CV + BIO
Born Hartford, Connecticut, United States. Lives and Works in Melbourne, Australia
Kate Just works across sculpture, installation, neon, textiles and photography to produce contemporary art works with feminist themes, but is best known for her inventive and political use of knitting. In addition to her solo practice, Just often works socially and collaboratively within communities to create large scale, public art projects that tackle significant social issues including sexual harassment and violence against women.
Just holds a PhD in Sculpture from Monash University, a Master of Arts from RMIT University, and a Bachelor of Fine Arts from Victorian College of the Arts where she is the Head of the Master of Contemporary Art Program. Just has exhibited her artwork extensively across Australia in over one hundred group and solo exhibitions including at The National Gallery of Australia, the Australian Centre for Contemporary Arts, Artspace, Heide Museum of Modern Art, Gertrude Contemporary and The Centre for Contemporary Photography. Internationally she has exhibited her work at AIR Gallery and the AC Institute in New York, at the Institute of Contemporary Art in Richmond Virginia, the Rijswijk Museum in the Netherlands, the Auckland Art Fair, Kunsthalle Krems in Austria, Sanskriti Gallery in New Delhi, Youkobo Artspace in Tokyo and Titanik Galleria in Turku, Finland.
Just has been the recipient of over forty grants, prizes, fellowships, awards and residencies. She has received grants from the Australia Council for the Arts, City of Melbourne and Creative Victoria. She was the winner of the 2007 Seimen’s Prize, the 2013 British Council Realise Your Dream Award, the 2014 Rupert Bunny Visual Art Fellowship, and the 2015 Wangaratta Textile Prize. She has undertaken local residencies at Gertrude Contemporary Art Spaces and the Australian Tapestry Workshop and been awarded numerous international residencies including Art Omi in New York, Red Gate in Beijing, Youkobo Artspace in Tokyo, the Australia Council Residency in Barcelona, the Asialink residency at Sanskriti Foundation in New Delhi and a KREMS AIR residency in Krems Austria. Just's work is held in numerous public and private collections including the National Gallery of Australia, Artbank, Ergas Collection, the City of Port Phillip, Wangaratta Art Gallery, Ararat Regional Art Gallery, Cruthers Women’s Art Foundation and Proclaim Management Collection.
2013 PhD (Sculpture), Monash University
2008 Master of Arts (Fine Arts), RMIT University
2002 Bachelor of Fine Arts (Painting), Victorian College of the Arts
1996 Bachelor of Science (Filmmaking), Boston University
2022 PROTEST SIGNS, Hugo Michell Gallery, Adelaide
2021 Anonymous was a woman, solo project in The National, Museum of Contemporary Art, Sydney
2020 Armoured, Dominik Mersch Gallery, Sydney
2019 From China, With Love, Hugo Michell Gallery, Adelaide
2018 How I Will Change, RMIT Project Space, Melbourne
2016 The Aadambar Strivadi Quilt, Sankskriti Art Gallery, Sanskriti Kendra, New Delhi, India
Feminist Fan, A.I.R. Gallery, New York City
2015 The Furies, St Kilda Town Hall Facade
2014 HOPE & SAFE, Daine Singer
Knit SAFE Project, City of Melbourne Public Art Project
HOPE & SAFE, West Space Reading Room, West Space
2013 Venus Was Her Name, Daine Singer, Melbourne
The Texture of Her Skin, Glen Eira Gallery, Caulfield
2012 The Skin of Hope, Daine Singer, Melbourne
Kate Just: The Knitted Work, 2004 - 2011, TAMA (Textile Art Museum of Australia), Ararat, VIC
2011 Unearthed, Craft Victoria, Melbourne
Venus Was Her Name, Kunsthalle Krems, Austria
Kate Just, Daine Singer Project, Zurich, Switzerland
2010 Inward Gathering, Nellie Castan Gallery, South Yarra, VIC
2009 A New Day in A Strange Land, Nellie Castan Gallery, South Yarra, VIC
Bombshell, Studio 12 Exhibition, Gertrude Contemporary Art Spaces
2008 Supernatural, RMIT School of Art Gallery, October
The Garden of Interior Delights, Don't Come Gallery, Royal Arcade, Melbourne
