Age, Biography and Wiki
Tina Havelock Stevens was born on 1967 in Sydney, Australia, is an Australian artist (born 1967). Discover Tina Havelock Stevens's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 57 years old?
| Popular As |
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N/A |
| Age |
57 years old |
| Zodiac Sign |
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| Born |
1967, 1967 |
| Birthday |
1967 |
| Birthplace |
Sydney, Australia |
| Nationality |
Australia
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We recommend you to check the complete list of Famous People born on 1967.
She is a member of famous artist with the age 57 years old group.
Tina Havelock Stevens Height, Weight & Measurements
At 57 years old, Tina Havelock Stevens height not available right now. We will update Tina Havelock Stevens's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Not Available |
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Not Available |
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Not Available |
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Not Available |
Dating & Relationship status
She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.
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| Parents |
Not Available |
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Not Available |
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Not Available |
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Not Available |
Tina Havelock Stevens Net Worth
Her net worth has been growing significantly in 2023-2024. So, how much is Tina Havelock Stevens worth at the age of 57 years old? Tina Havelock Stevens’s income source is mostly from being a successful artist. She is from Australia. We have estimated Tina Havelock Stevens's net worth, money, salary, income, and assets.
| Net Worth in 2024 |
$1 Million - $5 Million |
| Salary in 2024 |
Under Review |
| Net Worth in 2023 |
Pending |
| Salary in 2023 |
Under Review |
| House |
Not Available |
| Cars |
Not Available |
| Source of Income |
artist |
Tina Havelock Stevens Social Network
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Timeline
Tina Havelock Stevens is an Australian multi disciplinary artist known for her drumming, documentaries, and video works.
She often combines improvised live music performances with striking locations that explore the spirituality of place.
Havelock Stevens played drums in a number of Australian post-punk rock bands, notably Plug Uglies, with whom she recorded the EPs Knock Me Your Lobes (1989) and Johnny Panic (1990).
and The Titanics with whom she recorded the albums Love is the Devil (2000) and Size Isn't Everything (2000).
She also played with Chicks on Speed and Crow.
In 2017 Havelock Stevens won the regional Fisher's Ghost Art Award from Campbelltown City Council and came to national attention the following year when she won the 65th Blake Prize for work exploring spirituality, with her video work 'Giant Rock'.
The video was made at Landers, California in the Mojave Desert and features her drumming before Giant Rock one of the largest freestanding boulders in the world; a site she described as a "spiritual vortex".
That same year she travelled to the Philippines to drum on a river to make her work 'Beats of Darkness' for the Manila Biennale, Philippines.
She co-founded the largely instrumental ensemble The Mumps, who featured on Triple J unearthed and with whom she recorded the EP I Wish I was You (2018).
Part of that work was reconfigured in her dual channel work 'The Rapids' exhibited in The National 2019: New Australian Art at the Museum of Contemporary Art Australia.
In 2020 she exhibited in 'Afterglow' at the Yokohama Triennale, Japan.
In 2022 she has been commissioned to produce a work for the inaugural exhibition at the new Bundanon museum built at the former home of Australian artist Arthur Boyd in Shoalhaven, New South Wales.
Within Australia, she has also been exhibited by Canberra Museum and Gallery, Canberra, Museum of Old and New Art, Hobart, Gertrude Contemporary Art Spaces, Melbourne, Perth Institute of Contemporary Arts, Perth and Art Gallery of New South Wales, Sydney.
Art critic Elizabeth Pearce described Havelock Stevens' practice as uniting her craft as a filmmaker and musician "for the purposes of creating… something else, something greater than the sum of those parts. The opportunity, perhaps, to occupy a particular moment in time and space, that’s consonant with the history and politics of ‘occupation’, but nonetheless determined to privilege the human propensity for peace and acceptance that persists beneath all the social and historical change".
