One of Australia’s landmark collaborative artistic duos, LYNDELL BROWN and CHARLES GREEN have worked together since 1989. A fundamental characteristic of Brown & Green's work is their bravura compositions, painted with astonishing trompe l’oeil methods. Created through the layering, modifying and copying of found images, the artists select their source material specifically for its visual charge and historical context. Art, culture, and turmoil are three large, related themes that reoccur in their work. Brown and Green make art for our troubled world.

Cosmopolitanism, the concept of a global, communal culture, is significant to Brown & Green’s collaboration. This is why their sophisticated quotation of found images are drawn from a rich archive of world visual history. They have painted the Apollo 11 moon landing from NASA’s documentation images since the late 1990s, an iconic example of human effort and performance. The artists are interested in both iconic and specific expressions of human culture. Many reappearing symbols and snapshots are selected from the artists personal family history or travels they have made to important historical sites.

The duo was an inspired choice for Official War Artists, appointed in 2007 to document the complex conflicts in Afghanistan and Iraq. Brown & Green are conscious of the tensions between documenting and representing, both being crucial to historical connections that they are making and that others have not seen before. For these artists, there is no singular event in history, and this is evident in their powerful, constructed tableaus. Brown and Green are interested in addressing the most difficult problems that face humanity. In their profound art they preserve a role for the “fragile emotional vision” of art and culture among the cascade of catastrophic turbulence.

In their most recent work, their response to 2020 is coupled with images of distance and atmospheric tension, hopelessness and hope. All evoked through their signature, fragmented style with history pinned in place by our contemporary world-shift. Uniquely qualified to tackle this seismic moment in global history, Brown & Green have created the strongest and most thoughtful response to our fraught times yet seen in Australian art. As they say: “we have always painted paintings of the past surviving into the present.”

2022
The Last Cool Skies, ARC ONE Gallery, Melbourne

2019
The Far Country, ARC ONE Gallery, Melbourne

2018
Morning Star, Australian Embassy, Paris
The Sir John Monash Centre Commission, Shrine of Remembrance, Melbourne

2017
Shadowlands, Bruce Heiser Gallery, Brisbane

2016
Transformer, ARC ONE Gallery, Melbourne

2015
Colour My World (with John Cattapan), curated by Shaune Lakin, National Gallery of Australia, Canberra
Lesson Plan: A Collaboration (with John Cattapan), Bruce Heiser Gallery, Brisbane

2014
Spook Country: A Collaboration (with John Cattapan), ARC ONE Gallery and Station Gallery, Melbourne

2013
Boat Adrift, Bruce Heiser Gallery, Brisbane

2011
The Dark Wood, ARC ONE Gallery, Melbourne
Lyndell Brown/Charles Green, Bruce Heiser Gallery, Brisbrane

2010
Lyndell Brown/Charles Green, Greenaway Art Gallery, Adelaide.
The Wire: Lyndell Brown/Charles Green, 2001-2007, Monash Gallery of Art, Melbourne
Reading Room: Lyndell Brown/Charles Green, 2001-2007, QUT Gallery, QUT University, Brisbane

2009

The Gathering Storm: Paintings & Photographs, ARC ONE Gallery, Melbourne

2008
Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay by curator Warwick Heywood, Ian Potter Art Museum, University of Melbourne exhibition of the Australian War Memorial touring to art museums around Australia including the Australian War Memorial, Camberra 2010 and Australian Embassy, Washington, 2011 (2008-)
War, GRANTPIRRIE, Sydney

2007
War, curated Peter Nagy, Nature Morte Gallery, New Delhi
The Painters’ Family, ARC ONE Gallery, Melbourne

2006
Elemental Landscape, GRANTPIRRIE, Sydney

2005
In Defence of Nature, ARC ONE Gallery, Melbourne
Lyndell Brown and Charles Green, Gibsone Jessop Gallery, Toronto, Canada

2003
The Waves, GRANTPIRRIE, Sydney
Eldorado, ARC ONE Gallery, Melbourne
Arcadia, curated by Anurendra Jagadeva, Monash University Faculty Gallery, Melbourne

2002
Lyndell Brown/Charles Green, Greenaway Gallery, Adelaide
Scatter, Span Gallery, Melbourne
Atlas, GRANTPIRRIE, Sydney Sanctuary—and other island fables, with Patrick Pound, curated by Maudie Palmer, Herring Island Environmental Sculpture Park, Melbourne

2000
Explaining Longevity, curated by Robert Lindsay, Robert Lindsay Gallery, Melbourne

1999
Double Vision: Towards a Theory of Everything, part 1, with Patrick Pound, curated by Alasdair Foster, (Sydney: Australian Centre for Photography, 1999). Exhibition then succeeded by parts 2, 3, and 4, each time incorporating substantial and additional site-specific new, previously unexhibited, major joint works: Green, Charles, Brown, Lyndell, and Pound, Patrick (2000)
Archive Fever: Towards a Theory of Everything, part 3 (Wellington, New Zealand: Adam University Gallery, Victoria University, 2000)
Green, Charles, Brown, Lyndell, and Pound, Patrick (1999)
List Structure: Towards a Theory of Everything, part 2, Perth: Curtin University Gallery, 1999
Melbourne: RMIT Gallery, 1999).
Captivity Narrative, curated by Robert Lindsay, Robert Lindsay Gallery, Melbourne.