Natural Woman, Raw Space, Brisbane
Shed That Skin, MOP Projects, Sydney
2007 I Just Don’t Know What to Do With Myself, Bus Gallery, Melbourne
Wall Flower, The Dolls House, Preston
2006 Paradise, TCB art inc, Melbourne
The Entertainer, Centre for Contemporary Photography, Fitzroy
LOVE / Uniform(Dad), Individual Project Room, Melbourne Art Fair
2005 Boundary (LOVE), Canberra Contemporary Art Space, Australian Capital Territory
The Four Fathers, Seventh Gallery, Fitzroy
Family, West Space, Melbourne
2004 Love is a Rose, Conical Gallery, Fitzroy
2003 The Pickin’ Patch, Bus Gallery, Melbourne
Pieces of You, West Space, Melbourne
2002 Uniform, Penthouse and Pavement Gallery, Carlton
2022 Beechworth Contemporary Art Prize, Beechworth, Victoria (upcoming)
Handmade Universe, State Library of Victoria, Victoria
Text Tile, curated by Madeline Simm, Anna Fiedler and Tia Ansell, CAVES Gallery, Melbourne
In the Fibre of Her Being, curated by Sarah Rose, Fairfield City Museum and Gallery, Fairfield, NSW
2021 The National, Museum of Contemporary Art, Sydney
I Am Here, curated by Katherine Hattam, Art House Gallery, Sydney
Neon, Hugo Michell Gallery, Adelaide
2020 Drawn From Thread, Artisan Gallery, Brisbane, QLD
Do I Have to Spell It Out For You, curated by Stephanie Sacco, Town Hall Gallery, Hawthorn, VIC
Unladylike Acts, curated by Lee Kinsella, Lawrence Wilson Art Gallery, University of Western Australia, Perth
The Incinerator Art Award, Incinerator Gallery, Moonee Ponds, VIC
Craftivism: Dissident Objects and Subversive Forms, curated by Anna Briers, Bega Valley Regional Art Gallery (NSW), Warwick Art Gallery (Qld), University of Sunshine Coast Art Gallery (Qld)
2019 Pleasure, RMIT Gallery, Melbourne
Fifty: Celebrating 50 years of collecting fibre art, TAMA (Textile Art Museum of Australia), Ararat, VIC
Queer Nations, curated by Drew Pettifer, RMIT Project Space, Melbourne
Craftivism: Dissident Objects and Subversive Forms, Mornington Peninsula Regional Gallery (VIC), Warrnambool Art Gallery (VIC) Museum of Australian Democracy (ACT)
Art Omi Artists Exhibition, Dominik Mersch Gallery, Sydney
The Post Prize, No Vacancy Gallery, Melbourne
2018 Analogue Digital, RMIT Gallery, Melbourne
POP: Reflections on Popular Culture, Wangaratta Art Gallery, Wangaratta
Craftivism: Dissident Objects and Subversive Forms, Shepparton Art Museum, Shepparton
Gothic Beauty, Bendigo Art Gallery, Bendigo
Word, Hugo Michelle Gallery, Adelaide
Spring 1883, MARS Gallery, Melbourne
Killing Time, curated by Louise Klerks, Chapter House Lane
Staying Power, curated by Penelope Davis and Andy Dinan, MARS Gallery, Melbourne
This Wild Song Artists, curated by Merryn Trevethan, Atrium Gallery, Australian High Commission, Singapore
Duo exhibition with Robert Brain, curated by Louise Klerks, Chapter House Lane
Declaration, curated by Stephanie Smith and Lisa Freiman, ICA, Richmond, Virginia, USA
Unfinished Business, ACCA, Melbourne
2017 The Public Body 2, Artspace, Sydney
Can't Touch This, curated by Miriam Kelly, Verge Gallery, Sydney
The Victorian Craft Awards, Craft, Melbourne
Stitch Fetish 5, curated by Ellen Schinderman, Hive Gallery, Los Angeles, USA
Body and Cloth, Australian Tapestry Workshop, South Melbourne
No Woman Is an Island, curated by Sophia Cai, Blindside Gallery, Melbourne
Rijswijk Textile Biennial, Rijswijk Museum, The Netherlands
Unfolding/Folding, curated by Alyce Neal, KINGS Ari
Hero Worship, curated by Debbie Pryor and Hannah Presley, Craft Victoria, Melbourne
MUM, curated by Clare Needham, Stockroom, Kyneton, Victoria
Telltale, curated by Anna Richardson and Justin Hinder, Arts Project Australia, Northcote
Standing Ovation, Trocadero Art Space, Footscray
2015 Works from the Contemporary Australian Collection, National Gallery of Australia, Canberra
F-generation: feminism, art, progression cur. by Juliette Peers, Caroline Phillips & Veronica Caven Aldous, George Paton Gallery, Melbourne
