Dr. Peter Hill, originally from Scotland and now residing in Australia, possesses a wealth of experience within the university realm, spanning from part-time lecturer to Associate Professor of Fine Art at COFA/UNSW. Currently, he serves as an Adjunct Professor of Fine Art at RMIT University, Melbourne. His expertise encompasses studio practice, as well as delivering lectures in art history and theory, while forging connections between these two domains. Student teaching and learning surveys consistently highlight his effectiveness. In roles as a coordinator, he has overseen Honours courses at the University of Tasmania, Masters by Research programs at COFA/UNSW, and PhD programs, managing a cohort of 72 PhD candidates at RMIT University. He has been contracted by Goldsmiths, University of London, for a four-year period as an external assessor for all undergraduate students at La Salle College of the Arts, Singapore (all La Salle students across disciplines receive Goldsmiths degrees). Moreover, he has twice assumed the role of external member on the esteemed Anne and Gordon Samstag Awards panel in Adelaide.
Peter Hill holds esteemed roles as an international correspondent for Times Higher Education (London), ARTnews (New York), and Artpress (Paris). His written contributions span more than forty journals, magazines, and broadsheet newspapers worldwide, including Studio International, Frieze, The London Review of Books, Artmonthly (London); Art + Text (Sydney); Neue Bildende Kunst (Berlin), and Vault (Melbourne).
Following his initial studies in Scotland, Peter Hill achieved a First Class honours degree from West Surrey College of Art, England, in 1981. His course integrated Art Theory with Fine Art Studio Practice, and his dissertation focused on “Paradigm Change in Art and Science with particular reference to Cubism and Relativity.” He advocated for studio-based PhDs in his article “Is There a Doctor in the Art School?” (Artmonthly Australia, No 84, October, 1995). He completed his own PhD at RMIT University, Melbourne, in 2000. His specialization centers around the art of the Superfiction, an art movement he coined and which gained prominence at international conferences (The Sorbonne – “Art, Fiction, and the Internet”) and through exhibitions and text-based journals (refer to Anabelle Lacroix’s essay in themaximilian.com, issue 2). An archive of Peter Hill’s Superfiction material has been recently donated to Tate, London, by English critic/theorist John A Walker (Art Since Pop, Thames and Hudson, Dolphin).
Peter Hill has presented Superfiction Performance-lectures at distinguished art schools, universities, and museums worldwide, including The Sorbonne (Paris); The Royal College of Art (London); The London Institute; CALARTS (Los Angeles); Glasgow School of Art (Scotland); National College of Art and Design (Dublin); Shanghai Normal University (China); Oxford Brookes University; Museum of Modern Art (Oxford); MASS MoCA (USA); the Museum of Contemporary Art (Sydney), and over thirty other institutions.
As an artist, he has showcased his Superfictions at the Sydney Biennale, Museum of Modern Art (Oxford), Art Gallery of New South Wales, Auckland City Gallery, Cite International des Arts in Paris, and with Hubert Winter Gallery in Vienna. His works grace public and private collections in New York, London, Sydney, Melbourne, and Edinburgh. Notably, he has participated in nine solo and group exhibitions between 2014 and 2016, and has also curated exhibitions in China, Scotland, and Australia. Currently, he is compiling a book titled “Curious About Art,” consisting of interviews he has conducted with 70 artists over the past 35 years, including luminaries like Jorg Immendorff, Komar and Melamid, Steven Campbell, Ian Hamilton Finlay, Rosmarie Trockel, Martin Kippenberger, Marina Abramovic, Ralph Rumney, Erwin Wurm, Tracey Moffatt, Bill Woodrow, Ed Ruscha, Imants Tillers.
