https://www.alimccann.com.au/projects daily 1.0 2026-03-22 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504512945129-F8GA4DO890J3CQIVTUNB/Ali+McCann_Untitled_3.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504698477142-XJEHOJEO39CGYJXH3WX3/image-asset.jpeg SELECTED WORKS & EXHIBITIONS Untitled 1, 2017 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504709684076-0GCEC82QP21QMSU40LF0/C3_March16_135.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504709759096-P7D1YVGF6O60KT3DFAMJ/A2+POT+image.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1528273223586-5MWA1RE1182X9273R2BV/Ali+McCann_The+Importance+of+Nature.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1537837904694-NQJ1YEXDZV1BBTKBWRH3/Ali+McCann_Toward+New+Knowledge_2017_front.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1551041340463-0WQAEPW4TXVDE2N5TSR7/Faye.jpg SELECTED WORKS & EXHIBITIONS Faye, 2019 Οι νέοι Gertrude Contemporary, Melbourne 08.02.2019 – 23.03.2019 Οι νέοι, a Greek term meaning ‘the youth’, is a new body of photographic and sculptural work , expanding upon my exploration of experiential learning, visual perception, and the aesthetics of pedagogy. Through the deconstruction, modification, and assembly of found artworks and teaching materials, these still-life tableaux explore Modernist pictorial strategies and 20th Century philosophies of education. This accumulation of figures, geometric forms, and studio detritus functions as an imagined archive, the falsified evidence of the artistic processes of a fictitious group of adolescents. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504880157229-7OBO1KLAI3MAD40II3R9/ali_mccann_sunroom+chair+1.jpg SELECTED WORKS & EXHIBITIONS Room for Sun 1, 2012 Type C print, 42 x 52 cm https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1566908462537-VI47L14NIXVXRQRRGBAE/Ali+McCann_Waiting+For+Our+Names_2019.jpg SELECTED WORKS & EXHIBITIONS Waiting For Our Names, 2019 The Turn The Turn is an exhibition of photographic and object-based works by Melbourne-based artists and educators, Kym Maxwell and Ali McCann. Their ready-made tableau takes the form of a hypothetical site of learning, formed from the artists’ past and present school experience, both as teachers and as students. Strategic placements of photographs, modified school furniture and found objects create an imagined psychological landscape exploring the personal and collective educational experience, taking the artists’ respective practices as points of departure. The Turn explores the Australian education system through its aesthetics and seeks to examine how this translates into the artists’ current practice. Boadle Hall, Incinerator Arts Complex, Moonee Ponds Installation images by Christian Capurro https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1574736585773-LTEV7CQZKINYBNKRR8X7/SM1.+Ali+McCann_Still+Life+III.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1572906038748-W4PVDYVL8ASO7YDOZPZU/Ali_McCann_Diminished+Knowledge+2018_1.jpg SELECTED WORKS & EXHIBITIONS Diminished Knowledge, 2018 Patinated bronze, 18.5 x 9.5 x 4.5 cm https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504509273623-8IAHFPWHEUX3T4DPQ6G0/Image-1_Ali-McCann.jpg SELECTED WORKS & EXHIBITIONS Throwing Off The Hump Kings Artist Run, Melbourne 08.04.2017 – 29.04.2017 Deriving its title from a labour-efficient potting technique, Throwing Off the Hump is a multi-channel video installation that ruminates on the Sisyphean burden of memory. Using looped cuts of found Super-8 footage salvaged from a technical college in the artist’s hometown, the works serve as an unburdening of grief through repetitive labour, such that the labour and the unburdening become the same act. https://www.kingsartistrun.org.au/program/throwing-off-the-hump/ Still from Throwing Off The Hump, 2017 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1564926023998-E9HI4ZM1AABMF972CM9F/Ali_McCann_Basic_Tools_for_Transmutation_19.jpg SELECTED WORKS & EXHIBITIONS BASIC TOOLS FOR TRANSMUTATION, 2019 Chromogenic print 43.5 x 33.5 cm Commissioned for c3’s annual fundraiser series, ‘The Utopian Object’, 2019. In an oblique way, these alchemical vessels are symbols of human mortality, of our failure to achieve eternal life, to realise a utopia by overcoming the physical limitations