Handmade Politics, curated by Katve Kaisa Kontturi, Titanik Galleria, Turku, Finland
Daine Singer, Spring 1883, The Establishment Hotel, Syndey
It ain't over yet (it hasn't even begun), curated by Alice Mathieu, George Paton Gallery, Melbourne
Wangaratta Contemporary Textile Award, Wangaratta Art Gallery, Wangaratta
Amber Stones and Green, curated by Alison Lasek, Kings ARI, Melbourne
2014 Material Edge, Wangaratta Art Gallery, Wangaratta
Substation Contemporary Art Prize, Substation, Newport
This is Not the Work, The Block, QUT Art Space, Brisbane
Subject to Ruin, curated by Adam Porter, Casula Powerhouse, Sydney
The F Word, curated by Caroline Phillips, Gippsland Art Gallery, Sale
Fertile Ground, Australian Tapestry Workshop, South Melbourne
2013 The Blake Prize, Gallery of UNSW, Sydney
Works from the Collection, St Kilda Town Hall, St Kilda
Top 10: The People Curate the Permanent Collection, Ararat Regional Gallery, Ararat
The Projects Group Show, curated by Nicole Breedon and Keira Brew Kurec, The Projects, Belgrave
2012 Louise Bourgeois and Other Artists, Heide Museum of Modern Art, Bulleen
The Hobart Prize, Tasmanian Museum and Art Gallery, Hobart
Stories from the City, Stories from the Sea, Queer Urban Legends, cur. by Jess Bridport, Substation, Newport
The Substation Contemporary Art Prize, Substation, Newport
Hello Dollies, Penrith Regional Gallery
2011 Interior Architecture, curated by Caroline Phillips, Latrobe Gallery, Bendigo
City of Port Phillip New Acquisitions, St Kilda Town Hall, St Kilda
2010 Imaging the Apple, curated by Elizabeth Gower and John Neeson, AC Institute, New York
Mornington Peninsula Regional Gallery National Works on Paper Award, Mornington
Secret Files from the Working Men's College, RMIT Project Space, Melbourne
2009 Woollahra Small Sculpture Prize, Woollahra City Council Chambers, Sydney
Gertrude Studio Artists Exhibition, Gertrude Contemporary Art Spaces, Fitzroy
Ivy Tropes, Cur. Melissa Loughnan, ACGA Gallery, Federation Square, Melbourne
Love Bites, curated by Sarah Jones, Plimsoll Gallery, Hobart
Auckland Art Fair, represented by Nellie Castan Gallery
2008 Neo Pop, John Buckley Gallery, Richmond
Weaveworlds, Chalk Horse Gallery, Sydney
Knitting, (curated by Diana Robson) Hawksbury Regional Gallery, Hawksbury
Gertrude Studio Artists Show, Gertrude Contemporary Art Spaces, Fitzroy
The Blake Prize, National Art School, Sydney
Life, Death, Thereafter, (curated by Mark Feary), Silvershot, Melbourne
The Men's Gallery Show, curated by Phip Murray, in association with Next Wave Festival, Melbourne
2007 B-II, (Curated by Daine Singer), Blindside, Melbourne
You Make Me Feel: Tamara Marwood and Kate Just, Alluvial Gallery, Bendigo
Homeland, Sidney Meyer Space, Heide Museum of Modern Art
40 Degrees, curated by Alexie Glass, Gertrude Contemporary Art Spaces, Fitzroy
Side Stitch, curated by Olivia Poloni, Blindside, Melbourne
Manufactured, Raw Space, Brisbane
Bird Girls, curated by Kate Daw and Vikki McInnes, Margaret Lawrence Gallery at VCA, Melbourne
2006 Siemens Fine Art Scholarship Exhibition, RMIT Gallery, Storey Hall
RMIT Print Residency Exhibition, Project Space, RMIT University, Melbourne
Only Some of the Time, First Draft Gallery, Sydney
Lexicon, curated by Martina Copley, City Library, Melbourne
2005 Canberra Contemporary Art Award, Canberra Contemporary Art Space, Canberra
2004 Traverse, Lake Macquarie Regional Art Gallery and Rocketart, Newcastle
She’s Crafty, First Draft Gallery, Sydney
Supernatural, a duo show w/ Kate Rohde, Next Wave Festival, Horti Hall Gallery, Melbourne
2003 Home Loan, curated by Larissa Hjorth and Kate Shaw, Caroline Springs Warehouse Displays
Nightvision III, curated by Larissa Hjorth, Gallery 4A, Sydney
2002 Wallara Travelling Scholarship, VCA Gallery, Southbank, Melbourne
Just Out of the Shire, Scott Donovan Gallery, Sydney
New Hard Gossip, curated by Constanze Zikos, PB Gallery, Prahran
Shoot, curated by Laresa Kosloff, Block, Sydney
