Emily Floyd (b. 1972, Melbourne) works in sculpture and public installation. She explores the history of play, employing it as a frame for investigations into literature, public philosophy and the legacies of modernism. Drawing parallels between educational models and contemporary art, Floyd's works generate spaces for social engagement and interaction whilst provoking discussions about contemporary social, cultural and political potentiality.

Selected group exhibitions include: A New Order, Buxton Contemporary (2019) ISCP New York (2018) State of the Union, Melbourne University (2018) Adelaide Biennale (2018) A Working Model of the World, Sheila C. Johnson Design Centre, New York (2017) Call of the Avant-Garde, Heide MOMA (2017) Unfinished Business: Perspectives on Art and Feminism, ACCA (2017) The National, AGNSW (2017) If People Powered Radio, Gertrude Contemporary (2016) Excursions in Narrative Form, MCA (2016) Art as a Verb: Artspace (2015), All the Worlds Futures, 56th Venice Biennale (2015); Below Another Sky, British Council, London (2015), There will be new rules next week, DCA, Scotland (2013), Sleep on the Left Side, Seven Art Limited, New Delhi (2012), Kindness/Udarta, Habitat Center New Delhi (2012), Ten Ways to Look at the Past, NGV, Melbourne (2011), In the Bal- ance: Art for a Changing World, MCA, Sydney (2010); Optimism, GOMA (2008).

Recent solo exhibitions include Emily Floyd: Anti-totalitarian Vectors, ASG Melbourne (2019), MCA Sydney (2018) Icelandic Puffins, Anna Schwartz Gallery (2017) The Dawn, National Gallery of Victoria, (2014) Far Rainbow, Heide Museum of Modern Art, Melbourne (2014) This Place Will Always Be Open, Monash University Museum of Art, Melbourne.

The artist has completed a number of public commissions, including installations for Heide Museum of Modern Art, Brisbane’s Mangrove Walkway, Curtin Place, Sydney, Jackalope Hotels on Victoria's Mornington Peninsula, Melbourne’s EastLink Motorway and Docklands Precinct, Sydney’s Australia Square and Martin Place precinct, PS1 Parramatta, Brisbane’s Lady Cilento Children’s Hospital and Monash University Museum of Art’s first annual commission for Ian Potter Sculpture Court, This Place Will Always Be Open. For the 2017 edition of The National, Emily Floyd completed a landmark commission at the Art Gallery of New South Wales.

In 2014 Floyd was made a fellow of the Australia Council for the Arts and in 2016 was awarded a Sydney Myer Creative Fellowship. Emily Floyd is represented by Anna Schwartz Gallery.

Publications: Female Orgasm, 2018, in collaboration with Negative Press and Experimental Jetset, Amsterdam; Far Rainbow 2014 with Amelia Barikin and Sue Cramer; The Dawn 2015 with Jane Devery and Helen Hughes; and This place will always be open, 2013 with Ken Mansell. Bibliographical notes include Terry Smith in What is Contemporary Art, 2009; Wes Hill in Frieze Magazine, 2015 and Ranjit Hoskote in All the World’s Futures.

“Emily Floyd's project takes shape at the intersections where sculpture meets public space and design collides with social crisis. It embraces elements of expanded sculpture and a range of print media and typographic artifacts, including the poster and the manifesto. Floyd renegotiates the possibility of public address, critically en- gaging an increasingly diverse and unpredictable viewership in debate. The topics of that exchange range from such urgencies as labour conditions in a world where work has become increasingly immaterialized, the traumas of migration at a time when exile is the norm, and the imperative of self-organization as unprecedented and im- provised forms of community emerge across the globe. Indeed, Floyd’s work ges- tures toward new forms of sociality, for which the artwork can serve both as provocation and as venue.“ Ranjit Hoskote, All the World's Futures