of death. The forms of these objects appear to mock the human physiology: resembling a mask with an elongated beak, bodily organs, and a headless fertility goddess. The Utopian Object gives audiences a unique insight into an artistic vision that imagines a utopian object; an object of true desire, the perfect object. Is there such thing? Just as the ideal of utopia is inherently contradictory, this exhibition ponders the contradictions of the fundraiser model itself – art as commodity and art as an object of desire. The concept of an object existed throughout history before the idea of what we think of as ‘art’ was conceived. An object can be: a talisman, a warning, a present, a memento, a history, a celebration. An object as romance, an object as a keeper of time, an object as a tool, as nourishment, as attire. An object can be a portal, an object can be social, and an object can be destruction. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1616823785032-T1DC6GJOOBXOXBCDLXOJ/Ali_McCann_The+Alps_2020.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1571880056418-OJLKWBQC7RI6SX6CZZ7D/Ali+McCann_Karen_2019.jpg SELECTED WORKS & EXHIBITIONS ST FRANCIS, Temporary warehouse site, Collingwood, Melbourne 19.10.2019 Over a number of weeks I restaged and documented selected photographic works from recent solo and group shows in a disused (and since demolished) warehouse in Collingwood, Melbourne. This new iteration was titled, ‘ / ’. All works are framed digital type C prints. Tristian Koenig and Blackartprojects present St Francis - an exclusive one day only exhibition of recent works by Joe Hamilton, Ali McCann, Elyss McCleary and Sean McDowell (Tristian Koenig), James Carey (Blackartprojects) and Ash Keating. The exhibition includes a diverse range of site-specific and site-responsive solo presentations in a soon to be demolished warehouse in Collingwood, Melbourne. The exhibition derives its name from the fictitious hospital of the hit Australian TV series ‘Offspring’, filmed on the site of the exhibition, and which features prominently in a number of the artists’ projects. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1662874928203-93LSUCL8EC3E04H8T2CW/Ali_McCann_The+Democratic_Voice_2022.jpg SELECTED WORKS & EXHIBITIONS The Democratic Voice, 2022 ‘States of Disruption’ CCP Centre for Contemporary Photography, Naarm/Melbourne, AUS 13.08.2022 – 09.10.2022 Joy In high school, I often found myself daydreaming over images that I’d find in my classroom textbooks, and especially art-class textbooks on photography. The dreamy, soft focus, highly saturated and often glamorous colour photographs that filled the pages of 1970s and 1980s photography books had an innate nostalgic quality that offered a retreat into an alternate life. In my new works, which I collectively call Joy, I search for this sense of nostalgia. I attempt to recreate those images into which I once escaped from the everyday tedium of my formal education – those images that made me dream and filled me with a kind of aesthetic pleasure and with a nostalgic feeling that would become the fundamental impetus of my artistic education. These new works each respond to a specific textbook that I recall from my high school art class – the popular photography guide for beginners ‘The Joy of Photography’, published by Eastman Kodak Company in 1979. Through various modes of appropriation, a series of almost hallucinatory images have taken shape as though projected through the mind of my adolescent self. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675065009540-EPTSSTFF2A4NQCCMF2AB/Ali_McCann_Troubles+Melt+Like+Lemon+Drops_2022.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675065369888-533D6SPNGFJJ5DDK3RAN/SOCIAL_PROMO.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1685681234139-RLAVX21GLRBVYGJYUFZ1/Ali_McCann_2023.jpg SELECTED WORKS & EXHIBITIONS O Jenny G, 2023 In a 1995 essay, the art historian Jennifer A. González coined the term ‘autotopography’ to describe how the accumulation of personal objects – heirlooms, mementoes, travel souvenirs and photographs – become physical extensions of the psyche, and collectively define a ‘map the self’. O Jenny G is a fanciful recreation of my late grandmother’s home and the arrangements of disparate objects therein – from the decorative to the utilitarian – which seemingly served as miniature altars reaffirming her existence. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1692062503934-03S7GQWDIFBKTYPRNB0R/Foyer+%28After+Dora+Maar%29+2022.jpg SELECTED WORKS & EXHIBITIONS Foyer (After Maar and Matter) 2022 Words by Emma Thomson at Correspondences, Brunswick where I undertook my 2022 residency, Campus: A study of educational, domestic, and deep dark space (In perpetual flux). This photograph Foyer (After Maar and Matter) 2022 was shot as one of the starting points for Ali’s residency, Campus. In the early 2000s, McCann obtained a collection of Super 8 film footage from her old high school in Stawell (then Stawell Technical School), where she made art and her mother taught. Shot by students in the late 1970s, the footage features the art room and its teenage students goofing around alongside teaching aids and student artworks. For Ali, it’s a document rich with nostalgic energy. The form depicted in Foyer (After Maar and Matter) 2022 is based on sculptures by the students from the art room in the footage. The work is also a nod to Dora Maar’s 29 rue d'Astorg (1936). The backdrop is a press shot of the Stawell gold mine, which has latterly been converted into the ‘Stawell Underground Physics Lab’. This pioneering project aims to host the Southern Hemisphere’s first-ever direct-detection dark matter experiment (a significant step toward providing a fundamental theory of nature). Aside from playing into her long-standing fascination with space and the intersections between art and science, the mine is also a site of nostalgia for Ali. Her childhood home was adjacent to the mine. She recalls her house shaking during mining excavations, the world and her domestic space alive with a deep, dark sense of magic/potential that emanated from the earth far below. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693698582866-537YXY0B86NLKH8UYCVO/image-asset.jpeg SELECTED WORKS & EXHIBITIONS The Alps, 2022, digital type C print, 65.5 cm x 77.5 cm Exhibited in ‘Slippery Images’ as part of Melbourne Now at the NGV National Gallery of Victoria, Naarm/Melbourne, Victoria https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693522875297-H2X9ADQVA9V2ZR1SQ0HD/7_The+Alps_2020.jpg SELECTED WORKS & EXHIBITIONS The Alps, 2022, digital type C print, 65.5 cm x 77.5 cm Exhibited in ‘Slippery Images’ as part of Melbourne Now at the NGV National Gallery of Victoria, Naarm/Melbourne, Victoria https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1755047126217-9OHEBPN9P5MTRCCC322J/image-asset.jpeg SELECTED WORKS & EXHIBITIONS Songs & Pictures is a study of photography’s history, desire, and the tensions between the male and female gaze. My image making methodology involves appropriating images of young, conventionally attractive women, sourced from my late grandfather’s vintage, amateur photography magazines, and paired with kitsch decorative objects, re-photographed in the studio, and presented in ornate, custom-made frames. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1685682377715-I6KCGIOYKFU9B4CDMVVF/Melbourne+Now+-+Sean+Fennessy+%2810%29+%281%29.jpg SELECTED WORKS & EXHIBITIONS Sentimental Pictures is an ongoing photographic project first presented in Not for the sake of something more, curated by Kiron Robinson and shown at Sarah Scout Presents as part of PHOTO 2021: International Festival of Photography. The project was revisited and expanded with an additional work in Slippery Images, curated by Maggie Finch at the National Gallery of Victoria as part of Melbourne Now. Slippery Images A slide. A slip. For a fleeting moment, in that split-second of instability, you are forced to make sense of the difference between your perception of the scene and its reality. Unexpected, shocking, even hilarious, the slip creates a brief, sometimes brutal, disjuncture from expectation. Time appears to run both quickly and slowly. You are temporarily untethered. To regain balance, you must feel for the space or surface, which has momentarily become strange. The artists in Slippery Images play with this slippage between familiarity and unfamiliarity.1 The project brings together the work of twelve Melbourne artists who explore and challenge the use of photography as a straightforward