Neo Noir, curated by Mark Feary, Gertrude Contemporary Art Spaces, Fitzroy
IQ, curated by Colin Duncan, Midsumma Festival, Counihan Gallery, Brunswick
2001 Something for the Ladies, Penthouse and Pavement, Carlton
KATE, with Kate Rohde and Kate Stones, Linden Centre for Contemporary Art, St Kilda
CURATORIAL PROJECTS (as curator)
2020 Global Covid19 Quilt, Instagram project @covid19quilt with collaborator Tal Fitzpatrick
2019 National Anthem, Buxton Contemporary, Melbourne
The Prosumers (April) / Satellite Anthem (May) / Balancing Acts (Sept) / Drawing the Line (Oct), Assembly Point Vitrines, Guild, Melbourne
2018 Queer Threads (April) / Embodied Materialities (May) / The Presence of Indelible Histories (August), Assembly Point Vitrines, Guild, Melbourne
2016 Feminist Fan in Japan and Friends, (curator and exhibiting artist), Youkobo Art Space, Tokyo, Japan
2010 Dream Weavers (co-curator with Daine Singer and exhibiting artist),Contemporary Art Spaces Tasmania, Hobart
2006 Beckon (co-curator with Kate Stones & participating artist) Perth Institute of Contemporary Art, Perth
2005 Selekta, (co-curator with Simon Maidment), West Space Gallery, Melbourne
GRANTS, PRIZES, AWARDS AND RESIDENCIES
2022 Australia Council for The Arts Visual Art Fellowship
Police Point Shire Artist in Residence Program, Point Nepean National Park, Victoria
2021 Artist in Residence, Artspace, Sydney
2020 The Incinerator Art For Social Change People’s Choice Award (for COVID-19 Global Quilt)
Australia Council Resilience Fund Create Grant
Australia Council Development Grant
Poland Artist Residency Lodz (with Michelle Hamer), Lodz, Poland (held over)
2019 Australian Fellowship Residency, Art OMI, New York
Star Observer Award, The Post Prize
2018 Red Gate Gallery, Beijing Residency
2017 Australia Council Arts Development Grant
2016 Asialink Residency, Sanskriti Kendra, New Delhi, India
Youkobo Art Space Residency, Tokyo Japan
2015 Winner, Wangaratta Contemporary Textile Prize
Artist in Residence, Billilla Mansion, Bayside City Council
2014 City of Melbourne Arts Project Grant
Winner, Mollie Holman Doctoral Medal
2013 Finalist, The Blake Prize
Winner, Rupert Bunny Visual Arts Fellowship
2012 Winner, British Council Realise Your Dream Award / UK residency
Australia Council New Work Grant (midcareer)
Finalist, Hobart Prize
Artist in Residence, Australian Tapestry Workshop
2011 Barcelona Studio Residency, Australia Council for the Arts
International Artist in Residence, Kunsthalle, Krems, Austria
City of Melbourne Arts Project Grant
Janet Holmes a Court Artist's Grant
2010 Monash Graduate Scholarship (2010 - 2012)
2009 Finalist, Woollahra Small Sculpture Prize, NSW
Gertrude Contemporary Art Spaces Residency, (2008 - 2010)
2008 Finalist, The Blake Prize
Janet Holmes A Court Artists Grant
Australian Postgraduate Award, Master of Arts (Research), RMIT University
2007 Artist in Residence, Heide Museum of Modern Art
City of Melbourne Arts Project Grant Recipient
Australian Postgraduate Award, Master of Arts (Research), RMIT University
Winner, Siemens Fine Art Award, RMIT Gallery, Storey Hall
2006 Finalist, Art & Australia/ANZ Private Bank Emerging Artists Award
Emerging Writers Program, Gertrude Contemporary Art Spaces
Melbourne Art Fair, Project Room Work Grant
Artist in Residence, RMIT Summer Print Program, Royal Melbourne Institute of Technology
NAVA Visual and Craft Artist’s Grant
2005 Arts Development Grant (Creation), Arts Victoria
Finalist, Canberra Contemporary Art Award, Australian Capital Territory
2004 Artists Project Grant & residency, Lake Macquarie City Art Gallery & NSW Ministry for the Arts
NAVA Visual and Craft Artist’s Grant
City of Melbourne Arts Project Grant Recipient
2003 City of Melbourne Arts Project Grant Recipient
2002 National Gallery Women’s Association Encouragement Award, VCA Graduate Exhibition
Head of Master of Contemporary Arts program, Victorian College of the Arts, University of Melbourne, Feb 2017 - current.
