, Australia
2018 The Wynne Exhibition, Art Gallery of New South Wales, Australia
2017 Sculpture by the Sea, Bondi, Sydney, NSW Australia
2017 Sculpture by the Sea, Barangaroo, Sydney, NSW Australia
2017 Mossgreen, Armadale, Victoria, Australia
2016 Sculpture Inside, Sculpture by the Sea, Cottesloe, WA, Australia
2015 Sculpture by the Sea, Bondi, Sydney, NSW, Australia
2015 Gasworks, Victoria, Australia: From Nature
2014 Sculpture By the Sea, Sculpture Inside, Cottesloe, WA, Australia
2014 Lorne Sculpture Biennale, Victoria, Australia
2013 Art Miami, Florida, USA
2013 Sculpture by the Sea, Sydney, NSW, Australia
2013 Pulse Art Fair, New York City, USA
2013 Art Stage Singapore, Singapore
2012 Scope Basel, Switzerland
2011 Sculpture by the Sea, Sydney, NSW, Australia
2011 Sculpture by the Sea, Aarhus, Denmark
2011 The Sculpture Foundation and the City of West Hollywood, California USA: Elemental
2011 Scope Basel, Switzerland
2011 Rassegna Internazionale di Scultura di Roma
2010 Art Basel, Miami, USA
2010 Sculpture by the Sea, Sydney, NSW, Australia
2010 Scope Basel, Switzerland
2010 Art Karlsruhe, Germany
2009 Yeshiva University Museum, New York, USA: In the Beginning: Artists Respond to Genesis
2009 Sarasota Season of Sculpture, Florida, USA
2008 Soho Galleries, Sydney, NSW, Australia
2007 Sculpture by the Sea, Cottesloe, WA, Australia
2007 Soho Galleries, Sydney, NSW, Australia
2007 Corniche International Art Fair, Venice, Italy
2006 Sculpture by the Sea, Sydney, NSW, Australia
2006 Soho Galleries, Sydney, NSW, Australia
2005 Soho Galleries, Sydney, NSW, Australia
2004 Soho Gallery, Sydney, NSW, Australia
2004 Geelong Art Gallery, Victoria, Australia
2003 Soho Galleries, Sydney, NSW, Australia
2003 Sculpture by the Sea, Sydney, NSW, Australia
2002 Art Singapore – Contemporary Asian Art, Singapore
2002 Soho Galleries, Sydney, NSW, Australia
2001 Sofa, Chicago, USA
1998 Grounds for Sculpture, New Jersey, USA
1998 Latrobe University, Victoria, Australia.
1997 Sculpture at Heidelberg Medical Centre, Victoria, Australia
1994 4th Australian Contemporary Art Fair
2024 The Jewish Museum, Victoria, Australia: Andrew Rogers: Where We Are
2019 Scott Livesey Galleries, Armadale, Victoria, Australia: Kairos
2019 Dominik Mersch Gallery, Sydney, New South Wales, Australia: Frisson
2019 Deakin University Art Gallery, Burwood, Victoria, Australia: Retrospective Andrew Rogers Evolution
2018 National Gallery of Australia, Canberra, Australia: Andrew Rogers Maquettes and Sculptures 1996-2016
2017 European Cultural Centre, Palazzo Mora, Venice, Italy: We Are
2017 National Gallery of Victoria, Melbourne, Australia: We Are
2017 Mossgreen, Armadale, Victoria, Australia: We Are
2015 Geelong Gallery, Geelong, Australia: Geoglyphs – the land art projects of Andrew Rogers
2015 McClelland Sculpture Park + Gallery, Langwarrin, Australia: Andrew Rogers A Retrospective – Maquettes 1996-2015
2015 Mossgreen Gallery, Melbourne, Australia: Come to the Edge
2013 Dag Hammarskjold Plaza, City of New York, USA: Individuals
2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: A Winding Path A Search for Truth
2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: Time and Space – Rhythms of Life