representation of the world around us; that is, the expectation that a photograph is an index of the world, of what was there and what was seen. Rather than take images, these artists make them – their works celebrate the loose, fluid, unfixed and slippery aspects of the photographic medium. Even among the artists whose photographs document the ‘real world’, their images remain elusive and, at times, evasive – they slide away from a straight reading of fact. The artists in Slippery Images work with photography in varied ways. Some play with the surface of images: cutting and collaging, painting over and piercing through, intricate weaving, re-photographing. Others play with display, suspending works and hanging them ‘off the wall’, to create sculptural images that could be worn, or that the viewer can walk around. There are varying degrees of abstraction: images made through the digital collaging of analogue photographs, constructed in the darkroom, or made without a camera at all. And there is a complex sense of duration: even when originating as quick photographic ‘snaps’, the images show traces of labour, with some taking months to make and others originating years earlier. Together, these techniques and processes shift the expectations of images as things to be read and ‘understood’. Many of the works are inherently local but, whether created on neighbourhood walks during the Melbourne COVID-19 lockdowns, photographed at culturally significant sites both ancient and new – such as at the confluence of the Birrarung and Merri Creek – made in inner-city studios, or sourced from the photographic archives of the NGV itself, their sense of place is not always easy to determine. They raise questions like ‘What lies beneath the surface?’ and ‘What is it that cannot be seen?’ And the artists are connected to a more expansive conversation about the place of photography within contemporary art through their expanded uses of image-making and through their local and international networks, with many of the artists working as teachers, educators and darkroom and imaging technicians. The artists in Slippery Images continue a long-held tradition of enquiry into photography and images. They present works that record the ‘real’ and show a deep appreciation for photographic materials. Simultaneously, they abstract that realness, with images that obscure, complicate, mess up and distort. Perhaps reflective of the times, the images have an inherently fragmentary nature; they constantly slip in and out of reach. Maggie Finch, Curator, Photography, NGV https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1521550133907-D6PHJ9MF063YAKIL2E17/2_Polytechnic.JPG SELECTED WORKS & EXHIBITIONS Polytechnic Tristian Koenig, Melbourne 15.03.2018 – 14.04.2018 Curated by Tristian Koenig Taking aesthetic cues from outmoded art-and-design text books, science teaching aids, 70s amateur photography magazines, educational films, and inaccurate perspective drawings, Ali McCann’s suite of photographic works function as compressed visual representations of the technical and aesthetic devices used in picture-making. The still-life photographic works of Polytechnic also serve as an visual paean to the progressive shift in educational reform in Australia during the 70s, when the amalgamation of visual art, design and industry was undertaken with vigour and new-found optimism. Ali McCann is a Melbourne-based artist and art educator. Her current work explores a spectrum of human experience that inhabits the liminal phase between learning and knowledge, and the abstract modes through which we acquire, synthesise, and modify our understanding of the world. From the found artefact to the sourced archive, McCann is interested in the ways we acquire knowledge either by chance or volition. Salvaging materials from technical-college storerooms, workshop bins, libraries and family archives, she compiles photographs, text books, film reels, VHS tapes, workshop off-cuts and teaching aids to form the basis to her photographic, sculptural and filmic arrangements. Installation images courtesy of Tim Gresham https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1571030555163-XTSF7CMLIM4SOHNX2M6R/Ali%2BMcCann_Faye.jpg SELECTED WORKS & EXHIBITIONS Faye, 2019 Οι νέοι Gertrude Contemporary, Melbourne/Naarm 