Lecturer, School of Art, Victorian College of the Arts, Melbourne, 2005- 2016.
Program Coordinator, West Space Gallery, Melbourne, 2005 –2006.
PUBLISHED WRITING (by the artist)
National Anthem, catalogue for the exhibition National Anthem, Buxton Contemporary, Melbourne, March 2019.
Feminist Fan, catalogue for the exhibition Feminist Fan, AIR Gallery, New York, July 2016 (updated October 2017).
A self published book associated with the exhibition HOPE & SAFE, featuring Just's public art projects in the UK and Melbourne, 2014.
The Texture of Her Skin, PhD Thesis, Monash University, 2013.
The Armor of Hope and Other Works, Volume 5, Issue 1,MAMSIE, Studies in the Maternal, Birckbeck University of London, online journal, 2013.
Artist page in "Louise Bourgeois and Australian Artists', catalogue for exhbition by the same name at Heide Museum of Modern Art, November 2012.
The Gift and the Curse, exhibition catalogue for Drew Pettifer, The Gift and the Curse, RMIT Project Space, February 2011.
The Whole Truth, exhibition catalogue for Holding Pattern, solo exhibition by Caroline Phillips, George Paton Gallery, March 2010.
Kaleidoscope, exhibition catalogue for solo exhibition by Song Ling, Niagra Gallery, February 2010.
The Body Talks: Video Work of Kotoe Ishii,exhibition catalogue, Libary Art Space, December 2009.
Tamara Marwood, exhibition catalogue for A Little Ladylike Tinkling and Smearing, Craft Victoria, 2008.
Parasite Specific, Objects in Space exhibition catalogue, Next Wave Festival, May 2008.
Free Range, catalogue essay for Range of Motion (Penny Cain, Emma White, Maddy Donovan), West Space, June 2007.
Rich Text, catalogue essay for Rich Text, RMIT Storey Hall, May 2007.
Louise Weaver, review of Taking a Chance on Love, Selected Works 1990 – 2006, Artlink: Dec 2006.
Before Monday, catalogue essay for Katherine Huang’s Gertrude Studio 12 exhibition, Nov 2006.
Untitled review of Janenne Eaton’s Angle of Head exhibition, EYELINE Magazine, July 2006.
Knitting Confessions: PURL YOUR HEART OUT!, in Hao Gao, edited by Olivia Barrett, 2006: Singapore/Melbourne.
Paradise: an essay, TCB Art Inc, June 2006.
Elizabeth Gower, review of Sites & Conversations at VCA Gallery, EYELINE Magazine, Issue 59, 2006.
Susan Wirth, Review, West Space, UN Magazine, Issue 4, 2005.
The Four Fathers, short story with exhibition, Seventh Gallery, 2005.
Review of Susan Wirth, Arlo Mountford, Simon Terrill and Janenne Eaton, www.westspace.org.au., 2005.
Jane Llewellen, The struggle is real: artists shed light on the power of words, In Daily, April 2022.
Sue Green, Can knitting be art?, Kate Just replies with a powerful ‘yes’, The Age Newspaper, January 2022.
Hannah Reich, Australian artist Kate Just on art history, women's labour and knitting her way to the Museum of Contemporary Art, ABC Arts, March 2021.
Giselle Au-Nhien Nguyen, It’s a love letter to all those women who haven’t been seen, Sydney Morning Herald, March 2021.
Suzie Fraser & Justin Clemens, How Have Plagues and Pandemics Influenced the Arts, Eavesdrop on Experts podcast, 2020.
Craft Council UK, How the Craft World is Responding to the Pandemic, Craft Council UK, 2020.
Briony Downes, Quilting Together at a Distance, Art Guide, May 2020.
