︎

︎    June Acido Miskell



            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 PhD Candidate in Art History and Theory.



︎   Publications


2025  Exhibition Text ︎ Brown Pillars II by Aida AzinIncinerator Gallery
  Exhibition Review ︎︎︎ In Every Room at Campbelltown Arts CentreArt Asia Pacific
  Catalogue Essay ︎ Fugitive Archives by MJ Flamiano & Catherine Ortega-SandowMonash University Art, Design, Architecture Gallery
2024  Performance Review ︎︎︎ ANITO by Justin Talplacido ShoulderPerformance Art Museum
  Exhibition Review ︎︎︎ A tide is a very long wave at SYRUPMemo Review
  Exhibition Review ︎︎︎ NUW🌏RLDS at 4A Centre for Contemporary Asian ArtMemo Review
  Artist Profile ︎If The Mountain is Burning, Let It Burn by Claudia NicholsonArt Collector Magazine
  Catalogue Text ︎︎︎ Living truthfully in invented circumstances by Andy Butler for Future Remains: The 2024 Macfarlane CommissionsAustralian Centre for Contemporary Art
  Performance Review ︎︎︎ ESSSENSSSE by HOSSEI at Verge GalleryPerformance Art Museum 
2023  Exhibition Review ︎︎︎ I remember you by Salote Tawale at CarriageworksMemo Review 
  Catalogue Text ︎Truc Truong for ACE Studios 2023 ExhibitionAdelaide Contemporary Experimental
  Creative Text ︎ Archival Aesthetics by Saluhan CollectiveSEVENTH Gallery x Collective Polyphony Festival
                     Exhibition Text ︎ The kingdom, the power by Marikit SantiagoBendigo Art Gallery 
          Catalogue Text ︎︎︎ The Unshakeable Destiny by Nikki Lam for Primavera 2023: Young Australian ArtistsMuseum of Contemporary Art Australia
          Chapter, Ed. Book ︎︎︎ Enough: Artists and Writers on Gendered Violence edited by Vikki McInnes Perimeter Editions x CoVA at the University of Melbourne 
Exhibition Review︎︎︎ Impossible Desire by Ali Tahayori at KnulpMemo Review
Exhibition Review︎︎︎ Linger, Dash, Talk at Cement FonduMemo Review
2022Journal Article    ︎︎︎ The 'Women's' Show after House of Slé: A Dialogue Between Bhenji Ra and June MiskellAustralian and New Zealand Journal of Art (Vol. 22, No. 2)
 Catalogue Essay ︎ We Eat This Bread by Marikit SantiagoFairfield City Museum & Gallery
Exhibition Review ︎︎︎ Ultra Unreal at Museum of Contemporary Art, AustraliaMemo Review
Catalogue Text ︎︎︎ Fibre Optics; An Intranet of Virtue by JD Reforma for Like a Wheel That Turns: 2022 Macfarlane Commissions Australian Centre for Contemporary Art
Artist Profile ︎ Keg de Souza: Food for ThoughtLook Magazine, Art Gallery of New South Wales
Exhibition Review ︎︎︎ Roots at Pari, ParramattaMemo 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 MAMA 20:20  Murray Art Museum Albury 
Catalogue Essay ︎ Acid Mantle by JD ReformaCOMA 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 ︎︎︎ Kudos Live: 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