2012 Mossgreen Gallery, South Yarra, Victoria, Australia: Molten Concepts
2012 Wriston Art Galleries, Lawrence University, Wisconsin, USA: Andrew Rogers: Rhythms of Life
2012 Center for Contemporary Arts Santa Fe, New Mexico, USA: Rhythms of Life
2012 Aidekman Arts Center, Tufts University Art Gallery, Massachusetts, USA: Global Land Art: Projects by Andrew Rogers
2012 hammer gallery, Zurich, Switzerland: Rhythms of Life
2012 Nevada Museum of Art, Nevada, USA: Andrew Rogers Contemporary Geoglyphs
2011 Art Gallery, Istanbul, Turkey: Andrew Rogers Time and Space
2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth
2011 18th Street Arts Center, Santa Monica, USA: Time and Space
2009 White Box Gallery, New York, USA: Andrew Rogers: Odysseys and Sitings (1998-2008)
2008 William Mora Galleries, Richmond, Australia: Weightless
2007 Rhythms of Life 1-V11 Propad, Slovakia
2007 William Mora Galleries, Richmond, Victoria, Australia: Weightless
2007 Akureyri Art Museum, Iceland
2007 James Gray Gallery, Los Angeles, U.S.A.
2005 Arts Centre of Victoria, Australia: Rhythms of Life
2004 Grounds for Sculpture, International Sculpture Park, New Jersey, U.S.A.: Rhythms of Life’
2004 Gomboc Sculpture Park, W.A. Australia
2003 Deakin University, Survey Exhibition, Victoria, Australia: Rhythms of Life
2002 Auronzo di Cadore, Italy
2002 Le Venezie, Treviso, Italy
2002 Mudima Foundation, Milan, Italy
1999 Boritzer Gray Hamano, Santa Monica, California, USA: Rhythms of Life
1998 Embassy of Australia, Washington, United States of America: Rhythms of Life
1997 Lauraine Diggins Fine Art, Victoria, Australia: Rhythms of Life
1994 Meridian Gallery, Victoria, Australia: Of Freedom & Will
1993 Meridian Gallery, Victoria, Australia: Mankind in the gesture of an Individual
Weightless 0 2003
Melbourne, Victoria
Bronze
94 H x 94 W x 40 D cm (37 x 37 x 16″)
2006
Bronze
Weightless 13 2007
Melbourne, Victoria
Bronze
110 H x 35 W x 27 D cm (43 x 14 x 11″)
Weightless 9 2023
Sculpture by the Sea, Bondi, NSW
Bronze, 175 h x 101w x 100d cm
Weightless 9 2020
Melbourne, Victoria
Bronze
175 H x 101 W x 100 D cm (69 x 39.8 x 39.4″)
Weightless 9 2007
Pt Leo Estate, Victoria, Australia
Bronze
152 H x 91 W x 40 D cm (60 x 36 x 16″)
Weightless 8 2007
National Gallery of Australia, Australian Capital Territory, Australia
Bronze
148 H x 90 W x 62 D cm (59 x 36 x 25″)
Weightless 7 2003
Cornice Art Fair 2007, Venice, Italy
Bronze
88 H x 96 W x 48 D cm (35 x 38 x 19″)
Weightless 6 2007
National Gallery of Victoria, Victoria, Australia
Bronze
100 H x 88 W x 30 D cm (39 x 35 x 12″)
2007
University of New South Wales
Bronze
2.5m
Many Lives
2009
Stone & Marble
71″H x 62″W x 6″D
Coiled 2011
National Gallery of Australia, Australian Capital Territory, Australia
Stainless Steel Patinated Black
101 H x 67 W x 81 D cm (40 × 26 × 32″)
Coiled 2011
Ian Potter Museum of Art, Victoria, Australia
Stainless Steel Polished
101 H x 67 W x 81 D cm (40 × 26 × 32″)
Rise 1 2011
Point Leo Estate, Victoria, Australia
Stainless Steel
7.1 H x 5.5 W x 3.0 D m (23.3 x 18 x 9.8′)
Rise 1 2010
National Gallery of Victoria, Victoria, Australia
Stainless Steel
87 H x 62 W x 53 D cm (34 x 24 x 21″) Maquette
2012
Bronze
750 cm High (295″) 3.8 tons
Canberra National Airport
ACT, Australia
A maquette of this work is in the collection of the National Gallery of Australia in Canberra