Tiarney Miekus, Review: Craftivism. Dissident Objects and Subversive Forms, Art Guide, 2019.
Vicki Mason, Review: Craftivism. Dissident Objects and Subversive Forms, The Journal of Modern Craft, Volume 12, Issue 2, 2019.
David Wlazlo, Compromise: Warrnambool Art Gallery; a review of Craftivism Dissident Objects and Subversive Forms, MEMO Review, 2019.
Jessica Hemmings, ‘Knitting after making: What we do with what we make,’ in Textiles, Community and Controversy: The Knitting Map, eds. Jools Gilson and Nicola Moffat, Bloomsbury, 2019.
Sophia Cai, ‘What Does Love Have To Do With It?’ exhibition essay for From China With Love, Hugo Michell, 2019.
Anna Briers, Rebecca Coates, David Cross, Jessica Bridgfoot and Amelia Winata, Craftivism. Dissident Objects + Subversive Forms catalogue, 2018.
Katve Kaisa Kontturi, ‘Craft, Collectivity and Event-Time’ in Craft Economies, eds Susan Luckman & Nicola Thomas. London: Bloomsbury Academic, 38–48, 2018.
Charlotte Vannier, Unravelled: Contemporary Knit Art, Thames and Hudson, 2018.
Harrie Mayer, ‘Needleman, Feminist Fan, Curated by Louise Klerks,’ Art + Australia, May 2018.
Elle Murrell, ‘Robert Brain and Kate Just Present Needleman, Feminist Fan,’ The Design Files, February 2018.
Ilona Nelson, Kate Just, ‘This Wild Song,’ February 2018.
Sophia Cai, ‘Heroine Knits,’ Portrait Magazine, National Gallery of Australia, Spring/Summer 2018.
Katve Kaisa Kontturi, ‘Crafting Relational Activism: Political Potentials of Communal Making in Contemporary Australia’ in New Worlds: Frontiers, Inclusion, Utopias, ed. Claudia Mattos. Rio de Janeiro: CIHA and Getty Foundation, 271–282, 2017.
Sophia Cai, ‘WIP: The Unfinished Business of Feminism,’ Runway, January 2017.
Paola Balla, Max Delany, Julie Ewington, Annika Kristensen, Vikki McInnes, Elvis Richardson, 'Unfinished Business: Perspectives on art and feminism,' exhibition catalogue, Australia Centre for Contemporary Art, 2017.
Charlotte Vannier, Ceci Nest Pas Un Pull, Pyramid Publishing, 2017.
Jenni Mazaraki, ‘Kate Just is Here to Knit Powerful Wom*n and Be Your Feminist Fan,’ The Ladies Network, April 2017.
Sue Gardiner, ‘The Human Texture,’ Artnews, New Zealand, Autumn 2017.
Emma O'Neill, #26: Kate Just in 50 Things Collectors Need to Know in 2017, Art Collector magazine, January 2017.
Artist Portfolio: ‘Kate Just: Purls of Feminist Devotion,’ The Advocate, July 2016.
Betsy Greer, ‘An “Act of Love”: Knitted Portraits of Feminist Artists and Their Work,’ Hyperallergic, July 2016.
Marvin & Ruby, ‘It is the Best Job in the World,’ Marvin & Ruby, April 2016.
Johnny Page, ‘A Survey of Feminist Art in Japan,’ Spoon and Tamago, February 2016.
Kate Just’s The Furies: Artist Feature, Runway Issue Number 27: Outside, April 2015.
Janine Burke, ‘Big, Bold and Glorious,’ Dr Janine Burke launches Kate Just’s ‘The Furies,’Rochford Street Review, 13 March 2015.
Katve Kaisa Kontturi and Tal Fitzpatrick, ‘Crafting Change: Practicing Activism in Contemporary Australia,’ Harlot of the Hearts: A Revealing Look at the Arts of Persuasion, No. 14 (Special Issue: Craft Rhetorics), 2015.
Robert Nelson, 'Wrath of ages: women rage against violence in Kate Just's work The Furies at St Kilda Town Hall,' 10 March 2015.
Caroline Phillips, 'Watch This Space,' Catalogue Exhibition for The Furies at St Kilda Town Hall, 8 March, 2015.
Dylan Rainforth, 'Artist Kate Just's series on women's self-defence hangs from St Kilda Town Hall,' 3 March, 2015.
Dan Rule, ‘In the galleries: Experimenta: Recharge, Iwasaki, Amber Stones and Green,’The Age Newspaper, 25 January, 2015.
