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BORN

1938

EDUCATION

1957-61

Royal College of Art, London. (Industrial design, Engineering), A.R.C.A.

SOLO EXHIBITIONS

 

 

1998

Le Livre de Poche de Pip; Walter McBean Gallery, San Francisco, CA
1997 "Fer a repasser", Chapelle des recollets, Artifices. Apt, France.
1996 "Nouvelle Collection", Galerie Satellite, Paris, France.

1995

"Seamstress"; Lopdell House, Waitakere Centre for Arts.Titirangi, Auckland, New Zealand.
"Back to Work"; photographs, KUNST. Sydney, Australia.

1994

"As it Seams"; Chartwell Collection, Centre for Contemporary Art. Hamilton, New Zealand.
"Falling Apart at the Seams"; KUNST. Sydney, Australia.
1993 "As it Seams"; Gallery School of Fine Art. University of Canterbury, New Zealand.
1992 "SEAMS" and photographs; A.A.A. Coriternparain. Recologne-les- Ray, France.
"SEAMS"; Cairn Gallery. Nailsworth, England.
1991 "SEAMS"; Galerie Mdi-Farine. Geneva.
1990 "SEAMS"; Musee Greuze, (Art Contemporain). Tourmus, France.
1989 Fabric and Photographs; La Galerie. Fontvieille, France.

1987

  "Fabrication"; Arts Crafts Movement. London
 

 

GROUP EXHIBITIONS

 

1999

Not There; Rena Bransten Gallery, San Francisco, CA
Mi Casa Su Casa; Noga Gallery, Tel Aviv, Israel
Needle Art; Bedford Gallery, Dean Lesher Regional Center for
Arts, Walnut Creek, CA
Swedish Art Fair, Stockholm, Sweden.
Sequenz-ausstellungraum, Frankfurt/main Germany
The Armory Fair, Gitte Weise, New York
Ronen, Ecole des Bearx Arts Galerie. France.

 

1998

Ailleur;, Galerie Satellite, Paris, France.
Personal Effects/The Collective
Unconsciou; M. C. A. Sydney and Catalogue
Gramercy Art Fair, Gitte Weise Gallery, New York.
The Secret Life of Clothes; Mitsubishi Artrium/the Nishinippon.
Eukuoka, Japan
Adopt a Highway; Refusalon, Dogenhaus Gallery. Leipzig, Germany.

1997

Gramercy Art Fair, Chateau Marmont, Los Angeles, CA (represented by Refusalon)
Santa Fe International Art Fair, NM (represented by Refusalon) "Critrical Apparel", Refusalon, San Francisco, CA.
"Fever", Gitte Weise Gallery, Sydney, Australia.
Frankfurt + Basel Art Fair, Hoffman Galerie

1996

C 3; Refusalon, San Francisco, CA.
Card Works; Work for the Eye to Do. London.
Internet; International Postcard Project.
http://www.lopdell.org.nz/post 
Beyond the Sublime II; Australian Centre for Photography. Sydney, Australia. Open Door; Budapest International Konkrete Kunst. Nouvelle Collection; Galerie Satellite. Paris.

 

1996

"C 3"; Refusalon, San Francisco, CA.
"Card Works"; Work for the Eye to Do. London.
"Internet"; International Postcard Project. http://www.lopdell.org.nz/post
"Beyond the Sublime II"; Australian Centre for Photography. Sydney, Australia.
"Open Door"; Budapest International Konkrete Kunst
"Nouvelle Collection"; Galerie Satellite. Paris.

1995

Frankfurt Art Fair. Hoffman Galerie.
"Waste not, Want not" ; Titirangi. New Zealand.
"Drawing Room" ; KUNST. Sydney, Australia.
"New Works, New Directions"; Waikato Museum. New Zealand.
1990 "An Art Fair Frieze"; Victoria Miro Gallery. Florence, Italy.
1987 "Icons"; Mario Flecha Gallery. London.
1985 "Shoe Box exhibition"; AIR Gallery. London.
 

 

COLLECTIONS

 

Berkeley Art Museum, University of California, Berkeley, CA

BIBLIOGRAPHY

 

1998

Personal Effects/The Collective Unconscious, Catalogue
Le Livre de Poche de Pip, Catalogue
Software; Catalogue. ISBN 2-9509357-4-5
Secret Life of Clothes; Catalogue. Japan
Kunst in den treptowers; Catalogue. Germany

1997

Fer à Repasser; catalogue ISBN 1268-5186
The Space of the Page. Sequence, continuity and
material. Henry Moore Institute. Coracle Press
1996 Art Press, No. 216, September 1996. "Pip Culbert, Galerie Satellite".
1995 "Nothing What Is Seams", Pat Baskett and "Simple and Evocative"; perspective on art.
1994 T.J. McNamara. New Zealand Herald.
"As it Seams", Ted Bracey in "Art New Zealand".
"L’Evidence", photos, No. 4. Masculin, Feminin.
1993 "As it seams". Pamphlet by Ted Bracey. School of Fine Art Gallery, University of Canterbury. New Zealand.
1992 Little Critic pamphlet. No. 7. "Patchwork". Coracle Press.

1987

City Limits. Photo of work in listings.
 

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