1998
Face a l’histoire: the photographs of Lyndell Brown/Charles Green, curated Robert Lindsay, Robert Lindsay Gallery, Melbourne

1996
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1995
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1994
Lyndell Brown/Charles Green, Michael Wardell Gallery, Melbourne

1993
Laquer Room, University of Western Sydney Nepean, Sydney Annandale Galleries, Sydney
Lyndell Brown/Charles Green, 13 Verity Street Gallery, Melbourne

1992
Lyndell Brown/Charles Green, Annandale Galleries, Sydney

1991
Lyndell Brown/Charles Green, 13 Verity Street Gallery, Melbourne

2022-23
Art in Conflict, Australian War Memorial, touring nationally from 2022

2021
Doug Moran Portrait Prize, finalist, Doug Moran Portrait Prize Gallery, Sydney

2021
Cloudy, A Few Isolated Showers, Castlemaine Art Museum, Castlemaine

2019
Turbulence, Conflict and the Garden of Remediation (with Jon Cattapan and Paul Gough), Domain House, Royal Botanic Gardens of Victoria, Melbourne
Civilisation: The Way We Live Now, National Gallery of Victoria, Melbourne
Between the Moon and the Stars, curated by Wendy Garden, Museum and Art Gallery of the Northern Territory, Darwin

2017
9 x 5 NOW, Margaret Lawrence Gallery, Melbourne

2015
Colour My World (with John Cattapan), curated by Shaune Lakin, National Gallery of Australia, Canberra
Storm in a Teacup, Mornignton Regional Gallery, Melbourne
First Landing to Last Post: Contemporary Artists’ perspectives on 100 years of military service, Australian Parliament House, Canberra

2014
Decennalia, Heiser Gallery, Brisbane
Afghanistan: Voices from a War (with John Cattapan), Shrine of Remembrance, Melbourne

2013
Conflict: Contemporary Responses to War, University of Queensland Museum of Art, Brisbane
New 2013, University of Queensland Museum of Art, Brisbane

2012
Melbourne International Art Fair, Heiser Gallery, Melbourne
Geelong Contemporary Art Prize 2012, Geelong Gallery, Geelong
Negotiating This World: Contemporary Australian Art, National Gallery of Victoria, Melbourne
Animal/Human, curated Michele Helmrich, University of Queensland Museum of Art, Brisbane
Kindness/Udarta, exh. cat, curated by Suzanne Davies, Habitat Gallery, New Delhi and RMIT Gallery, Melbourne

2011
Double Vision, exh. cat with essay by curator Penny Teale, McClelland Regional, Art Gallery, Langwarrin
Looking at Looking: The Photographic Gaze, National Gallery of Victoria, Melbourne. Collaborative Witness: Artist’ responses to the plight of the asylum seeker and refugee, University of Queensland Art Gallery, Brisbane
Tales of the Unexpected: aspects of contemporary Australian art, National Gallery of Australia, Canberra

2010
How Nature Speaks, Arc One Gallery, Melbourne
A Tradigital Survey, Level 17 Artspace, Victoria University, Melbourne
Duetto, Experimental Art Foundation, Adelaide

2009
Still Conflict: contemporary Australian photographers at war, Monash Gallery of Art, Wheelers Hill, Victoria
Turbulent Terrain: Manifestations of the sublime in contemporary art, Latrobe Regional Gallery, Morwell.
The University of Queensland National Artists Self Portrait Prize 2009, University of Queensland Art Museum, Brisbane
Redlands Westpac Art Prize 2009, Mosman Regional Gallery, Sydney

2008
50X50 Summer Show, Arc One Gallery, Melbourne
Order and Disorder: Archives in Photography, National Gallery of Victoria, Melbourne

2007
Voiceless: I feel therefore I am, Sherman Galleries, Sydney

2006
Other Dimensions: Contemporary Photomedia from Australia, China and Japan, curated Sue Smith, Rockhampton Art Gallery, Rockhampton
A Distant Mirror, M.Y . Art Prospects, curated by Miyako Y oshinaga, New Y ork, USA

2005
Tranquility, curated by Natasha Bullock, Art Gallery of New South Wales, Sydney, traveling to ARC One Gallery, Melbourne (September 2005), and M.Y. ArtProspects, New York