08.02.2019 – 23.03.2019 Οι νέοι is a photographic exploration of adolescence, nostalgia and the aesthetics of pedagogy. The Greek title, derived from Hannah Arendt’s seminal essay, ‘The Crisis in Education’ (1954), translates to ‘the new ones’, or ‘the youth’. The series draws inspiration from diverse sources such as foundational art history publications, outmoded art-and-design text books, 1970s amateur photography magazines, and from my personal experience as a student and teacher. Through the deconstruction, modification, and assembly of found artworks and teaching materials, these still-life tableaux attempt to hover between explorations of modernist aesthetics and the haphazard outcomes of experiential learning. The arrangements are captured ‘in camera’ using hybrid photographic materials and techniques, melding traditional and contemporary image-making strategies and processes. The titles are conjured from vague recollections of my mother’s high-school art students in small-town Australia in the 1980s; in itself, a meditation on memory and the female education experience. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1772977128336-6YWYCH1R2JSWTK1IAXJH/RTS_2.jpg SELECTED WORKS & EXHIBITIONS Ali McCann / Return to Social Curated by Emma Thompson correspondences, Naarm/Melbourne 19 July to 17 August 2024 Ali McCann / Return to Social revisits the artist's performance, SOCIAL, co-presented with musician/composer Mat Watson as part of her 2022 residency project at correspondences, which extended her longstanding photographic inquiry into the theme of nostalgia and the aesthetics of pedagogy into the realm of science, sound and performance. Encompassing tableau vivant, installation and performance SOCIAL evoked the socio-gravitational struggles of adolescent friendship, courtship and creative experimentation within the milieu of high school art classes, theatre productions and annual discos. The work sought to represent the experience of adolescent energy mired within the cosmic forces of dark matter – the mysterious element thought to bind galaxies together. Return to Social, consisting of two parts, examines the performance’s archive. Part 1 features an installation of sound, objects, images, and video documentation, together with a long-form interview and conversation project. Part 2 features an exhibition of new still-life photographs drawn from connections and patterns found in the archive, memory and imagination, reality and illusion. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1772980299328-HXBKN4XJ4TSTCNIWYW33/QPQ_Ali_McCann_045-1+copy.jpg SELECTED WORKS & EXHIBITIONS Younghusband x QUID PRO QUO Curated by Tameka Cater Kensington, Naarm/Melbourne January 2026 In Quid Pro Quo, Ali McCann re-presents Songs and Pictures, a photographic series that interrogates photography’s historical entanglements with desire, pedagogy, and gendered ways of seeing. Originally developed through the appropriation of images of young, conventionally attractive women sourced from her late grandfather’s vintage amateur photography magazines, the works are re-photographed alongside kitsch decorative objects and presented in ornate, custom-made frames. The series foregrounds the tension between the male and female gaze, revealing how photographic desire is constructed, taught, circulated, and aestheticised. Re-shown within the context of Quid Pro Quo, Songs and Pictures takes on renewed resonance through its alignment with the exhibition’s broader concern with exchange, return, and re-use. The series negotiates between personal inheritance and institutional history, drawing attention to the ways images, aesthetic values and modes of looking are repeatedly passed on, reframed and reactivated across time and place. Central to this presentation is McCann’s long-standing relationship to the Younghusband site as an educator. The building’s former role as home to Fox Darkroom and Gallery - a space that hosted photographic workshops and exhibitions - forms a significant backdrop to the work. Fox Darkroom’s function as an educative site lingers within the building, resonating with McCann’s ongoing engagement with teaching and learning through photography. As McCann notes, her practice is 'concerned with the aesthetics of pedagogy,' and with how photographic knowledge is transmitted, circulated and absorbed over time. Within Quid Pro Quo, Songs and Pictures reflects these overlapping histories of learning, labour and artistic production embedded in the site, functioning not only as a critique of photographic looking, but also as a meditation on how such ways of seeing are taught, inherited and perpetuated. - Tameka Carter https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/5f7f8747-b74c-43c2-9b3d-d774914c234f/SOCIAL_landscape%2Bcopy%2B2.jpeg SELECTED WORKS & EXHIBITIONS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675039954040-F4B1EU367EIZPN8VW2ZS/AM_032.