Dylan Rainforth, ‘Luscious and Unashamedly Joyful Works in Group Show at KINGS Ari,’ The Age Newspaper, 13 January, 2015.
Juliet Peers, ‘Knitting Signals,’ an essay for the book and exhibition HOPE & SAFE by Kate Just at Daine Singer, 2014.
Alyce McGovern, ‘Crafting For Good: Why We All Want To Knit For Penguins,’ The Conversation, 18 March, 2014.
Bronwyn Watson, ‘Kate Just's Paradise takes knitting to a new dimension,’ The Australian Newspaper, 21 December, 2013.
Casey Jenkins, ‘Venus Was Her Name,’ catalogue for the exhibition Venus Was Her Name at Daine Singer, 2013.
Linda Michael, ‘Louise Bourgeois and Australian Artists,’ catalogue for exhibition by the same name at Heide Museum of Modern Art, November 2012.
Sarah Moore, ‘Just Great: Kate's off to Britain to sew up artistic journeys,’ Weekly Review Bayside, 24 September, 2012.
Robert Nelson, ‘The Corruption of Innocents,’ The Age Newspaper, 27 June, 2012.
Dan Rule, ‘Kate Just:The Skin of Hope,’ Your Weekend in the Galleries, The Age Newspaper, 23 June, 2012.
Anthony Camm, ‘Kate Just: The Knitted Works 2004-2011,’ catalogue for exhibition of the same name at Ararat Regional Gallery, May 2012.
Dan Rule, ‘The Skin of Hope,’Broadsheet, 24 May 2012.
Melissa Miles, ‘The Skin of Hope,’ catalogue essay for the exhibition The Skin of Hope at Daine Singer, 2012.
Margaret Burin, ‘Feminism Just a Needle and Thread Away,’ ABC Ballarat, 2012.
Daniela Tomasovsky, ‘Venus Reloaded',’ Morgen: 5/11 (Austrian magazine), October 2011.
Craig Burgess, ‘One of These Forms,’ catalogue essay for Unearthed, Craft Victoria,2011.
Martha McDonald, ‘In Small Things Remembered,’ catalogue essay for Unearthed, Craft Victoria,2011.
Liza Power, ‘Tools of Our Trade Take On New Guises,’ The Age Newspaper, April 16, 2011.
Robert Nelson, ‘If Nightmares Come True,’ The Age Newspaper, November 19, 2010.
Art Collector Magazine, ‘Kate Just,’ October 2010.
Olivia Poloni, ‘Inward Gathering,’ catalogue essay for the exhibition by the same name, Nellie Castan Gallery, 2010.
David Hansen, ‘Inward Gathering,’ review of exhibition by the same name, Nellie Castan Gallery, 2010.
Helen Hughes, ‘Bombshell’ catalogue essay for Studio 12 exhibition at Gertrude Contemporary Art Spaces, 2009.
Louise Schwartzkoff, ‘Young Artists Embrace Their Inner Nanna,’ Sydney Morning Herald, April 25, 2009.
Rose Vickers, ‘Kate Just: New Work,’ Art World Magazine, Issue 9, June/July 2009.
Alice Blackwood, ‘Stitching Myths and Memories: The work of Kate Just,’ Textile Art Forum Magazine, Vo. 28, Issue 2, No 94, August 2009.
Dan Rule, Critical Guide, A2 section, The Age Newspaper, 18 July, 2009.
Anna Saunders, ‘Simply Red,’ Marie Claire Australia, June 2009.
Tai Snaith, ‘Life and Times,’ Artlink, Vol 29, No. 1, March 2009.
Ross Moore, ‘Goddess of the Kitsch,’ The Age Newspaper, Friday 24 October, 2008.
Dylan Rainforth, ‘Kate Just,’ The Age Newspaper, M Magazine, Sunday 12 October, 2008.
Kirsten Rann, ‘The Garden of Interior Delights,’, catalogue essay for the exhibition by the same name, Don't Come Gallery, 2008.
Ashley Crawford, ‘Blake Makes Spirited Choice,’ The Age Newspaper, Wed 27 August, 2008.
Back Page Featured Artist, National Association for the Visual Arts Magazine, July 2007.
Stephen Gallagher, ‘At the Crossroads of Daphne,’ exhibition catalogue for You Make Me Feel, July 2007.
Terri-Anne Kingsley, All Stitched Up, ABC Radio Interview/article, July 2007.