2004
Photographica Australis, curated by Alasdair Foster, exhibition traveling to National Gallery of Singapore, National Gallery, Bangkok, National Museum of Modern Art, Taipei, and the “Bangladesh Biennale” (the authors awarded Gold Medal), Dacca, Bangladesh

2003
See here now: Art Collection of the 1990s, curated by Chris McAuliffe, The Ian Potter Museum of Art, University of Melbourne, Melbourne
Reunion, curated by Kirrilee Hammond, George Paton Gallery, Melbourne
Collaged World: Lyndell Brown/Charles Green, Robert Rooney, David Wadelton, John Young, curated by Robert Lindsay, McClelland Regional Gallery, Langwarrin
Spaced Out, curated by Alasdair Foster, Australian Centre for Photography, Sydney and as part of the Sydney Festival
X Melbourne, curated by Gary Willis, Canberra Contemporary Art Space, Canberra, touring to Sydney College of the Arts Gallery, Sydney

2002
Time Travel Sanctuary 2: Phillip George, Patrick Pound, Lynne Roberts- Goodwin, Lyndell Brown/Charles Green, curated by Charles Green, Victorian College of the Arts Gallery, Melbourne
Tales of the Unexpected, curated by Deborah Hart, National Gallery of Australia, Canberra
Borderless Terrain, curated by Alka Pande, India Habitat Centre/ Apparao Gallery, New Delhi, India.
Photographica Australis, curated Alasdair Foster, Sala de Exposiciones del Canal de Isabel II, Madrid

2001
Indicium: Contemporary Australian Photomedia, Insa Art Centre, Seoul.

2000
Boundlessly Various and Everything Simultaneously, Bose Pacia Modern, New York

1998
Southern Reflections: Ten Contemporary Australian Artists, curated by Elizabeth Cross, touring exhibition to Kulturhuset, Stockholm, Sweden; Göteborg, Sweden: Konsthallen, Arhus, Denmark: Kostmuseum. Helsinki, Finland: Galleria Otso, City Art Museum. Bremen, Germany: Neues Museum. Chemnitz, Germany: Städtische Kunstsammlungen. Oslo, Norway: Stenersenmuseet. Tour coordinated by Art Gallery of New South Wales, 1998-1999)
A large, major touring European survey of contemporary Australian art. List Structure: Lyndell Brown/Charles Green, Patrick Pound, Debra Phillips, Lynne Roberts-Goodwin, Robert Rooney, Sherman Galleries Goodhope, Sydney Linda Benglis/Lyndell Brown & Charles Green/Bose Krishnamachari, curated by Peter Nagy, Nature Morte, New Delhi, India.

1997
Deacon James Award exhibition, University Gallery, University of Melbourne
Gifts for India, National Gallery of Modern Art, New Delhi, India. Geelong Contemporary Art Prize exhibition Geelong Art Gallery, Geelong, Vic
Cité des Arts, Paris, France

1995
King’s School Art Award (Winning Entry), Sydney
ARCO, Madrid, Spain The Lovers, curated by Juliana Engberg, Museum of Modern Art, Heide, Melbourne
Girls! Girls! Girls! Annandale Galleries, Sydney, and Orange Regional Gallery, Orange, NSW
Constructed City, Plimsoll Gallery, Hobart, touring exhibition to NSW, Queensland and Victorian regional galleries

1994
Art Asia, Hong Kong ARCO, Madrid, Spain

1993
Nepean Collection, Lewers Bequest and Penrith Regional Art Gallery, Sydney
Disparities, University Gallery, Melbourne University, Melbourne
21600 each 24 Hrs, installation, Canberra Travelodge, Canberra

1992
Recently Seen, McClelland Gallery, Melbourne
Paintings from the Margaret Stewart Endowment,National Gallery of Victoria, Melbourne
Domino 1, University Gallery, Melbourne University, Melbourne

National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Queensland Art Gallery/Gallery of Modern Art, Brisbane
Australian War Memorial, Canberra
McClelland Regional Gallery, Melbourne
Bendigo Art Gallery, Bendigo
Horsham Regional Art Gallery,
Horsham Rockhampton Regional Gallery, Queensland
QUT Gallery, Brisbane University of Queensland
Museum of Art, Brisbane
Monash Museum of Art, Melbourne
Artbank, Sydney
University of Sydney Power Foundation, Sydney
Allen and Hemsley, Sydney
World Congress Centre, Melbourne
University of Western Sydney, Sydney Heidelberg Repatriation Hospital, Melbourne
BHP Melbourne
University of Melbourne (Vizard Foundation)
Melbourne King’s School, Sydney
Australia India Institute, Melbourne
Campbelltown City Art Gallery, Sydney
Trinity College, Melbourne
Corporate and private collections in Australia, United States, Spain, Germany, India, Japan, Canada

2021
Charles Green and Jon Cattapan, Afterstorm: Gardens, Art and Conflict, in Charles Green and Jon Cattapan (eds.), Afterstorm: Gardens, Art and Conflict (Melbourne: Art + Australia, 2021)

2016
Terry Smith, The Contemporary Condition (Berlin: Sternberg Press, 2016).
Veronica Tello, Counter-Memorial Aesthetics: Refugee Histories and the Politics of Contemporary Art (London: Bloomsbury, 2016).

