Writer, editor, and teacher based on unceded Gadigal and Wangal land (Sydney, Australia). She has contributed writing to numerous local and international art exhibitions, online platforms, and print publications. Miskell has held editorial roles with Memo Review (NSW Reviews Editor, 2022–), Performance Review (Board Member, 2022),and Runway Journal (Editor and Secretary, 2021-22). Alongside her writing practice, she works as a Sessional Academic, teaching in the School of Art & Design at the University of New South Wales where she is a current PhD Candidate in Art History and Theory.
︎ Publications
| 2025 | Exhibition Review | ︎ In Every Room at Campbelltown Arts Centre | Art Asia Pacific |
| Catalogue Essay | ︎ Fugitive Archives by MJ Flamiano & Catherine Ortega-Sandow | MADA Gallery | |
| 2024 | Performance Review | ︎︎︎ ANITO by Justin Talplacido Shoulder | Performance Art Museum |
| Exhibition Review | ︎︎︎ A tide is a very long wave at SYRUP | Memo Review | |
| Exhibition Review | ︎︎︎ NUW🌏RLDS at 4A Centre for Contemporary Asian Art | Memo Review | |
| Artist Profile | ︎︎︎ Claudia Nicholson: If The Mountain is Burning, Let It Burn | Art Collector Magazine | |
| Catalogue Text | ︎︎︎ Future Remains: The 2024 Macfarlane Commissions [Andy Butler] | Australian Centre for Contemporary Art | |
| Performance Review | ︎︎︎ ESSSENSSSE by HOSSEI at Verge Gallery | Performance Art Museum | |
| 2023 | Exhibition Review | ︎︎︎ I remember you by Salote Tawale at Carriageworks | Memo Review |
| Catalogue Text | ︎ ACE Studios 2023 Exhibition [Truc Truong] | Adelaide Contemporary Experimental | |
| Creative Text | ︎ Archival Aesthetics by Saluhan Collective | SEVENTH Gallery x Collective Polyphony Festival | |
| Exhibition Text | ︎ The kingdom, the power by Marikit Santiago | Bendigo Art Gallery | |
| Catalogue Text | ︎︎︎ Primavera 2023: Young Australian Artists [Nikki Lam] | Museum of Contemporary Art Australia | |
| Chapter, Ed. Book | ︎︎︎ Enough: Artists and Writers on Gendered Violence | Perimeter Editions x CoVA at the University of Melbourne | |
| Exhibition Review | ︎︎︎ Impossible Desire by Ali Tahayori at Knulp | Memo Review | |
| Exhibition Review | ︎︎︎ Linger, Dash, Talk at Cement Fondu | Memo Review | |
| 2022 | Journal Article | ︎︎︎ The 'Women's' Show after House of Slé: A Dialogue Between Bhenji Ra and June Miskell | Australian and New Zealand Journal of Art (Vol. 22, No. 2) |
| Catalogue Essay | ︎ We Eat This Bread by Marikit Santiago | Fairfield City Museum & Gallery | |
| Exhibition Review | ︎︎︎ Ultra Unreal at Museum of Contemporary Art, Australia | Memo Review | |
| Catalogue Text | ︎︎︎ Like a Wheel That Turns: 2022 Macfarlane Commissions – JD Reforma | Australian Centre for Contemporary Art | |
| Artist Profile | ︎ Keg de Souza: Food for Thought | Look Magazine, Art Gallery of New South Wales | |
| Exhibition Review | ︎︎︎ Roots at Pari, Parramatta | Memo Review | |
| Catalogue Text | ︎︎︎ UN/LEARNING Australia | Artspace Sydney x Seoul Museum of Art | |
| 2021 | Exhibition Review | ︎︎︎ AEON+: TITAN ARUM by Justin Talplacido Shoulder | Performance Review |
| Catalogue Essay | ︎ I don’t see colour by Salote Tawale | Perth Institute of Contemporary Art | |
| Catalogue Text | ︎ ‘Of this and other worlds’ in 20:20 | Murray Art Museum Albury | |
| Catalogue Essay | ︎ Acid Mantle by JD Reforma | COMA Gallery | |
| 2020 | Creative Text | ︎︎︎ The feeling that moves us | Free Association |
| Creative Text | ︎︎︎ A Letter for My Love(s) | Runway Journal, Issue 41: Love | |
| Catalogue Text | ︎︎︎ Shadow Catchers curated by Isobel Parker Philip | Art Gallery of New South Wales | |
| 2019 | Honours Thesis | ︎ Embodied Knowledge and Collective Survival: Dance and Community in the work of Bhenji Ra | UNSW Art & Design |
| Exhibition Feature | ︎︎︎ The Fullness of Time by Caroline Garcia & JD Reforma at Verge Gallery | Running Dog | |
| Exhibition Review | ︎︎︎ I LOVE YOU MELISSA curated by Courtney Novak at The Lock-Up | Running Dog | |
| Catalogue Text | ︎ I will never run out of lies nor love curated by Nanette Orly & Sebastian Henry-Jones | Bus Projects | |
| Exhibition Feature | ︎︎︎ Do You Know This Feeling curated by Sebastian Henry-Jones at Firstdraft | Running Dog | |
| Creative Text | ︎︎︎ Habilin, comissioned for Kudos Live: Intimate Circulations curated by Audrey Pfister & Em Size | Kudos Gallery | |
| 2018 | Exhibition Review | ︎︎︎ Dual Existence curated by Kate Stodart at Kudos Gallery | Runway Journal, Conversations |
| Creative Text | ︎︎︎ Nosebleed | Framework (Issue 21: Networks) | |
| Exhibition Review | ︎︎︎ Coca-Colanised by Marikit Santiago at Verge Gallery | un Projects, un Extended | |
| 2017 | Critical Essay | ︎︎︎ Re-vising the Archive | Framework (Issue 19: Archive) |
| Exhibition Review | ︎ No/Vacancy by Amelia Skelton & Tango Conway at Down/Under Space | Framework (Issue 17: Transformation) |
I acknowledge the Gadigal and Wangal peoples of the Eora Nation as the Traditional Custodians of the land on which I live, work, and play. I pay my deepest respects to Elders past and present. I recognise that on this land Sovereignty was never ceded and this always was and always will be Aboriginal land.
All content © June Acido Miskell