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675039984024-9AKSR8RPQDL5ZPL0TA3R/AM_040.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675039892274-48VP1KKSXKOODVI0JR39/AM_020.jpg SELECTED 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SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046308637-PQ3R7NFLIYH63E74F1XC/AM_256.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046024589-IIPEX4D1QOLSYRT1TG58/AM_141.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046077195-E21CQ2RGCTNGNXU8EHUQ/AM_141.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046260444-3PQ61JMZ2ZE9LVZ6ZXGI/AM_325.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046150856-LNHG4XK6AXA5AC2H26TC/AM_256.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046372786-KEM945KTB7IZXRO585WG/AM_371.jpg SELECTED WORKS & EXHIBITIONS 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SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675046441177-EI069R9NK3RN6499Q0KW/AM_560.jpg SELECTED WORKS & EXHIBITIONS https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049759738-BTAXK2G6P85FFUHS9BKX/MCCANN_ALI_THE_DEMOCRATIC_VOICE.jpg SELECTED WORKS & EXHIBITIONS The Democratic Voice, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049672170-K3C5WUCIZMWY0UR13IUF/Ali_McCann_Endless+Time_Serenity_2022.jpg SELECTED WORKS & EXHIBITIONS Serenity/Endless Time, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049669610-AMLOMYT9L80V57RFGRG5/Ali_McCann_Fog+_+Gefu%CC%88hle_2022.jpg SELECTED WORKS & EXHIBITIONS Fog & Gefühle, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049703712-6AGQL54RF8EEJPR5NOQA/Ali_McCann_Human_Seasons_2022.jpg SELECTED WORKS & EXHIBITIONS Human Seasons, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049704383-MTTY5IC2KMT7U0SPAN0E/Ali_McCann_Magic+Lane_2022.jpg SELECTED WORKS & EXHIBITIONS Magic Lane, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049739533-FF2H3YKD2U5TUUSUP4DN/Ali_McCann_Troubles+Melt+Like+Lemon+Drops_2022.jpg SELECTED WORKS & EXHIBITIONS Troubles Melt Like Lemon Drops, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1675049739529-L7D49X9PGFPXQTZZ33DL/Ali_McCann_Remote_Release_2022.jpg SELECTED WORKS & EXHIBITIONS Remote Release, 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/88241f1f-2387-468f-8b55-e9dfeffd1ff9/Ali_McCann_Joy_States+of+Disruption_CCP_installation_view.jpg SELECTED WORKS & EXHIBITIONS - Make it stand out Installation view: States of Disruption, 2022, CCP Centre for Contemporary Photography. Image courtesy of Hannah Nikkelson and CCP Centre for Contemporary Photography https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/0b1e9f30-49dc-4c15-b24e-40b472b5f53b/Ali_McCann_Europe_2023.jpg SELECTED WORKS & EXHIBITIONS - Make it stand out Europe, 2023 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/e20a038f-5ddf-4f2d-bf11-3b9b16620e5d/Ali_McCann_Mansion_2023.jpg SELECTED WORKS & EXHIBITIONS - Make it stand out Mansion, 2023 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/abda95f6-b8fe-4210-9f2f-51d016b6ad0e/Ali_McCann_I_can_see_you_2023.jpg SELECTED WORKS & EXHIBITIONS - Make it stand out I can see you easily from a distance, 2023 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703865267-DV5IG4EVF1DD0L4M06P6/7_The+Alps_2020.jpg SELECTED WORKS & EXHIBITIONS The Alps, 2022. digital type C print, 65.5 cm x 77.5 cm Exhibited in ‘Slippery Images’ as part of Melbourne Now at the NGV National Gallery of Victoria in 2023 and in Not For The Sake Of Something More as part of PHOTO 2022 International photography festival. This work has been acquired by the NGV for the permanent photography collection. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703926745-FKML05Y1LNJYS4BHO2BR/8_Simulation_Allegory_2022+%281%29.jpg SELECTED WORKS & EXHIBITIONS Simulation Allegory, 2022. digital type C print, 65.5 cm x 77.5 cm Exhibited in ‘Slippery Images’ as part of Melbourne Now at the NGV National Gallery of Victoria in 2023. This work has been acquired by the NGV for the permanent photography collection. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703864475-CR5QSKN64EDQUMNA2FPX/6_The+Democratic+Voice_2022.jpg SELECTED WORKS & EXHIBITIONS The Democratic Voice, 2022, archival pigment print, 134 x 112 cm From the series, 'Joy', exhibited in the 2022 group show, 'States of Disruption' at the Centre for Contemporary Photography, Naarm/Melbourne, Victoria This work was shortlisted for The Josephine Ulrick and Win Schubert Photography Award in 2022 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703899584-MCLASY1PVO6MMKDL0OYT/3_The+Importance+of+nature_2018.jpg SELECTED WORKS & EXHIBITIONS The Importance of Nature, 2018, digital type C print, 54 x 43 Exhibited in my solo show, ‘Masks for Magicians’ at Caves, Naarm/Melbourne, Victoria in 2018 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703978869-CYO1QNDY8QW1KAWJDIA7/4_Karen_2019_installation_view.jpg SELECTED WORKS & EXHIBITIONS Karen (installation view), 2019, digital type C print, 56 cm x 47 cm Installation view from St Francis, temporary warehouse site, Naarm/Melbourne, Victoria. The work was originally shown in my solo show, Οι νέοι, Gertrude Contemporary. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693703996928-A6DQCG96ADOP035XMBSF/1_Untitled_3_+%28An+Introduction+to+Liminal+Aesthetics_2017+%282%29.jpg SELECTED WORKS & EXHIBITIONS Untitled 3 (An Introduction to Liminal Aesthetics), 2017, digital type C print, 47.5 x 32 cm Exhibited in An Introduction to Liminal Aesthetics, c3 Contemporary Art Space, Naarm/Melbourne, Victoria https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693705039904-125B1JOG96YS49K17XOE/AM-SamePage-Tile-9.jpg SELECTED WORKS & EXHIBITIONS An Introduction to Liminal Aesthetics Softcover, 36 pages, 8.3 x 11.7 inches. Digital offset print, Saddle-stitched Design and typesetting by Duncan Blachford Published by Tempo Haus https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693835327029-FX7YJWE8PP0OHMGNZXXO/AM_168.jpg SELECTED WORKS & EXHIBITIONS SOCIAL was a one night only at correspondences, Naarm/ Birrarung-ga / Melbourne, Victoria, AU as part of my residency project, Campus: A study of educational, domestic, and deep dark space (In perpetual flux), 2022 Image credit: Annika Kafcaloudis SOCIAL evokes the socio-gravitational struggles of adolescent friendship, courtship and creative experimentation within the milieu of high school art classes, theatre productions and annual discos. The work is at once a nostalgic tableau vivant, installation and performance, exploring the experience of adolescent energy mired within the cosmic forces of dark matter – the mysterious element thought to bind galaxies together. https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693834048523-9T1NLO6W8GAK1FFGI6HJ/Ali%2BMcCann_Untitled%2B%28Bust%29_2018.jpg SELECTED WORKS & EXHIBITIONS Sex Acts and Warfare, 2018, gelatin silver print, 10 x 8 in. Exhibited in my solo show, ‘Masks for Magicians’ at Caves, Naarm/Melbourne, Victoria in 2018 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1693836210303-ICTN1O6CBSDEBBSVLHZW/Q2wwB4Cc+%281%29.png SELECTED WORKS & EXHIBITIONS Example of preliminary book design by Duncan Blachford. Left: Test image by Ali McCann Right: Foyer (After Maar & Matter), 2022, archival pigment print. Exhibted during my residency, Campus: A study of educational, domestic, and deep dark space (In perpetual flux) https://www.alimccann.com.au/water-1 daily 0.75 2016-02-22 https://images.squarespace-cdn.com/content/v1/56cb3e0bf85082a807c001fe/1456169868489-UIB361MRNY1FU5QNU3NF/MatthiasHeiderich-SpektrumZwei023.jpg WHAT CAN WE ALL AGREE ON? - 0 Water / October 2015 Photos by Matthias Heiderich. https://www.alimccann.com.au/about daily 0.75 2026-01-25 https://images.squarespace-cdn.com/content/v1/59acc5e88419c2d14993624f/1504504516103-H9029YP7AUI7A6JBH1SX/Ali+McCann_Untitled_2.jpg About https://www.alimccann.com.au/cv2 daily 0.75 2026-03-08 https://www.alimccann.com.au/contact daily 0.75 2023-01-30