2015
Amelia Barikin, Lyndell Brown, and Charles Green, “The Museum in Hiding: Framing Conflict,” in A. Whitcomb and K. Message (eds.), The International Handbooks of Museum Studies: Museum Theory (Boston: Wiley, 2015): pp. 485-510

2014
Veronica Tello, “The Aesthetics and Politics of Aftermath Photography,” Third Text, vol. 28, no. 6, pp. 555-562.
Lyndell Brown, Charles Green and Jon Cattapan, ‘Framing Conflict: Contemporary War and Aftermath’, Australian Government Research Council, The University of Melbourne and Victorian College of the Arts.

2012
Timothy Morrell, ‘Lyndell Brown and Charles Green’, Art Collector, no. 61 (September 2012), pp. 142-148.
Nola Anderson, ‘Australian War Memorial: Treasures from a Century of Collecting’ (Canberra and Melbourne: Australian War Memorial and Murdoch Books, 2012), pp.544, 545, 548, 564, 570-573, 580-581.
Maggie Finch, ‘Lyndell Brown and Charles Green,’ in Kelly Gellatly (ed. and curator), 101 Contemporary Australian Artists (Melbourne: National Gallery of Victoria, October 2012), pp. 38-39.
Mary Machen, ‘Exhibition presents harsh realities for Aussies at War,’ The Examiner (Launceston), 17 August 2012, pp. 8-9.
Lana Best, ‘War art: studies in grey and vastness,’ Unitas, no. 363 (Oct 2012), p. 12.

2011
Maggie Finch, ‘Lyndell Brown and Charles Green,’ in Maggie Finch (ed. and curator), Looking at Looking: The Photographic Gaze (Melbourne: National Gallery of Victoria, October 2011), pp. 38-39.

2009
Amelia Douglas, ‘The viewfinder and the view,’ Broadsheet, 38/1 (Sept. 2009), pp. 200-205.
Stephen Matchett, ‘The Art of War,’ Weekend Australian, 25 April 2009, Review cover & 6-7.
Beverley Johanson, ‘Home of War Artists,’ The Age, 29 August 2009,
Domain 2.

2008
Jennifer Sexton, ‘2 of us: Lyndell Brown and Charles Green,’ Good Weekend, December 6 2008, 14.
Andrew Stephens, ‘Once Were Witnesses,’ The Age, 29 November 2008, A2, 16-17.
Maggie Finch, ‘Order and Disorder: Archives in Photography’, exh. catalogue, National Gallery of Victoria, Melbourne, October 2008.
Warwick Heywood, ‘Lyndell Brown and Charles Green,’ War, exh. catalogue, GrantPirrie Gallery, Sydney, 2008.
Modern Painters editors, ‘Portfolio: What does it mean to make art during wartime,’ Modern Painters 20/3 (April 2008), 62-69.
Warwick Heywood, ‘Obscure Dimensions of Conflict: Lyndell Brown and Charles Green,’ Artlink 28/1 (March 2008), 52-55.
Ashley Crawford, ‘Interview: Lyndell Brown and Charles Green in the war zone,’ Photofile 83 (Winter 2008), 20-25.

2007
Judy Annear, ‘The Map of Atlantis,’ Photography: Art Gallery of New South Wales Collection (Sydney: Art Gallery of New South Wales, 2007), 334.
Gabriella Coslovich,’New Additions to a rich tradition of art and war,’ The Age, 3 November 2007, Insight 2.
Yuko Narushima, ‘The quest to capture life at the front,’ The Sydney Morning Herald, 29 June 2007, 14.
Natasha Rudra, ‘Artists record images of conflict,’ Canberra Times, 29 June 2007, 6.
Silvia Dropulich, ‘Politically powerful artists chosen to portray complex war,’ The University of Melbourne Research Review, 2007, 8-9 & cover.
Lorna Edwards, ‘Artists Charged with Capturing Hues and Cries of Conflict,’ The Age, 27 Feb 2007, 5.

2006
Nikos Papastergiadis, ‘Trompe l’Oeil: Under the Signs of Everything,’ in Spatial Aesthetics: Art Place and the Everyday (London: Rivers Oram Press, 2006), 60-67.