Penny Webb, ‘Bird Girls',’ The Age Newspaper, M Magazine (p.42), The Age Newspaper, 6 May, 2007.
Andrew Stephens, ‘Open Wide, come inside,’ The Age Newspaper, M Magazine (p. 41), 6 May, 2007.
Olivia Poloni, ‘The Dolls House – A Modern Wunderkammer,’ Making Space Event/exhibition catalogue, April 2007.
Vikki McInnes, ‘Kate Just,’ Bird Girls exhibition catalogue, VCA Gallery, April 2007.
Kate Daw, ‘Bird Girls, Fly High, Fly Low,’ Bird Girls exhibition catalogue, VCA Gallery, April 2007.
Olivia Poloni, ‘Side Stitch,’ exhibition catalogue, VCA Gallery, March 2007.
Megan Backhouse, ‘40 Degrees,’ The Age, Saturday 17 February, 2007.
Ric Spencer, ‘Flight of the fantasy Beckons,’ The West Australian, review, 9 September 2006.
ABC TV Interview/Presentation, Sunday Arts Program, Sunday 20 August, 2006.
Megan Backhouse, ‘Mixed Media,’ The Age, Wednesday 2 August, 2006.
Robert Nelson, ‘Unexpected Encounters,’ The Age, Wednesday 2 August, 2006.
Dominique Angeloro & Jesse Garron, ‘BECKON,’ catalogue essay, August 2006, Perth Institute of Contemporary Art.
Robert Nelson, ‘Fabrications to Make You Knit Your Brow in Perplexity,’ The Age, Wed. 14 June, 2006.
Megan Backhouse, ‘Art Galleries,’ The Age, Saturday 17 June, 2006.
Kylie Gusset, ‘The Medium is not the Message,’ Yarn Magazine, March 2006, page 6.
Penny Webb, ‘Family,’ Sightlines, the Age, 29 June, 2005.
Bridget Cameron, ‘The Knitting Train,’ commissioned by Artlink for www.craftculture.org, April 2005.
Dominique Angeloro & Jesse Garron, ‘Crossroads: The Politics of Every Which Way,’ Traverse catalogue 2004.
Meghan Backhouse, ‘Just in time for love,’ The Age, 23 October 2004.
Penny Webb, ‘Not In Their Nature to Be Loud,’ The Age, 29 May, 2004.
Meghan Backhouse, ‘Conversion to Suburban,’ The Age, 10 September 2003.
Andrew Brasier, ‘Delfin’s Art Encounter,’ Herald Sun Home magazine, 13 Sept 2003.
Larissa Hjorth and Kate Shaw, ‘Home Loan,’ catalogue essay, 2003.
Peter Hill, ‘Leaving the Shire,’ Critic’s Picks, Sydney Morning Herald, 27 September 2002.
Ashley Crawford, ‘From the Dark Screams Art,’ The Age, 29 May 2002.
Larissa Hjorth, ‘Neo Noir,’ Broadsheet, summer 2002.
Jazmina Cininas, ‘Uniform,’ (review), Artlink, Vol. 22 No. 1, March 2002.
Kate Daw, ‘Searching for Club Kate,’ catalogue essay, 2001.
RECENT TV/RADIO/PODCAST INTERVIEWS
Rachael Parsons interviews Kate Just on What the Art #9, New England Regional Art Museum 2021.
ABC Artworks TV interview with Namila Benson, 2021 (CC)
Briony Downes interviews Kate Just on Pull Focus (Art Collector) (CC)
Curator Rachel Kent (The National 2021 at the MCA) summarises the key ideas in the project Anonymous was a woman.
Kate Just interview about her Hope and Safe Banners with Town Hall Gallery, 2020 (CC)
Kate Just interview about her work In My Skin with Lawrence Wilson Gallery, 2020 (CC)
Tai Snaith, A World of One’s Own: Kate Just, Radical Intentions, 2018.
Kate Just interview about her work Uniform/Dad with the National Gallery of Australia, 2016 (CC)
Kate Just interview about her work LOVE with the National Gallery of Australia, 2016 (CC)
National Gallery of Australia, Canberra
Art Gallery of South Australia, Adelaide
Cruthers Collection of Women’s Art
Wangaratta City Art Gallery
Ergas Collection, Sydney
City of Port Phillip
Ararat Regional Gallery
Private Collections in Australia, New Zealand, UK, USA, Austria